TABLE OF CONTENTS

2 ................ ACADEMIC CALENDAR 50 .............. BASS

4 ................ MISSION STATEMENT Credit Requirements
Course Descriptions
5 ................ ADMISSIONS
Bachelor Degree Programs 55 .............. GUITAR
Associate Degree Programs Credit Requirements
Certificate Programs Course Descriptions
Non-Certificate Programs 62 .............. KEYBOARD
International Student Information Credit Requirements
12 .............. FINANCIAL AID Course Descriptions
17 .............. TUITION AND FEES 66 .............. DRUMS
Credit Requirements
19 .............. POLICIES
Course Descriptions
Academic Policies and Definitions
State of California Tuition Recovery Fund 71 .............. VOICE
Student Conduct Credit Requirements
Student Rights Course Descriptions
Students’ Right to Know 77 .............. ASSOCIATE OF ARTS (COMBINED EMPHASES)
31 .............. STUDENT SERVICES 78 .............. CERTIFICATE PROGRAMS
Housing 78 .............. PERFORMANCE 1
Student Activities Bass
Academic Tutoring Guitar
Career Services Keyboard Technology
33 .............. FACILITIES Drums
Live Performance Voice
Recording and Production 84 .............. RECORDING AND MUSIC INDUSTRY
Class/Rehearsal Audio Engineering
Counseling/Practice Audio Engineering (Post-Production Emphasis)
Additional Facilities Independent Artist
Administration Music Business
Handicapped Facilities Guitar Craft
36 .............. PROGRAMS Music Video, Film and Television
Programs at a Glance 97 .............. ALTERNATIVE PROGRAMS
38 .............. BACHELOR OF MUSIC DEGREE Encore
Credit Requirements Summer Shot
Course Descriptions 98 .............. GENERAL ELECTIVES
49 .............. ASSOCIATE OF ARTS DEGREES 102 ............ LIVE PLAYING WORKSHOPS
49 .............. GENERAL REQUIREMENTS 103 ............ FACULTY BIOS
130............. ADMINISTRATION
132............. CAMPUS HOLLYWOOD
 ACADEMIC CALENDAR
2009-10 2010-11
Fall Quarter
2009 2010

Re-Registration August 31-September 11 August 30-September 10

New Student Registration September 21-28 September 20-27
New Student Orientation October 1 September 30
Quarter Begins October 5 October 4
*Thanksgiving Break November 26-27 November 25-26
Final Exams December 14-18 December 13-7
Quarter Break December 19-January 3 December 18 -January 9

Winter Quarter 2010 2011

Re-Registration November 30-December 11 November 29-December 10

2 New Student Registration December 28-30 January 3-6
New Student Orientation December 30 January 6
*New year’s Day January 1 January 1
Quarter Begins January 4 January 10
*Martin Luther King Day January 18 January 17
*Presidents’ Day February 15 February 21
Final Exams March 15-19 March 2-25
Graduation March 20 March 26
Quarter Break March 21-April 4 March 27-April 10

*School closed

 ACADEMIC CALENDAR
2010 2011
Spring Quarter 2010 2011

Re-Registration March 1-12 March 7-18

New Student Registration March 22-29 March 28-April 4
New Student Orientation April 1 April 7
Quarter Begins April 5 April 11
*Memorial Day May 31 May 30
Final Exams June 14-18 June 20-24
Quarter Break June 19-July 4 June 25-July 10

Summer Quarter 2010 2011

Re-Registration June 1-June 11 June 6-17

New Student Registration June 21-28 June 27-July 5 3
New Student Orientation July 1 July 7
*Independence Day July 5 (observed) July 4
Quarter Begins July 6 July 11
*Labor Day September 6 September 5
Final Exams September 13-17 September 19-23
Graduation September 19 September 24
Quarter Break September 20-October 3 September 25-October 9

*School closed

 MISSION STATEMENT
M usicians Institute provides innovative education that prepares
graduates for creative and professional careers in contemporary music
performance, recording, and related fields. MI is dedicated to providing
comprehensive instruction, facilities and other resources to support and
inspire artistic and professional accomplishment.

Musicians Institute offers the following programs of study:

Baccalaureate
n n Certificate
Bachelor of Music in Performance (Contemporary Styles) Performance (Bass, Guitar, Keyboard Technology, Drums, Voice)
Bass, Guitar, Keyboards, Drums, Voice Audio Engineering
Audio Engineering (Post-Production Audio)
With additional minor studies in: Independent Artist
Audio Production Guitar Craft
Music Industry Studies Music Business
Music Video, Film, and Television Production
Associate
n

4 Associate of Arts in Performance n Non-Certificate Training in Music

Bass, Guitar, Keyboard Technology, Drums, Voice Encore Program

Bass, Guitar, Keyboard, Drums, Voice
Associate of Arts in Performance with emphasis in:
Audio Engineering Summer Shot
Independent Artist Development Bass, Guitar, Keyboards, Drums, Voice
Music Business Audio Production, Music Business
Guitar Craft
Music Video, Film and Television Production


BACHELOR OF MUSIC IN PERFORMANCE
(CONTEMPORARY STYLES)
Bass, Guitar, Keyboards, Drums, Voice
Eligibility Requirements
1. Satisfactory completion of an accredited secondary school program English as a Foreign Language (TOEFL). The minimum TOEFL
(high school) or its equivalent. Students are advised to follow a col acceptance scores are 500 (Standard), 173 (Computerized),
lege preparatory curriculum with four years of English, three years of or 61 (Internet-Based Test/IBT).
Social Sciences and as many music courses as are practical.
2. At least three years of study on the primary instrument
(Bass, Guitar, Keyboards, Drums, or Voice).
3. Music reading ability in both treble and bass clef.
4. Knowledge of and interest in contemporary styles
5. Working knowledge of keyboard harmony
How to Apply for Admission to the BM Program:
The admissions procedure for the BM program consists of three parts:
1. Written application
2. Written entrance test
3. Video performance test
After your written application is received, reviewed and approved, you will re-
ceive a written BM entrance test by mail to be completed and returned along
with an unedited video recording of yourself performing specific instrumental
playing requirements (details provided with entrance test).
All Applicants
Please send all of the following items together by mail:
1. Completed application
2. High School diploma, G.E.D. or equivalent, or higher degree
(A.A., A.S., B.A., B.S. etc.). Please provide an official English
translation if the original is not in English.
3. $100.00US application fee
4. A 250-word written essay describing why you want to attend
Musicians Institute
5. SAT or ACT scores (from within the previous two years); SAT minimum:
500 Critical Reading, 500 Mathematics, 500 Writing; ACT minimum: 21
6. Two letters of recommendation from instructors or professors you have
studied with for at least one year, including one recommendation in to determine your experience level in several fundamental musical areas. In some
music and one recommendation in academic areas
7. Transfer credit information from prior college or university (ff applicable).
ADMISSIONS
International Applicants
Please send all of the items described above together by mail, PLUS:
1. The $100.00 USD application fee must be submitted as an
International Money Order or Postal Money Order for U.S. funds.
2. If a student’s principal language is other than English, he or she must
present verification of English language proficiency through a Test of
3. A non-immigrant student F-1 Visa is required for all Degree programs
(see “International Student Information” for details).
Admissions Deadlines and Notification
The Admissions Department must receive all required materials by:
n July 31 to be considered for Fall admission.
n January 31 to be considered for Spring admission.
Fully completed applications will be reviewed with placement priority given to ap-
plications received prior to the established due dates. Accepted applicants will be
notified by mail and telephone. Applicants who are not accepted will receive notifi-
cation by mail only, along with the specific reasons for non-acceptance. 5
Tuition Deposit (Domestic Students Only)
Upon acceptance to the degree program, students are required to submit a re-
fundable deposit in the amount of $300.00US to secure their placement (see
Letter of Acceptance for details). The deposit is applied toward the first quarter’s
tuition and is completely refundable in the event of cancellation of enrollment.
Registration
Students are expected to arrive two weeks prior to the start of classes for regis-
tration and orientation. Late registration will be held until Friday of the first week
of classes. Registration after the first week of classes is by permission of the
Degree Dean only.
Students who need housing/roommate assistance should arrive at least four
weeks prior to the start of classes. Daily housing meetings and new student
tours will take place during registration week.
Placement Evaluation
After are accepted by the BM program, you will be given a placement evaluation
cases, you may receive advanced placement in certain subjects in which you may
already be proficient. Placement evaluations will take place during registration week
and students will not be scheduled for classes until their evaluations are complete.
 ADMISSIONS
Orientation
Attendance at the Orientation Meeting is mandatory for all new students. Unless
otherwise stated during registration, Orientation will be held on the Thursday
prior to the start of classes. During this meeting you will learn about school policy
and procedures, student services, lab and LPW sign-ups and other school-re-
lated topics.
General Education Transfer Credits
The two main components of the Bachelor of Music Degree are the music
coursework and the general education requirements. To fulfill the General Edu-
cation degree requirements, students must complete 45 quarter units or 30 se-
mester units in Liberal Arts subjects. For this purpose, Musicians Institute has
entered into a partnership with Los Angeles City College (LACC). All required
general education courses, including a wide selection of subjects in English,
mathematics, natural science, social science and humanities are offered on the
nearby LACC campus. MI students may register for appropriate general edu-
cation classes in consultation with LACC advisors with support and coordina-
tion from Musicians Institute (LACC is accredited by the Western Association of
Schools and Colleges (WASC)). See Bachelor of Music degree requirements in
6 this catalog for a summary of required General Education credit distribution.
Students may also transfer up to the maximum number of required general edu-
cation units from institutions other than LACC pending review and approval by
the Dean. Acceptance of coursework will be based on standards set by the Na-
tional Association of Schools of Music and Musicians Institute, as well as com-
parisons to offerings from LACC.
Music Transfer Credits
The maximum number of transfer credits that may be applied to satisfy music
coursework requirements varies according to the student’s initial placement in
the areas of Private Lessons, Ensembles, Theory, Ear Training, and Reading.
In no case may the total number of transfer credits (music and General Educa-
tion combined) exceed the maximum allowed under the Residency Requirement
(see “Policies”).
Applying for Transfer Credit
Provide official transcripts and course catalogs of all college study relevant to
the desired transfer credits to the attention of:
Musicians Institute Office of Admissions
6752 Hollywood Boulevard
Hollywood, California 90028
Transfer students who enter Musicians Institute with missing official transcripts or
classes in progress must meet with the Dean during their first quarter to confirm
the transfer of those credits. The Admissions Office must receive all transcripts
before the end of the student’s first quarter of enrollment at Musicians Institute.
Requirements for MI Associate Degree
Students Applying to the BM Program
Applicants who complete an Associate of Arts in Performance degree in Bass,
Guitar, Drums, Keyboard Technology or Voice at Musicians Institute with a mini-
mum cumulative GPA of 3.75 (A) and meet all other BM Degree admission re-
quirements will be admitted to the BM program without submitting the video
performance test. Each admitted student will be given a placement test in Music
Theory and Ear Training and placed at the appropriate level in those subjects (in
some cases, remedial coursework may be required).
Students who complete an AA degree at MI with a GPA lower than 3.75 or stu-
dents who complete an AA (combined emphases) will be required to complete
the video performance test as part of the BM application process. Acceptance
for admission will be subject to meeting minimum test requirements.
Transfer Credits from MI Associate to BM Program
Applicants who have completed MI’s Associate of Arts in Performance (Bass,
Guitar, Keyboard Technology, Drums, or Voice) with a minimum GPA of 3.75 (A)
may transfer the following credits toward their BM completion requirements:
Instrument Study: 12 credits
Reading: 6 credits
Additional credits that may be transferred based on results of BM entrance
evaluation include:
Private Lesson: up to 12 credits
Ensembles: up to 6 credits
Electives: up to 9 credits
Transfer credits for students who are admitted to the BM program after complet-
ing the AA Performance Degree with a GPA below 3.75 or students admitted
after completing an AA (Combined Emphases) Degree will be evaluated on a
course-by-course basis.

ASSOCIATE OF ARTS IN PERFORMANCE
Bass, Guitar, Keyboard Technology, Drum, Voice
The Associate of Arts in Performance is a terminal/occupational degree and is not in-
tended to prepare graduates for transfer to baccalaureate programs. Policies regard-
ing the transfer of occupational degrees or acceptance of transfer course credit vary
by institution. MI cannot guarantee the transferability of credit except between its own
degree programs (see “Transfer Credits from MI Associate to BM Program” above).
Eligibility Requirements
The admissions procedure is selective and based on factors including:
1. An audition tape or written test (where applicable)
2. The written application
3. Prior experience
4. Desire for career advancement and commitment to an intensive
educational program
Each applicant is individually reviewed, taking into consideration his or her ex-
perience, achievements, aptitude, attitude, and potential for growth. Prospective
students still enrolled in high school are encouraged to follow a college prepara-
tory curriculum and to take as many music and music-related courses as are
practical prior to attending MI.
How to Apply for Admission to the AA-Performance Program
Please send all of the following items together by mail (additional items are also
required–check below under the specific program to which you are applying):
1. Completed application form
2. $100.00 USD application fee
(International applicants: the application fee must be submitted as an Placement Evaluation
International Money Order or Postal Money Order for U.S. funds)
3. High school diploma or proof of GED equivalent from an accredited ment evaluation. The evaluation will measure your current level of knowledge
institution (please provide an official English translation if the original and experience in several fundamental musical areas. Placement evaluations
is not in English)
4. One letter of recommendation from a music instructor or music
professional familiar with your personal and musical qualities
5. An audio recording of your playing or singing (see application for details)
International Applicants
In addition to the materials described above:
Student Visas
n A non-immigrant student F-1 Visa is required for the Associate
Degree program (see “International Student Information” for details).
n A non-immigrant student M-1 Visa is required for the Performance
Certificate program (see “International Student Information” for details).
ADMISSIONS
English Language
TOEFL tests are not required for admission to AA or certificate programs; how-
ever, all classes are taught in English and students must have a basic under-
standing of the English language in both spoken and written communication.
Application Review and Notification
Class sizes are limited and placement priority is given to applications in the or-
der accepted. Fully completed applications are reviewed for acceptance on an
ongoing basis. Accepted applicants will be notified by mail. Applicants who are
not accepted will be notified by mail including the reasons for non-acceptance.
Tuition Deposit (Domestic Students Only)
Upon acceptance to all degree and certificate programs, admitted students are
required to submit a refundable deposit in the amount of $300.00 USDto secure
their placement (see Letter of Acceptance for details). The deposit is applied
toward the first quarter’s tuition and is completely refundable in the event of
cancellation of enrollment
Registration
Students are expected to arrive two weeks prior to the start of classes for regis-
7
tration and orientation. Students who fail to register at their assigned registration
appointment will be assessed a late registration fee of $100.00 USD. Applicants
may register after the first week of classes only with permission from the Dean.
Students who need housing/roommate assistance should arrive at least four
weeks prior to the start of classes. Daily housing meetings and new student
tours will take place during registration week.
After you are admitted to the Associate Degree program, you will be given a place-
take place during registration week and you will not be scheduled for classes until
your evaluation is complete. In some cases, a student may be recommended for
advanced placement in classes in which he or she may already be proficient.
Orientation
Attendance at the Orientation Meeting is mandatory for all new students. Unless
otherwise stated during registration, Orientation will be held on the Thursday prior to
the start of classes. During this meeting you will learn about school policy and pro-
cedures, student services, lab and LPW sign-ups and other school-related topics.
 ADMISSIONS
Transfer from an AA Degree Program to an Instrument
Certificate Program
Students enrolled in an Associate of Arts Degree program in Guitar, Bass,
Drums, Keyboards or Voice who wish to transfer to a Certificate program in the
same instrument and are not receiving US financial aid, including International
students, may transfer no later than the end of the second week of their fourth
quarter of enrollment in the AA program.
Students receiving federal financial aid for an AA Instrument program may trans-
fer to a Certificate program in the same instrument no later than the end of the
second week of their third quarter of enrollment in the AA program.
ASSOCIATE OF ARTS IN PERFORMANCE
(Combined emphases)
Musicians Institute offers Associate degrees combining study of one of the
five primary instruments with a non-performance emphasis. Emphasis options
include:
n Audio Engineering
8
n Music Business
n Music Video, Film and Television Production
n Guitar Craft
n Independent Artist Development
Eligibility and Application
Students applying for admission to an AA (combined emphases) program must
meet the eligibility requirements of both the instrument study portion (see AA
requirements above) and the additional emphasis portion (see Music Industry
Certificates below).
All other application, registration, placement, and orientation requirements are
identical to those described above for the Associate of Arts in Performance.
CERTIFICATE IN PERFORMANCE
Bass, Guitar, Keyboard Technology, Drums, Voice
All eligibility, application, registration, placement and orientation requirements
for the four-quarter/60 credit-unit Certificate in Performance are identical to
those described above for Associate of Arts in Performance.
ENCORE PROGRAM (NON-CERTIFICATE TRAINING IN MUSIC)
Bass, Guitar, Keyboards, Drums, Voice
Eligibility
There are no specific academic entrance requirements for the Encore Program.
Each applicant is individually reviewed, taking into consideration his or her ex-
perience, past achievements, aptitude and potential for growth.
How To Apply to the Encore Program
Please send the following items together by mail:
1. Completed application form
2. $100.00 USD application fee
International Applicants
In addition to the materials described above:
Student Visas
A non-immigrant student M-1 Visa is required (see “International Student
Information” for details).
English Language
TOEFL tests are not required for admission to the Encore program; however, all
classes are taught in English and students must have a basic understanding of
the English language in both spoken and written communication.
Application Review and Notification
Class sizes are limited and placement priority is given to applications in the or-
der accepted. Fully completed applications are reviewed for acceptance on an
ongoing basis. Accepted applicants will be notified by mail. Applicants who are
not accepted will be notified by mail including the reasons for non-acceptance.
Scheduling/Registration/Orientation
Encore students are expected to arrive two weeks prior to the start of classes for
scheduling, Registration, and Orientation. Students who need housing and/or room-
mate assistance should arrive at least four weeks prior to the start of classes.

MUSIC INDUSTRY CERTIFICATE PROGRAMS
n Audio Engineering n Audio
Engineering (Post-Production Audio)
n GuitarCraft n Independent Artist
n Music Business n Music Video, Film &TV Production
Eligibility
The admission procedure for each program is selective and based on factors
including:
1. An audition tape or written test (where applicable).
2. Written application
3. Prior experience
4. Applicant’s desire for career advancement and commitment to an
intensive educational program
Each applicant is individually reviewed, taking into consideration his or her ex-
perience, achievements, aptitude, attitude, and potential for growth. Prospective
students still attending high school are encouraged to follow a college prepara-
tory curriculum and to take as many music and music-related courses as are
practical prior to attending MI.
How to Apply for Admission
All programs:
Send all of the following items together by mail along with any additional items
required by the program to which you are applying (see below):
1. Completed application form
2. $100.00 USD application fee
(International applicants: the application fee must be submitted as an Independent Artist
International Money Order or Postal Money Order for U.S. funds).
3. High school diploma or proof of G.E.D. equivalent from an accredited an original recording (see application form for details).
institution (please provide an official English translation if the original
is not in English).
Program-specific requirements
Audio Engineering
Application:
In addition to the items listed above under “All Programs”, you must also:
1. Pass a written Scholastic Level Exam (see application form for details).
2. Submit an audio recording of your speaking voice with a short narrative
in English telling us why you want to attend Musicians Institute.
Placement:
If you are admitted to the Audio Engineering Certificate program, you will be
given a placement evaluation as part of the registration process. The evalu-
ation will measure your current level of knowledge and experience in several
fundamental areas. Placement evaluations will take place during registration
ADMISSIONS
week and you will not be scheduled for classes until your evaluation is complete.
In some cases, a student may be recommended for advanced placement in
classes in which he or she may already be proficient.
Audio Engineering (Post-Production Audio)
Application:
In addition to the items listed above under “All Programs,” you must also:
1. Pass a written Scholastic Level Exam (see application form for details).
2. Submit an audio recording of your speaking voice with a short narra
tive in English telling us why you want to attend Musicians Institute.
3. Submit an audio recording demonstrating your current level of ability
in the field of music recording, production, or editing (see application
or speak to an Admissions representative for details).
Students already enrolled in the Certificate in Audio Engineering program who
apply for transfer to the Certificate in Audio Engineering (Post-Production Au-
dio) program may submit recordings that they have produced during their cur-
rent program in order to meet admission requirement (3) above. The applicant’s
academic progress in the current program will also be considered as a factor in 9
determining eligibility for transfer.
Placement:
Placement evaluations are the same as those for “Audio Engineering.”
In addition to the items listed above under “All Programs”, you must also submit
Guitar Craft
In addition to the items listed above under “All Programs”, you must also:
1. Pass a written Scholastic Level Exam (see application form for details).
2. Submit an audio recording of your speaking voice with a short narra
tive in English telling us why you want to attend Musicians Institute.
Music Business
In addition to the items listed above under “All Programs”, you must pass a writ-
ten Scholastic Level Exam (see application form for details).
Music Video, Film and Television Production
In addition to the items listed above under “All Programs”, you must pass a writ-
ten Scholastic Level Exam (see application form for details).
 ADMISSIONS
International Applicants
In addition to the materials described above:
Student Visas
A non-immigrant student M-1 Visa is required for all programs (see “International
Student Information” for details).
English Language
TOEFL tests are not required for admission; however, all classes are taught in
English and students must have a basic understanding of the English language
in both spoken and written communication.
Application Review and Notification
Class sizes are limited and placement priority will be given to approved applica-
tions based on the date of acceptance into the desired program. Fully completed
applications are reviewed for acceptance on an ongoing basis. Accepted ap-
plicants will be notified by mail. Applicants who are not accepted will receive
notification by mail, along with the specific reasons for non-acceptance.
Tuition Deposit (Domestic Students Only)
10 Upon acceptance to all degree and certificate programs, admitted students are
required to submit a refundable deposit in the amount of $300.00 USD to secure
their placement (see Letter of Acceptance for details). The deposit is applied
toward the first quarter’s tuition and is completely refundable in the event of
cancellation of enrollment
Registration
Students are expected to arrive two weeks prior to the start of classes for regis-
tration and orientation. Students who fail to register at the assigned registration
appointment will be assessed a late registration fee of $100.00 USD Registration
after the first week of classes is by permission of the Department Head only.
Students who need housing/roommate assistance should arrive at least four
weeks prior to the start of classes. Daily housing meetings and new student
tours will take place during registration week.
Orientation
Orientation is mandatory for all new students and unless otherwise stated dur-
ing registration, will be held on the Thursday prior to the start of classes. The
orientation meeting explains school policy and procedures, student services, lab
and LPW sign-ups and other school-related topics.
INTERNATIONAL STUDENT INFORMATION
Musicians Institute is authorized under federal law to enroll nonimmigrant alien
students. Musicians Institute follows a policy of equal opportunity in all of its
educational activities, admissions and employment and does not discriminate
because of race, color, national origin, religion, sex, sexual orientation, age,
physical handicap or marital status.
MI’s International Student Office assists international students in immigration
and personal matters. A few important regulations applying to all international
students include:
Sufficient Funds: All international students must submit an official letter from
the student’s, parent’s or sponsor’s bank certifying that there are enough funds
available for payment of tuition and living expenses during the study period. All
funds sent to MI must be in U.S. dollars.
English Documents: All documents must be in English or accompanied by a
certified English translation of the document.
Student Visas: A non-immigrant F-1 student visa (for Bachelor and Associate
Degree programs) or an M-1 student visa (for Certificate and Encore programs)
is required. An I-20 immigration form will be issued to the student upon meeting
all entrance and financial requirements. The student must take the I-20 form to
the U.S. Embassy or Consulate in his or her country of residence to obtain a
student visa in order to enter the United States.
Full-time status: All international students must maintain “full time” status in
order to satisfy student visa requirements.
ADDITIONAL INFORMATION
Accreditation and Licensure
Musicians Institute has been an accredited institutional member of the National
Association of Schools of Music since 1981 and is licensed to operate in the State
of California by the Bureau for Private Postsecondary and Vocational Education.
Accuracy of Information
All information in this catalog is accurate as of the date of printing. MI reserves
the right to revise or cancel the programs, courses, activities, or services de-
scribed herein without prior notice. Applicants are advised to confirm their avail-
ability prior to enrollment.
Disclaimer
MI offers no guarantee that employment will result from enrolling in, attending,
or completing any MI program.

Musicians Institute is eligible to offer financial aid under a variety of federal and
state programs. The following pages should answer most of your questions
and explain the various types of aid that are available. If you are interested in
applying for financial aid, please read this section thoroughly. If you need more
information, contact Musicians Institute at 1-800-255-7529 ext. 352 or 1-323-
860-4352, or email financialaid@mi.edu.
Am I eligible for financial aid?
Financial aid is available to US citizens and eligible non-citizens. If you qualify,
you may be eligible for one or more types of aid. Each type of aid also has other
specific eligibility requirements, and it is important for you to know that financial
aid usually does not cover all of your tuition costs.
Your eligibility for need-based financial aid programs is determined by subtract-
ing your Effective Family Contribution (or EFC, as determined by your Student
Aid Report) from the cost of attendance for your course of study. Cost of at-
tendance includes tuition and fees, books and supplies, housing, personal and
transportation costs. Charges for tuition and fees can be found in the Tuition
& Fees section of this catalog. Other costs are based on a standard expense
budget as determined by the California Student Aid Commission (current figures
are also shown in the Tuition & Fees section of this catalog; these costs are
subject to change).
What are the general requirements for receiving financial aid?
General requirements for any student receiving federal or state financial aid
include:
n High school diploma or equivalent
n Maintaining satisfactory academic progress while attending MI
If you drop below the minimum standards for satisfactory academic progress,
you will become ineligible for any type of federal or state aid. If you are declared
ineligible for academic reasons, you may appeal the ruling with the Registrar’s
Office. You will also need to request an appeal with the Financial Aid Office in
order to regain eligibility. Requests for appeal will be reviewed on a case-by-
case basis by Education and Financial Aid staff.
How do I apply for financial aid?
The fastest way to apply for financial aid is by logging on to www.fafsa.ed.gov.
By filing your Free Application for Federal Student Aid (FAFSA) online, you en-
sure its accuracy and the information goes directly to the federal processor,
FINANCIAL AID
which means you receive your Student Aid Report sooner. It’s fast, convenient,
and user-friendly. If you require a paper application, you will need to contact the
Department of Education at 1-800-4-FED-AID to request one. Upon request
from the Financial Aid Office, you may need to provide additional documents
such as student and/or parent tax returns, verification of untaxed income, or
other documents required to determine eligibility. The Financial Aid Office will
mail your award notification approximately 7-10 business days after receipt of
your Student Aid Report (depending on the time of year), and only if you have
been accepted for admission to MI.
When do I apply for Financial Aid?
It is recommended that you apply for financial aid at least three (3) months be-
fore the start of classes if you plan to use financial aid to help cover your tuition
costs. Please keep in mind that applying for financial aid is a complex process
that requires your utmost attention to details and deadlines. Once you apply for
financial aid, be sure to respond immediately to any mailings you receive from
the financial aid processor or the Financial Aid Office at Musicians Institute.
How are financial aid funds disbursed? 11
In general, financial aid funds are disbursed quarterly, the first disbursement
coming in the first quarter of attendance, and other disbursements coming in
subsequent quarters. However, funds from the various financial aid programs
described below are not all disbursed in the same way or at the same time. Gov-
ernment financial aid funds are sent to the school via electronic funds transfer.
Students will be notified of disbursements made by federal loans via email or by
U.S. postal service.
OTHER INFORMATION
n Additional information about financial aid at Musicians Institute may
be obtained by contacting a financial aid counselor
n Federal and State financial aid funds are not available for programs
that have not been approved by MI’s accrediting agency.
Listed below is a brief summary of the financial aid programs
offered at Musicians Institute:
Federal Pell Grant
The Pell Grant program is intended to help provide eligible students with access
to the post-secondary institution of their choice. Pell grants do not have to be
repaid. The Department of Education uses the information provided on the Free
Application for Federal Student Aid (FAFSA), to determine your eligibility.
 FINANCIAL AID
Federal Supplemental Educational Opportunity Grant (FSEOG) within 30-60 days from the final disbursement. The amount of the monthly pay-
FSEOG is for undergraduate students with exceptional need and does not have ment will vary with the amount borrowed, but will never be less than $50.00 per
to be repaid. This program is funded by the federal government and adminis- month. Effective July 1, 2008, the interest rate is fixed at 8.5%.
tered by MI’s Financial Aid Office. Please note that these funds are limited and
there is no guarantee that every eligible student will receive this grant. Cal Grants (for California residents only)
The State of California offers Cal Grants to eligible undergraduate students. To
qualify, you must be a U.S. citizen or eligible non-citizen, a California resident
Federal Stafford Loan
and meet the specific requirements of the grant program. Applications are only
This is a low-interest, need-based loan designed to provide students with
accepted between January 1 and March 2 of each year. For more information,
additional funds for college. YOU MUST REPAY THIS LOAN.
you may contact the California Student Aid Commission at (888) CA-GRANT, or
n Dependent students who qualify may borrow up to a maximum of $2,333- log onto their website at www.calgrants.org.
$3,500.00 in a subsidized or unsubsidized loan, depending on the pro
gram, for their first academic year, $4,500 for their 2nd academic year, California Chafee Grant Program
and $5,500 for their 3rd & 4th (for Bachelor students). Effective July 1, The Chafee Grant Program is available to current or former foster youth. This
2008, dependent students are also eligible for an additional unsubsidized program is federally funded and is subject to availability of funds each year. To
loan of up to $2,000. qualify, you must:
n Be eligible, or have been eligible, for foster care between your 16th
n Independent students, or dependent students whose Parent Loan (PLUS) and 18th birthday
is denied, may borrow up to a maximum of $6,334-$9,500.00 in a subsi n Not have reached your 22nd birthday as of July 1 of the award year.
12 dized or unsubsidized loan, depending on the program, for their first
academic year, up to $10,500 for their 2nd academic year, and up to For more information on Chafee Grants, or to download an application, please
$12,500 for their 3rd & 4th (for Bachelor students). At least $4,000- log on to www.chafee.csac.ca.gov. You may also contact the Financial Aid
$7,000.00 of this amount must be in an unsubsidized Stafford Loan. Office for more information.

Repayment of a Stafford Loan begins six (6) months after your last date of at-
tendance and the minimum monthly payment is $50.00 per loan. Effective July
1, 2008, the interest rate on the subsidized portion of a Stafford loan is fixed at
6% for any disbursements made on or after July 1, 2008 thru June 30, 2009.
The interest rate for the unsubsidized portion of a Stafford loan will be fixed at
6.8%. For students who demonstrate a need for a subsidized Stafford Loan, the
government will pay the interest on your loan during the time you are in school
and the specified grace period. Students who have a calculated need less than
the maximum on the Stafford Loan may borrow the difference in an Unsubsi-
dized Stafford Loan and will be responsible for the entire interest on that portion
of the loan.
Federal Parent Loan for Undergraduate Students (PLUS)
PLUS loans are for qualified parents of dependent students who want to borrow
to help pay for their son/daughter’s education. Eligible PLUS borrowers may
borrow up to the yearly cost of education less other financial aid awarded to the
student. PLUS loans are credit-based and require approval by the lending insti-
tution. YOU MUST REPAY THIS LOAN. Repayment on the PLUS loan begins
MI Scholarships
Musicians Institute offers three types of scholarships designed to provide tuition
assistance to students during their enrollment at MI. The information below de-
scribes each scholarship, how to apply, and the deadline for submission. Refer
to each scholarship application for specific details; for all additional questions
about scholarships, please contact the Admissions Department.
Additional scholarships may also be available! Call the Admissions Department
or check www.mi.edu/FinancialAid.aspx for current information about scholar-
ships sponsored by other companies or individuals.
General Information for All MI Scholarships
Scholarship Amounts and Method of Award
1. Scholarships are awarded in the form of tuition credit only.
2. The minimum award for each scholarship is $1000.00. The total
award amount will be determined after a review of your application.
3. The total award amount is divided by the number of quarters in your
program and credited equally toward each quarter’s tuition.
 FINANCIAL AID
Application and Notification Musicianship Scholarship
1. MI Scholarships are available only to newly-enrolling students. Before Musicianship Scholarships are available to new instrument and voice students
you may submit a scholarship application, you must have a Letter of (both US and non-US citizens) enrolling in the Bachelor of Music, Associate
Acceptance from MI’s Admission Department. of Arts, or Certificate in Performance Programs who demonstrate outstanding
2. Scholarship applications are available from the Financial Aid or musicianship. A total of ten Musicianship Scholarships (two per instrument) are
Admissions Department or may be downloaded from awarded for each new program start.
www.mi.edu/FinancialAid.aspx
3. Completed applications submitted by the appropriate deadline will be Requirements
reviewed and applicants will be notified of the results within two To be considered for a Musicianship Scholarship, you must submit a completed
weeks after the deadline. application including:
1. An essay explaining why you should be considered for the scholarship.
Other Information 2. A video recording displaying your performing skills. Video
1. All scholarships are non-transferable and may not be applied to any requirements vary by program; see application for details.
person, program, or start date other than those for which they were
originally awarded. Application Deadlines
2. Scholarship recipients who fail to meet minimum academic require- For programs beginning: Submit your application by:
ments during their enrollment will forfeit any remaining award balance Fall 2009 August 10, 2009
(see scholarship applications for specific requirements). Spring 2010 February 8, 2010

13
Development Scholarship Opportunity Scholarship
Development Scholarships are provided to encourage the educational growth of Opportunity Scholarships are available to middle-income instrument or voice
new students enrolled in a degree or certificate program who have verifiable fi- students enrolling in the Bachelor of Music, Associate of Arts or Certificate in
nancial need (this scholarship is limited to US citizens and permanent residents). Performance programs who have verifiable financial need. A total of ten Oppor-
A minimum of twenty Development Scholarships are awarded each year. tunity Scholarships are awarded for each new program start.

Requirements Requirements
To be considered for a Development Scholarship, you must submit a completed To be considered for an Opportunity Scholarship, you must meet the following
application including: criteria:
1. A 250-word essay explaining why you should be considered for the 1. United States citizen or permanent resident
scholarship and describing the extent of your financial need. 2. Non-dependent student born before January 1, 1986 (if applying for
2. A copy of your official high school or college transcript. the October 2009 or April 2010 start)
3. Verifiable financial need (tax return or other means of income verification). 3. Earned at least $24,000.00 in the 2008 tax year (if applying for the
October 2009 or April 2010 start)
Application Deadlines 4. Minimum High School GPA of 2.5
For programs beginning: Submit application by:
Summer 2009 (Audio Engineering only) May 11, 2009 Application Deadlines
Fall 2009 August 10, 2009 Applications are accepted up to the first day of classes for each new program
Winter 2010 (Audio Engineering only) November 23, 2009 start. Opportunity Scholarships are awarded to qualified applicants on a first-
Spring 2010 February 8, 2010 come, first-served basis up to the maximum number of available awards.
.

 FINANCIAL AID
Alternative Loans Before you leave school, you must receive the following
Musicians Institute has information on alternative loans for students who need information about your loan in an exit interview:
additional funding assistance for their education or living expenses. All students, n The amount of your total debt (principal and interest), what your
including students who are not eligible for US government financial assistance, interest rate is and the total interest charges on your loan.
may apply for these loans with an eligible co-signer. These loans are credit- n The average monthly repayment amount you can expect.
based and applications are made directly to the lending institution offering the n The name of the organization that holds your loan, where to send
loan. For further information, please contact the Financial Aid Office (interna- your payments and where to write if you have questions about your loan.
tional students contact the Director of International Student Affairs). n The fees you should expect during the repayment period.
n A description of deferment and cancellation provisions.
Borrower Rights and Responsibilities n A description of repayment options such as prepayment, refinancing
If you take out a student loan, you have certain rights. Some of those rights are and consolidation loans.
listed below: n Debt management advice.
n If you take out a Stafford Loan, you have the right to a grace period n Notification that you must provide your expected permanent address,
before your repayment period begins. The grace period begins when the name and address of your expected employer, the address of
you leave school, or drop below half-time status as defined by the your next-of-kin, and any corrections to the school’s records concerning
school. The exact length of your grace period will be shown on the your name, Social Security Number, references and driver license number.
promissory note provided to you by your lender.
n You must be given a repayment schedule that specifies when your You also have certain responsibilities. Here are a few of them:
first payment is due as well as the number, frequency and amount of n When you sign a promissory note, you are agreeing to repay according
14
all payments. to the terms of the note. This note is a binding legal document. This
n You must be given a list of deferment and cancellation conditions. com mitment to repay means that you will have to pay back the loan,
even if you don’t complete your education, aren’t able to get a job
Before the first loan may be disbursed, you must receive the after you complete the program, or you are dissatisfied with, or do not
following information in an entrance interview: receive the education you paid for. If you do not pay back your loan on
n The full amount of the loan, the interest rate and when you must time, or according to the terms in your promissory note, you may go
begin repayment. into default, which has very serious consequences.
n The effect borrowing will have on your eligibility for other types of n You must make payments on your loan even if you do not receive a
financial aid. bill. Billing statements and coupon books are sent to you as a conve
n A complete list of any charges you must pay (loan fees) and nience, but not receiving them does not relieve you of your obligation
information on how those charges are collected. to make payments.
n The yearly and total amounts you can borrow, and the minimum and n Even though you may have applied for a deferment, you still must
maximum repayment periods. continue to make payments until your deferment is processed. If you
n A current description of loans you owe your school and/or lender, an do not, you may end up in default. You should keep a copy of any
estimate of what your total debt will be and what your monthly deferment request form you may have and you should document all
payments will be. contacts with the organization that holds your loan.
n An explanation of default and its consequences. n You must notify the organization that holds your loan if you graduate,
n An explanation of options for prepaying your loan and for taking withdraw from school, or drop below half-time status, change your
advantage of a consolidation loan. name, address, or Social Security Number, or transfer to anothe school.
n Before you receive your first disbursement, you must attend an
entrance interview. Before you leave school, you must attend an exit
interview (see above).

Satisfactory Academic Progress (SAP)
Federal regulations require all institutions that participate in Title IV aid programs
to define and monitor satisfactory academic progress (SAP) for all financial aid
recipients. The standards must meet all federal requirements and be equal to
or more stringent than the SAP standards for non-financial aid recipients. See
Satisfactory Academic Progress and related topics in the Policy section of this
catalog for specific information regarding SAP.
FINANCIAL AID
The steps for filing an appeal are as follows:
1. Student must complete the Academic Progress Appeal Form and
return it to the Financial Aid Office with all supporting documentation
2. The appeal will be reviewed by the Director of Financial Aid.
3. Students will be notified within five (5) working days if their appeal is
granted or denied.

Failure to Maintain Satisfactory Academic Progress
Failure to meet minimum standards for SAP may result in academic probation,
loss of financial aid, or termination from a program. Students will receive a writ-
ten notice if they do not meet academic progress standards at the end of each
enrollment period. The notice will provide information on what steps must be
taken to reinstate SAP.
If the appeal is approved, financial aid suspension will be rescinded and aid will
be awarded and/or disbursed to the student’s account.
If the appeal is denied, financial aid suspension will be continued until the stu-
dent once again meets the academic requirements outlined above.

For any student failing to maintain satisfactory academic progress, financial aid
is suspended until the student:
Note to Non-U.S. Citizens
Students who are planning to attend Musicians Institute with an M-1 or F-1 Stu-
1. corrects his or her academic status (e.g. has an incorrect grade changed)
dent Visa are ineligible to receive U.S. financial assistance. We recommend 15
2. makes up the deficit (e.g. regains a 2.0 GPA)
that you contact the Department of Student Financial Assistance in your country
3. receives an approval of appeal (see “Appeal Process” below)
for information on financial aid available to you from your own government. U.S.
financial aid programs are only available to U.S. citizens or students who are in
Reinstating satisfactory progress
one of the following categories:
Students receiving financial aid must provide the Financial Aid Office with veri-
n U.S. permanent residents who have an Alien Registration Receipt
fication of a corrected status or that they have reinstated satisfactory progress.
Card (I-151 or I-551).
Reinstatement of financial aid will not occur until the student notifies the Finan-
n Other eligible non-citizen with a Departure Record (I-94) from the U.S.
cial Aid Office that their SAP status has been cleared.
Immigration and Naturalization Service showing specific designations.

Grades of “F”
Note to Veterans
The Financial Aid Office reviews records for all students who receive grades of
Veterans of the U.S. Armed Forces applying to this school must make arrange-
“F” (0 units completed) to verify student status.
ments to pay tuition through means other than Veterans benefits (e.g., cash or
financial aid). If you qualify, Veterans benefits will be paid to you on a monthly
Appeal Process
basis while you are in attendance. All arrangements for Veterans Benefits are
An Academic Progress Appeal Form will be mailed along with the notice of fail-
between the applicant and the Veterans Administration. Musicians Institute will
ure to meet the requirements. Students may appeal the suspension of their aid
assist you, but accepts no responsibility.
due to failure to maintain Satisfactory Academic Progress if there are special
circumstances that contribute to their failure to meet the standards. Special cir-
Students who wish to receive Veterans Benefits MUST submit a statement of
cumstances are generally deemed to be something beyond the student’s control
previous training to the school for consideration. After proper evaluation, allow-
such as injury, illness, or a death in the family.
able transfer credits will be recorded on the enrollment record and the length of
the program will be shortened proportionately. In addition, the student and the
Department of Veteran Affairs shall be notified.
 FINANCIAL AID
Refund Policy for Financial Aid Students
Effective on October 7, 2000, changes were added to the Higher Education Act
for the treatment of Federal Title IV funds when a student withdraws from school.
Musicians Institute is required to comply with these Federal regulations regard-
ing Return of Title IV Funds in determining the amount of Title IV Financial Aid
that must be returned on behalf of a student. The institution must also provide
the student with consumer information regarding the results of a student’s with-
drawal. Musicians Institute will continue to comply with state and institutional
refund policies in determining the amount of unearned tuition, as stated in your
Enrollment Agreement and in the catalog.
Return of Title IV Provisions
All institutions participating in the Student Financial Aid (SFA) Programs are re-
quired to use a statutory schedule to determine the amount of SFA Program
Funds a student has earned when he or she ceases attendance based on the
payment period the student was in attendance. A payment period at this institu-
tion is the quarter.
Return of Title IV Procedures
16
The Higher Education Amendments of 1998 generally require that if a recipient
of SFA Program assistance withdraws from school during a payment period in
which the recipient began attendance, the school must calculate the amount of
SFA Program assistance the student did not earn and those funds must be re-
turned. Up through the 60% point in each payment period, a pro rata schedule
is used to determine how much SFA Program funds the student has earned at
the time of withdrawal. After the 60% point in the payment period, a student has
earned 100% of the SFA Program funds.
The percentage of the payment period completed is the total number of calendar
days* in the payment period for which the assistance is awarded divided into the num-
ber of calendar days* completed in that period as of the day the student withdrew.
*Scheduled breaks of at least five consecutive days are excluded from the total
number of calendar days in a payment period (numerator) and the number of
calendar days completed in that period (denominator). Days in which a student
was on an approved leave of absence are also not included in the calendar days
from the payment period or period of enrollment.
Number of days completed = Percentage completed
Number of days in period (rounding the third decimal place
up if the fourth decimal place is
5 or more)
Return of Unearned SFA Program Funds
The school must return the lesser of the amount of SFA program funds that
the student does not earn or the amount of institutional cost that the student
incurred for the payment period multiplied by the percentage of funds that was
not earned.
If the institution must return Federal funds received by students who withdraw
prior to completing the 60% of a given payment period, the student may owe the
school for the portion of funds returned that the institution is otherwise entitled to
based on the school’s approved and applicable refund policy.
Return of Title IV worksheets are available upon request from the Financial Aid Office.
 TUITION AND FEES
Tuition and fees for all programs are charged on a quarterly basis and are due at the time of registration for each quarter of instruction. Students are not allowed to
enter MI facilities or attend classes until required tuition and fees are paid in full.

PROGRAMS TUITION

Performance (Bass, Guitar, Keyboards, Drums, Voice) per credit per quarter

Bachelor Degree $575 $64691

Associate Degree and Certificate $445 $6675
Non-certificate (Encore) N/A $7000

Recording and Music Industry Certificates

Audio Engineering $560 $8400
Independent Artist $430 $6450
Music Business $380 $5700
Guitar Craft $445 $6675
Music Video, Film and Television $415 $6225
17

1
Bachelor Degree tuition per quarter is based on an average music unit course load of 11.25 credits per quarter (135 total required music credits divided by 12
quarters). Actual tuition per quarter will vary depending on the number and cost per credit of General Education courses. General Education units are offered by
arrangement with Los Angeles City College. GE tuition rates vary according to student residency requirements. Contact MI’s Admissions Department or LACC for
current rates.
 TUITION AND FEES
TUITION DEPOSIT
All programs, refundable, domestic students only $ 300
FEES
Application fee (all programs, non-refundable) $ 100
Materials fee (per quarter, all programs, non-refundable) $ 100
Equipment and software fees (per program, non-refundable)
n Certificate in Audio Engineering $ 500*
n Artist Certificate (Independent Artist Program)
Equipment (computer and related hardware) $1000-2600**
Software $ 450*
*Fees may be waived if student already owns the required equipment and/or
current registered versions of required software; contact Admissions Depart-
ment or Program Director for current specifications and other information
18
**Costs vary according to manufacturer prices and specific features.
Additional Fees
n Late Registration Fee $ 100
n Rescheduled Test Fee $ 20 per test
n Re-Application or Change of Program Fee $ 50
n Credit by Examination/Test Out Fee $ 40 per course
n Lost or Renewed Student ID Card Fee $ 10
n Transcript Request Fee $ 10
Course-Related Fees
Some courses require additional fees for supplies and/or equipment. Course-
related fees must be paid at the time of Registration. Courses with related fees
are noted under Course Descriptions. Fees may change without notice; current
information will be provided at the time of registration.
Books and Supplies
Book and supply lists are available during the Registration period in the Regis-
tration Office. Most books and supplies not covered by materials or equipment
fees may be purchased from MI’s Players Supply store located adjacent to Musi-
cians Institute.
Bachelor Degree Program
The quarterly cost of books and supplies is approximately $300 per quarter for
students enrolled in a full-time course of study. Actual costs vary depending on
specific courses and credit loads.
COST OF LIVING
The cost of living while attending MI varies with each student’s personal needs.
Below are the maximum living expense budgets per quarter (3 months) for the
2008-2009 Academic Year as prescribed the California Student Aid Commis-
sion. These costs are based on quarterly expenses. To arrive at a total cost
for your program, multiply the quarterly costs by the number of quarters in that
program:
Student living at home with parents (per quarter):
Tuition varies by program
Books & Supplies $ 546
Food & Housing $1446
Transportation $ 348
Personal/Miscellaneous $1032
Total $3372
Student living off campus (per quarter):
Tuition varies by program
Books & Supplies $ 546
Food $1158
Housing $2466
Transportation $ 390
Personal/Miscellaneous $ 942
Total $5502
Students are advised that the tuition and fee information contained in this
catalog is subject to change. Please contact the Admissions Department or
refer to catalog addenda to confirm tuition and fee charges in effect at the time
of enrollment.

ACADEMIC POLICIES AND DEFINITIONS
Academic Calendar
All degree and certificate programs operate on a year-round quarterly academic
calendar, with each quarter consisting of ten weeks of classes and one week of
testing followed by two weeks of break.
Academic Honesty
All students have an obligation to behave honorably and respect the highest eth-
ical standards in carrying out their academic assignments. Academic dishonesty
is defined as any form of cheating and/or plagiarism. In cases where academic
dishonesty or falsification of academic information is proven to have occurred,
students will receive a failing grade in the course and are subject to additional
disciplinary actions up to and including termination from the program.
Academic Probation
Satisfactory Academic Progress is reviewed quarterly and students showing a
cumulative GPA of less than 2.0 are placed on Probationary Warning status. A
cumulative GPA of less than 2.0 for two consecutive quarters results in the stu-
dent being placed on Official Academic Probation status. A continued cumulative
GPA of less than 2.0 for three consecutive quarters results in loss of Financial
Aid funding and termination from the program.
Advanced Placement
See “Testing Out”
Appeals
A student has the right to appeal any change in status or grades that may af-
fect his or her ability to graduate. All appeals must be made in writing (Appeal
Forms are available in the Registrar’s Office) and submitted to the Education
Department for review by the Education Department Committee, consisting of
the Director of Education, Registrar, relevant Department Heads and faculty.
Appeals and requests for probation extension will be considered based on the
extenuating circumstances of the appeal, past student performance and student
commitment and potential.
Attendance Requirements
Regular attendance is required and recorded in all classes and lessons and is
factored into final grades. Students who show poor classroom or private lesson
attendance will be contacted and counseled by an Academic Advisor. Continued
absence from a class may result in a failing grade for that class (see the course
syllabus for specific information on attendance). Absence from school for more
POLICIES
than three consecutive weeks without an approved Leave of Absence will result
in termination from the program.
Excused Absences
Students are expected to attend every class for which they are registered. All
requests for excused absences must be submitted to the Registrar’s Office for
review by a panel made up of the Registrar and the Director of Education. The
panel has sole discretion to grant or deny requests based on consistent treat-
ment of all students. Examples of reasons for excused absences, which must
be documented and are subject to review by the panel, include:
1. Jury or military duty
2. Extenuating circumstances (medical, family emergency etc.)
Excused absence requests must be submitted with accompanying documen-
tation within two (2) school days after returning to classes. The maximum
number of excused absences per quarter is five (5).
Audit Status
Attendance by students in courses for which they are not registered for credit is 19
not permitted except under the following circumstances: (1) during the drop-add
period as described under “Auditing”; (2) students enrolled in specific courses
within the Encore Program (non-certificate training in music); or (3) qualified em-
ployees of Musicians Institute or authorized affiliates (see Employee Handbook
for qualifications and restrictions).
Auditing
Auditing (attendance by full or part-time students in classes for which they have
not registered and paid tuition) is permitted only during the first two weeks of
each quarter for the purpose of determining if a student wants to officially regis-
ter. After the second week, auditing is not permitted.
Cancellation of Enrollment
Degree and Certificate Programs
BUYERS RIGHT TO CANCEL: The student has the right to cancel the Student
Enrollment Agreement and receive a full tuition refund, less the application fee,
by submitting a written notice of cancellation to Musicians Institute’s Student Re-
cords Office prior to the first day of instruction. The written notice of cancellation
becomes effective as of the date of the postmark. Written notice of cancellation
should be sent to: Musicians Institute, Registrar’s Office, 6752 Hollywood Bou-
levard, Hollywood, California 90028.
 POLICIES
If a student attends the first day of a course of instruction and withdraws, by sub-
mitting a written notice of cancellation to Musicians Institute’s Registrar before
midnight of the first day of instruction, he or she will receive a complete tuition
refund within thirty (30) days of cancellation, less the application fee.
Encore Program (Non-Certificate)
An applicant may cancel his or her enrollment in writing any time before the
commencement of classes. Written notice of cancellation should be sent to: Mu-
sicians Institute, Registrar’s Office, 6752 Hollywood Boulevard, Hollywood, Cali-
fornia 90028. All money paid to Musicians Institute will be refunded within thirty
(30) days of cancellation, less the application fee. Remember, an applicant must
cancel in writing, not by telephoning or by not coming to class.
Challenging Courses
See “Testing Out”
Changing Programs
Students who wish to change their course of study from one program to an-
other before completing their current program must:
1. Withdraw from their current program at the Registrar’s Office
20 2. Pay a re-application fee
3. Apply to the new program through the Admissions Department
4. Audition for the new program (where applicable)
5. If accepted, register for the new program and pay all applicable tuition Dropping or Adding Courses
and fees
Transfer of credits from one program to another will be determined on a case-
by-case basis during registration.
Class Standing
Class standing is determined by the number of credits completed toward
graduation. Class standing is calculated as follows:
Freshman 0-45 credits
Sophomore 46-90 credits
Junior 91-135 credits
Senior 136-180 credits
To complete the BM degree within three calendar years or an AA degree within
18 months, students must successfully complete an average of 15 credit units
per quarter of continuous enrollment (including General Education credits).
Core Classes
Courses required for all students attending a given program. All core classes
must be passed in order to meet overall degree or certificate requirements.
Course Repetition
A student receiving a final grade below C- (70) in a required course will be al-
lowed to appeal, and upon approval, re-take the final exam one time for a fee
(see Appeals). If the student successfully raises the course grade to a passing
level, credit will be awarded. All passing grades on retaken tests will be recorded
only as C- (70). Students failing the re-test will be required to take the course
again; full tuition will be charged and normal grading standards will apply. A
student who has passed a course and earned credit may not re-take the same
course for additional credit unless the catalog course description states “may be
repeated for credit”. A student may re-take a course for a higher grade without
receiving additional credit. Full tuition will be charged, only the highest grade will
be factored into the GPA, and the units re-taken will be counted toward the total
number of units attempted in the program.
Credit Unit
A unit of measurement indicating the quarterly academic weight given to a par-
ticular course (e.g. Harmony & Theory IA = 1.5 credit units). Each quarter-credit
hour represents three hours of work in the subject per week for ten weeks (30
hours total) including a combination of contact hours and independent course-
work. Credit for a given course is only awarded with the achievement of a pass-
ing grade.
Students are allowed to drop or add any class without fees or penalties by sub-
mitting a Drop-Add form to the Registrar before the third class meeting of the
quarter (or the first class meeting of the third week in the case of classes that
meet twice per week).
Drop-Add Period
The period of time at the beginning of each quarter during which students may
drop or add classes without late registration penalties. The drop-add period for
each course begins on the first day of the quarter and ends before the third class
meeting (or fifth class meeting, in the case of classes meeting twice per week).
Tuition and refunds
1. Credits added to the schedule will be charged at the applicable tuition rate.
2. Full tuition will be refunded for credits dropped during the Drop-Add
period. Fifty percent (50%) of tuition will be refunded for classes
dropped after the third-week class meeting but before the fourth
week. No tuition will be refunded for classes dropped from the
fourth week on.
 POLICIES
Withdrawals and cancellations Less-Than-Half-Time Status
1. Withdrawals after the end of the Drop-Add period but before the n Less than 6 units per quarter
seventh- week class meeting will appear on the student’s transcript as a “W”. n Only available to students requiring less than six (6) units to complete
2. Withdrawals after the seventh-week meeting will be assigned a grade a program.
based on course requirements met up to that point. n Students on Less-Than-Half-Time Status will only have access to
3. Under-enrolled courses are subject to cancellation at any time before facilities during those hours when their scheduled classes are in session.
the third-week class meeting with full tuition refund to enrolled students.
Notification of schedule changes Grading Policies
1. Financial Aid recipients must notify the Financial Aid Office of any The following grading standards will be applied to all credit unit requirements:
schedule changes.
2. International students must notify the International Student Advisor of Grade Score GPA
any schedule changes. A+ 98-100 4.00
A 93-97 3.70
Electives A- 90-92 3.50
Courses other than core requirements chosen by the student from an ap- B+ 87-89 3.30
proved course offering. In programs with elective requirements, students must B 83-86 3.00
complete the total number of required elective credits with a passing grade in B- 80-82 2.70
order to receive the degree or certificate. C+ 77-79 2.30
C 73-76 2.00
Enrollment Status C- 70-72 1.70 (lowest passing grade) 21
Full-Time Status D+ 67-69 1.30
n 12 or more credit units attempted per quarter D 63-66 1.00
n Completion of an average of 15 credits per quarter is required to D- 60-62 0.70
complete programs within the specified time frames F 0-59 0.00
n Students wishing to reduce their course load below 15 units must P Pass
apply in writing to the Registrar. A minimum of 12 credit units is I Incomplete
required to maintain full-time status. W Withdrawal
n Baccalaureate students must maintain full-time status until they have NC No Credit
completed 90 credit units (see “Part-Time Status” below). NR No Record

Three-Quarter and Half-Time Status Grade Point

n Three-quarter-time status: 9-11 credit units attempted per quarter A number used to measure academic achievement in a credit unit course (4.0 =
n Half-time status: 6-8 credit units attempted per quarter A+, 0.0 = F). Grades are calculated based on a combination of factors that may
n Baccalaureate students who are in good academic standing after include attendance, participation, assignments and tests (see each course syl-
completing 90 credit units may be considered for Three-quarter or labus for specific grading standards). All Core and Elective requirements must
Half-time Status be met with a grade of C- or better (1.7). Tuition will be charged for all repeated
n AA and Certificate students may apply for Three-quarter or Half-time courses.
Status only if they need less than twelve (12) units to complete
the program. Grade Point Average (GPA)
n Students who wish to be considered for Three-quarter- or Half-time An average of all grade points awarded for all courses attempted, calculated by
Status must receive approval from the Registrar. dividing the number of grade points by the number of units attempted. Students
enrolled in all programs are required to have earned a cumulative GPA of at
 POLICIES
least 2.0 at the end of the third quarter for BM and AA students; at the end of the
second quarter for Certificate in Performance students; and at the end of the first
quarter for all 30-unit, two-quarter Certificate program students. Students failing
to achieve minimum GPA requirements will be placed on probation and must cor-
rect the problem within a specified period of time to avoid possible termination.
Grading Standards and Reporting
The Grade Point Average (GPA) will be used to measure a student’s satisfactory
academic progress. This is calculated by dividing the number of grade points by
the number of units attempted. A passing grade of C- (70) or better is required to
earn credit in all core and elective course work.
Graduation Requirements
Bachelor of Music in Performance (Contemporary Styles)
Bass, Guitar, Keyboards, Drums, Voice
1. Complete 180 required credit units, including 135 Major Area,
Supportive Music and Elective credits and 45 General
Education credits
2. Maintain minimum 2.0 GPA
22
3. Pay all tuition and fees
Baccalaureate General Education Requirements
Musicians Institute maintains an articulation agreement with Los Angeles City
College (LACC) that provides for BM students to complete their General Edu-
cation requirements at the nearby LACC campus. MI also accepts accredited,
college-level Liberal Arts credits from other schools that meet equivalent re-
quirements. Students must submit an official academic transcript, which will be
evaluated on a case-by-case basis by the Dean and Registrar. A total of 45 GE
quarter units or 30 semester units are required for graduation. Courses that are
transferred in semester credit units from other institutions will be translated into
quarter units by the Registrar’s Office.
Associate of Arts in Performance
Bass, Guitar, Keyboard Technology, Drums, Voice
1. Complete 90 required credit units
2. Maintain minimum 2.0 GPA
3. Pay all tuition and fees
Associate of Arts in Performance (Combined Emphases)
1. Complete 90 required credit units, including:
a. 60 instrument-emphasis credit units (Bass, Guitar, Keyboard
Technology, Drums, or Voice)
b. 30 music industry-emphasis credit units (Audio Engineering;
Guitar Craft; Music Business; Music Video, Film and Television;
or Independent Artist)
2. Maintain minimum 2.0 GPA
3. Pay all tuition and fees
Certificate in Performance
Bass, Guitar, Keyboard Technology, Drums, Voice
1. Complete 60 required credit units
2. Maintain a minimum 2.0 GPA
3. Payment of all tuition and fees
Music Industry Certificates
Audio Engineering; Guitar Craft; Music Business; Music Video, Film and
Television; Independent Artist
1. Complete 30 required credit units
2. Maintain a minimum 2.0 GPA
3. Payment of all tuition and fees
Honors and Vocational Honors Status (AA-Guitar only)
Associate of Arts (Guitar) students may qualify to graduate with Honors if they
complete program requirements with a minimum cumulative GPA of 3.75. Hon-
ors candidates must also earn a minimum of 50 live performance credits during
the last two quarters of the program. AA-Guitar students may also earn Voca-
tional Honors by meeting regular honors requirements and passing a special
Vocational Jury at the end of the graduating quarter. To apply for Vocational
Honors, students must submit a “Vocational Honors Jury Petition” (available in
the Registrar’s Office) by Friday, Week 9 of the graduating quarter. After review,
students who are accepted will be assigned a Jury appointment.
Incomplete (I)
In special and unusual circumstances, a student may request a grade of Incom-
plete, designated by the letter I. Students must petition the relevant instructor
for the grade of Incomplete before the end of the ninth week of the quarter and
the instructor must approve the petition before the end of the quarter (Incomplete
Petition forms are available in the Registrar’s Office). An incomplete will be is-
sued only if the student is making satisfactory progress in the course and due
to unforeseen, justifiable, and documented reasons including but not limited to
a personal emergency, an illness or a documented family emergency, has not
been able to complete all necessary course work before grades are established.
All other work must be completed and up to date, with only the final project or
examination remaining incomplete. All incomplete course work must be made up
before the end of the second week of the following quarter unless an extension is

granted due to verifiable injury or illness. When course work is completed to the
instructor’s satisfaction, a grade will be issued to replace the “I” on the student
transcript. Failure to complete the course work within the maximum allotted time
will result in a grade of “F” replacing the incomplete. An incomplete on a prereq-
uisite course must be resolved before the student can enroll in a class requiring
that course as a prerequisite.
Leaves of Absence (LOA)
Students who find they have to take a Leave of Absence (LOA) must submit a
written request to the Registrar. The request must be mailed or personally deliv-
ered to the Registrar, 6752 Hollywood Boulevard, Hollywood, California, 90028.
The request should contain the student’s expected date of return.
Mid-quarter Leave of Absence
Students who expect to be absent from school for more than five consecutive
days of classes during a quarter must file a mid-quarter Leave of Absence. The
maximum length of a mid-quarter LOA is three weeks. Students must return in
time to complete all coursework and take final exams. Students who must leave
mid-quarter and cannot return within three weeks must withdraw and repeat their
current quarter from the beginning when they return. Tuition will be charged for
the portion of the quarter completed before leaving and for the entire repeated
quarter upon their return.
End-of-quarter Leave of Absence
The maximum length of an end-of-quarter LOA is 180 calendar days. End-of-
quarter LOA is only granted to students who complete the entire quarter in-
cluding final exams and are maintaining satisfactory academic progress before
beginning the LOA. Students may take only one LOA during the length of a
program. Students on Leave of Absence are not qualified to receive Financial
Aid during the Leave. Any student who has received a Federal Stafford Loan
and takes a six-month leave of absence will enter the grace period and/or begin
repayment on their loan because the six-month leave exceeds the Federal gov-
ernment’s 120-day maximum for an approved leave of absence.
Students receiving Federal financial aid
See also “Satisfactory Academic Progress”.
LPW (Live Playing Workshop)
Workshops where students from different instrument programs perform stylistic
repertoire or original material in an ensemble setting with instructor supervision.
LPWs are a core requirement in some programs. LPW offerings vary somewhat;
see a current course offering for a list of LPWs offered during a given quarter.
POLICIES
LPW Credits
Written confirmation from an LPW instructor of a performance in a specific LPW
or performance class. All students enrolled in LPWs for credit must receive at
least ten individual, signed LPW Credits per quarter.
LPW Log
The form for recording LPW Credits. LPW course credit is only earned each
quarter after turning in a Performance Log to the Registrar’s Office with a mini-
mum of ten signed LPW Credits.
Maximum Allowable Units
Students who fail to complete a program before reaching the maximum allowable
number of units attempted will be terminated from the program. Units counted as
units attempted per evaluation period include units transferred into the program,
units completed, courses receiving letter grades of D or F, and courses desig-
nated on the transcript as I, W, NC, and NR. The maximum allowable number of
units that may be attempted for each program is:
Bachelor of Music: 270 units
Associate of Arts: 135 units 23
Certificate in Performance: 90 units
30-unit (two-quarter) Certificate Programs: 45 units
Minimum Unit Completion Requirements
To maintain Satisfactory Academic Progress, all students must complete ((i.e.
pass with a grade of C- or above) a minimum number of units within a certain
period of time depending on their program and enrollment status. Minimum unit
completion requirements for each program and status are listed below.
Bachelor of Music and Associate of Arts Degrees
The minimum unit completion requirement per academic year (three quarters)
for each enrollment status is as follows:
n Full-time (12 or more units per quarter): 30 units
n Three-quarter time (9-11 units per quarter): 23 units
n Half-time (6-8 units per quarter): 15 units
n Less than half time (less than 6 units per quarter):: 3 units
n Mixed enrollment: see the Financial Aid office for your
minimum unit requirement
 POLICIES
Certificate in Performance
The minimum unit completion requirements per two-quarter reporting period for
each enrollment status is as follows:
n Full-time (12 or more units per quarter): 20 units
n Three-quarter time (9-11 units per quarter): 15 units
n Half-time (6-8 units per quarter):
10 units
n Less than half time (less than 6 units per quarter): 2 units
n Mixed enrollment: see the Financial Aid office for your
minimum unit requirement
30-unit (two-quarter) Certificate Programs
The minimum unit completion requirement every quarter for each enrollment
status is as follows:
n Full-time (12 or more units per quarter): 10 units
n Three-quarter time (9-11 units per quarter): 7 units
n Half-time (6-8 units per quarter): 4 units
n Less than half time (less than 6 units per quarter): 1 unit
n Mixed enrollment: see the Financial Aid office for your
minimum unit requirement
24 No Credit (NC)
See “Pass/No Credit”
No Record (NR)
The letters ‘NR’ on the transcript indicate that there is no record of a final grade on
file in the Registrar’s Office. This indication is for administrative purposes only and
is changed to the appropriate letter grade once the issue has been resolved.
Open Counseling
Weekly, informal, drop-in sessions during which instructors share their expertise,
expand on ideas presented in class, and jam or otherwise work with individual
students or small groups. Students may take open counseling as a for-credit
elective or participate on a voluntary basis.
Open Counseling Credits
Written confirmation (on an Open Counseling Log) from an open counseling in-
structor of a student’s participation in an open counseling session. Open Coun-
seling Credits are only required for students taking Open Counseling as a for-
credit elective with a minimum attendance of ten sessions per quarter.
Open Counseling Log
The form recording open counseling credits for students taking Open Counsel-
ing as an elective. After attending each session, the student obtains the Open
Counseling instructor’s signature confirming attendance. At the end of the quar-
ter, the student submits the Log to the Student Records office; a minimum of ten
separate Open Counseling signatures are required to earn course credit.
Pass (P), No Credit (NC)
Some course credits are earned by requirements other than grades (see “Test
Out”). The status of these courses is designated on your transcript as either P
(Pass: course requirements met and credit earned) or NC (No Credit: course
requirements not met and credit not earned). These designations do not affect
your GPA, but any required course receiving “No Credit” must be passed in or-
der to complete your degree or certificate.
Probation
See “Academic Probation”
Registration
All students are required to register for classes prior to every quarter of enroll-
ment. All registration procedures are coordinated through the Registrar’s Office.
The following rules apply to all students, whether new or returning:
1. No students will be permitted to register after the close of business on
Monday of the third week of classes.
2. All tuition and fees are due and payable at registration (see “Tuition
and Fees” for more information about costs and payment options)
3. Students will not be permitted to enter MI facilities until required tuition
and fees have been paid.
New Students
Permission to register for classes is granted to new students (and continuing
students beginning a new program) only if they have been processed through
the Admissions Office and have completed placement testing where applicable
(see Academic Calendar for dates). Instructions and materials for registration
will be made available at the times designated for new student registration.
Continuing Students
All continuing students are required to register for classes for their next quarter during
the ninth week of their current quarter. Continuing students who register after the end
of the re-registration period will be assessed a late registration fee (see Tuition & Fees).
Failure to officially confirm attendance for the next quarter will result in courses and les-
sons (where applicable) being dropped from those students’ schedules.
Rescheduled Testing
Students requesting special testing arrangements outside of the normal testing
period must submit a written request to the Registrar in advance and obtain
teacher and Department Head approval, which will be considered on a case-by-

case basis. Following approval, rescheduled testing will be coordinated through
the Registrar’s Office and a fee will be charged for each test given.
Rhythm Section Workshop
Instrument-specific ensemble workshop concentrating on the basic elements
of rhythm section performance in different styles (required for Bass, Guitar and
Percussion AA and Certificate programs only).
Satisfactory Academic Progress (SAP)
All students are required to meet minimum standards for Satisfactory Academic
Progress as reviewed in the following areas (refer to the respective headings in
this section of the catalog):
1. Grade Point Average (GPA)
2. Minimum Unit Completion Requirements
3. Maximum Allowable Units
Academic progress must be measured at the end of each academic year (three
quarters) or halfway through a program, whichever comes first. For BM and
AA programs, progress is measured after the third quarter; Certificate in Perfor-
mance programs after the second quarter; and 30-unit (two-quarter) Certificate
Programs after the first quarter.
Failure to Maintain Satisfactory Academic Progress
Failure to meet minimum standards for SAP may result in academic probation,
loss of financial aid, or termination from a program. Students will receive a writ-
ten notice if they do not meet academic progress standards at the end of each
enrollment period. The notice will provide information on what steps must be
taken to reinstate SAP.
For any student failing to maintain satisfactory academic progress, financial aid
is suspended until the student:
1. corrects his or her academic status (e.g. has an incorrect grade changed)
2. makes up the deficit (e.g. regains a 2.0 GPA)
3. receives an approval of appeal
Sequential Courses
Certain sequential courses with closely related subject matter are labeled as:
“[course number] a.b.”, with “a” and “b” portions that are each one quarter in
length. Each quarter is treated as a complete course for the purpose of evalua-
tion and awarding of credit. Each “a” quarter is the prerequisite for the following
“b” quarter. Students who fail an “a” quarter may not enroll in the “b” quarter until
all “a” quarter course requirements have been met by re-testing or re-taking the
course (see Course Repetition for policies on re-testing and re-taking of courses)
POLICIES
Student Forms Deposit
Secure receptacles are provided in the main MI building (1655 N.McCadden
Place, Hollywood, CA 90028) for the deposit of forms, address cards, perfor-
mance logs etc. during non-business hours. During business hours, all student
papers should be brought directly to the Registrar’s Office.
Student Records
Student records are kept on the premises for five years after graduation. The
files are then transferred to Iron Mountain Record Management Company (1340
E.Sixth St., Los Angeles, CA 90021. 213.236.2940; fax 213.612.0003) where
they are permanently stored and may be accessed within 24 hours. Students
may request copies of their academic transcript by submitting a request to Musi-
cians Institute, attention: Registrar, 6752 Hollywood Boulevard, Los Angeles, CA
90028. The request must include the student’s full name (maiden name if ap-
plicable), Social Security number, program, date of attendance, and a transcript
fee of $10.00 per transcript payable to Musicians Institute (check or money order
only). See “Students’ Right to Know” below for information regarding privacy of
student records.
Termination from a Program
A student may be terminated from a program for reasons including but not
25
limited to the following:
1. Violation of student conduct policies
2. Failure to pay tuition or fees
3. Continuous absence from a program for three consecutive weeks
4. Three consecutive quarters of non-satisfactory academic progress
(see “Satisfactory Academic Progress”)
Testing Out
Students may receive credit for certain courses through advanced placement or
by challenging the requirements of a course for a fee (see Tuition & Fees). Stu-
dents wishing to test out of a course must pass an evaluation of their knowledge
of course material with a minimum grade of A- (90%). Advanced placement tests
are allowed only before or during the normal Drop/Add period at the outset of
the program for which the student has enrolled. In the case of sequential class-
es, prerequisite courses may not be skipped over via test-out once the original
placement has been determined. Students are not allowed to test out of courses
previously taken and failed. If a student meets the requirements for testing out
of a course, a designation of “P” (Pass) is entered on the transcript and course
credit is granted towards graduation requirements. Credits are counted toward
units completed but are not factored into the GPA.
 POLICIES
Withdrawal from a Course (W) State of California Student Tuition Recovery Fund
The letter “W” on the transcript indicates that a student was permitted to with- The State of California created the Student Tuition Recovery Fund (STRF) to
draw from a course after the normal drop-add period, but within the first six relieve or mitigate economic losses suffered by California residents who were
weeks of classes. Withdrawals are not factored into the GPA. Students wishing students attending schools approved by, or registered to offer Short-term Career
to withdraw from a course after the normal drop/add period must apply in writing Training with the Bureau for Private Postsecondary and Vocational Education
to the Registrar. Withdrawal from a course after the sixth week of classes is not (BPPVE).
permitted; students who stop attending a class after the sixth week will receive a
grade of “F” for that course, which will be factored into their GPA. The Registrar You may be eligible for STRF if you are a California resident, prepaid tuition,
notifies the Financial Aid Office of late withdrawals. paid the STRF fee, and suffered an economic loss as a result of any of the
following:
Withdrawal from a Program 1. The school closed before the course of instruction was completed.
A student who has completed sixty percent (60%) or less of his or her enrollment 2. The school’s failure to pay refunds or charges on behalf of a student
agreement has the right to withdraw from a program and receive a pro-rated to a third party for license fees or any other purpose, or to provide
refund (minus the Registration Fee and any charges for unreturned equipment equipment or materials for which a charge was collected within 180
or textbooks) by providing written notice to the Registrar. days before the closure of school.
1. The last day of refund (completion of 60% of quarterly enrollment) is 3. The school’s failure to pay or reimburse loan proceeds under a
Friday of the sixth week of instruction for that quarter. federally guaranteed student loan program as required by law or to
2. Any money owed to Musicians Institute is due and payable on the pay or reimburse proceeds received by the school prior to closure in
date of the withdrawal. excess of tuition and other costs.
26 3. A withdrawal is effective on the date it is received by the Registrar, 4. The school’s breach or anticipatory breach of the agreement for the
whether personally delivered or postmarked (if mailed). No course of instruction.
withdrawals will be accepted by telephone. 5. There was a decline in the quality of the course of instruction within
4. Any applicable refund will be issued within 30 days after the effective 30 days before the school closed, or if the decline began earlier
date of withdrawal. than 30 days prior to closure, a time period of decline determined by
5. Refunds are pro-rated based upon the last recorded date of atten the Bureau.
dance and calculated based on the length of the completed portion of 6. The school committed fraud during the recruitment or enrollment or
the quarter relative to its total length. No refunds will be issued after program participation of the student.
more than 60% of the quarter has been completed.
You may also be eligible for STRF if you were a student that was unable to
Sample of Refund Calculation: collect a court judgment rendered against the school for violation of the Private
If a student withdraws after Week Two of the Associate of Arts in Performance Postsecondary and Vocational Education Reform Act of 1989.
(Guitar) program, the refund is calculated as shown below: You must pay the state-imposed fee for the Student Tuition Recovery Fund
Total tuition cost $6675 (STRF) if all of the following applies to you:
Application fee $ 100 1. You are a student who is a California resident and prepays all or part
Materials fee $ 100 of your tuition either by cash, guaranteed student loans, or personal
Number of weeks completed 2 loans and
Tuition retained by College $1335 ($667.50 per week) 2. Your total charges are not paid by any third-party payer such as an
Registration fee retained by College $ 100 employer, government program or other payer unless you have a
Materials fee retained by College $ 100 separate agreement to repay the third party.
Total amount retained by College $1535
You are not eligible for protection from the STRF and you are not required to pay
Refund issued to student $5140
the STRF fee if either of the following applies:
1. You are not a California resident,

2. Your total charges are paid by a third party, such as an employer, n Physical abuse of people or property
government program or other payer, and you have no separate
agreement to repay the third party.
For further information or instructions, contact: Bureau for Private and Post Secondary
Vocational Education, 400 R St. Suite 5000, Sacramento, CA 95814; (916) 445-3427
Student Conduct
RULES OF STUDENT CONDUCT
Musicians Institute’s primary responsibility to students is to provide a safe and
orderly environment in which they may pursue their educational goals. This re-
quires that students, teachers and staff foster an atmosphere of respect toward
each other and their surroundings.
Students are expected to abide by ordinary rules of responsible, courteous be-
havior. Musicians Institute holds all students, teachers and staff responsible for
carrying out and monitoring compliance with this commitment. If you become
aware of any violation of an ethical or legal obligation, or any unfair or improper
treatment of a fellow student or teacher or staff member, you should report the
matter immediately to the VP of Education and/or Human Resources so that it
may be investigated and the appropriate action taken. By making it the respon-
sibility of all members of the MI community, including students, to take an active
role in policing compliance with these ethical standards, we can continue to not
only maintain our creative environment, but our reputation in the community.
The following conduct is prohibited and will not be tolerated by Musicians Institute.
This list is illustrative only; other types of conduct that threaten security, personal
safety, staff or student welfare, or the School’s operations also may be prohibited:
VIOLATIONS OF POLICY
1. Intimidation, Threats, or Violent Acts
Musicians Institute strives to maintain a safe environment free from intimidation,
threats or violent acts. Students, teachers and staff are prohibited from engag-
ing in violent acts or threats of violence of any sort while on Musicians Institute
campus or during Musicians Institute-sponsored events. Any violation of this
policy will constitute grounds for disciplinary action, up to and including suspen-
sion, expulsion and/or termination of employment. These acts include but are
not limited to:
n Intimidating, threatening or hostile behavior
n Stalking, whether carried out physically, by telephone, mail, electronic related paraphernalia, or acting as an accessory, liaison, or facilitator
mail or any other means
POLICIES
n Vandalism
n Arson
n Sabotage
n
Carrying weapons of any kind
n
Any other act a reasonable person would deem inappropriate
Any student who receives a threat of violence by a student, teacher and/or mem-
ber of staff, and any student who hears, observes, reads or otherwise becomes
aware of a threat by any student, teacher and/or staff member on Musicians
Institute campus, whether such a threat is direct or implied, should report the
matter to the VP of Education and/or Director of Human Resources.
Guns, knives and other dangerous weapons are prohibited on Musicians Insti-
tute’s campus and parking facilities as well as at off-campus Musicians Institute-
sponsored events. This restriction supersedes any and all permits obtained
from any issuing authority which allows private citizens to possess, carry or
conceal guns or other weapons.
All threats of violence are considered serious matters and will be thoroughly
investigated. To the greatest extent possible, confidentiality will be maintained. 27
Musicians Institute may, at its discretion, file criminal charges against a violating
student or assist another person in filing charges.
2. Alcohol and Illegal Substances
Musicians Institute, in compliance with the Federal Drug-Free Schools and
Communities Act Amendment of 1989, prohibits the use, possession, sale or
distribution of alcohol, narcotics, dangerous or illegal drugs or other controlled
substances as defined by California statutes on school property. Students may
obtain information pertaining to the health risks and effects associated with alco-
hol and narcotics or other dangerous or illegal drugs from the Student Services
Office. The Student Services Office will also assist in referring students to recov-
ery and/or treatment programs. Specific school policies prohibit:
n Use, possession, sale, distribution and/or production of alcoholic
beverages, acting as an accessory, liaison, or facilitator for any of the
above except at a time, location and circumstance expressly
permitted by MI and government regulations
n Public intoxication anywhere on MI’s premises or at functions spon
sored by or participated in by MI.
n Illegal substances: Use, possession, sale, distribution, and/or
production of narcotics or other controlled substances, including
or any of the above.
 POLICIES
Disciplinary action for a violation of this policy can range from oral and written
warnings up to and including suspension, expulsion and/or termination of em-
ployment, depending on the circumstances.
Note: Responsibility is not diminished for acts in violation of MI rules and regu-
lations or other laws that are committed under the influence of alcohol or any
illegal drugs or controlled substances.
3. Unauthorized Audio/Video Recording
Students and visitors may not make any audio or video recording of any class,
lesson, performance or other event on MI premises without the explicit permis-
sion of instructor(s), student(s) or any other individual whose visual or audio
representation is captured by the recording. Any permission granted extends to
personal use only; authorized audio/video recordings may not under any circum-
stances be distributed by any means, including free-access internet postings,
without the specific written consent of MI management. Under no circumstances
may students make audio/video recordings of visiting artists appearing on MI
premises. Violation of any part of this policy may result in disciplinary action up
to and including expulsion.
28
4. Breach of Peace
Conduct that is disorderly, disruptive, lewd, or indecent as defined by laws, MI
management or its designees; aiding or abetting such behavior by another person
anywhere on MI’s premises or at functions sponsored by or participated in by MI.
5. Computer Violations
Theft or other abuse of personal or MI computers including but not limited to:
n Unauthorized entry into a file to use, read, or change the contents or 9. Weapons and Explosives
for any other purpose.
n Unauthorized transfer of a file.
n Unauthorized use of another individual’s identification or password.
n Use of computers to interfere with the work of another student, faculty on MI premises or at events sponsored by or participated in by MI.
member, or school official.
n Use of computers, computer lines, or computing facilities to send 10. Property Damage, Vandalism, and Theft
obscene or illegal messages.
n Use of computing facilities to interfere with normal operation of the
computing system (e.g. knowingly transmitting viruses).
n Unauthorized use of copyrighted material
5. Telephone Violations
Tapping telephone or cable lines, altering another’s phone message, harassing
by telephone, unauthorized use of MI telephones or theft of telephone service.
6. Harassment
Musicians Institute is committed to providing an educational environment free of
harassment, which includes but is not limited to slurs, jokes, statements, emails,
gestures, pictures, or cartoons based on such factors as race, color, religion, national
origin, ancestry, age, physical disability, medical condition, marital status, sexual ori-
entation, family care leave status, or veteran status as well as harassment based on
gender, pregnancy, childbirth, or related medical conditions.
Sexual harassment in particular includes all these prohibited actions as well as
other unwelcome conduct such as stalking, requests for sexual favors, conver-
sation containing sexual comments, and unwelcome sexual advances.
n Musicians Institute will not tolerate harassment of students by
teachers, staff or other students.
n Musicians Institute will not tolerate harassment of teachers or staff
by students.
n Musicians Institute will also exercise its best efforts to protect
employees and students from harassment by non-employees while
on school property.
7. Health and Safety
Conducting oneself in a manner that endangers or threatens the health and
safety of oneself or others within the MI community.
8. Keys and Unauthorized Entry
Unauthorized or improper possession or duplication of keys to MI premises,
unauthorized or improper entry to or use of MI facilities.
Possession of any type of firearm, BB or pellet gun, facsimile of a gun, switchblade
knives, bows and arrows, explosives, ammunition, dangerous chemicals, martial arts
weapons, fireworks or any other weapons banned by law or considered dangerous
n Destruction, damage, misuse and/or defacing of personal or public property.
n Attempted or actual removal of property without the prior permission
of the owner
Note: MI is not responsible for reimbursing or requiring others to reimburse
a student for destruction, damage, misuse, or theft of personal property. It is
strongly recommended that students obtain private insurance for their personal
possessions.

11. Failure to Comply
Failure to comply with lawful directions of MI officials, including but not limited
to security guards, teachers, or administrative personnel acting in performance
of their duties.
12. Failure to Provide Identification
Failure to identify oneself with appropriate identification when requested to do so
or providing false identification.
13. Violation of Law
Any violation of federal, state, or local laws on MI property or at events spon-
sored by or participated in by MI.
14. Loitering or Squatting
Use of any MI facilities as a domicile to sleep and/or store personal property or
for anything other than educational purposes.
15. Other Violations
Violation of any other published MI policies, rules, or regulations, including
those implemented during the academic year.
REPORTING PROHIBITED CONDUCT
Students, teachers and other Musicians Institute employees are obligated to
report any incident of prohibited conduct to the Director of Education and/or Hu-
man Resources.
Every reported complaint of prohibited conduct or harassment will be investi-
gated thoroughly, promptly, and in a confidential manner. If prohibited conduct
is confirmed, Musicians Institute will discipline the offender, whether student,
teacher or staff. Disciplinary action for a violation of this policy can range from
oral and written warnings up to and including suspension, expulsion and/or ter-
mination of employment, depending on the circumstances.
Musicians Institute prohibits retaliation, including but not limited to making any
threatening communication by verbal, written and/or electronic means, against
any individual who reports and/or provides any information concerning unlawful
discrimination, harassment and/or other violations of MI policies, rules and stan-
dards of conduct. Any student or employee found engaging in retaliation will be
subject to disciplinary action up to and including suspension and/or termination
of employment.
THE INVESTIGATIVE PROCESS
In the event of a reported violation of this policy:
n All involved parties will be interviewed by Musicians Institute management
POLICIES
n Information obtained from interviews and investigations will be
handled confidentially on a need-to-know basis. However, if information
is learned that requires legal action, disclosure of this information may
be required during the process.
n Musicians Institute management or its designees will review the
results of the investigation and determine the appropriate action.
n Results of the investigation will be handled confidentially on a
need-to-know basis.
Musicians Institute investigator(s) will make a reasonable effort to ensure that
the complainant(s) and/or person(s) providing information are not exposed to
any threats of violence, intimidation or personal risk. If any such situations are
determined to have occurred, Musicians Institute will respond appropriately.
Based on the investigation, the investigative team must determine whether the
allegation(s) were founded, unfounded or inconclusive. This determination shall
be documented in writing and made part of the investigative report.
Where a violation is founded, the accused will be notified of the finding and the
specific or corrective remedial actions to be taken. For employees, the supervi- 29
sor of the accused will also receive notification as appropriate. No details about
the nature or extent of disciplinary or corrective actions will be disclosed to the
complainant(s) and/or witness(es) unless there is a compelling reason (e.g.,
personal safety).
Resulting disciplinary action can include the following: verbal warning, written
warning, temporary loss of specific privileges, permanent loss of specific privi-
leges, suspension from access to the campus, expulsion and/or termination of
employment.
In the event of an incident where Musicians Institute management considers
there to be a significant safety risk to any students, teachers or staff, Musicians
Institute reserves the right to immediately suspend the involved parties until the
investigation provides reasonable assurances that students, teachers and staff
are not in any danger.
Musicians Institute will not refund tuition to students for lost privileges or lost
access to MI’s campus and facilities or classes, tests, performances, lessons,
appointments, or other activities and events resulting from a disciplinary action
except as required by State or Federal policies.
 POLICIES
Student Rights
Musicians Institute is licensed to operate in the State of California through the
Bureau for Private Post-Secondary Vocational Education. If you have any com-
plaints, questions, or problems that you cannot resolve directly with the school,
please write or call:
Bureau for Private Post-Secondary Vocational Education
400 R St. Suite 5000
Sacramento, CA 95814
916.445.3427
Non-Discrimination Policy
Musicians Institute is committed to creating and maintaining a community in
which all persons who participate in MI programs and activities can work togeth-
er in an atmosphere free of all forms of harassment, discrimination, exploitation
or intimidation on the basis of race, religion, national origin, sexual orientation,
disability or sex, including sexual harassment. It is the intention of MI to take
whatever action may be needed to prevent, correct and if necessary, discipline
behavior that violates this policy. MI prohibits discrimination against members of
30 the MI community by any student, staff, faculty or third-party contractors brought
on campus for the purpose of conducting business with MI. Discrimination of any
kind is against MI policy and is prohibited under state and federal laws.
Any student who believes that he or she has been the victim of sexual harass-
ment or other discrimination should contact the Title IX Coordinator:
Director of Human Resources
6752 Hollywood Boulevard
Hollywood, CA 90028
323.860-1146
Note: a complete statement of the sexual harassment policy and procedure as
well as an Unlawful Sexual Harassment Complaint Form can be obtained in the
Student Services Office, the Registrar’s Office, or the Office of the Director of
Human Resources. This form can be turned in to the Title IX Coordinator at the
address above. A student does not have to fill out the form to receive assistance,
but can make verbal complaints directly to the Title IX Coordinator or other MI
personnel. Complaints of illegal sexual harassment must be received within one
year of the date of the last alleged incident. Complaints to the Office of Civil
Rights at the Department of Education must be made within six months of the
date of the last alleged incident.
Liability Disclaimer
The Musicians Institute is not responsible for loss of, or damage to, personal
property and/or personal injury that may occur while on the Institute’s premises
Students’ Right to Know
MI is committed to providing current and prospective students as well as the
campus community with full disclosure of all consumer information as required
by federal regulations. The laws are intended to allow students the opportunity
to make fully informed choices about the institution they wish to attend. Con-
sumer information is available in the following locations:
Safety on Campus
Campus security information is provided to prospective students via mail in their
acceptance package. Currently enrolled students receive notification in Decem-
ber each year during Winter quarter re-registration. Additional information, in-
cluding the Crime Statistics Report, may be obtained by a visit or written request
to the Student Services Office.
Drug Free Schools and Community Act
Drug and Alcohol abuse prevention information is given to all students at the time
of registration and is also available from the Admissions Department on request.
Graduation Rate Information
Information on graduation and completion rates is sent to prospective students
via mail along with their acceptance letters. Currently enrolled students may
also request a hard copy from the Registrar’s Office.
Financial Aid Information
Information about financial aid that is not already provided in the current Course
Catalog may be obtained from the Financial Aid Office.
Family Educational Rights and Privacy Act (FERPA)
This act entitles students to specific privacy rights. Directory information (includ-
ing name, address, telephone number and certain school-related information)
is publicly accessible unless the student specifically asks that it be blocked.
All other student records and information may only be provided to the student,
a Musicians Institute employee, or representatives of Federal or State agen-
cies, accrediting organizations, auditors, or other officials authorized under the
Act. FERPA information is mailed to prospective students with their acceptance
packages. Currently enrolled students may obtain FERPA information upon re-
quest from the Registrar’s Office.

The Student Services Department provides students with resources and sup-
port geared toward expanding their academic and personal development and
increasing their enjoyment of school life. The Hollywood area offers an array
of resources including museums, libraries, recording studios, film studios, the-
aters, and clubs that combine to create an exciting social, cultural, educational
and professional atmosphere. The Student Services staff helps put students in
touch with these resources as well as providing assistance in areas such as
academics, housing, health, and personal issues. Student Services include:
Housing Services
Musicians Institute’s Housing Services department assists students and their
parents in locating safe, comfortable, affordable and accessible off-campus
housing. MI does not own or operate student housing, but Housing Services
manages a vacancy listing service for housing in a variety of locations at dif-
ferent price levels.* The Student Housing Guide provides information and as-
sistance regarding apartment rentals, rental agreements, renters’ rights, finding
roommates, budgeting for food, utilities, telephone services, where to shop, and
how to get around the city. For students living in the Hollywood area, MI’s nightly
Shuttle Service offers free transportation after a late night of classes, practice or
rehearsal. More information on all of these services may be obtained by con-
tacting Housing Services or an Admissions Representative.
*Housing information is provided as a courtesy to students and for reference
only. Musicians Institute has no affiliation with any landlord or property owner.
MI does not investigate, endorse or guarantee information provided by third par-
ties. All agreements or contractual arrangements related to housing rental or
leases are strictly between the student or other responsible party and the prop-
erty owner or landlord.
STUDENT SERVICES
Student Activities
For many students, moving to Los Angeles and committing to full-time study is a
major life decision. Students often travel a long way from home, leaving friends
and family behind, and the Student Services Department makes every effort to
create a comfortable social environment for them while they’re here. Studies
take a great deal of concentration and effort, but it’s also very important for stu-
dents to maintain a balanced social and emotional life. For this reason, MI offers
a variety of interesting extra-curricular activities including concerts, seminars,
clinics, movies, social events, entertainment discounts and other ways to make
life at MI fun as well as productive.
Academic Tutoring and Personal Counseling
MI’s programs are fast-paced and students sometimes may begin to feel over-
whelmed with the challenge of managing their time and priorities. MI is commit-
ted to providing maximum support to all students as they progress toward their
educational, musical and professional goals and the Student Services Office
provides tutoring and personal counseling for any student who needs it. For
students who are experiencing academic difficulties in any core class, Student
Services assigns students to tutors in either group or private sessions on the
31
recommendation of a core class or private instructor. Any student who feels
that he or she needs tutoring in a core subject may pick up a tutoring request
form in the Student Services office, take it to the class or private instructor for
approval, and return it to Student Services for scheduling. Progress is evaluated
on an individual basis and students may receive additional sessions as needed.
If personal issues begin to interfere with a student’s ability to maintain progress
in school, the Student Services Office can also arrange an appointment with a
professional psychologist at no cost to the student.
 STUDENT SERVICES
The mission of the Artist and Career Services Department (ACS) is to keep
students informed of the many professional opportunities available in the music
industry, to help prepare them to take advantage of these opportunities, and to
make the transition from student to working professional as smooth as possible.
ACS assists in obtaining internships and professional placement for both stu-
dents and graduates*. Among other benefits, the office maintains a list of record-
ing and rehearsal facilities, local clubs, management and promotional agencies,
major and independent labels, and other establishments and services that are
important to music professionals.
Musicians Referral Service (MRS)
The Musicians Referral Service, MI’s online talent resource, is an exclusive ser-
vice for current and former students. MRS receives frequent calls from band-
leaders, managers, potential music students, producers, booking agents, A&R
representatives, and studio managers who require the services of trained musi-
cians and engineers. When students first enroll at MI they automatically qualify
to join, and as members can post a player profile including mp3 links, photos
and a resume to the MRS online database. Members also gain access to online
job boards, an MRS-exclusive search engine and a community forum. Gig op-
32
portunities are posted weekly on MRS job boards on the website and in school.
Listings range from paying gigs to original bands showcasing for record labels
to signed artists auditioning or replacing band members. For audio engineers,
opportunities range from intern and runner positions to first engineer jobs in both
audio and post-production facilities. You may also receive referrals for teaching
and other musical opportunities in the LA area and beyond. All students are
highly encouraged to join MRS while enrolled, and the contacts and networking
opportunities remain equally important in the years after graduation–many of
MI’s success stories have come about because former students stayed in touch
with each other and MI*. Information about registration is available at www.mrs.
mi.edu.
*MI does not guarantee or imply that professional employment will result from
registering with the Musicians Referral Service or from enrolling in, attending,
or completing any MI program. MI reserves the right to alter the features of or
to interrupt or cancel operation of the Musicians Referral Service at any time
without prior notice.
Hiring Hall
MI’s weekly audition showcase brings top signed artists seeking talent into
school on a weekly basis. Audition opportunities are open to all students and
are advertised to the student body through the Musicians Referral Service. Past
auditions* have been held by artists as diverse as Korn, Ashlee Simpson, Macy
Gray, Avril Lavigne, The Smashing Pumpkins, The Offspring, Gwen Stafani,
Lauryn Hill, NIN, Rob Thomas, Hilary Duff, Maroon 5, Life House, Hoobastank,
Missy Elliot, Billy Howerdel, Finch, Rockstar Supernova, Derek Sherinian, and
Liz Phair.
*MI cannot guarantee future auditions for any specific artist, and the outcome
of auditions is entirely beyond MI’s control.
Career Preparation Seminars
A variety of career-related workshops and seminars are offered by the ACS de-
partment throughout the year. Students and alumni are encouraged to participate
in as many programs as possible to enhance their career development process.
Audition Workshops
Audition workshops are held weekly and cover the fundamental techniques nec-
essary for students to gain a competitive edge. Typically, students prepare mate-
rial for a mock audition and their performance critiqued by the instructor.
Career Counseling
Private career counseling appointments are available to all MI students. Stu-
dents meet one-on-one with industry professionals who provide individual ad-
vice on career options and effective preparation.
Internships
The ACS Internship program allows MI students to gain first-hand experience
within the music industry by interning for a music- related company. Positions
vary according to availability but typically include music publishers, manage-
ment companies, record labels, and marketing and promotion firms.
Job Fairs
ACS coordinates several career fairs each year to bring together students and em-
ployers within the music industry, giving students a chance to meet face-to-face with
prospective employers and participate in on-campus interviews and auditions.

Musicians Institute’s central Hollywood campus includes facilities devoted to a
variety of programs and purposes:
Main Complex (Performance, Recording, and Film Classrooms, Lesson/Prac-
tice Rooms and Studios): 1655 N. McCadden Place; one block south of Hol-
lywood Boulevard and one block east of Highland Avenue. The 65,000 square-
foot main complex is open 24 hours a day, seven days a week except holidays.
Hollywood Passage (Administration, Performance, Recording Lab): 6752 Hol-
lywood Boulevard, ½ block east of Highland Avenue.
Hawthorn Annex (Administration, Classrooms, Recording Lab): 1621 N. Mc-
Cadden Place; one block south of Hollywood Boulevard and one block east of
Highland Avenue (opposite the Main Building entrance)
Highland Annex (Classrooms, Lesson/Practice Rooms): 1622 N. Highland Av-
enue; one block south of Hollywood Boulevard on the corner of Hawthorn
Music Business Annex (Classrooms): 1518 N. Highland Avenue, one-half
block north of Sunset Boulevard.
Kodak Annex (Classrooms, Performance): 6801 Hollywood Blvd Suites 219,
221, 223 (within the Hollywood & Highland/Kodak Theater complex).
Guitar Craft Academy (Classrooms, Workshops, CAD/CAM Classroom): 7070
Santa Monica Blvd at the corner of La Brea.
Guitar Craft Academy Annex (Classrooms, Workshops): 6920 Santa Monica
Boulevard, 1 ½ blocks west of Highland Avenue.
MI’s Main Complex entrance is located on the alley between Hawthorn Avenue
and Hollywood Boulevard, behind the Hollywood Passage. Parking is available
nearby at daily and monthly rates. Metered and street parking are also available.
Busses and the Metro Red Line subway stop nearby. MI provides students with
a free evening shuttle service to nearby apartments.
LIVE PERFORMANCE FACILITIES
Main Concert Hall
With a capacity of 500 in fixed theater seating and a stage area of 900 square
feet plus backstage area, the Concert Hall is used for concerts and seminars by
FACILITIES
visiting artists as well as for student performances and workshops. The Concert
Hall is also equipped for professional video and audio production with concert
lighting, dual large-screen projectors, Digidesign Icon console, Carvin PA ampli-
fiers and speaker enclosures, and a variety of top-of-the-line guitar and bass
amplifiers.
Performance Rooms (140/145/155/160)
Four 1000-square foot performance rooms, each seating up to 50 people, are
fully equipped for Live Performance Workshops. Each room contains a complete
Carvin PA system and various guitar and bass amplifiers, keyboards and drum
set.
Passage Performance Center
The Passage is a 125-person capacity live performance/classroom facility lo-
cated adjacent to Hollywood Boulevard. Glass doors may be opened to allow
listeners to sit either indoors or out. The Passage stage is fully equipped with
Carvin PA, guitar and bass amplifiers, keyboards and drum kit.
.
RECORDING AND PRODUCTION FACILITIES
33
MI’s extensive recording facilities, ranging from top-of-the-line professional stu-
dios to project studios and recording classrooms, include industry-standard re-
cording and mixing systems complimented by an extensive array of professional
microphones and outboard gear.
Recording Studios
Studio A: “Tommy Tedesco Studio”
Named after the king of LA session musicians, Studio A features a large tracking
room for live band recording, an SSL 4000G+ Series 36-channel analog console
and ProTools HD 2 192 interface, 24 I/O digital audio recording system and Otari
MTR 90 2” analog reel-to-reel recorder.
Studio B
RIT students learn the art of audio production in this 5.1 Surround Mixing/Editing
Suite outfitted with a Pro Tools HD 2 192 interface, Triton keyboard, MPC 1000,
Avalon 747, Manley Stereo Compressor, Vinyls and Turntable, and a host of
high-end plug-ins.
Studio C
Students track, mix and learn automation on the classic NEVE Vx “Flying Faders”
36-channel analog console and Protools HD 2 system with three 96 interfaces.
 FACILITIES
Studio D
Features a custom-made “Baby SSL” 4000G+ Series 8-channel analog console
and Protools Digi002 digital audio system for tracking and mixing.
Studio E
RIT students are introduced to the world of film and television post-production
in this world-class THX-Certified dubbing stage equipped with a 48-channel
Digidesign ICON D-Control console and Pro Tools HD 3 recording system.
Independent Artist Program Studios
Studio 01
Multi-purpose studio with isolated tracking and mix rooms equipped with DW
drum kit, Neumann, Bock and AKG microphones as well as outboard gear from
Avalon, API, Chandler Ltd. and Apogee.
Studio 02
Multi-purpose studio with Neumann and Shure microphones and outboard gear
from Avalon and Universal Audio.
34
Studio 03
Production/mixing studio equipped with Neumann and Shure microphones,
Avalon channel strip, Yamaha Motif and Akai MPC Sampler.
Studio 04
Production studio equipped with Dynaudio monitors, Waldorf synthesizer and
88-key weighted midi controller.
Instrument Program Studios (Bass, Guitar, Keyboards, Drums, Voice)
Each of these dedicated studios is designed to train students in the art and tech-
nique of studio performance. Each studio is equipped with a Mac G5, Protools
and/or Logic Audio and related hardware, software and outboard gear.
Audio Labs
Passage Audio Lab
Located in the Hollywood Passage adjacent to Hollywood Boulevard, this digital
audio lab contains 31 Mac audio workstations, Pro Tools audio software, key-
boards and external hardware.
Music Production Lab (102)
An audio engineering recording/teaching/lab facility featuring Mac workstations,
each equipped with Protools Digi002R, Waves Gold Bundles, Reason, Line 6
Bass and Guitar Pod Pro amp modelers and KORG Triton Keyboards.
Digital Audio Lab (CS202)
Audio engineering students learn digital recording techniques on Mac worksta-
tions with Protools Mbox-2 A/D interfaces.
Recording Techniques Lab (281)
Audio engineering lab containing Mac workstations equipped with Protools
Mbox-2 A/D interfaces, Reason, Oxygen 8 MIDI controllers, Line 6 Bass and
Guitar Pod Pro amp modelers.
Music Video/Film Editing Lab
Production and digital editing classroom/lab featuring Mac G5/Final Cut Pro
workstations and Final Cut HD online editing system.
Keyboard Workstation Labs
Keyboard students have access to three rooms containing multiple Mac G5/
Logic Audio-equipped digital audio workstations for class assignments and proj-
ect development.
CLASS/REHEARSAL FACILITIES
MI’s instrument and vocal programs are taught in dual-use facilities that function
as classrooms during the day and student rehearsal rooms during evenings and
weekends. Most are equipped with guitar, bass and keyboard amps, drum kits,
PAs and audio playback systems. In addition to eight general-use classrooms on
the Main Complex third floor, one on the second floor and three in the Highland
Annex, some classrooms are customized to fit the needs of specific programs:
Voice: Kodak Annex
Two classrooms with stage lighting, guitar and bass amps, keyboard and amp,
drum kit, PA system, and a 7’x 20’ mirror for practicing performing techniques.
Keyboards: CL240, 245
Keyboard teaching/practice facilities include two main classrooms with 32 stu-
dent keyboard stations, video-assisted instructor stations, and audio systems.
Percussion: CR370, 375, 380
Percussion-specific class/rehearsal rooms contain customized padded tables
for group drum instruction.

COUNSELING/PRACTICE FACILITIES
Guitar, Bass, Keyboards
35 general-purpose counseling/practice labs are equipped with various combi-
nations of guitar and bass amplifiers, keyboards and other specialized equip-
ment. All counseling labs are used for private or open counseling instruction
during scheduled hours and are otherwise available for student practice.
Voice
The 15 vocal labs are each equipped with a computer offering access to hun-
dreds of backing tracks as well as a singing machine, keyboard, and mirror.
Drums
There are six drum counseling labs, each containing two complete drum kits
for private and group counseling during the day and individual practice in the
evening. 45 private drum labs are assigned to students for practice. Each lab
contains a drum set (students supply their own pedals, cymbals, and clutch) and
student lockers.
ADDITIONAL FACILITIES
Library
MI’s “virtual library” provides audio, video, print and equipment resources in sup-
port of MI’s educational programs. Over 40 Mac workstations provide access to
an extensive video library of MI visiting artist concerts and seminars as well as
instructional and concert videos. CDs, CD players, sheet music, electric guitars
and basses are also available for student checkout.
Media Lab
45 individual IMac-equipped practice stations running programs including Guitar
Rig, Garage Band, Sibelius, and Adobe Creative Suite. An additional 23-station
practice and video viewing lab is equipped with flat-panel viewing screens and
TASCAM guitar and bass CD trainers.
Player’s Supply Store
Located on the ground floor adjacent to the main lobby, Player’s Supply is MI’s
own music supply store, offering a wide range of accessories (strings, picks,
drumsticks, staff paper, gig bags, tuners etc.), instructional books, CDs and vid-
eos, and MI-logo apparel, all at discounted prices.
FACILITIES
The Green Room
Located on Hollywood Boulevard adjacent to the Passage, The Green Room is
one of Hollywood’s favorite cafes, offering light meals, discounted coffee, and
other refreshments to MI students as well as the general public.
Vending Area
Located on the first floor, the Vending Area houses machines supplying soft
drinks, light snacks and coffee as well as change machine, microwave and pub-
lic telephone.
ADMINISTRATION
Most of MI’s administrative offices are housed in the Hollywood Passage build-
ing, including Student Services, Education, Registration, Admissions, Financial
Aid, Accounting, Human Resources, and Marketing/Promotion. The Artist and
Career Services Department is housed in the Hawthorn Annex on Hawthorn
Avenue across from the main MI building.
SPECIAL FACILITIES AND SERVICES AVAILABLE TO
HANDICAPPED STUDENTS (MAIN BUILDING) 35
First Floor:
Elevator - one handicapped-equipped elevator providing service to all three
floors.
Lift- A hydraulic lift providing handicapped access between the main entrance
and ground floor (access to upper floors is by elevator)
Restrooms - one handicapped stall in the men’s restroom and one handicapped
stall in the woman’s restroom. The men’s restroom is also provided with one
handicapped urinal. Both are provided with handicapped sinks.
Drinking Fountain - two handicapped drinking fountains
Public Telephone - one handicapped public telephone station
Concert Hall - Handicapped seat stations are provided in the auditorium. Ac-
cess to the concert hall stage is provided by mechanical/electrical lift.
Second Floor:
Restrooms – one male and one female handicapped restroom
Public Telephone - one handicapped public telephone station
Third Floor:
Restrooms – one male and one female handicapped restroom
Public Telephone - one handicapped public telephone station.
Copy Machine - a coin-operated copy machine is available for student use.
 PROGRAMS AT A GLANCE
INSTRUMENT PROGRAMS ASSOCIATE OF ARTS IN PERFORMANCE (COMBINED EMPHASES)
Bass, Guitar, Keyboards, Drums, Voice
MI offers the following programs in the field of contemporary music instrument
performance. Refer to the Admissions section of this catalog for entrance re-
quirements and to specific program entries for more detail on program struc-
tures and course descriptions.
BACHELOR OF MUSIC IN PERFORMANCE
(CONTEMPORARY STYLES)
Length: twelve quarters / 180 credit units
Summary: A professional degree in contemporary music performance. The mu-
sic curriculum (135 units) combines intensive instrument training and perfor-
mance with extensive coursework in theory, arranging, conducting, and music
technology culminating in challenging student-directed jury performances. Gen-
eral Education requirements (45 units) provide a foundation in critical thinking,
creative problem solving and cultural literacy.
Bachelor Degree Minor Studies options include:
36
Audio Production: 30 credits of intensive study in studio technology, audio
engineering and production (degree requires the completion of 196 total credit
units; see program description for details and credit distribution).
Music Industry Studies: 30 credits of intensive study in record company func-
tions, artist management, publishing, and other music industry-related career
skills (degree requires the completion of 196 total credit units; see program de-
scription for details and credit distribution).
ASSOCIATE OF ARTS IN PERFORMANCE
Length: six quarters / 90 credit units
Summary: An all-music terminal/vocational degree* that develops practical in-
strumental technique, live performing experience and overall musicianship in
the field of contemporary popular music performance.
*The AA program does not require General Education coursework. See the
Admissions / Bachelor Program / Transfer of Credit section of this catalog for
information on transfer of AA credits into MI’s BM program.
Length: six quarters / 90 credit units
Summary: An all-music terminal/vocational degree* that combines 60 units of
instrument study (equivalent to the Certificate in Performance) with 30 units of
study in a music industry career specialty (equivalent to Audio Engineering, In-
dependent Artist, Music Business, Guitar Craft, or Music Video, Film and Televi-
sion certificate programs described below).
*The AA program does not require General Education coursework. See the
Admissions / Bachelor Program / Transfer of Credit section of this catalog for
information on transfer of AA credits into MI’s BM program.
CERTIFICATE IN PERFORMANCE
Length: four quarters / 60 credit units
Summary: Provides intensive training in essential instrumental skills, musician-
ship (harmony, ear training, music reading), and extensive performing expe-
rience. Curriculum includes core and elective classes, private lessons, open
counseling sessions, live playing workshops and regular visiting artist clinics
ENCORE PROGRAM (Non-Certificate Training in Music)
Length: one quarter / repeatable
Summary: A non-certificate* program that allows students to create a personalized
ten-week schedule including instrument lessons, classes, workshops, and seminars
within MI’s unique facilities. All styles and levels; classes starting every quarter.
*as a non-certificate program, Encore is not eligible for US or State govern-
ment financial aid
MUSIC INDUSTRY CERTIFICATE PROGRAMS
CERTIFICATE IN AUDIO ENGINEERING
Length: two quarters / 30 credit units
Summary: A comprehensive curriculum preparing aspiring audio engineers in
recording methods and technology oriented toward real-world studio demands.
Students train on top-of-the-line studio gear as well as industry-standard digital
audio workstations.
CERTIFICATE IN AUDIO ENGINEERING (POST-PRODUCTION AUDIO)
Length: three quarters / 45 credit units
Summary: Includes all coursework leading to the Certificate in Audio Engineer-
ing plus an additional 15 units focused on learning to record and mix music,
dialog, and sound effects for film and television.
 PROGRAMS AT A GLANCE
ARTIST CERTIFICATE
Length: two quarters / 30 credit units
Summary: Develops the technical, artistic and career skills required to develop
and maintain a career as an independent recording artist. Students write, record
and produce original recordings using personal laptop studios and learn how to
market and promote their music.

CERTIFICATE IN GUITAR CRAFT

Length: two quarters / 30 credit units
Summary: Trains students in electric guitar and bass fabrication, maintenance
and repair in preparation for careers as guitar builders and technicians. As the
culmination of the program, each student designs and builds a personal custom
instrument from scratch.

CERTIFICATE IN MUSIC BUSINESS

Length: two quarters / 30 credit units
Summary: Provides knowledge, skills and experience preparing students for
entry-level employment in the music business. Students learn the essential
functions of record labels, artist management companies, music publishers and 37
other industry career paths as well as how to set up and operate an independent
music business.

CERTIFICATE IN MUSIC VIDEO, FILM AND TELEVISION

Length: two quarters / 30 credit units
Summary: Trains students in the essential skills of directing and producing mu-
sic videos, commercials and film. Students produce and direct their own projects
on film or HD video and learn cinematography as well as non-linear editing and
compositing skills used by industry professionals.
 BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES)
Performance-based education in contemporary music
Musicians Institute’s challenging Bachelor of Music in Performance (Contemporary
Styles) is a unique degree program combining contemporary music performance
with rigorous education in traditional music disciplines. The intensive program em-
phasizes the development of stylistic depth, creative maturity and professional
competence as part of a comprehensive program preparing students to enter the
contemporary music industry. Upon completion of all requirements, students are
eligible to receive the Bachelor of Music in Performance in one of five major instru-
ments of study: Guitar, Bass, Drums, Keyboard and Voice.
CREDIT DISTRIBUTION
Supportive General Total Required
Major Area Music Education Electives Credits
66 credits 60-64 credits 45 credits 5-9 credits 180 credits
38 MAJOR AREA Credits
T110-T-430 Private Lesson 24 ELECTIVES Credits
E110-430 Ensembles 12
Various Reading1 6
Various Instrument Study2 12
C310-410 Performance 8
F230a.b. Sophomore Jury 2
F430a.b. Senior Jury 2
Total Major Area Credits 66
SUPPORTIVE MUSIC Credits
M121-323 Theory I-VIII 16
M131-233 Ear Training I-VI 12
S110-120 Styles Survey I-II 2
M251-352 Music History I-IV 8
M331-432 Contemporary Arranging I-V 10
M383 Directing and Conducting 2
M481-482 Studio Recording I-II 3
M386 Music Industry Studies 3
M483 Multimedia Applications 3
M484 Topics in Contemporary Music Instruction 1
K110-310 Keyboard Proficiency3 3
V150 Diction4 1
Total Supportive Music Credits 60-64
GENERAL EDUCATION Credits
Various (see Articulation Agreement for required credit distribution)
Total General Education Credits 45
Various
Total Elective Credits5 5-9
TOTAL CREDITS: 180
1 Drums: 8 reading credits required
2 Bass: 16 instrument study credits required
Voice:14 instrument study credits required
3 Required for Bass, Guitar, Drums and Voice
4 Required for Voice only
5 Elective requirements vary by instrument as follows:
Bass: 6 credits
Guitar: 6 credits
Keyboard: 9 credits
Percussion: 3 credits
Voice: 3 credits
 BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES)
BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES)
Typical Course Distribution

SOPHOMORE YEAR 4th Quarter 5th Quarter 6th Quarter
FRESHMAN YEAR 1st Quarter 2nd Quarter 3rd Quarter
course # credits course # credits course # credits
course # credits course # credits course # credits major area
private lesson T210 2 T220 2 T230 2
major area ensembles E210 1 E220 1 E230 1
private lesson T110 2 T120 2 T130 2 1
instrument study various 3
ensembles E110 1 E120 1 E130 1 1
reading various 1.5
instrument study1 various 3 various 3 various 3 sophomore jury F230a 1 F230b 1
reading1 various 1.5 various 1.5 various 1.5
supportive music
supportive music music theory M221 2 M222 2
music theory M121 2 M122 2 M123 2 ear training M231 2 M232 2 M233 2
ear training M131 2 M132 2 M133 2 music history M251 2 M253 2 M252 2
styles survey S110 1 S120 1
general education2 1.5 6 7.5
general education2 3 3 3
TOTAL CREDITS 15 16 15.5
TOTAL CREDITS 15.5 15.5 14.5

JUNIOR YEAR 7th Quarter 8th Quarter 9th Quarter SENIOR YEAR 10th Quarter 11th Quarter 12th Quarter
course # credits course # credits course # credits course # credits course # credits course # credits 39
major area
major area private lesson T410 2 T420 2 T430 2
private lesson T310 2 T320 2 T330 2 ensembles E410 1 E420 1 E430 1
ensembles E310 1 E320 1 E330 1 performance C410 2
performance C310 2 C320 2 C330 2 senior jury F430a 1 F430b 1

supportive music supportive music

music theory M321 2 M322 2 M323 2 contemporary
contemporary arranging M431 2 M432 2
arranging M331 2 M332 2 M333 2 studio recording M481 1.5 M482 1.5
directing/conducting M383 2 music industry
music history M352 2 studies M386 3
multimedia
general education2 3 3 3 applications M483 3
3 various
topics in cont.
electives 1 3 1 music instruction M484 1

TOTAL CREDITS 15 15 15 general education2 3 3 6

electives3 various 2 2
1 Specific courses and credit requirements vary by instrument
TOTAL CREDITS 14.5 15.5 13
2 Distribution of General Education credits is based on recommended average

credit balance per quarter

3Number of required electives varies by instrument

Upon completion of the required 180 credit units, students are eligible to apply for the
Bachelor of Music in Performance.
 BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES), Minor in Audio Production
The Minor in Audio Production provides an opportunity for Performance Majors General Education Credits
to include concentrated studies in audio recording technology and techniques.
Minor Area studies replace some Supportive Music requirements and addition- Various (see Articulation Agreement for credit distribution requirements)
al credits allow for greater depth in the Minor Area while retaining the compre-
hensive scope of the Performance Degree. Total General Education Credits 45

See the preceding Bachelor of Music in Performance section of this catalog for
Major Area and Supportive Music course descriptions. All Performance Degree
requirements apply except for specific Supportive Music coursework replaced
by Minor Area studies. See the Certificate in Audio Engineering section of this
catalog for Minor Area course descriptions.
CREDIT DISTRIBUTION
Major Supportive General Minor Total R150 Post-Production 1.5
Area Music Education Area Credits
66 credits 55 credits 45 credits 30 credits 196 credits
40 Major Area Credits
T110-T-430 Private Lesson 24
E110-430 Ensembles 12
Various Reading 6
Various Instrument Study 12
C310-410 Performance 8
F230a.b. Sophomore Jury 2
F430a.b. Senior Jury 2
Total Major Area Credits 66
Minor Area Credits
R100-200 Console Theory I-II 6
R102-202 Hard Disc Editing I-II 3
R189 Music Studio Etiquette 1
R192 Practical Recording 3
R196 Acoustics 1.5
R199 Recording Theory 2
R184 Digital Signal Processing 1
R190 Mixing and Mastering 2
R197 Electronics 1.5
R299 Analog Signal Processing 1.5
(various) Minor-area electives 6
Total Minor Area Credits 30
TOTAL CREDITS: 196

Supportive Music Credits

M121-323 Theory I-VIII 16

M131-233 Ear Training I-VI 12
S110-120 Styles Survey I-II 2
M251-352 Music History I-IV 8
M331-432 Contemporary Arranging I-V 10
M386 Music Industry Studies 3
M484 Topics/Contemporary Music Instruction 1
K110-310 Keyboard Proficiency 3
Total Supportive Music Credits 55
 BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES), Minor in Music Industry Studies
The Minor in Music Industry Studies provides an opportunity for Performance
Majors to include concentrated studies in record company management and in-
dependent artist management and promotion. Minor Area studies replace some
Supportive Music requirements and additional credits allow for greater depth
in the Minor Area while retaining the comprehensive scope of the Performance
Degree.
See the preceding Bachelor of Music in Performance section of this catalog for
Major Area and Supportive Music course descriptions. All Performance Degree
requirements apply except for specific Supportive Music coursework replaced
by Minor Area studies. See the Certificate in Music Business section of this
catalog for Minor Area course descriptions.
Major Supportive General Minor Total
Area Music Education Area Credits
66 credits 55 credits 45 credits 30 credits 196 credits
Major Area Credits
T110-T-430 Private Lesson 24
E110-430 Ensembles 12
Various Reading 6
Various Instrument Study 12
C310-410 Performance 8
F230a.b. Sophomore Jury 2
F430a.b. Senior Jury 2
Total Major Area Credits 66
Supportive Music Credits
M121-323 Theory I-VIII 16
M131-233 Ear Training I-VI 12
S110-120 Styles Survey I-II 2
M251-352 Music History I-IV 8
M331-432 Contemporary Arranging I-V 10
M481-482 Studio Recording I-II 3
M484 Topics/Contemporary Music Instruction 1
K110-310 Keyboard Proficiency 3
Total Supportive Music Credits 55
General Education Credits
Various (see Articulation Agreement for credit distribution requirements)
Total General Education Credits 45
41
Minor Area Credits
MB102-205 The Record Company 4
MB110-210 Marketing & Promotion in the Music Industry 4
MB104-214 Music Contracts 4
MB091 Business Writing for the Music Industry 2
MB103 Music Publishing 2
MB105 A&R 2
MB106 Personal Management in the Music Industry 2
MB108 Guest Lecture Series 1
MB088 Getting Gigs 1
MB101 Networking in the Music Business 1
MB204 Independent Artist Marketing 2
MB211 Start and Run Your Own Record Label 1
MB325 Music Business Internship 4
Total Minor Area Credits 30
TOTAL CREDITS: 196
 BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES)
COURSE DESCRIPTIONS
MAJOR AREA: ALL INSTRUMENTS
All non-keyboard major degree students must demonstrate keyboard proficien-
cy by the end of their Freshman year through examination or a passing grade of
C- or better in course K310 Keyboard Proficiency III.
T110–T430 Private Lesson I–XII (2)
Weekly private lesson with an instructor applying principles learned in instru-
ment study to the major instrument and preparation for juries and final projects.
One private lesson hour per week per quarter.
E110–E430 Ensembles I–XII (1)
Weekly live performance workshops providing development of ensemble tech-
niques, improvisational skills, and repertoire building in various styles as well as
preparing students for Sophomore and Senior juries. One ensemble hour per
week per quarter.
C310–C410 Performance I–IV (2)
42 An in-depth study of a variety of contemporary and commercial performance-
related subjects including prototypical characteristics of influential styles, reper-
toire, improvisation and interpretation. Dedicated sections for instrumentalists
and vocalists. Weekly critiqued performances of selected repertoire. Two en-
semble hours per week for one quarter.
F230a Sophomore Jury Prep (1)
Individual preparation for score content, format, rehearsals and performance
under the supervision of the jury supervisor, Dean and private instructor. Three
ensemble hours per week for one quarter.
F230b Sophomore Jury (1)
Juried performance demonstrating student’s ability to meet lower-division re-
quirements. Includes demonstrations of solo work, transcription skills, stylistic
ensemble repertoire and sightreading. Preparation includes weekly meetings
with the jury supervisor and Dean to review arrangements, rehearsal progress
and related issues plus monitored rehearsals. Three ensemble hours per week
for one quarter.
F430a Senior Jury Prep (1)
Individual preparation for score content, format, rehearsals and performance
under the supervision of the jury supervisor, Dean and private instructor. Three
ensemble hours per week for one quarter.
F430b Senior Jury (1)
Juried performance demonstrating student’s ability to meet final graduation require-
ments. Focuses on the student as leader and interpreter with emphasis on individu-
ality, advanced technical skill, stylistic clarity, horn arranging and overall musician-
ship. Preparation includes weekly meetings with the jury supervisor and Dean to
review arrangements, original compositions, rehearsal progress and related issues
plus monitored rehearsals. Three ensemble hours per week for one quarter.
SUPPORTIVE MUSIC: ALL INSTRUMENTS
M121 Theory I (2)
An introduction to fundamental concepts including intervals, triads, major mode
progressions with voice-leading, minor modes and modal scales. Students learn
basic techniques for melodic and harmonic analysis. Introduction to four part
writing techniques. Two lecture hours per week for one quarter.
M122 Theory II (2)
Prerequisite: M121 Theory I. Continuation of four-part writing techniques includ-
ing first inversion triads, figured bass, melodic function and structure, further
study in melodic analysis, non-harmonic tones and their use. Two lecture hours
per week for one quarter.
M123 Theory III (2)
Prerequisite: M122 Theory II. Basic harmonization of a melody, formulaic four-
part writing using second-inversion triads and proper voice leading, cadences
and their function in phrases, harmonic rhythm, supporting melodies, indepen-
dent bass movement, analysis of excerpts and contemporary song forms. Two
lecture hours per week for one quarter.
M124 Theory IV (2)
Prerequisite: Theory III. Dominant-seventh voicings and their function, standard
resolutions, secondary dominant function and voice-leading, modulation tech-
niques, analysis of modulating progressions, harmonic structure of phrases,
antecedent-consequent structure, analysis of orchestral excerpts and contem-
porary song forms . Two lecture hours per week for one quarter.
M222 Theory V (2)
Prerequisite: M221 Theory IV. Musical textures, irregular resolutions, use of melodic
and harmonic sequences and diminished seventh chords. Focus on four part writ-
ing, figured bass and harmonization. Two lecture hours per week for one quarter.
M321 Theory VI (2)
Prerequisite: M222 Theory V. Analysis and application of the incomplete major
 BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES)
ninth chord, seventh chords in non-dominant harmonic function, neighbor-chord har-
mony, ninth, eleventh, thirteenth, and appoggiatura chords. Focus on four part writing,
figured bass and harmonization. Two lecture hours per week for one quarter.
M322 Theory VII (2)
Prerequisite: M321 Theory VI. Analysis and application of chromatic altered
chords including the +II7 and +VI7, Neapolitan chords, augmented sixth chords
and chords with lowered and raised fifths. Focus on four part writing, figured
bass and harmonization Two lecture hours per week for one quarter.
M323 Theory VIII (2)
Prerequisite: M322 Theory VII. Analysis of late 19th and early 20th century scores.
Discussion includes pandiatonicism, serial writing, polytonality, parallel harmony
and use of symmetrical scales. Two lecture hours per week for one quarter.
M131 Ear Training I (2)
Introduction to the “Movable Do” system including basic solfeggio syllables ap-
plied to single notes, melodic fragments, diatonic triads and intervals in all major
keys. Students learn basic rhythms and four-beat conducting patterns. Dictation of
major-key melodies and basic triads. Two lecture hours per week for one quarter.
M132 Ear Training II (2)
Prerequisite: M131 Ear Training I. Application of solfeggio to minor keys includ-
ing single notes, melodic fragments, diatonic triads and intervals in natural mi-
nor, melodic minor and harmonic minor key centers. Students learn more ad-
vanced rhythms and two-, three- and four-beat conducting patterns. Dictation of
minor-key melodies including note groups and patterns and all types of triads.
Two lecture hours per week for one quarter.
M133 Ear Training III (2)
Prerequisite: M132 Ear Training II. Dorian and Mixolydian key centers including
single notes, melodic fragments, diatonic triads and intervals as well as two,
three, four, five and six beat conducting patterns. Dictation of more advanced
rhythms, Dorian and Mixolydian melodic examples including note groups and
patterns, and seventh chords. Two lecture hours per week for one quarter.
M231 Ear Training IV (2)
Prerequisite: M133 Ear Training III. Phrygian and Lydian key centers including
Advanced use of note groups and patterns in melodic dictation, rhythmic phrases,
and all types of seventh chords. Two lecture hours per week for one quarter.
M232 Ear Training V (2)
Prerequisite: M231 Ear Training IV. Locrian and Lydian Dominant scales. In-
troduction of multiple parts, four-part homophony, diatonic seventh chords and
non-chord tones. Two lecture hours per week for one quarter..
M233 Ear Training VI (2)
Prerequisite: M232 Ear Training V. Study of Locrian T9 and Altered scales with
emphasis on hearing chromaticism, altered chords, and related progressions.
Continued melodic, rhythmic and harmonic dictation, with applications including
bass line transcription and lead sheet preparation. Two lecture hours per week
for one quarter.
M251 Roots of Rock and Roll (2)
A survey of Rock’s roots, including Rhythm & Blues, Rockabilly, New Orleans,
vocal groups, doo-wop, and early 60’s pop, including an examination of the ma-
jor artists and regional influences. Weekly discussion, analysis and listening
examples related to each topic. Two lecture hours per week for one quarter.
M253 World Music (2)
A study of music in the context of selected cultures and regions around the
world. The many ways in which music and lyrics function in reflecting these
cultures are explored through listening, analysis and transcriptions. Two lecture 43
hours per week for one quarter.
M252 Western Art Music: Middle Ages to Classical (2)
A survey of Western art music from the Middle Ages through the end of the 18th
century. The course will include discussion of major styles and forms in histori-
cal context, supplemented by representative listening and score analysis. Two
lecture hours per week for one quarter.
M352 Western Art Music: Romantic to 21st Century (2)
Prerequisite: M252 Western Art Music: Middle Ages to Classical. Covers the
history of musical styles in the Romantic period through 20th music including
cultural contexts and social meaning. Composers and musical developments
in European and American Art Music, orchestral, choral, band, chamber music
and solo repertoire are combined with the influences of music from other world
cultures. Compositional techniques, style characteristics, and relationships will
be emphasized. In addition to a midterm and final examination, the course
requires one critical concert report, workbook assignments, and presentation.
Two lecture hours per week for one quarter.
M331 Contemporary Arranging I (2)
Prerequisite: M222 Theory V. Introduction to instrumentation, arranging tech-
niques, and notation practices for live rhythm section. Emphasis is on score
and parts preparation and notation in selected contemporary styles. As a final
 BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES)
project, each student completes a studio recording of an arrangement for piano,
guitar, bass and drums. Two lecture hours per week for one quarter. Required
lab fee: $200.00.
M332 Contemporary Arranging II (2)
Prerequisite: M331 Contemporary Arranging I. A continuation of rhythm section
arranging with the addition of brass instruments (trumpet and trombone). Dis-
cussion will include transposition, range and idiomatic usage of these instru-
ments in popular styles. The objective is to study the brass family with emphasis
on two-part and guide-tone writing. As a final project, each student completes
a studio recording of an arrangement for trumpet, trombone, piano, bass and
drums. Two lecture hours per week for one quarter. Required lab fee: $200.00.
M333 Contemporary Arranging III (2)
Prerequisite: M332 Contemporary Arranging II. Arranging techniques for ensem-
bles including woodwind instruments (saxophone, flute and clarinet). Discus-
sion includes transposition, range and idiomatic usage of these instruments in
popular styles. The objective is to study the woodwind family with emphasis on
four-part harmonization. As a final project, each student completes a studio re-
44 cording of an arrangement for trumpet, alto or clarinet, tenor or flute, trombone,
guitar, bass and drums. Two lecture hours per week for one quarter. Required
lab fee: $200.00.
M431 Contemporary Arranging IV (2)
Prerequisite: M333 Contemporary Arranging III. Course focuses on string sec-
tion writing as it applies to contemporary production, with an emphasis on re-
harmonization. As a final project, each student completes a studio recording of
an arrangement for string quintet and drums. Two lecture hours per week for one
quarter. Required lab fee: $200.00
M432 Contemporary Arranging V (2)
Prerequisite: M431 Contemporary Arranging IV. Course focuses on combined
rhythm section, woodwind, brass and string writing as it applies to contempo-
rary productions. As a secondary objective students learn to analyze scores
of contemporary arrangements that include all instruments. As a final project,
each student completes a studio recording of an arrangement for rhythm sec-
tion, woodwinds, brass and strings including overdubs. Two lecture hours per
week for one quarter. Required lab fee: $200.00
M383 Directing and Conducting (2)
Fundamentals of conducting including beat patterns, posture, arm and hand
position, articulations, dynamics, left hand functions, incomplete beats and fer-
matas will be covered, as well as basic score reading and application of skills to
contemporary music. Students will be videotaped for study. Two lecture hours
per week for one quarter.
M386 Music Industry Studies (3)
An overview of the contemporary music industry with special concentration on
how record companies work, how A&R reps find and sign new talent, copy-
righting songs, music publishing and the roles of personal managers, booking
agents, business managers and music business attorneys. Current music busi-
ness news is discussed with regard to its effect on the students as independent
artists. Three lecture hours per week for one quarter.
M481 Studio Recording I (1.5)
An overall introduction to digital audio techniques using Digidesign Pro Tools with
primary focus on applications to arranging and composing. Handling of tracks, im-
porting audio, recording of play lists, equalization, and effects will be incorporated
into the final project. One and one-half lecture hours per week for one quarter.
M482 Studio Recording II (1.5)
Prerequisite: M481 Studio Recording I. A continuation of Pro Tools recording
techniques using Virtual Instruments, Midi Recording, Sequencing, Trimming,
Fading, Tempo, Meter Maps, Time Stretching, Plug-in automation culminating in
the mixing of a fully arranged song applying all of the studied techniques. One
and one-half lecture hours per week for one quarter.
M483 Computer Music Applications (3)
An introductory course in setting up personal business templates using Micro-
soft Office; creating songs, demo, and practice tracks using GarageBand; music
computer notation from lead sheets through three horn charts using Sibelius
software. Students will create projects using each application. Three lecture
hours per week for one quarter
S110 Styles Survey I (1)
Provides students with an analytical overview of styles, chart reading and critical
listening as they relate to repertoire requirements. Styles covered include Rock,
Rhythm & Blues, Jazz and Latin. One lecture hour per week for one quarter.
S120 Styles Survey II (1)
Prerequisite: S110 Styles Survey I. Continues an overview of more advanced
styles as they relate to required repertoire, including Latin, Jazz, Rhythm &
Blues and Rock & Roll. One lecture hour per week for one quarter.
M484 Topics in Contemporary Music Instruction (1)
The skill and art of teaching contemporary music in a variety of settings includ-
 BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES)
ing rehearsals, coaching, and group and private lessons. One lecture hour per
week for one quarter.
V150 Diction for Vocalists (1)
Degree-specific requirement for Voice majors. Students improve their articula-
tion and enunciation through the use of drills, exercises, and feedback, and
learn to apply these skills to the performance of contemporary music. Specific
issues including accent and dialect reduction and enhancement will also be ad-
dressed. One lecture hour per week for one quarter.
K110 Keyboard Proficiency I (1)
Degree-specific requirement for non-keyboard majors. Covers basic motor skills
involved in playing the keyboard through diatonic scales, arpeggios, and se-
lected repertoire. One hour per week for one quarter.
K210 Keyboard Proficiency II (1)
Prerequisite K110 Keyboard Proficiency I. Degree-specific requirement for non-key-
board majors. Prerequisite: K110. More advanced application addressing harmonic
shapes on the keyboard including chord families, voice leading, and basic keyboard
harmony with selected chord repertoire. One hour per week for one quarter.
K310 Keyboard Proficiency III (1)
Prerequisite: K210 Keyboard Proficiency II. Degree-specific requirement for
non-keyboard majors. Emphasizes using the keyboard as an arranging tool,
lead sheet interpretation, basic score reading and outlining an arrangement.
One lecture hour per week for one quarter.
INSTRUMENT STUDY
BASS
B112a.b Playing Techniques IIA-IIB (1.5)
Class applies standard bass playing techniques to fundamental styles and
grooves including straight eighth-note rock, straight and swing sixteenth-note
funk, shuffles, 3/4 and 4/4-meter swing, and odd meters. One lecture hour plus
one lab hour per week for two quarters.
B211a.b. Playing Techniques IIIA-IIIB (1.5)
Prerequisite: B112b Playing Techniques IIB. Course applies both finger and slap
style electric bass techniques to a variety of contemporary grooves including
Latin, jazz, odd-meter, funk, swing, shuffles, hip-hop and others. One lecture
hour and one lab hour per week for two quarters.
B122a.b. Fretboard Basics IIA-IIB (1.5)
Expands diatonic harmonic components to a wide range of notes, neck area, fin-
gerings and hand positions. In IIA, simple intervals, diatonic triads and seventh
chords including inversions are explored over the entire length of the neck. In
IIB, fingerings are expanded to cover chromatic harmony. One lecture hour plus
one lab hour per week for two quarters.
B221a.b. Fretboard Improvisation IA-IB (1.5)
Prerequisite: B122b Fretboard Basics IIB. First quarter concentrates on
the study of modes and modal playing, major II-V-Is, guide tones and building
a melodic vocabulary. Second quarter includes a concentrated study of minor
tonalities, symmetrical scales, modal playing, superimposing scales and contin-
ued development of a melodic vocabulary. One lecture hour plus one lab hour
per week for two quarters.
M142Ba.b. Reading IIA-IIB (1.5)
Class covers advanced levels of chart reading through the extensive use of de-
tailed transcriptions in a wide range of styles including rock, funk, pop and contem-
porary instrumental. Concentration is on rhythmic accuracy, pitch recognition and
song form. One lecture hour plus one lab hour per week for two quarters. 45
M241Ba.b. Reading IIIA-IIIB (1.5)
Prerequisite: M142b Reading IIB. Students learn contemporary chart reading
skills through the extensive use of transcriptions. Focus is placed on sight-read-
ing, pitch and rhythm pattern recognition, position playing and creating a cohe-
sive sound. One lecture hour plus one lab hour per week for two quarters.
GUITAR
G112a.b. Single String Improvisation IIA-IIB (1.5)
Begins with an exploration of “blues tonality”, including the mastery and usage of
blues, Dorian, and Mixolydian scales over dominant seventh harmonies. Diatonic
seventh arpeggios and their applications are covered along with alternate major
and minor-tonality scales, culminating in the development of diatonic key-center
improvisation. One lecture hour plus one lab hour per week for two quarters.
G211a.b. Single String Improvisation IIIA-IIIB (1.5)
Prerequisite: G112b Single String Improvisation IIB. Chromatic variations on key-
center improvisation are introduced, including modal interchange and secondary
dominants. Symmetrical scales, including chromatic, diminished, and whole-tone,
are introduced and applied. Other topics include analysis of and improvisation
over non-root position chords and the development of the “chord/scale” concept of
improvising. One lecture hour plus one lab hour per week for two quarters.
 BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES)
G122a.b. Rhythm Guitar IIA-IIB (1.5)
Development of chord construction skills based on the five major scale fingering
patterns, including the theory and application of harmonized major scales. Intro-
duces syncopated eighth-note rhythm figures using different harmonic textures from
full chords to single-note accompaniment. Easy and moderate chord transposition is
also covered. One lecture hour plus one lab hour per week for two quarters.
G221a.b. Rhythm Guitar IIIA-IIIB (1.5)
Prerequisite: G122b Rhythm Guitar IIB. This course is designed around writing and
performing rhythm guitar parts in a variety of styles. Concepts introduced include
voice leading on the fingerboard and the use of sixteenth note and triplet syncopa-
tion. The ability to improvise and apply appropriate rhythm parts in context will be
stressed through classroom performance. Moderate to difficult chord transposition
is also covered. One lecture hour plus one lab hour per week for two quarters.
M142Ga.b. Reading IIA-IIB (1.5)
Class covers reading on the lower and upper part of the neck. Learn to read and
count “cut time”, 3/4 meter and syncopated rhythmic figures. Continue chromatic
studies in the fifth position, transposing to concert pitch and chart reading, with
a stronger emphasis on ensemble reading performance. One lecture hour plus
46
one lab hour per week for two quarters.
M241Ga.b. Reading IIIA-IIIB (1.5)
Prerequisite: M142Gb Reading IIB. Learn to count and read in odd meters and
changing meters. Class covers reading up and down string sets, melodies with a
range outside a single position, position shifting, interpretation and developing sight-
reading techniques. One lecture hour plus one lab hour per week for two quarters.
KEYBOARD
K112a.b. Keyboard Technique IIA-IIB (1.5)
Intermediate-to-advanced techniques and concepts of contemporary keyboard
playing. One lecture hour and one lab hour per week for two quarters.
K122a.b. Keyboard Voicings IIA-IIB (1.5)
Covers seventh chord construction and symbols with an emphasis on “rootless”
voicings as well as exercises in diatonic and chromatic chord movement and left
hand accompaniment to melody and improvisation. Stylistic etudes are used to rein-
force performance. One lecture hour and one lab hour per week for two quarters.
K221a.b. Keyboard Voicings IIIA-IIIB (1.5)
Prerequisite: K122b Keyboard Voicings IIB. Learn the concepts of chord-scale
harmony and apply them to the construction of voicings and chord progressions.
Students explore the techniques of “tension substitution” and use it to create
voicings while composing and performing their own progressions. One lecture
hour and one lab hour per week for two quarters.
K211a.b. Keyboard Improvisation (1.5)
Introduces blues tonality, 7th chord arpeggios, and improvising over all major
and minor tonalities utilizing a key center approach and variations. Students
improvise over simple blues and jazz progressions. One lecture hour and one
lab hour per week for two quarters.
M142Ka.b. Reading IIA-IIB (1.5)
Class examines simple left-hand chord voicings, rhythms involving switching from
triplets to duplets and more complex melody lines with exercises drawn from contem-
porary styles. Students learn to read two-stave arrangements with complex rhythms
and harmony. One lecture hour and one lab hour per week for two quarters.
M241Ka.b. Advanced Reading (1.5)
Focuses on reading difficult charts with lead lines and chord symbols. Rhyth-
mic syncopation and fully extended chords are explored. Students play complex
charts drawn from contemporary arrangements in a lab/ensemble setting. One
lecture hour plus one lab hour per week for two quarters.
DRUMS
P112a.b. Playing Techniques IIA-IIB (1.5)
Concentrates on effective timekeeping, development of speed and dexterity,
economy of motion, body balance and eliminating bad habits as well as the ap-
plication of drum set rudiments. IIB emphasizes interpretation and performance of
snare drum solos. One lecture hour plus one lab hour per week for two quarters.
P211a.b. Playing Techniques IIIA-IIIB (1.5)
Prerequisite: P112b Playing Techniques IIB. Class focuses on more advanced rudi-
ments and their application to the drum set in a variety of musical styles as well as
4-way coordination, odd meter studies, advanced snare drum solos and drum set
solo transcriptions. One lecture hour plus one lab hour per week for two quarters.
P171a.b. Jazz Drums (1.5)
This class explores and demonstrates the historical, stylistic and technical evo-
lution of jazz from Dixieland to Bebop and beyond. Techniques include ride pat-
terns and left hand comping, basic independence and coordination, brush tech-
nique, and ensemble interaction. In the second half, the focus shifts to group
interaction, jazz soloing on various song forms, up-tempo swing concepts, cym-
bal turnarounds, 3/4 time, advanced independence and 4-way jazz coordination.
One lecture hour plus one lab hour per week for two quarters.
 BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES)
P122a.b. Ensemble Techniques (1.5)
Prerequisite: P112b Playing Techniques IIB. Course deals with common tech-
niques used by drummers in small and large group performance. The focus
is on reading and execution of written rhythmic phrases in jazz, rock and Lat-
in styles including section and ensemble figures, chart terminology and form,
phrasing and stylistic interpretation, soloing concepts and solo fills. One lecture
hour plus one lab hour per week for two quarters.
M142Pa.b. Reading IIA-IIB (1.5)
The emphasis is on time signature reading studies, counting and subdivision
exercises and applications as well as note value relationships. Also included
is interpretation of rhythms in different styles, independence studies and chart
reading. Reading IIB moves into compound time signatures, changing meters,
value indicators and abnormal groupings. One lecture hour and one lab hour per
week for two quarters.
M241Pa.b. Reading IIIA-IIIB (1.5)
Prerequisite: M142b Reading IIB. Class covers interpretation of sixteenth note
figures, snare drum reading and etudes in changing meters, orchestral snare
drum etudes, reading drum set charts with style and meter changes, and multi-
tom reading in preparation for studio recording. One lecture hour and one lab
hour per week for two quarters.
VOICE
V011a.b. Vocal Technique IA-IB (1)
An introduction to the anatomy and physiology of the voice. IA covers breathing
and how it affects the body, mind and the act of singing as well as effective prac-
tice habits and how to protect the voice. IB focuses on understanding the na-
ture of voice production as students learn to recognize different vocal functions
through listening and analysis. One lecture hour per week for two quarters.
V112a.b. Vocal Technique IIA-IIB (1)
Prerequisite: V112b Vocal Technique IB. Class addresses pitch registers, forma-
tion of vowels and consonants, and the application of vocal technique to learning
songs as well as specific skills such as vibrato. Students analyze contemporary
artists’ voices and each other to develop their awareness and understanding of
the vocal instrument. One lecture hour per week for two quarters.
V142a.b. Artist Showcase Performance IIA-IIB (2)
Performance-oriented class focusing on the emotional side of singing. Topics
include lyric analysis and interpretation, stage presence, microphone technique,
thought processes before going on stage and communicating with the audience.
Four lab/ensemble hours per week for two quarters.
V241a.b. Artist Showcase Performance IIIA-IIIB (2)
Prerequisite: V142b Vocal Performance IIB. The emphasis in this course is on
developing polished, professional performing skills culminating in a final juried
performance with a pro rhythm section. During IIIA, each student chooses his
or her material, writes charts, rehearses a band, and develops a personal per-
forming style during a weekly half-hour private session with the instructor and
an accompanist. IIIB includes final music preparation and full rhythm section
rehearsals leading up to the final jury. Two half-hour private rehearsals per week
for two quarters plus final project/performance.
V132a.b. Sightsinging/Sightreading IIA-IIB (1.5)
Reading and singing skills expand to include major and minor diatonic melodies
and harmonies, eighth note and sixteenth note syncopation, and interpretation
of standard musical notation. One lecture hour plus one lab hour per week for
two quarters.
47
V231a.b. Sightsinging/Sightreading IIIA-IIIB (1.5)
Prerequisite: V132b Sightsinging/Sightreading IIB. Class covers singing in dia-
tonic major and minor keys as well as odd meters and mixed rhythms. One
lecture hour plus one lab hour per week for two quarters.
BM-SPECIFIC ELECTIVE CLASSES
Baccalaureate elective requirements may be fulfilled through any combination
of the courses listed below as well as General Electives and Instrument-Specific
electives listed under Associate Degree programs.
M100 Jazz History (2)
A survey of the chronological development of Jazz with emphasis on socio-
economic influences. Includes an examination of the influential players and
composers through analysis of style and form. Two lecture hours per week for
one quarter.
M101 Special Topics in Jazz (2)
Topics vary and may focus on a theme, genre, a historical period, composers or
an influential group. Consult with course instructor or program Dean for informa-
tion. Two lecture hours per week for one quarter. Repeatable for credit.
 BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES)
M170 Independent Study (2)
Prerequisites: minimum GPA of 3.25 or above in core courses and permission of
Dean. Provides students with an opportunity to explore a specific subject area in
depth through independent course work with faculty supervision. A maximum of
six credits may be applied toward BM requirements. An additional fee of $100.00
applies to each Independent Study undertaken. Weekly hours vary.
M195 Professional Reading Ensemble (1)
Prerequisite: M241B, M241G or M241P Reading. A performance class simulat-
ing the challenges of professional jobs requiring advanced sightreading skills.
One ensemble hour per week for one quarter. May be repeated for credit.
M197 Composition Seminar (2)
Prerequisite: completion of Sophomore year. A study of composition techniques
through analysis and demonstration with primary focus on clear melodic and
harmonic development and definition. Student work is performed in class. Two
lecture hours per week for one quarter. May be repeated for credit.
48 V251 Sightsing Like the Pros (1)
Prerequisite: V231B Sightsinging IIIb. Practical application of sightsinging for
the professional singer. Provides experience in reading harmonically challeng-
ing melodies in varying musical styles with piano accompaniment as well as
vocal/choral harmonies. One lecture hour per week for one quarter.
M260 Special Topics in Music (2)
Prerequisite: M251 Music History: Roots of Rock & Roll. Analysis and compari-
son within focused topic areas such as an historical period, a particular artist’s
work or a world music topic. Two lecture hours per week for one quarter. May be
repeated for credit.
M358 Formal Analysis (2)
Prerequisite: M323 Theory VIII. Develop skills necessary to recognize traditional
forms as well as score reading and orchestration techniques. Two lecture hours
per week for one quarter.
GENERAL STUDIES REQUIREMENTS
Bachelor of Music degree requirements include completion of thirty (30) se-
mester units or forty-five (45) quarter units of coursework in General Studies.
For general reference, the required distribution of units is shown below along
with representative areas of coursework. Please refer to the “Reverse Articu-
lation Agreement between Los Angeles City College and Musicians Institute”
for specific course titles and numbers that meet the requirements. Units com-
pleted at other institutions will be evaluated to determine their equivalency; see
Admissions>Transfer of Credit for more information.
Language and Rationality: minimum of 12 semester units or 18 quarter units in:
1. Written Composition: at least 3 semester units or 4.5 quarter units
2. Communication and Analytical Thinking: at least 9 semester units or
13.5 quarter units with no more than one course from each section:
a. Speech
b. Philosophy
c. English
d. Mathematics
Natural Sciences: minimum of 3 semester units or 4.5 quarter units in:
1. Physical Universe ( Astronomy, Chemistry, Earth Science,
Environmental Science, Geography, Geology, Meteorology,
Mineralogy, Oceanography, Physical Science, Physics)
2. Life Forms (Anatomy, Anthropology, Biology, Microbiology, Physiology)
Humanities: minimum of 6 semester units or 9 quarter units* in:
1. The Arts (Architecture, Cinema, Photography, Theater)
2. The Humanities (Foreign Language, Humanities, Linguistics, Speech,
Literature, Philosophy)
*Students with a concentration in Voice are required to complete three semes-
ter hours/4.5 quarter hours of language courses in French, German, or Italian
as part of minimum Humanities course requirements.
Social and Behavioral Sciences: minimum of 9 semester units or 13.5 quarter
units, including:
1. Minimum of 3 semester units or 4.5 quarter units in American
Institutions and Government
2. Minimum of 6 semester units or 9 quarter units in:
a. Social and Behavioral Sciences (Anthropology, Family & Con sumer
Studies, Geography, History, Linguistics, Psychology, Sociology)
b. Economics and Politics (Business, Economics, Journalism, Law,
Political Science)

MI’s Associate of Arts in Performance Degree (six quarters/90 credit units) pro-
vides technical skills, musical knowledge and performing experience that pre-
pares students for a wide range of professional and creative opportunities as
performing musicians. This vocationally-oriented* degree is designed for stu-
dents who wish to develop contemporary music performance skills for:
n Bass n Guitar n Keyboard Technology per week for two quarters.
n Drums n Voice
Students may also earn Associate degrees by combining performance with
music industry emphases including:
n Audio Engineering n Independent Artist Development
n Music Business n Guitar Craft
n Music Video, Film and Television Production
*Associate programs are vocational and do not include General Education re-
quirements or specific preparation for study at the Baccalaureate level. For in-
formation on requirements for students wishing to transfer from an AA program
to MI”s Bachelor of Music Degree program, please see Admissions>Transfer of
Credit in this catalog.
GENERAL REQUIREMENTS
Associate of Arts in Performance Degree requirements vary by instrument and
include some or all of the following courses. See each emphasis for details on
specific requirements.
All course descriptions include course number, title, number of credit units per
quarter (multiply by number of required quarters for total credit amount), prereq-
uisites (where applicable), description of content, and contact hours per week.
PERFORMANCE (All Instruments)
T010a.b., T120a.b., T210a.b. Private Lesson IA-IIIB (2)
Weekly instrument lesson with an instructor who guides the student in developing
technique, musicianship and style in support of core curricular goals. The instruc-
tor and student jointly determine a specific course of study depending on student
needs, strengths and experience. One private lesson hour per week per quarter.
E020a.b., E120a.b., E210a.b.`Live Playing Workshops` IA-IIIB (1)
Students perform regularly throughout the program in a variety of styles and set-
tings (see section on Live Playing Workshops for overview of workshop offerings).
Minimum requirement of ten performances per quarter. One ensemble hour per
week per quarter.
ASSOCIATE OF ARTS IN PERFORMANCE
MUSICIANSHIP (Requirements vary by instrument)
M021a.b. Harmony and Theory IA-IB (1.5)
An introduction to Harmony and Theory as it applies to popular music. Includes
the development of fundamental music notation skills, rhythms, major and minor
scales, intervals, chords and diatonic harmony. One lecture hour and one lab hour
M122a.b. Harmony and Theory IIA-IIB (1.5)
Prerequisite: M021b Harmony and Theory IB. Begins with diatonic harmony and
expands to include chromatic variations typical of popular music, including scale
and chord alterations and harmonic analysis of non-diatonic major and minor pro-
gressions. One lecture hour and one lab hour per week for two quarters.
M221 Harmony & Theory III (1.5)
A study of advanced concepts in harmony including altered scales and chords,
symmetrical scales and chromatic harmony. Students learn to analyze scale/
chord relationships and understand non-diatonic progressions from the perspec-
tive of both the player and writer. One lecture hour and one lab hour per week for
one quarter. 49
M022a.b. Ear Training IA-IB (1.5)
An introduction to Ear Training as it applies to popular music. Covers the ability
to recognize by ear major and minor scales, intervals, chord qualities, diatonic
progressions, and rhythms in the context of examples drawn from contemporary
popular music. One lecture hour and one lab hour per week for two quarters.
M132a.b. Ear Training IIA-IIB (1.5)
Prerequisite: M022b Ear Training IB. Concentrates on the recognition and tran-
scription of diatonic major and minor melody and harmony and rhythmic figures
including sixteenth notes. Includes specific examples drawn from contemporary
popular music. One lecture hour and one lab hour per week for two quarters.
M231a.b. Ear Training IIIA-IIIB (1.5)
Prerequisite: M132b Ear Training IIB. Recognition and transcription of non-diaton-
ic melody and harmony, rhythmic figures based on triplets and compound time sig-
natures. Concepts are related directly to their application in contemporary popular
music. One lecture hour plus one lab hour per week for two quarters.
 ASSOCIATE OF ARTS IN PERFORMANCE (Bass)

Quarter 1 Quarter 2 Quarter 3 Quarter 4 Quarter 5 Quarter 6
course/credits course/credits course/credits course/credits course/credits course/credits

major area 54 credits

private lesson T010a 2 T010b 2 T120a 2 T120b 2 T210a 2 T210b 2
live playing workshops E020a 1 E020b 1 E120a 1 E120b 1 E210a 1 E210b 1
playing techniques B011a 1.5 B011b 1.5 B112a 1.5 B112b 1.5 B211a 1.5 B211b 1.5
reading M041Ba 1.5 M041Bb 1.5 M142Ba 1.5 M142Bb 1.5 M241Ba 1.5 M241Bb 1.5
fretboard basics B021a 1.5 B021b 1.5 B122a 1.5 B122b 1.5
rhythm section workshop E01a 1.5 E01b 1.5 E02a 1.5 E02b 1.5
fretboard improvisation B221a 1.5 B221b 1.5
bass studio recording B250a 2 B250b 2
musicianship 15 credits
harmony & theory M021a 1.5 M021b 1.5 M122a 1.5 M122b 1.5
ear training M022a 1.5 M022b 1.5 M132a 1.5 M132b 1.5 M231a 1.5 M231b 1.5
electives 21 credits
(various) 3 3 3 3 4 4
TOTAL 90 CREDITS 15 15 15 15 15 15
50 Upon completion of the above 90 credit units, student is eligible to apply for the Associate of Arts in Performance (Bass)

 ASSOCIATE OF ARTS IN PERFORMANCE (Bass)
DEGREE REQUIREMENTS
The following course requirements must all be satisfactorily completed in order
to qualify for the Associate of Arts in Performance (Bass).
All course descriptions include course number, title, number of credits per quar-
ter, prerequisites (where applicable), description of content, and contact hours
per week.
PERFORMANCE
T010a.b., T120a.b., T210a.b. Private Lesson IA-IIIB (2)
Twelve credit units required. See General Requirements for course description.
E020a.b., E120a.b., E210a.b. Live Playing Workshops IA-IIIB (1)
Six credit units required. See General Requirements for course description.
B011a.b. Playing Techniques IA-IB (1.5)
IA covers techniques for finger style bass playing, including correct posture,
hand positioning, finger independence, picking, and muting. IB covers tech-
niques for slap-style bass playing including thumb/pluck technique, muting, ar-
ticulation and rhythmic variations and embellishment. All techniques are trained
through extensive exercises. One lecture hour plus one lab hour per week for
two quarters. M142Ba.b. Reading IIA-IIB (1.5)
B112a.b. Playing Techniques IIA-IIB (1.5)
Prerequisite: B011b Playing Techniques IB. Class applies the techniques devel-
oped in Playing Techniques IA-IB to fundamental styles and grooves including
straight eighth-note rock, straight and swing sixteenth-note funk, shuffles, 3/4
and 4/4-meter swing, and odd meters. One lecture hour plus one lab hour per
week for two quarters.
B211a.b. Playing Techniques IIIA-IIIB (1.5)
Prerequisite: B112b Playing Techniques IIB. Course applies both finger and slap
style electric bass techniques to a variety of contemporary grooves including
Latin, jazz, odd-meter, funk, swing, shuffles, hip-hop and others. One lecture
hour and one lab hour per week for two quarters.
B021a.b. Fretboard Basics IA-IB (1.5)
Trains students to break the diatonic scale into smaller components (modal pat-
terns, intervals and triads) and directly relate this information to the electric bass
fretboard. One lecture hour plus one lab hour per week for two quarters.
B122a.b. Fretboard Basics IIA-IIB (1.5)
Prerequisite: B021b Fretboard Basics IB. Course expands diatonic harmonic com-
ponents to a wider range of notes, neck area, fingerings and hand positions. In
IIA, simple intervals, diatonic triads and seventh chords including inversions are
explored over the entire length of the neck. In IIB, fingerings are expanded to cover
chromatic harmony. One lecture hour plus one lab hour per week for two quarters.
B221a.b. Fretboard Improvisation IA-IB (1.5)
Prerequisite: B122b Fretboard Basics IIB. IA concentrates on the study of
modes and modal playing, major II-V-I’s and building a melodic vocabulary through
the analysis of solos by Miles Davis, Sonny Rollins and Cannonball Adderly. IB in-
cludes a concentrated study of minor tonality, soloing over static dominant chords
and continued development of a melodic vocabulary through the analysis of solos.
One lecture hour plus one lab hour per week for two quarters.
M041Ba.b. Reading IA-IB (1.5)
Introduces the novice reader to the basic elements of music reading in the bass
clef including rhythmic subdivisions and pitch identification. Students perform
in solo and ensemble settings. One lecture hour plus one lab hour per week for 51
two quarters.
Prerequisite: M041b Reading IB. Class covers advanced levels of chart reading
through the extensive use of detailed transcriptions in a wide range of styles
including rock, funk, pop and contemporary instrumental. Concentration is on
rhythmic accuracy, pitch recognition and song form. One lecture hour plus one
lab hour per week for two quarters.
M241Ba.b. Reading IIIA-IIIB (1.5)
Prerequisite: M142b Reading IIB. Students learn contemporary chart reading
skills through the extensive use of transcriptions. Focus is placed on sight-read-
ing, pitch and rhythm pattern recognition, position playing and creating a cohe-
sive sound. One lecture hour plus one lab hour per week for two quarters.
E01a.b. Rhythm Section Workshop IA-IB (1.5)
An introduction to ensemble performance with concentration on listening, dy-
namics, awareness of song form, and basic chart reading as well as practi-
cal performing techniques such as giving and following cues, instrument setup,
sound, and stage presence. Students perform each week and develop funda-
mental technical approaches to a variety of popular styles while gaining live
experience. Two lecture-ensemble hours per week for two quarters.
 ASSOCIATE OF ARTS IN PERFORMANCE (Bass)
E02a.b. Rhythm Section Workshop IIA-IIB (1.5)
Prerequisite: E01b RSW IB. Emphasizes the fundamental rhythm section tex-
tures of various popular styles and the skills necessary for playing them. Con-
centration on handling variations in typical song form, improving chart reading
skills, and taking a leadership role within the group. Two lecture-ensemble hours
per week for two quarters.
B250a.b. Bass Studio Recording IA-IB (2)
Prerequisite: B112b Playing Techniques IIB. Development of the bassist
as a studio musician in the digital recording environment. Students create and
record bass lines for prerecorded curriculum-related tracks under the direction
of a bass instructor-producer. As a final project, students compile a CD of their
recorded performances to use as a demo of their playing abilities. One private
recording session hour per week for two quarters.
MUSICIANSHIP
M021a.b.,M122a.b. Harmony and Theory IA–IIB (1.5)
Six credit units required. See General Requirements for course description.
52
M022a.b.,M132a.b.,M231a.b. Ear Training IA–IIIB (1.5)
Nine credit units required. See General Requirements for course description.
ELECTIVES
Bass students may fulfill their elective credit requirements by choosing from
program-specific electives, general electives, or entry-level electives offered by
other programs; see course offerings for options.
ENTRY-LEVEL ELECTIVES
B074 Melodic Duets for Electric Bass (1)
An in-depth reading class for bassists which focuses on performing melodic
lines in the context of classical and jazz duets. One lecture/lab hour per week
for one quarter.
B075 Rhythm Reading Workout (1)
Taught by a drum instructor, this course trains bassists in the same methods of
counting and subdividing meter and rhythm used by professional drummers. Top-
ics include time signatures, beat subdivision, note value relationships, cut-time
meter, swing interpretation and more. One lecture hour per week for one quarter.
B076 Metal Basslines (1)
An examination of the history and evolution of heavy metal basslines. Specific
techniques and styles are studied through extensive transcriptions and written
examples. One lecture hour per week for one quarter.
B077 Progressive Rock Bass (1)
A detailed study of the Progressive Rock style including techniques, scale pat-
terns, time signatures, and basslines. Includes analysis of prog-rock sub-genres
and bands. One lecture hour per week for one quarter.
B111 Music Minus One for Bass (1)
A unique performance class based on reading charts and playing along with
professional MIDI sequences in a variety of styles including rock, funk, blues
and country. One lecture-ensemble hour per week for one quarter. Repeatable
for credit.
B166 R&B/Funk Bass (1)
Class is designed to expose bassists to classic R&B and funk styles through the
extensive use of detailed transcriptions including Stax, Motown, Earth, Wind and
Fire, Tower Of Power and other influential songs, players and styles. One lecture
hour per week for one quarter.
B167 Walking Basslines (1)
Designed to help the bassist construct and connect walking bass lines through
various chord changes and forms. One lecture hour per week for one quarter.
B170 Blues Bass (1)
Class focuses on standard blues progressions, rhythmic interpretation and pen-
tatonic scale construction. Specific topics include 12-bar and 8-bar form, minor
blues, straight and swing eighth note interpretation, and application of major and
minor pentatonic scales as well as standard blues bass patterns, improvised
basslines and fills. One hour per week for one quarter.
B071 20th Century Jazz Bass I (1)
Traces the evolution of the jazz rhythm section, in particular the evolution of
basslines, from the time of Louis Armstrong through Bill Evans and Brad Mehl-
dau. One lecture hour per week for one quarter.
B072 20th Century Jazz Bass II (1)
A continuation of B071 (the courses may be taken in any order). One lecture
hour per week for one quarter.
 ASSOCIATE OF ARTS IN PERFORMANCE (Bass)
B174 Jaco Pastorius Basslines (1)
This elective focuses on the structural, theoretical, technical and harmonic as-
pects of classic recordings and basslines from one of the most influential bass
guitarists in the history of contemporary music. The in-depth analysis of Jaco’s
work will include examples from his original compositions as well as his work
with Weather Report, Joni Mitchell, Pat Metheny and others. One lecture hour
per week for one quarter.
B176 Les Claypool Basslines (1)
Class explores the basslines of Les Claypool in the context of Primus repertoire
through transcriptions, analysis and performance. One hour per week for one quarter.
B179 Red Hot Chili Peppers Basslines (1)
Class explores the basslines of Flea in the context of Red Hot Chili Peppers
repertoire through transcriptions, analysis and performance. One hour per week
for one quarter.
B301 Beatles Basslines (1)
Class explores the bass lines of Paul McCartney in the context of Beatles rep-
ertoire through transcriptions, analysis and performance. One hour per week for
one quarter.
BASS-SPECIFIC ELECTIVES (available only to bass majors)
B163 Slap Bass (1)
This hands-on workshop is designed to enhance slap technique and groove.
Songs, exercises and grooves in a variety of musical styles are used to develop
thumb strength, slap syncopation, rhythm, phrasing, ad-lib and funk licks, solo-
ing, and shuffle, swing and funk grooves. Performances are followed by critique
and discussion. One lecture hour per week for one quarter.
B165 Jazz Bass (1)
An introduction to the fundamentals of walking basslines including 4/4 and 3/4
meter, ballads and variations on standard patterns. One lecture/lab hour per
week for one quarter.
B173 Bass and Drum Workshop (1)
Performance workshop for bassists and drummers that takes an in-depth look at
the musical dependency between the two instruments and the effect that it has
on the groove. Particular attention is given to the intertwining of bass and drum
parts and solidifying the groove. Two hours per week for one quarter; repeatable
for credit.
B175 Afro-Cuban Bass (1)
Explores different styles of Afro-Cuban music including Bolero, Cha-Cha, Mam-
bo, Songo, Naningo and Merengue. Students apply rhythms to standard Latin
tunes during class performances. One hour per week for one quarter.
B180 Bass Gym (1)
Prerequisite: B011a Playing Techniques IA. This is a drill class based on exer-
cises from Playing Techniques I. Exercises will be performed with a metronome;
the focus is on tone and endurance. One lab hour per week for one quarter.
B205 Fretless Bass (1)
Concepts such as intonation and vibrato are discussed along with analysis of
transcriptions of fretless bass masters including Jaco Pastorius, Pino Palladino
and Mick Karn. One hour per week for one quarter.
B302 Brazilian Bass (1)
Explores different styles of Brazilian music including Bossa Nova, Samba, Parti-
do Alto and Baian. Students apply rhythms to standard Latin tunes during class
performances. One hour per week for one quarter. 53
B377 James Brown Rhythm Section (1)
Performance workshop for bassists and drummers utilizing detailed transcrip-
tions from the book, “The Funkmasters: the Great James Brown Rhythm Sec-
tions 1960-1973”. Students will perform the bass lines and grooves in class with
drummers. One hour per week for one quarter.
ADVANCED ELECTIVES (see course descriptions for prerequisites)
B177 Modal Improvisation (1)
Prerequisite: B021b Fretboard Basics IB. Students learn to analyze scale choic-
es for eight standard chord types and play smoothly through various types of
chord progressions. One lecture hour per week for one quarter.
B171 Private Upright Lessons (1)
Prerequisite: instructor approval. Weekly private lessons on the upright bass.
One half-hour per week for one quarter. Repeatable for credit.
 ASSOCIATE OF ARTS IN PERFORMANCE (Bass)
B256 Contemporary Improvisation (1)
Prerequisite: B021b Fretboard Basics IB. An in-depth analysis of diatonic and
chromatic passing notes used to create basslines and solos over standard chord
progressions. Class will learn to create linear basslines and solos utilizing these
concepts over diatonic and non-diatonic chord progressions with applications to
4, 5 and 6-string electric bass. One lecture hour per week for one quarter.

B300 Advanced Bass RSW (1)

Prerequisite: M041Bb Reading IB, B011b Playing Techniques IB. For the ad-
vanced bassist, this workshop uses original compositions to explore the intricate
technical possibilities of the instrument in a group setting with a concentration
on the groove. One hour per week for one quarter. Repeatable for credit.

B310 Advanced Bass RSW II (1)

Prerequisites: M041Bb Music Reading IB, B011b Playing Techniques IB. A con-
tinuation of B300 (the courses may be taken in any order). One lecture hour per
week for one quarter.

54 B304 Motown Bass (1)

Prerequisites: M041b Reading IB. Class studies the work of legendary bass-
ist James Jamerson using transcriptions taken from the book “Standing in the
Shadows of Motown”. Students perform examples in class with play-along
tracks. One hour per week for one quarter.

B305 Motown Bass II (1)

Prerequisite: M041Bb Music Reading IB. A continuation of B304 (the courses
may be taken in any order). One lecture hour per week for one quarter.

B333 Led Zeppelin Basslines (1)

Prerequisite: M041Bb Reading IB. Class explores the bass lines of John Paul
Jones in the context of the Led Zeppelin repertoire. Extensive and detailed tran-
scriptions, performance and analysis. One hour per week for one quarter.
 ASSOCIATE OF ARTS IN PERFORMANCE (Guitar)

Quarter 1 Quarter 2 Quarter 3 Quarter 4 Quarter 5 Quarter 6

course/credits course/credits course/credits course/credits course/credits course/credits
major area 55.5 credits

private lesson T010a 2 T010b 2 T120a 2 T120b 2 T210a 2 T210b 2

live playing workshops E020a 1 E020b 1 E120a 1 E120b 1 E210a 1 E210b 1
single string improvisation G011a 1.5 G011b 1.5 G112a 1.5 G112b 1.5 G211a 1.5 G211b 1.5
rhythm guitar G021a 1.5 G021b 1.5 G122a 1.5 G1122b 1.5 G221a 1.5 G221b 1.5
rhythm section workshop E01a 1.5 E01b 1.5 E02a 1.5 E02b 1.5 E03a 1.5 E03b 1.5
reading M041Ga 1.5 M041Gb 1.5 M142Ga 1.5 M142Gb 1.5 M241Ga 1.5 M241Gb 1.5
guitar studio recording G251 1.5
musicianship 16.5 credits
harmony & theory M021a 1.5 M021b 1.5 M122a 1.5 M122b 1.5 M221 1.5
ear training M022a 1.5 M022b 1.5 M132a 1.5 M132b 1.5 M231a 1.5 M231b 1.5
electives 18 credits
various 3 3 3 3 3 3
TOTAL 90 CREDITS 15 15 15 15 15 15
Upon completion of the above 90 credit units, student is eligible to apply for the Associate of Arts in Performance (Guitar)
55
 ASSOCIATE OF ARTS IN PERFORMANCE (Guitar)
DEGREE REQUIREMENTS
The following course requirements must all be satisfactorily completed in order
to qualify for the Associate of Arts in Performance (Guitar).
All course descriptions include course number, title, number of credits per quar-
ter, prerequisites (where applicable), description of content, and contact hours
per week.
PERFORMANCE
T010a.b., T120a.b., T210a.b. Private Lesson IA-IIIB (2)
Twelve credit units required. See General Requirements for course description.
E020a.b., E120a.b., E210a.b. Live Playing Workshops IA-IIIB (1)
Six credit units required. See General Requirements for course description.
G011a.b. Single String Improvisation IA-IB (1.5)
An introduction to the fundamentals of electric guitar playing including various
picking styles and performance techniques. The development of an organized
56 approach to the neck is stressed through the application of major and minor dia-
tonic and pentatonic scales and triad arpeggios in a variety of keys and patterns.
Improvisation in major and minor tonalities is introduced, including aspects of
melodic construction and rhythmic phrasing. One lecture hour plus one lab hour
per week for two quarters.
G112a.b. Single String Improvisation IIA-IIB (1.5)
Prerequisite: G011b Single String Improvisation IB. Begins with an exploration
of “blues tonality”, including the mastery and usage of blues, Dorian, and Mix-
olydian scales over dominant seventh harmonies. Diatonic seventh arpeggios
and their applications are covered along with alternate major and minor-tonality
scales, culminating in the development of diatonic key-center improvisation. One
lecture hour plus one lab hour per week for two quarters.
G211a.b. Single String Improvisation IIIA-IIIB (1.5)
Prerequisite: G112b Single String Improvisation IIB. Chromatic variations on
key-center improvisation are introduced, including modal interchange and sec-
ondary dominants. Symmetrical scales, including chromatic, diminished, and
whole-tone, are introduced and applied. Other topics include analysis of and
improvisation over non-root position chords and the development of the “chord/
scale” concept of improvising. One lecture hour plus one lab hour per week for
two quarters.
G021a.b. Rhythm Guitar IA-IB (1.5)
An introduction to harmony as it is applied to the guitar fingerboard. Students
learn to organize the neck into patterns and develop the ability to construct
chords on the spot. Major, minor, and dominant-seventh quality chords are
taught in open and movable shapes and applied to everyday rhythms and chord
progressions. Rhythm techniques concentrate on developing steady time and
learning typical strumming patterns and other accompaniment textures. One
lecture hour plus one lab hour per week for two quarters.
G122a.b. Rhythm Guitar IIA-IIB (1.5)
Prerequisite: G021b Rhythm Guitar IB. Development of chord construction skills
based on the five major scale fingering patterns, including the theory and ap-
plication of harmonized major scales. Introduces syncopated eighth-note rhythm
figures using different harmonic textures from full chords to single-note accom-
paniment. Easy and moderate chord transposition is also covered. One lecture
hour plus one lab hour per week for two quarters.
G221a.b. Rhythm Guitar IIIA-IIIB (1.5)
Prerequisite: G122b Rhythm Guitar IIB. This course is designed around writing
and performing rhythm guitar parts in a variety of styles. Concepts introduced
include voice leading on the fingerboard and the use of sixteenth note and triplet
syncopation. The ability to improvise and apply appropriate rhythm parts in con-
text will be stressed through classroom performance. Moderate to difficult chord
transposition is also covered. One lecture hour plus one lab hour per week for
two quarters.
E01a.b. Rhythm Section Workshop IA-IB (1.5)
An introduction to ensemble performance. Concentration is placed on listening,
dynamics, awareness of song form, and basic chart reading as well as practi-
cal performing techniques such as giving and following cues, instrument setup,
sound, and stage presence. Students perform each week and develop funda-
mental technical approaches to a variety of popular styles while gaining live
experience. Two lecture/ensemble hours per week for two quarters.
E02a.b. Rhythm Section Workshop IIA-IIB (1.5)
Prerequisite: E01b Rhythm Section Workshop IB. Ensemble performance em-
phasizing the fundamental rhythm section textures of various popular styles and
the skills necessary for playing them. Emphasis is also placed on handling varia-
tions in typical song form, improving chart reading skills, and taking a leadership
role within the group. Two lecture/ensemble hours per week for two quarters.
 ASSOCIATE OF ARTS IN PERFORMANCE (Guitar)
E03a.b. Rhythm Section Workshop IIIA-IIIB (1.5)
Prerequisite:E02b Rhythm Section Workshop IIB. Ensemble Performance with
an emphasis on popular song styles. Students play pre-composed melodies
over charts including both key center harmonies and chromatic variations. A
final project culminates in a concert performance. One lecture/ensemble hour
per week for two quarters plus final project/performance.
M041Ga.b. Reading IA-IB (1.5)
Develops the fundamentals of music reading centered around the middle of the
neck. Includes counting and reading basic rhythmic figures and rests, sharp and
flat key signatures and non-diatonic notes. Also includes fundamentals of chart
reading and transposing to concert pitch (reading an octave higher than written).
One lecture hour plus one lab hour per week for two quarters.
M142Ga.b. Reading IIA-IIB (1.5)
Prerequisite: M041Gb Reading IB. Class covers reading on the lower and upper
part of the neck. Learn to read and count “cut time”, 3/4 meter and syncopated
rhythmic figures. Continue chromatic studies in the fifth position, transposing to
concert pitch and chart reading, with a stronger emphasis on ensemble reading
performance. One lecture hour plus one lab hour per week for two quarters.
M241Ga.b. Reading IIIA-IIIB (1.5)
Prerequisite: M142Gb Reading IIB. Learn to count and read in odd meters and
changing meters. Class covers reading up and down string sets, melodies with
a range outside a single position, position shifting, interpretation and developing
sightreading techniques. One lecture hour plus one lab hour per week for two
quarters.
G251 Guitar Studio Recording (1.5)
Prerequisites: G112b Single String Improvisation IIB. Course provides individu-
alized recording session experience in a professional project studio. Students
complete a 2-3 song demo CD under the guidance of a guitar instructor-pro-
ducer, creating and recording rhythm patterns, fills and solos over prerecorded
rhythm tracks. One session hour per week for one quarter plus final project.
MUSICIANSHIP
M021a.b.,M122a.b.,M221 Harmony and Theory IA – III (1.5)
Seven and one-half credit units required. See General Requirements for course
description.
M022a.b.,M132a.b.,M231a.b. Ear Training IA – IIIB (1.5)
Nine credit units required. See General Requirements for course description.
ELECTIVES
Guitar students may fulfill their elective credit requirements by choosing from
program-specific electives, general electives, or entry-level electives offered by
other programs; see course offerings for options.
ENTRY-LEVEL ELECTIVES
G155 Jazz Listening (1)
Course covers a wide range of jazz styles and history. Using video and audio ex-
cerpts, the works of Charlie Parker, Wes Montgomery, John Coltrane and many oth-
er important jazz figures are explored. One lecture hour per week for one quarter.
G158 Blues Listening (1)
Nearly every current electric guitar style has its roots in blues, and this course
is designed to expose guitarists to the most influential players in the develop-
ment of modern electric styles and techniques. Recordings by players including
T-Bone Walker and the “Three Kings” (BB, Albert and Freddie) among others 57
will be discussed and analyzed and their influence will be traced through later
generations of players. One lecture hour per week for one quarter.
G165 Classical Guitar (1)
Learn the fundamental right hand classical guitar techniques for arpeggios,
scales, tremolo, harmonics, and rasquedo and apply them to classical guitar
literature. One lecture hour per week for one quarter.
G173 Guitar Maintenance and Repair (1)
Learn techniques of guitar setup including truss-rod, action, and intonation ad-
justment. Also covered are basic guitar electronics as well as finish maintenance
and various other instrument needs. One hour lecture per week for one quarter.
GUITAR-SPECIFIC ELECTIVES (available only to guitar majors)
M050 Reading Boot Camp (Slow Lane) (1)
Prerequisite: M041Ga Music Reading IA. Each week will focus on the most im-
portant aspects of each chapter in the regular Music Reading curriculum. Em-
phasis will be placed on reading and counting rhythms, learning the notes on the
fingerboard and reading melodies in different positions on the fingerboard. One
lecture hour per week for one quarter.
 ASSOCIATE OF ARTS IN PERFORMANCE (Guitar)
M051 Reading Boot Camp (Fast Lane) (1)
Prerequisite: M142b Music Reading IIB. Provides in-depth review of reading
skills based on Music Reading curriculum. Students that have trouble with the
core reading course will find an outlet to develop reading skills and bring their
individual levels up to (and beyond) the standards of the Guitar Music Reading
core class. The final quiz will be a mock retest of the actual Music Reading final
exam. One lecture hour per week for one quarter.
G070 Rumba Workout (1)
This course focuses on the picking-hand rhythms of the Rumba and other Latin
guitar grooves to generate a rhythm guitar-intensive workout experience. One
lecture hour per week for one quarter.
M072 Guitar/Vocal Accompaniment (1)
Learn to accompany your own vocals on guitar with practical techniques and
rhythm patterns and exercises based on song excerpts common to styles in-
cluding pop, rock, folk, country, and alternative. One lecture hour per week for
one quarter.
58
G153 Slide Guitar (1)
Learn the fundamentals of slide guitar and its application to various styles. Top-
ics include achieving proper touch and good tone, essential rock and blues vo-
cabulary, open tunings and more. One lecture hour for one quarter.
G156 Metal Guitar (1.5)
This class analyzes and examines the role of the guitar in Metal’s heaviest and
most successful bands throughout the 80’s & 90’s, including Metallica, Slayer,
Pantera and Megadeth. The curriculum will break down each riff and solo, laying
the groundwork for proper Rock/Metal technique while also providing historical
perspective. One lecture hour and one lab hour per week for one quarter; each
student is required to perform in class three times.
G157 Applied Metal Guitar (1.5)
An examination of Metal bands and guitar styles with an emphasis on harmonic
analysis and applied Metal techniques. Students learn solos riff-by-riff as they
develop advanced Rock/Metal techniques. One lecture hour and one lab hour
per week for one quarter; each student is required to perform (3) times.
G159 Guitar EFX (1)
An overview of the most popular guitar effect devices. Gain and tone shaping,
modulation, delay and reverb are covered through audio examples and live dem-
onstrations. Additional topics include building your own pedal board, guitar synthe-
sizers and using effects loops. One lecture hour per week for one quarter.
G160 Acoustic Guitar (1)
Class covers the basic techniques of popular acoustic guitar playing from use of
a flatpick to fingerpicking. One lecture hour per week for one quarter.
G164 Guitar Heroes of the ‘60s and ‘70s (1.5)
Analysis of the classic rock solos of Chuck Berry, Jimi Hendrix, Jimmy Page,
Eric Clapton, Jeff Beck, David Gilmore, Carlos Santana, Joe Walsh, Don Felder,
and Billy Gibbons. Objective is to expand your own vocabulary by understanding
how the great solos were put together and played. One lecture hour per week
plus one lab hour for one quarter.
G168 Acid Jazz Guitar I (1)
Students study the instrumental-funk style of Maceo Parker, Ronny Jordan, Gray
Boy All Stars etc. Emphasis will be on rhythm guitar playing, rhythmic soloing
and chart reading. Some weekly preparation work is required. Two workshop
hours per week for one quarter.
G170 Blues Guitar (1.5)
Covers the fundamentals of the blues style, including rhythm techniques for
shuffles, slow blues, jump blues and other blues-related rhythms as well as such
soloing concepts as chord/scale relationships and stylistic phrasing. Traditional
techniques include slide guitar and finger style blues. One hour lecture plus one
lab hour per week for one quarter.
G171 Twang Guitar (1)
Explore classic guitar instrumentals in the “surf/spy” genre. Students learn clas-
sic songs by groups including the Ventures, Duane Eddy and Dick Dale and
perform them with a rhythm section. One half-hour lecture and one-and-one-half
hour lab per week for one quarter.
G176 Guitar Workout (1)
This class offers a one-hour weekly “training session” that exposes guitarists to
exercises, licks and concepts that can be adapted and added to their personal
practice routines. One lecture/workshop hour per week for one quarter.
G184 Alternative Guitar Heroes (1.5)
Analysis and performance of contemporary rock guitar solos, including those of
Kurt Cobain, Jerry Cantrell, Tom Morello, Billy Corgan, Kim Thayil, John Frusci-
 ASSOCIATE OF ARTS IN PERFORMANCE (Guitar)
ante, Dave Navarro, the Edge, and Lenny Kravitz. One lecture hour and one lab
hour per week for one quarter.
G271 Playing Techniques for Guitar (1)
Students learn ideas and techniques from classical guitar tradition and apply
them to the electric guitar. One lecture hour per week for one quarter.
ADVANCED ELECTIVES (see course descriptions for prerequisites)
M051 Reading Boot Camp (Fast Lane) (1)
Prerequisite: M142b Music Reading IIB. Reinforces and expands reading skills
presented in the required Music Reading curriculum. Designed for students who
are having difficulty with reading and want additional structured coursework to
meet or exceed the required standards. Final quiz is based on actual Music
Reading final exam. One lecture hour per week for one quarter.
G133 Jazz Workshop I (1)
Prerequisite: M021b Harmony and Theory IB, G011b Single String Improvisa-
tion IB, G021b Rhythm Guitar IB. Class designed for the guitarist with little or
no jazz experience or the guitarist who would like to fill in the holes in his or
her jazz playing. Topics include playing through chord changes and developing
a vocabulary for standard jazz progressions. Also covers duo accompaniment
techniques i.e. walking bass lines with chords and bossa-nova bass with chords.
One lecture hour per week for one quarter.
G233 Jazz Workshop II (1)
Prerequisite M163 Jazz Workshop I. An in-depth study of the modes of melodic
minor and their application in jazz improvisation. Emphasis on developing lines
for standard jazz progressions. Also covered are practice techniques for jazz
development. One lecture hour per week for one quarter.
G141 Classical Guitar Ensemble (1)
Prerequisite: M041Gb Reading IB. In-depth development of small (four- and
five-part) electric guitar ensemble reading performance skills based on guitar
reading curriculum. Students refine and enhance all aspects of their musician-
ship in the context of guitar ensemble rehearsal and performance. Some sight
reading involved. One lecture-ensemble hour per week for one quarter.
G142 Pop Guitar Ensemble (1)
Prerequisite: M041Gb Reading IB. Provides in-depth development of small (4-
and 5-part) electric guitar ensemble reading skills utilizing pop music repertoire
as a basis. Students will be provided with the opportunity to refine and enhance
all aspects of their musicianship in the context of rehearsal and performance.
Some sight reading involved. One ensemble hour per week for one quarter.
G143 Jazz Guitar Ensemble (1)
Prerequisite: M041Gb Reading IB. Provides in-depth development of small (4-
and 5-part) electric guitar ensemble reading skills utilizing jazz repertoire as
a basis. Students will be provided with the opportunity to refine and enhance
all aspects of their musicianship in the context of rehearsal and performance.
Some sight reading involved. One ensemble hour per week for one quarter.
G144 Funk Guitar Ensemble (1)
Prerequisite: M142Gb Reading IIB. Provides in-depth development of small (4-
and 5-part) electric guitar ensemble reading skills utilizing funk repertoire as
a basis. Students will be provided with the opportunity to refine and enhance
all aspects of their musicianship in the context of rehearsal and performance.
Some sight reading involved. One ensemble hour per week for one quarter.
G152 Jimi Hendrix Rhythm Guitar (1)
Prerequisite: G021b Rhythm Guitar IB. Learn how to improvise rhythm parts in 59
the style of “Little Wing,” “Bold as Love,” and “Castles Made of Sand.” Develop
major and minor pentatonic double-stop vocabulary and learn to adapt Hendrix-
style rhythm fills to fit popular progressions or original songs. Techniques include
thumb-fretting, the “Hendrix Chord,” and funk-rock rhythms. One lecture hour
per week for one quarter.
G154 Shred Guitar (1)
Prerequisite: G112b Single String Technique IIB. Class focuses on improvisation
with advanced shred concepts and techniques including speed picking, sweep
picking, tapping, string skipping, as well as applying three- and four-note-per-
string scale patterns. One lecture hour per week for one quarter.
G161 Applied Rock Improvisation (1)
Prerequisite: G112bSingle String Improvisation IIB. Designed to help the student
become a better rock soloist by applying improvising techniques over different
rhythm tracks. This is a workshop class where students discuss each other’s so-
los as well as receiving instructor critique. One lecture/ensemble hour per week
for one quarter. May be repeated for credit.
G162 Applied Technique (1)
Prerequisite: G011b Single String Improvisation IB. Guitar course designed to
increase playing speed through chord changes over the entire fretboard and
 ASSOCIATE OF ARTS IN PERFORMANCE (Guitar)
combine all the techniques learned in Single String Improvisation classes. One
lecture hour per week for one quarter. May be repeated for credit
G163 Chord Melody I (1)
Prerequisite: G122b Rhythm Guitar IIB. An introduction to the art of orchestrat-
ing melody, chords and bass lines on the guitar neck. Lead sheet interpretation
and jazz improvisation techniques are also covered. One lecture hour per week
for one quarter.
G263 Chord Melody II (1)
Prerequisite G163 Chord Melody I. The application of chord melody techniques
taught in Chord Melody I. Emphasis is on incorporating techniques and develop-
ing repertoire. One lecture hour per week for one quarter.
G166 Eclectic Electric Guitar (1.5)
Prerequisite: G170 Blues Guitar, G011b Single String Improvisation IB. Learn to
play lines and solos in the style of Larry Carlton, Robben Ford, Lee Ritenour and
others. One lecture hour and one lab hour per week for one quarter.
60
G167 Country Guitar (1.5)
Prerequisite: G011b Single String Improvisation IB, G021b Rhythm Guitar IB.
Learn typical progressions involving rhythm guitar and soloing techniques appli-
cable to contemporary country music. Begins with the essentials and moves into
specialized techniques, including banjo rolls, open-string licks and pedal steel
effects. One lecture hour and one lab hour per week for one quarter.
G169 Jazz Guitar I (1.5)
Prerequisite: G112b Single String Improvisation IIB, G122b Rhythm Guitar IIB.
Class covers the vocabulary used in jazz improvisation, including use of scales,
modes, idioms, and typical bebop phrases One lecture hour and one lab hour
per week for one quarter.
G269 Jazz Guitar II (1.5)
Prerequisite: G169 Jazz Guitar I. Class explores inside and outside playing,
symmetrical scales, polychords, and pentatonics as tools for jazz guitar improvi-
sation. One lecture hour and lab one hour per week for one quarter.
G240 Basic Professional Studio Skills (2)
Prerequisite: G112b Single String Improvisation IIB. This hands-on course will
focus on learning basic studio survival skills applicable to all styles from a ses-
sion guitarist’s perspective. In one-on-one recording sessions with a profession-
al guitarist/instructor, students record in a variety of popular music styles while
learning how to create parts and understand different recording techniques re-
lated to the guitar. One private session hour per week for one quarter.
G172 Fusion Masters (1.5)
Prerequisites: G112a Single String Improvisation IIA, G122a Rhythm Guitar IIA,
M142Ga Reading IIA. Class covers intermediate-to-advanced topics in fusion
performance and their application to the guitar including chord voicings, rehar-
monization, transcription, and improvising over changes. One lecture hour and
one lab hour per week for one quarter.
G174 Guitar Heroes of the ‘80s (1.5)
Prerequisite: G011b Single String Improvisation IB. Analyze and perform the so-
los of modern rock players such as Eddie Van Halen, Steve Vai, Randy Rhoads,
Nuno Bettencourt, John Pettrucci, Marty Freidman, and Yngwie Malmsteen as
a way of improving rock soloing skills. One lecture hour and one lab hour per
week for one quarter.
G175 Melodic Soloing (1)
Prerequisite: G011b Single String Improvisation IB. Students solo over basic-to-
complex chord progressions with emphasis on the elements of melodic playing,
including chord tones, phrasing, sound and technique. Includes rhythm section
accompaniment and critiqued performances. One lecture/workshop hour per
week for one quarter.
G250 Recording Guitar (1)
Prerequisite: G011b Single String Improvisation IB. Combining the art of guitar
playing with the skills of engineering, this class is a must for the studio-minded
guitar player. Includes topics such as signal flow, microphone selection and
placement, EQ, dynamic processing and effects. Learn techniques used to cap-
ture and define the tone of some of the world’s greatest guitar players. One
lecture hour per week for one quarter. Enrollment limited to 10 students.
G266 Advanced Electric Guitar Styles (1.5)
Prerequisite: G112b Single String Improvisation IIB. This class will show you
how to make the leap into becoming a truly professional guitarist. Discussions
and demonstrations will explore improvising and composing guitar parts and so-
los in both live and studio situations. Different schools of rhythm guitar, prepar-
ing your instruments for the studio, effects and tone, live playing, and employ-
ment strategies will also be covered. Students study actual charts from recent
TV dates, film scores, and CDs and learn what it takes to “make it” playing in
arenas and studios. Two lecture/lab hours per week for one quarter.
 ASSOCIATE OF ARTS IN PERFORMANCE (Guitar)
G268 Acid Jazz Guitar II (1)
Prerequisites: G168 Acid Jazz Guitar I or G011b Single String Improvisation
IB. Continuation of Acid Jazz Guitar I. Some weekly preparation work required.
(Students will be given charts and CD to prepare for the class) Two workshop
hours per week for one quarter.
G270 Blues Guitar II (1.5)
Prerequisites: G112A Single String Improvisation IIA, G170 Blues Guitar. This
course explores expanded jazz-blues harmony, soloing techniques, and the re-
lationship between blues and other musical styles including jazz, rock and roll
and R&B. Students gain a deeper understanding and appreciation of the blues
tradition and related technical skills. One lecture hour and one lab hour per week
for one quarter.
G273 Rock Rhythm Guitar (1.5)
Prerequisite: G021b Rhythm Guitar IB. Learn the application of chord tech-
niques to today’s rock styles. Includes specific contemporary examples. One
lecture hour and one lab hour per week for one quarter.
G272 Rock Lead Guitar (1)
Prerequisite: G011b Single String Improvisation IB. Class covers the melodic
application of techniques and concepts taught in core classes to rock guitar
styles. Includes hammer-ons, pull-offs, string bending, two-handed fretting tech-
niques and other stylistic nuances of rock soloing. One lecture hour per week
for one quarter.
G275 Afro-Cuban Guitar (1)
Prerequisite: G021b Rhythm Guitar IB. An introduction to the role of the guitar
in the Afro-Cuban rhythm section, including how to create authentic-sounding
parts. One lecture hour per week for one quarter.
G301 Brazilian Guitar (1)
Prerequisite: G021b Rhythm Guitar IB. An introduction to the role of the guitar
in the Brazilian rhythm section, including Bossa Nova and Samba, and how to
create authentic sounding parts. One lecture hour per week for one quarter.
G302 Funk Guitar (1.5)
Prerequisite: G021b Rhythm Guitar IB, G011b Single String Improvisation IB.
Master the art of the groove! This class covers all the essential techniques of
funk rhythm guitar from the fundamentals to more advanced concepts and pro-
vides the tools to improve overall rhythm skills. The curriculum is based on tra-
ditional funk, inspired by artists such as James Brown, Earth, Wind & Fire and
Prince. One lecture plus one lab hour per week for one quarter.
G304 Advanced Groove Concepts (1.5)
Prerequisite: G021b Rhythm Guitar IB, G011b Single String Improvisation IB.
This course covers both technical and practical approaches to groove-based
styles. Techniques of time discipline, odd-meter studies and playing over shifts
in feel and meter will be explored. Stylistic studies include early R&B, Motown,
Reggae, contemporary African styles and New Orleans grooves. One lecture
hour and one lab hour per week for one quarter.
G306 Developing the Art of Two-Line Improvisation (1)
Prerequisite: G112B Single String Improvisation IIB. Taught by master guitarist
Jimmy Wyble, this course is a step-by-step introduction and development of 61
the harmonic awareness, right and left hand techniques and intervallic designs
necessary for contrapuntal improvisation. Emphasis is placed on construction of
intervals, chord structures, developing vocabulary and phrases that exemplify
two-line artistry. Two lecture hours per week for one quarter.
 ASSOCIATE OF ARTS IN PERFORMANCE (Keyboard Technology)

Quarter 1 Quarter 2 Quarter 3 Quarter 4 Quarter 5 Quarter 6

course/credits course/credits course/credits course/credits course/credits course/credits
major area 65 credits
private lesson T010a 2 T010b 2 T120a 2 T120b 2 T210a 2 T210b 2
live playing workshops E020a 1 E020b 1 E120a 1 E120b 1 E210a 1 E210b 1
keyboard technique K011a 1 K011b 1 K112a 1 K112b 1
keyboard voicings K021a 1 K021b 1 K122a 1 K122b 1 K221a 1 K221b 1
groove K041a 1.5 K041b 1.5 K143a 1 K143b 1 K241a 1.5 K241b 1.5
keyboard improvisation K211a 1.5 K211b 1.5
musical director workshop K245a 2 K245b 2
reading M041Ka 1 M041Kb 1 M142Ka 1 M142Kb 1
digital music K031a 1.5 K031b 1.5 K131a 1.5 K131b 1.5 K231a 2 K231b 2
keyboard programming K042a 1 K042b 1 K164a 1 K164b 1 K263a 2 K263b 2
musicianship 12 credits
harmony & theory M021a 1.5 M021b 1.5 M122a 1.5 M122b 1.5
ear training M022a 1.5 M022b 1.5 M132a 1.5 M132b 1.5
electives 13 credits
62 various 2 2 2.5 2.5 2 2
TOTAL 90 CREDITS 15 15 15 15 15 15
Upon completion of the above 90 credit units, student is eligible to apply for the Associate of Arts in Performance (Keyboard Technology)

 ASSOCIATE OF ARTS IN PERFORMANCE (Keyboard Technology)
DEGREE REQUIREMENTS
The following course requirements must all be satisfactorily completed in order
to qualify for the Associate of Arts in Performance (Keyboard Technology).
All course descriptions include course number, title, number of credits per quarter,
prerequisites (where applicable), description of content, and contact hours per week.
PERFORMANCE
T010a.b., T120a.b., T210a.b. Private Lesson IA-IIIB (2)
Twelve credit units required. See General Requirements for course description.
E020a.b., E120a.b., E210a.b. Live Playing Workshops IA-IIIB (1)
Six credit units required. See General Requirements for course description.
K011a.b. Keyboard Technique IA-IB (1)
Covers exercises for the development of keyboard facility and precision control over
melodic components including scales, patterns, arpeggios, and intervals. Keyboard
Technique IB concentrates on hand independence, melodic phrasing, stamina, and
contemporary keyboard techniques. One lecture hour per week for two quarters.
K112a.b. Keyboard Technique IIA-IIB (1)
Prerequisite: K011b Keyboard Technique IB. A continuation of the techniques and con-
cepts of contemporary keyboard playing. One lecture hour per week for two quarters.
K021a.b. Keyboard Voicings IA-IB (1)
Fundamentals of chord construction, symbol recognition, and voice leading.
Course covers triads, slash chords, inversions, added-note chords, and diatonic
harmony. Weekly sightreading is used to reinforce performance. One lecture hour
per week for two quarters.
K122a.b. Keyboard Voicings IIA-IIB (1)
Prerequisite: K021b Keyboard Voicings IB. Covers seventh chord construction
and symbols with an emphasis on “rootless” voicings as well as exercises in dia-
tonic and chromatic chord movement and left hand accompaniment to melody
and improvisation. Stylistic etudes are used to reinforce performance. One lecture
hour per week for two quarters.
K221a.b. Keyboard Voicings IIIA-IIIB (1)
Prerequisite: K122b Keyboard Voicings IIB. Learn the concepts of chord-scale
harmony and apply them to the construction of voicings and chord progressions.
Students explore the techniques of “tension substitution” and use it to create voic-
ings while composing and performing their own progressions. One lecture hour
per week for two quarters.
K211a.b. Keyboard Improvisation (1.5)
Introduces blues tonality, 7th chord arpeggios, and improvising over all major and
minor tonalities utilizing a key center approach and variations. Students improvise
over simple blues and jazz progressions. One lecture hour and one lab hour per
week for two quarters.
K041a.b. Groove IA-IB (1.5)
Learn the basic role of the keyboard player in an ensemble with an emphasis on
time, tempo, and rhythmic feel in performance. Drills focus on rhythmic awareness
and consistency, playing against a steady pulse, and basic hand independence.
Groove IB concentrates on eighth note syncopation, playing with a drummer,
swing and straight feels. Two lecture/ensemble hours per week for two quarters.
K143a.b. Groove IIA-IIB (1)
Prerequisite: K041b Groove IB. Learn basic keyboard groove patterns in diverse
styles including rock, pop ballads, blues, country, bossa nova, salsa, reggae,
swing and other popular genres. One lecture hour per week for two quarters.
K241a.b. Groove IIIA-IIIB (1.5)
Prerequisite: K143b Groove IIB. An introduction to sixteenth-note syncopation
and its application to contemporary musical styles, with emphasis on bass lines,
comping and hand-against-hand rhythmic performance. Second half of the course
concentrates on stylistic rhythms, half- and double-time feels and two-keyboard
performance. Also covered are synth bass lines, brass parts and organ & clavinet 63
playing styles. Two lecture/ensemble hours per week for two quarters.
K245a.b. Musical Director Workshop (2)
Keyboard players make natural musical directors, a role that calls on a variety of
skills. This class will prepare students to direct other musicians in a professional
live setting while performing such typical MD tasks as creating intros and endings,
preparing basic slash charts, directing walk-ons and walk-offs, and vocal accom-
paniment. Two lecture hours per week for two quarters.
M041Ka.b. Reading IA-IB (1)
An introduction to the symbols used for notating melody, rhythm, and harmony.
Class covers clefs, grand staff, ledger lines, song form, and rhythmic syncopation.
One lecture hour per week for two quarters.
M142Ka.b. Reading IIA-IIB (1)
Prerequisite: M041Kb Reading IB. Class examines simple left-hand chord voic-
ings, rhythms involving switching from triplets to duplets and more complex mel-
ody lines with exercises drawn from contemporary styles. Students learn to read
two-stave arrangements with complex rhythms and harmony. One lecture hour
per week for two quarters.
K031a.b. Digital Music IA-IB (1.5)
Students are introduced to the use of digital audio technology as an integral tool
in the creation of keyboard-based recordings. Students learn intuitive setup pro-
 ASSOCIATE OF ARTS IN PERFORMANCE (Keyboard Technology)
cedures and use of keyboards as digital audio triggers using Logic software. Stu-
dents learn at individual workstations in small groups. One lecture hour and one
lab hour per week for two quarters.
K131a.b. Digital Music IIA-IIB (1.5)
Prerequisite: K031b Digital Music IB. Students learn sequencing as well as the use
of sound banks and digital effects using Logic as they complete practical, deadline-
oriented projects. One lecture hour and one lab hour per week for two quarters.
K231a.b. Digital Music IIIA-IIIB (2)
Prerequisite: K131b Digital Music IIB. Students apply advanced digital record-
ing skills culminating in the production of a personal Electronic Press Kit (EPK)
incorporating original music and video. The EPK is each student’s calling-card for
future professional employment. Two lecture hours per week for two quarters.
K042a.b. Keyboard Programming IA-IB: Basic Synthesis (1)
An introduction to the structure of an analog synthesizer. Includes essential concepts
of subtractive synthesis and synthesized sound production as well as components
from wave forms to filters and amplifiers. One lecture hour per week for two quarters.
64 K164a.b. Keyboard Programming IIA-IIB: Intro/Virtual Instruments (1)
Prerequisite: K042b Keyboard Programming IB. Composing and performing mu-
sic with computer-driven instruments. Using Logic Audio’s vast catalog of virtual
instruments, students will learn how to trigger and sequence sounds using their
own keyboard and groove skills. Includes advanced sequencing, editing and pro-
gramming of various instrument combinations in a variety of practical applications.
One lecture hour per week for two quarters.
K263a.b. Keyboard Programming IIIA-IIIB: Video Scoring (2)
Prerequisite: K164b Keyboard Programming IIB. Students learn to enhance the emotional
qualities of video images through the creation of musical background scores. Includes
both creative and technical aspects of scoring commercials, TV and film using Apple Logic
Pro digital recording software. Two lecture hours per week for two quarters.
MUSICIANSHIP
M021a.b.,M122a.b. Harmony and Theory IA – IIB (1.5)
Six credit units required. See General Requirements for course description.
M022a.b.,M132a.b. Ear Training IA – IIB (1.5)
Six credit units required. See General Requirements for course description.
ELECTIVES
Keyboard students may fulfill their elective credit requirements by choosing from
program-specific electives, general electives, or entry-level electives offered by
other programs; see course offerings for options.
ENTRY-LEVEL ELECTIVES
K006 Keyboard Fundamentals (1)
This class is designed to present “the basics” to self-taught keyboardists in a high-
ly efficient and fun environment. Class covers beginning music notation, chord
voicings, note values, time signatures, key signatures and more.
One lecture hour per week for one quarter.
K002 Digital Music Fundamentals (1)
Learn to manage your music career by harnessing the power of today’s technol-
ogy. Classes focus on computer basics, setting up documents and templates in
Word (including creating a bio and resume), learning to manage your business
with Excel spreadsheets, basic sequencing and recording techniques using Ga-
rage Band music production software, and creating professional-looking charts
with Sibelius music notation software. One lecture hour per week for one quarter.
K074 Hip-Hop Keyboards (1)
A technical, stylistic and historic look at Hip-Hop from the keyboard perspective.
Students analyze influential artists and styles, learn to compose genre-specific
grooves and melodic phrases, and use synthesizers and samplers to create clas-
sic and contemporary sounds. In-depth, hands-on instruction provides students
with a genuine Hip-Hop experience. One lecture hour per week for one quarter.
K175 Electronic Styles (1)
Prerequisites: K031a Digital Music 1A or Department Head approval. Learn the
stylistic embellishments and defining elements of electronic-based music and its
sub-genres such as acid, house, techno, drum and bass, hip hop, chill and more.
Concepts are reinforced through assigned projects and hands-on instruction. One
lecture hour per week for one quarter.
K162 Funk Keyboards (1)
Prerequisite: Department Head approval. Analysis of contemporary funk players
with an emphasis on understanding the subtle differences in their approach to
groove playing. Teaches the keyboardist two-handed rhythm parts common to
most funk music. One lecture hour per week for one quarter.
K163 R&B/Soul Keyboards (1)
Prerequisites: Department Head approval. Develop grooves, rhythms, and har-
monic structure of R&B/Soul keyboard arrangements from the “classic” era of the
‘60s and ‘70s. Also covers chord voicings, techniques, independence drills, and
sounds associated with the styles of masters such as Richard Tee, Billy Preston,
Earl Van Dyke etc. One lecture hour per week for one quarter.
K166 Rock Keyboards (1)
Learn classic and modern rock keyboard techniques as applied to performance
repertoire. One lecture hour per week for one quarter.
 ASSOCIATE OF ARTS IN PERFORMANCE (Keyboard Technology)
K165 Blues Keyboards (1)
Focuses on technique, groove, scales, and progressions used in authentic blues
and R&B playing. The class will trace the evolution of the blues through record-
ings and transcribed solos. One lecture hour per week for one quarter.
K172 Accompany Thyself (1)
Prerequisite: Department Head approval. This class is designed for singer/key-
board players who want to learn performing skills and keyboard arranging tech-
niques in order to improve the quality of their self-accompaniment. One lecture
hour per week for one quarter.
K108 Ableton Live (1)
Prerequisite: K031a Digital Music 1A or Department Head approval. Learn the
basic concepts and theory involved in using Ableton Live as a tool for creating,
producing and performing music. Students will learn to create a live set, record
and manipulate audio, edit and record MIDI, use softsynths and plug-ins, and
how to incorporate it all into spontaneous live performances. One lecture hour per
week for one quarter.
K171 Rhythm Programming (1)
Prerequisite: K031a Digital Music 1A or Department Head approval. Learn to cre-
ate, record and produce beats using the techniques, concepts and equipment
used by the pros. Course covers emulative vs. non-emulative programming, real-
time and step programming, sampling, “groove-boxes,” and various rhythm pro-
duction techniques. One lecture hour per week for one quarter.
K185 Keyboard Arranging for Songwriters (1)
Prerequisite: K021b Keyboard Voicings IB or Department Head approval. A compre-
hensive look at songwriting from a keyboardist’s perspective. Students learn about
song form, intros, endings, breakdowns, comping and rhythm patterns, adding dy-
namics, creating definitive chord progressions and more, with the objective of creating
three new performance-ready songs. One lecture hour per quarter for one quarter.
K107 Contemporary Music Notation, Take-downs and Charts (1)
Prerequisite: M021b Harmony and Theory 1B. This class focuses on the skills
necessary to create accurate professional music charts by combining ear-training
skills with standardized music notation rules. Concepts covered include road map
rules, chart layout, indicating drum and rhythm grooves, chord symbol variations
and transcribing rhythms. One lecture hour per week for one quarter.
KEYBOARD-SPECIFIC ELECTIVES (available only to keyboard majors)
K010 Keyboard Mastery (1)
Prerequisite: Department Head approval. Advanced keyboard techniques and
concepts from world-renowned jazz-fusion artist Russ Ferrante. Students work
closely with Mr. Ferrante on a range of topics from voicings to improvisation to ap-
plying the latest technology and receive critiques on performance of assigned rep-
ertoire. Five lesson hours per quarter for one quarter. May be repeated for credit.
K180 Logic Fastrack (1.5)
Designed for intermediate-to-advanced Logic users, this course focuses on fine-
tuning song projects to a professional level. One lecture hour and one lab hour per
week for one quarter. May be repeated for credit.
K252 Keyboard Kontrol (1)
Learn to add dynamics and style to bass lines, horn parts, synth leads and string ar-
rangements through the use of pitch bends, mod wheels, volume pedals and other
real-time keyboard controller techniques. One lecture hour per week for one quarter.
K173 Keyboard Accompaniment Styles (1)
Prerequisite: K021b Keyboard Voicings IB. Students develop a comprehensive
approach to accompanying singers and instrumentalists in all styles. Topics cov-
ered include comping rhythms, bass lines, fills, intros and endings, transposition
tricks, style interpretation, cueing, conducting and more. One lecture hour per
week for one quarter.
ADVANCED ELECTIVES (see course descriptions for prerequisites) 65
K075 Production Tips & Tricks (1)
Prerequisite: K031b Digital Music IB. This course explores production tips and tricks
that can be applied to demo and live recordings to create professional-sounding
results that provide a competitive edge. One lecture hour per week for one quarter.
K070 Composition for Keyboards (1)
Prerequisite: K021b Keyboard Voicings IB. Compose melodies based on simple chord
progressions in a variety of styles. Learn through analysis of Top 40 tunes and widely
used diatonic chord progressions. One lecture hour per week for one quarter.
K264 Brazilian Keyboards (1)
Prerequisite: K112B Keyboard Technique IIB. Learn the techniques and repertoire
used in Brazilian music with an emphasis on stylistic rhythms and melodic pat-
terns. One lecture hour per week for one quarter.
K265 Afro-Cuban Keyboards (1)
Prerequisite: K112B Keyboard Technique IIB. Learn techniques and repertoire
used in Afro-Cuban music with an emphasis on stylistic rhythms and melodic pat-
terns. One lecture hour per week for one quarter.
K270 Chop Shop (1)
Prerequisite: K112b Keyboard Technique IIB. An advanced keyboard technique
course focused on improving finger speed and control. One lecture hour per week
for one quarter. Repeatable for credit.
 ASSOCIATE OF ARTS IN PERFORMANCE (Drums)
Quarter 1 Quarter 2 Quarter 3 Quarter 4 Quarter 5 Quarter 6
course/credits course/credits course/credits course/credits course/credits course/credits
major area 73 credits
private lesson T010a 2 T010b 2 T120a 2 T120b 2 T210a 2 T210b 2
live playing workshops E020a 1 E020b 1 E120a 1 E120b 1 E210a 1 E210b 1
playing techniques P021a 1.5 P021b 1.5 P112a 1.5 P112b 1.5 P211a 1.5 K211b 1.5
rhythm section workshop E01a 2 E01b 2 E2a 2 E2b 2
ensemble techniques P122a 1.5 P122b 1.5
developing your groove P185a 1 P185b 1
contemporary drum concepts P166a 1.5 P166b 1.5
odd meter P250a 1.5 P250b 1.5
music minus one P071a 1 P071b 1
digital drumming P131a 2.5 P131b 2.5
advanced drumming P171a 1.5 P171b 1.5 P169a 1.5 P169b 1.5
studio drumming P240a 2 P240b 2
reading M041Pa 2 M041Pb 2 M142Pa 1.5 M142Pb 1.5 M241Pa 1.5 M241Pb 1.5
musicianship 8 credits
keyboard lab P051a 1 P051b 1
66 harmony & theory M021a 1.5 M021b 1.5
ear training M022a 1.5 M022b 1.5

electives 9 credits
(various) 1 1 1 1 2.5 2.5

TOTAL 90 CREDITS 15 15 15 15 15 15

Upon completion of the above 90 credit units, student is eligible to apply for the Associate of Arts in Performance (Drums)

 ASSOCIATE OF ARTS IN PERFORMANCE (Drums)
DEGREE REQUIREMENTS
The following course requirements must all be satisfactorily completed in order
to qualify for the Associate of Arts in Performance (Drums).
All course descriptions include course number, title, number of credits per quar-
ter, prerequisites (where applicable), description of content, and contact hours
per week.
MAJOR AREA
T010a.b., T120a.b., T210a.b. Private Lesson IA-IIIB (2)
Twelve credit units required. See General Requirements for course description.
E020a.b., E120a.b., E210a.b. Live Playing Workshops IA-IIIB (1)
Six credit units required. See General Requirements for course description.
P021a.b. Playing Techniques IA-IB (1.5)
Covers the development of hand technique and essential rudiments for proper drum
set performance. One lecture hour plus one lab hour per week for two quarters.
P112a.b. Playing Techniques IIA-IIB (1.5)
Prerequisite: P021b Playing Techniques IB. Concentrates on effective timekeep-
ing, development of speed and dexterity, economy of motion, body balance and
eliminating bad habits as well as the application of drum set rudiments. IIB em-
phasizes interpretation and performance of snare drum solos. One lecture hour
plus one lab hour per week for two quarters.
P211a.b. Playing Techniques IIIA-IIIB (1.5)
Prerequisite: P112b Playing Techniques IIB. Class focuses on more advanced rudi-
ments and their application to the drum set in a variety of musical styles as well as
4-way coordination, odd meter studies, advanced snare drum solos and drum set
solo transcriptions. One lecture hour plus one lab hour per week for two quarters.
E01a.b. Rhythm Section Workshop IA-IB (2)
An introduction to ensemble performance. Concentration is placed on listening,
dynamics, awareness of song form, and basic chart reading as well as practi-
cal performing techniques such as giving and following cues, instrument setup,
sound, and stage presence. Students develop fundamental technical approach-
es to a variety of popular styles through weekly live performance. Two lecture-
ensemble hours per week for two quarters.
E2a.b. Rhythm Section Workshop IIA-IIB (2)
Prerequisite: E01b RSW IB. Ensemble performance emphasizing stylistic
rhythm section textures and applied techniques. Emphasis is also placed on
handling variations in typical song form, improving chart reading skills, and tak-
ing a leadership role within the group. Two lecture/ensemble hours per week for
two quarters.
P122a.b. Ensemble Techniques (1.5)
Prerequisite: P112b Playing Techniques IIB. Course deals with common tech-
niques used by drummers in small and large group performance. The focus
is on reading and execution of written rhythmic phrases in jazz, rock and Lat-
in styles including section and ensemble figures, chart terminology and form,
phrasing and stylistic interpretation, soloing concepts and solo fills. One lecture
hour plus one lab hour per week for two quarters.
P071a.b. Music Minus One Performance (1)
Drummers play to sequenced tracks of popular songs minus drums. The em-
phasis is on “locking in” with the track; some chart reading is involved. One
ensemble hour per week for two quarters. 67
P131a.b. Digital Drumming (2.5)
This comprehensive course is designed to equip drummers to utilize contempo-
rary technology by providing a working knowledge of MIDI sequencing, digital
audio recording software, drum loop creation and application, custom sample
creation, acoustic drum triggering and designing-creating-wiring an electronic rig
for live use. Students also learn to perform with loops and backing tracks, how to
complement tracks with their playing and how to adjust their time feel in order to
“lock in”. Two lecture hours and one lab hour per week for two quarters.
P171a.b. Advanced Drumming I: Jazz (1.5)
Prerequisite: E01b RSW IB. This class explores and demonstrates the historical,
stylistic and technical evolution of jazz from Dixieland to Bebop and beyond. Tech-
niques include ride patterns and left hand comping, basic independence and coor-
dination, brush technique, and ensemble interaction. In the second half, the focus
shifts to group interaction, jazz soloing on various song forms, up-tempo swing
concepts, cymbal turnarounds, 3/4 time, advanced independence and 4-way jazz
coordination. One lecture hour plus one lab hour per week for two quarters.
P169a.b. Advanced Drumming II: Latin (1.5)
Prerequisite: M142Pb Reading IIB, P112b Playing Techniques IIB, E2b Rhythm
Section Workshop IIB. Class develops authentic stylistic hand and foot techniques
 ASSOCIATE OF ARTS IN PERFORMANCE (Drums)
through listening, demonstration and classroom practice. The first half focuses
on popular Brazilian styles including Bossa Nova and Samba. In part two, the
emphasis is on Afro-Cuban styles including Cha Cha, Mambo, Mozambique and
others. One lecture hour plus one lab hour per week for two quarters.
P185a.b. Developing Your Groove (1)
The goal of this course is to help drummers dramatically improve their time, feel,
independence and sound. Coordination drills that apply to all styles of music are
introduced and utilized in class. One lecture/ensemble hour per week for two
quarters.
P166a.b. Contemporary Drum Concepts (1.5)
Prerequisite: E01b RSW IB. Learn the attitude and technique of rock drumming
through listening examples and transcriptions that expose students to drum-
mers who have made important contributions to the style. Techniques include
warm-ups, motion exercises and single and double bass drum studies. The sec-
ond half focuses on the continued development of performance skills including
groove development, soloing concepts, more advanced single and double bass
drum application and sound production. One lecture hour plus one lab hour per
68
week for two quarters.
P250a.b. Odd Meter (1.5)
Prerequisite: M142Pb Reading IIB, P112b Playing Techniques IIB, E2b Rhythm
Section Workshop IIB. Students develop facility with odd-meter rhythmic phras-
es applied to the drum set and hand drums. Rhythmic phrasing drills utilizing
composite meters and a five-step approach consisting of technique, time, time
feel, phrasing, and song form prepare students for applications in all styles of
contemporary drumming. One lecture hour plus one lab per week for two quar-
ters.
P240a.b. Studio Drumming (2)
Prerequisites:M142Pb Reading IIB, P112b Playing Techniques IIB, E2b Rhythm
Section Workshop IIB, P166b Contemporary Drum Concepts. This “real world”
approach to recording covers all facets of the recording performance experi-
ence for drummers whether they work in original bands or as independent stu-
dio musicians. Students perform in a variety of musical situations in a 24-track
Pro Tools studio, developing drum parts, sightreading charts, performing with
backing tracks and live musicians, overdubbing and punching in, and learning
to lock in with loops and tracks. Studio etiquette, sound development and tuning
tips are also covered. Each student compiles a CD of their final performances.
Two lecture hours per week for two quarters.
M041Pa.b. Reading IA-IB (2)
Fundamentals of single line and drum set reading. Students learn basic rhyth-
mic theory, develop sight reading skills and interpretation of essential rhythmic
figures. Two lecture hours per week for two quarters.
M142Pa.b. Reading IIA-IIB (1.5)
Prerequisite: M041Pb Reading IB. The emphasis is on time signature reading
studies, counting and subdivision exercises and applications as well as note
value relationships. Also included is interpretation of rhythms in different styles,
independence studies and chart reading. Reading IIB moves into compound
time signatures, changing meters, value indicators and abnormal groupings.
One lecture hour and one lab hour per week for two quarters.
M241Pa.b. Reading IIIA-IIIB (1.5)
Prerequisite: M142b Reading IIB. Class covers interpretation of sixteenth note
figures, snare drum reading and etudes in changing meters, orchestral snare
drum etudes, reading drum set charts with style and meter changes, and multi-
tom reading in preparation for studio recording. One lecture hour and one lab
hour per week for two quarters.
MUSICIANSHIP
P051a.b. Keyboard Lab (1)
Prerequisite: must be currently enrolled PIT student. An introduction to the key-
board especially geared for the drummer. Covers note recognition, scales, inter-
vals and chord construction at the keyboard as a visual and aural aid to required
theory and ear training classes. One hour per week for two quarters.
M021a.b. Harmony and Theory IA – IB (1.5)
Three credit units required. See General Requirements for course description.
M022a.b. Ear Training IA – IB (1.5)
Three credit units required. See General Requirements for course description.
ELECTIVES
Drum students may fulfill their elective credit requirements by choosing from
program-specific electives, general electives, or entry-level electives offered by
other programs; see course offerings for options.
DRUM-SPECIFIC ELECTIVES (available only to Drum majors)
P080 Timekeeping (1)
Students lean how to develop good timekeeping skills through counting drills,
 ASSOCIATE OF ARTS IN PERFORMANCE (Drums)
understanding note duration and spacing, working with metronomes and drum
machines, and the importance of upbeats. Students also learn basic set-up fills
and how to play fills in tempo. One lecture hour per week for one quarter.
P135 How to Practice (1)
Teaches the structure and discipline of efficient, productive practicing on the
drum set. Students develop individual practice routines and apply them to mate-
rial covered in core classes. Also includes performance preparation (prioritizing,
overcoming anxiety etc.). One lecture hour per week for one quarter.
P136 Early Masters of Studio Drumming: 1950s-80s (1)
Session drummers like Earl Palmer, Hal Blaine, Steve Gadd, Jeff Porcaro, Car-
los Vega, John “J.R.” Robinson and Vinnie Colaiuta have inspired many young
drummers to replace rock star aspirations for the life of a session musician. Their
drumming brought a fresh approach to rock and pop music as they defined the
session drumming profession. This class analyzes their recordings for an in-
depth look at each drummer’s groove, touch, tone, fill vocabulary and time feel.
One lecture hour per week for one quarter.
P175 Basic Caribbean Drumset (1)
Students learn how to perform basic Afro-Cuban and Brazilian styles on the
drumset. Emphasis is on gaining the ability to effectively handle any Latin per-
forming situation. One lecture hour per week for one quarter.
P180 Fill Fest (1)
Course shows how to develop a vocabulary of fills on the drum set. Each week,
the student is introduced to a new fill concept that can be applied to a variety of
musical situations. Class includes written and audio examples of top contem-
porary rock drummers. Students write out and demonstrate their own fills and
concepts throughout the class. One lecture hour per week for one quarter.
P267 Latin Percussion - Brazilian (1)
Develops basic hand techniques enabling students to perform Brazilian styles
more authentically. Listening, demonstration and classroom practice focus on
popular Brazilian rhythms including Bossa Nova and Samba as well as applica-
tions to other forms of popular music. One lecture hour per week for one quarter.
P269 Latin Percussion - Afro-Cuban (1)
Develops basic hand techniques enabling students to perform Afro-Cuban styles
including Cha Cha, Mambo, Mozambique and others. Listening, demonstration
and classroom practice focus on authenticity as well as applications to other
forms of popular music. One lecture/ensemble hour per week for one quarter.
P301 Double Bass Drum Workout (1)
Class covers use of double bass drum as a means of furthering skills and
broadening independence. Lectures, demonstrations and exercises emphasize
speed, technique and control. One lecture hour per week for one quarter.
P306 Inside Studio Drumming (1)
Rock-influenced drummers like Josh Freese, Kenny Aronoff, Matt Chamberlain,
Shawn Pelton, Abe Laboriel Jr. and Steve Jordan are part of a new generation of
session drummers who have injected fresh versatility and musicality into the role
of studio musician. This class analyzes recordings and takes an in-depth look at
each drummer’s groove, touch, tone, fill vocabulary and time feel. One lecture
hour per week for one quarter.
ADVANCED ELECTIVES (see course descriptions for prerequisites)
P132 Drum Transcription and Rhythmic Eartraining (1)
Prerequisites: M041Pb Reading IB; E01b RSW IB. Many of today’s drummers
can learn and play any piece of written music that is put in front of them, but not
many can listen to a recording and transcribe what another drummer is playing
note-for-note. This course trains this skill through the study of exciting transcrip-
tions from the likes of Dennis Chambers, Steve Gadd, Billy Martin, Buddy Rich, 69
Max Roach, Art Blakey and others. Solos, grooves and musical forms are ana-
lyzed and transcribed. One lecture hour per week for one quarter.
P137 Chop Busters I (1)
Prerequisite: P021b Playing Techniques IB. This class uncovers weaknesses in
basic hand technique and takes players beyond what they learn in fundamen-
tal technique classes. Explores technique exercises and warm-up patterns that
develop finger, wrist, and forearm coordination, sticking accuracy, dynamics and
rhythmic recognition. One lecture hour per week for one quarter.
P139 Chop Busters II (1)
Prerequisite: P137 Chop Busters I. Continues the exploration of technique ex-
ercises and warm-up patterns to develop finger coordination, wrist and forearm
motion, sticking accuracy, dynamics, rhythmic recognition and confidence in
performance. One lecture hour per week for one quarter.
P172 Funk Drums - Classic (1)
Prerequisites: M041B Percussion Reading IB, P021B Playing Tech IB, E01B
RSW IB. Studies the evolution of funk drumming from James Brown to the early
1980’s through listening and analysis of each groove supported by transcrip-
tions. Includes discussion of how to practice the techniques covered. One lec-
ture hour per week for one quarter.
 ASSOCIATE OF ARTS IN PERFORMANCE (Drums)
P173 Funk Drums - Modern (1)
Prerequisites: M041B Percussion Reading IB, P021B Playing Tech IB, E01B
RSW IB. Studies the evolution of funk drumming from early 1980’s to the present
day. Includes R&B and jazz influence on funk music and explores the relation-
ship between acid jazz, hip-hop, R&B and earlier funk music. One lecture hour
per week for one quarter.
P184 Analysis of Great Grooves (1)
Prerequisites: M041Pb Reading IB, E01b RSW IB, P021b Playing Techniques
IB. Through analysis of influential recordings, this class examines the techniques
used by innovative drummers including John Bonham, Vinnie Colaiuta, Danny
Carey, David Garibaldi and others to create interesting and eclectic grooves.
One lecture hour per week for one quarter.
P190 Duets (1)
Prerequisites: M041Pb Reading IB, P021b Playing Techniques IB, E01b Rhythm
Section Workshop IB. This class focuses on duet material that will help students
develop ensemble ability, challenge their reading and technical abilities and de-
70 velop a degree of healthy performance competition. Progressive duets will be
analyzed and performed weekly with an emphasis on sensitive phrasing, shad-
ings, clear articulation, tone production, and touch. Students will be encouraged
to experiment with various drums to obtain an assortment of timbres. Includes
solo, multi-student and all-class performances. One lecture hour per week for
one quarter.
P270 Drum Solo Analysis, Concepts and Performance (1)
Prerequisites: E01b RSW IB, M141Pb Reading IB, P021b Playing Techniques
IB. This class analyzes famous drum solos past and present from such pioneers
as Max Roach and Art Blakey to the innovations of Steve Gadd, Tony Williams
and Terry Bozzio, topped off with the grooving showmanship and technical tal-
ents of John Blackwell and others. Each week, students analyze and perform
specific concepts and techniques and add them to their own soloing efforts. One
lecture hour per week for one quarter.
P303 Latin/Funk Connection (1)
Prerequisites: M041Pb Reading IB, E020b Live Playing Workshop IB and E01b
Rhythm Section Workshop IB. This class concentrates on the relationship be-
tween rhythms in Funk and Afro-Caribbean music and examines how mixing
them can provide musicians with soulful and musical grooves. Concentration is
on performance and listening. One hour per week for one quarter.
P320 Advanced Drum Concepts I (1)
Prerequisites: M142Pb Reading IIB, P112b Playing Techniques IIB, E02b RSW
IIB. This class offers a more advanced and very specific look at hand technique
and execution as applied to the practice pad and the drum set. The class ex-
plores alternate approaches to playing technique that greatly enhance the stu-
dent’s ability to get around the drum set quickly and comfortably. One hour per
week for one quarter.
P321 Advanced Drum Concepts II (1)
Prerequisite: P320 Advanced Drum Concepts I. This class goes beyond tech-
nique into the world of groupings and advanced exploration of the drum set.
Concepts taught include hand technique, drum set movement, developing sound
through technique and advanced fill concepts. A must for drummers who want to
learn to play blowing licks on the kit. One hour per week for one quarter.
P338 Bebop and Beyond (1)
Prerequisites: M142Pb Reading IIB, P112b Playing Technique IIB, E02b Rhythm
Section Workshop IIB. Class focuses on a modern approach to playing jazz with
a strong emphasis on bebop vocabulary and developing a musical flow of ideas.
Topics discussed include advanced comping and ride cymbal approach, advanced
hi-hat techniques, development of motifs over standard song forms, polyrhythmic
overlap and metric modulation. One lecture hour per week for one quarter.
 ASSOCIATE OF ARTS IN PERFORMANCE (Voice)


Quarter 1 Quarter 2 Quarter 3 Quarter 4 Quarter 5 Quarter 6
course/credits course/credits course/credits course/credits course/credits course/credits

major area 44 credits

private lesson T010a 2 T010b 2 T120a 2 T120b 2 T210a 2 T210b 2
live playing workshops E020a 1 E020b 1 E120a 1 E120b 1
artist showcase performance E02a 2 E02b 2 V142a 2 V142b 2 V241a 2 V241b 2
art of preparation V040a 1.5 V040b 1.5
vocal technique V011a 1 V011b 1 V112a 1 V112b 1
artist recording sessions V212a 1.5 V212b 1.5
sightreading/sightsinging M041Va 1.5 M041Vb 1.5 V132a 1.5 V132b 1.5

musicianship 24 credits
harmony & theory M021a 1.5 M021b 1.5 M122a 1.5 M122b 1.5
ear training M022a 1.5 M022b 1.5 M132a 1.5 M132b 1.5
keyboard accompaniment EV01a 1.5 EV01b 1.5 M141Va 1.5 M141Vb 1.5 M241a 1.5 M241b 1.5
arranging for singers V183a 1.5 V183b 1.5
71

electives 22 credits
(various) 1.5 1.5 1.5 1.5 8 8

TOTAL 90 CREDITS 15 15 15 15 15 15

Upon completion of the above 90 credit units, student is eligible to apply for the Associate of Arts in Performance (Voice)

 ASSOCIATE OF ARTS IN PERFORMANCE (Voice)
DEGREE REQUIREMENTS
The following course requirements must all be satisfactorily completed in order
to qualify for the Associate of Arts in Performance (Voice).
All course descriptions include course number, title, number of credits per quar-
ter, prerequisites (where applicable), description of content, and contact hours
per week.
PERFORMANCE
T010a.b., T120a.b., T210a.b. Private Lesson IA-IIIB (2)
Twelve credit units required. See General Requirements for course description.
E020a.b., E120a.b., E210a.b. Live Playing Workshops IA-IIB (1)
Six credit units required. See General Requirements for course description.
V011a.b. Vocal Technique IA-IB (1)
An introduction to the anatomy and physiology of the voice. IA covers breathing
and how it affects the body, mind and the act of singing as well as effective prac-
72 tice habits and how to protect the voice. IB focuses on understanding the nature of
voice production as students learn to recognize different vocal functions through
listening and analysis. One lecture hour per week for two quarters.
V112a.b. Vocal Technique IIA-IIB (1)
Prerequisite: V112b Vocal Technique IB. Class addresses pitch registers, forma-
tion of vowels and consonants, and the application of vocal technique to learning
songs as well as specific skills such as vibrato. Students analyze contemporary
artists’ voices and each other to develop their awareness and understanding of
the vocal instrument. One lecture hour per week for two quarters.
E02a.b. Artist Showcase Performance IA-IB (2)
An introduction to live performance skills including lyric interpretation, microphone
techniques, stage presence, and overall presentation designed to help students
develop a sense of self-awareness and professionalism while performing. Four
lab-ensemble hours per week for two quarters.
V142a.b. Artist Showcase Performance IIA-IIB (2)
Prerequisite: V112b Vocal Performance IB. Performance-oriented class focusing on
the emotional side of singing. Topics include lyric analysis and interpretation, stage
presence, microphone technique, thought processes before going on stage and com-
municating with the audience. Four lab/ensemble hours per week for two quarters.
V241a.b. Artist Showcase Performance IIIA-IIIB (2)
Prerequisite: V142b Vocal Performance IIB. The emphasis in this course is on
developing polished, professional performing skills culminating in a final juried
performance with a pro rhythm section. During IIIA, each student chooses his
or her material, writes charts, and develops a personal performing style during
twice-weekly half-hour private sessions with the instructor and an accompanist.
IIIB includes final music preparation with an accompanist plus full rhythm section
rehearsals leading up to the final showcase. Two half-hour private rehearsals per
week for two quarters plus final project/performance.
V212a.b. Artist Recording Sessions (1.5)
Learn the basics of recording and the recording studio as they apply to vocalists.
Class covers microphones, compressors, reverb, delays and other equipment found
in most studios. One lecture hour plus one lab hour per week for two quarters.
V221a.b. Acting for Singers (1)
Focuses on communication and performance using acting skills to draw out the
best performance of the lyric and melodic content. Topics include beginning
improvisation, memorization skills and artist/performer communication. Two lab
hours per week for two quarters.
V040a Art of Preparation I (1.5)
Based on the book The Unconscious Actor: Out of Control, in Full Command by
Darryl Hickman, this course provides step-by-step techniques and exercises that
prepare singers mentally and physically for skillful and artistic live performances.
One lecture hour and one lab hour per week for one quarter.
V040b Art of Preparation II (1.5)
Prerequisite: V040a Art of Preparation I. Expands on Darryl Hickman’s “Flow” ex-
ercise, introduces “Form” and the first step of “The Process.” One lecture hour and
one lab hour per week for one quarter.
V041a.b. Sightsinging/Sightreading IA-IB (1.5)
Introduction to reading and singing diatonic melodies with quarter, eighth and six-
teenth note rhythmic patterns from the musical staff. One lecture hour plus one lab
hour per week for two quarters.
V132a.b. Sightsinging/Sightreading IIA-IIB (1.5)
Prerequisite: M132Vb Sightsinging/Sightreading IB. Reading and singing skills
expand to include major and minor diatonic melodies and harmonies, eighth note
and sixteenth note syncopation, and interpretation of standard musical notation.
One lecture hour plus one lab hour per week for two quarters.
 ASSOCIATE OF ARTS IN PERFORMANCE (Voice)
MUSICIANSHIP
M021a.b.,M122a.b. Harmony and Theory IA – IIB (1.5)
Six credit units required. See General Requirements for course description.
M022a.b.,M132a.b. Ear Training IA – IIB (1.5)
Six credit units required. See General Requirements for course description.
EV01a.b. Keyboard Accompaniment IA-IB (1.5)
An introduction to the keyboard for the vocalist. Note recognition, scales, intervals
and chord construction using the keyboard as a visual and aural aid and as sup-
port for musicianship studies. One lecture hour and one lab hour per week per
quarter for two quarters.
M141a.b. Keyboard Accompaniment IIA-IIB (1.5)
Prerequisite: EV01b Keyboard Accompaniment IB. An introduction to practical
keyboard performance skills for the vocalist. Students learn basic keyboard tech-
niques and fingerings for scales and chords with the goal of using the keyboard
as a tool for learning songs, transposition, self-accompaniment and lead sheet
interpretation. One lecture hour and one lab hour per week per quarter for two
quarters.
M241a.b. Keyboard Accompaniment IIIA-IIIB (1.5)
Prerequisite: M141Vb Keyboard Accompaniment IIB. A further study of keyboard
voicings for the vocalist, including seventh chords and extensions, voice leading
techniques and creative approaches to accompaniment. One lecture hour and
one lab hour per week for two quarters.
V183a Arranging for Singers I (1.5)
Prerequisite: M021b Harmony and Theory IB, M022b Ear Training IIB Students
learn to write lead sheets by hand as well as with the Finale digital notation pro-
gram. Specific skills include writing chord charts from takedowns, melodic and
lyric notation, adapting commercial sheet music, road-map symbols, and digital
transposition. One lecture hour and one lab hour per week for one quarter.
V183b Arranging for Singers II (1.5)
Prerequisite: V183a Arranging for Singers I. Introduction to computer recording
and arranging using Apple GarageBand. Students learn how instruments work to-
gether in a band, how to create recordings combining loops, live instruments and
vocals, and basic editing and mixing techniques. Knowledge and skills learned
provide the foundation for using other popular applications such as Protools, Log-
ic and Cubase. One lecture hour and one lab hour per week for one quarter.
ELECTIVES
Voice students may fulfill their elective credit requirements by choosing from pro-
gram-specific electives, general electives, or entry-level electives offered by other
programs; see course offerings for options.
ENTRY-LEVEL ELECTIVES
L017 Stagecraft (1)
A performance-oriented workshop designed to help students become comfortable
on stage and improve their artistic presentation. Students work on original projects
or impromptu improvisations and are coached on stage presence, believability,
audience communication, and stage etiquette. One workshop hour per week for
one quarter. May be repeated for credit.
V031 Contemporary Vocal Styles (2)
An overview of the history of various vocal styles concentrating on the pioneers
of each style, how they influenced and contributed to pop culture, society, and the
music industry, and the legacy they have left behind. In the second quarter, stu-
dents apply vocal techniques as they perform in styles of their own choosing with
instructor direction and critique. Two lecture hours per week for one quarter. 73
V080 Gospel Vocals (1)
An opportunity for vocalists to be challenged, uplifted and inspired. Students per-
form one or two songs per week ranging from traditional to contemporary Gospel.
Students sign up to perform lead vocals with the entire class performing choir/
background vocal parts. Techniques include constructing lead vocals, learning
and arranging harmonies by ear, group vocal blend and dynamics. The class con-
ducts a live performance at the end of the quarter accompanied by a full band.
Two ensemble hours per week for one quarter. May be repeated for credit.
V081 Introduction to Studio Singing (1)
Prerequisite: instructor approval. A must for the serious singer! Learn basic studio
technique as well as how to handle different styles by singing lead vocals to pre-
recorded tracks. Strengthen pitch, control, and learn to project emotion vocally.
One ensemble hour per week plus four recorded performances per quarter. May
be repeated for credit.
V082 Studio Background Vocals I (1.5)
Put a keyboard player out of work! Learn harmony and vocal texturing in the
studio and how to create a wall of sound with just your voice. This is an excellent
addendum to Studio for Singers and a MUST for songwriters. One ensemble hour
and one workshop hour per week. May be repeated for credit.
 ASSOCIATE OF ARTS IN PERFORMANCE (Voice)
V084 Accent Reduction (1)
This course enables non-native English speaking students to develop an Ameri-
can English accent. Students will learn to break words into their phonetic
parts and identify and individually concentrate on problem sounds. One hour per
week for one quarter. May be repeated for credit.
V085 Voiceover Workshop (1)
Prerequisite: instructor approval. Learn essential performing and professional
techniques for the lucrative voiceover industry. Topics include how to communi-
cate with the voice alone, handling auditions, developing characters, vocal com-
mand and consistency in reading, learning to change tone, volume, pitch, type,
tempo, and emphasis. Leave your inhibitions at the door! One lecture hour per
week for one quarter.
V090 Live Performance Makeup (1.5)
Taught by a professional makeup artist, students learn live performance makeup design
and techniques, including tools & cosmetics, color theory, eye designs and full makeup
designs from natural to outrageous. As a final project, students create their own full
74 makeup design. One lecture hour plus one lab hour per week for one quarter.
V140 Songwriting I (1.5)
Introduction to the techniques of popular songwriting, including melodic and lyric
development, scansion and meter, and common chord progressions and form.
One lecture hour and one lab hour per week for one quarter.
V150 Hip-Hop Dance (1)
An introduction to Hip-Hop dance style for singers or instrumentalists. The class
consists of warm-ups, stretching, Hip-Hop dance combinations and groove move-
ments. One and one-half hour workshop per week for ten weeks.
V160 Blues Vocals (1)
Prerequisite: instructor approval. A study of blues vocalists and their music de-
signed to give singers insight into blues phrasing and emotional delivery leading
to more authentic and convincing blues performance. One hour per week for one
quarter.
V164 Jazz Vocals (1)
Prerequisite: instructor approval. Learn to communicate with a band and work in a
jazz ensemble with an emphasis on learning the standard repertoire and develop-
ing stylistic interpretation. One hour per week for one quarter. May be repeated
for credit.
V165 Extreme Vocals (1)
Prerequisite: Instructor approval. Unorthodox singers who maintain long careers do
so because they apply effective vocal technique. Techniques taught include “The
Gravel” (James Hetfield/Metallica), “The Bobcat” (Phil Anselmo/Pantera), “The Drill
Sergeant” (Slayer, Godsmack) and “The White Scream” (Roger Daltrey/The Who).
Two ensemble hours per week for one quarter. May be repeated for credit.
V166 Rock Vocals (1)
Prerequisite: instructor approval. Students learn the singing styles of influential
classic and modern rock vocalists through listening, analysis, demonstrations of
techniques, and class discussion. One hour per week for one quarter. May be
repeated for credit.
V167 Song Success (1)
This course will focus on LYRICS ONLY (no singing!) and the singer’s need to
represent them to their fullest. Students choose and interpret song lyrics as prose
and develop interpretations based on their personal connection to the lyric content.
One lecture/workshop hour per week for ten weeks. May be repeated for credit.
V169a Stage Movement I (1)
Introduction to effective body movement in live performance. Techniques include
small, full, and stadium stage movement, mime, and mirror imaging. One ensem-
ble hour per week for one quarter.
V170 The Art of Success (1)
More people quit the music industry due to a lack of follow-through than a lack of
talent. This course offers real-world advice about how to define success for yourself,
how to realistically define the next step in your evolution as a performer, and how to
keep moving up the ladder. Two workshop hours per week for one quarter.
V178 Vocal Interpretation I (1)
Develop a personal vocal style and approach through exercises designed to un-
leash the music and mind, including vocal improvisation, applying different grooves
to familiar songs, adding emotion to your singing, and finding your musical voice.
There is life in a song that only you can breathe into it – find out how. Two perfor-
mance hours per week for one quarter.
V182 Image Development I (1.5)
Successful performing artists project a visual image that supports their sound and
message. Learn to create a strong stage persona including visual image, song
choice, audience communication and overall performance. Each class is video-
recorded for review and critique. One lecture hour and one lab hour per week for
one quarter.
 ASSOCIATE OF ARTS IN PERFORMANCE (Voice)
V226 No Musicians Needed (1)
Prerequisite: instructor audition. Develop and enhance improvisational styles and
expand vocal capabilities during this weekly acapella vocal jam session. One hour
per week for one quarter. May be repeated for credit. performance. One and one-half ensemble hours per week for one quarter.
V280 Background Vocals (1)
Ensemble class designed to teach beginning vocal students how to harmonize
and hold their parts in a large or small group setting or as individuals with empha-
sis on blending during live performance. Two ensemble hours per week for one
quarter. May be repeated for credit.
ADVANCED ELECTIVES (see course descriptions for prerequisites)
V087 Advanced Songwriters Circle (1)
Prerequisite: M021B Harmony & Theory IB. Audition required. Singer-songwriters
prepare a song each week, bring in typed lyrics and perform for each other. Some
weeks are themed with writing exercises and assigned challenges. The group of-
fers feedback on lyrics, melody and performance. Students prepare their two best
songs for a final showcase before industry representatives. Two workshop hours
per week for one quarter. May be repeated for credit.
V092 Studio Background Vocals II (1.5)
Prerequisite: V082 Studio Background Vocals I and instructor approval. This class
is an advanced approach to vocal production in the studio. Learn how to add emo-
tional textures to your original music with your voice as well as vocal production
skills using Protools. Students record actual background vocal arrangements for
the Demo Production class as well as original projects in a real-world vocal ses-
sion environment. One lab and one ensemble hour per week for one quarter. May
be repeated for credit.
V141a Art of Preparation III (1.5)
Prerequisite: V040b Art of Preparation II. Focuses on Step Three of Darryl Hick-
man’s rehearsal process, including “Beats and Blocking”. One lecture hour and
one lab hour per week for one quarter.
V141b Art of Preparation IV (1.5)
Prerequisite: V141a Art of Preparation III. The culmination of the “Art of Preparation”
sequence, focusing solely on using the Darryl Hickman process to create a polished
final performance. One lecture hour and one lab hour per week for one quarter.
V151 Hip Hop Dance II (1)
Prerequisite: V150 Hip Hop Dance I or permission of instructor. A continuation of
Hip-Hop Dance. Two workshop hours per week for one quarter.
V152 Hip-Hop Dance Performance (1)
Prerequisite: V151 Hip-Hop Dance II or permission of instructor. During the course,
students learn specific choreographed routines to be showcased in a final class
V169b Stage Movement II (1)
Prerequisite: V169a Stage Movement I. Focuses on developing stage movement
techniques for various tempos and styles including R&B, Rock, Jazz and more.
for One ensemble hour per week for one quarter.
V172 Advanced Acapella Ensemble (1)
Prerequisite: instructor audition. A five-part acapella group performing arrange-
ments of contemporary material with a dynamic, contemporary R&B/Pop sound.
Two workshop hours per week for ten weeks. May be repeated for credit.
V187 Songwriters in the Round I (1.5)
Prerequisite: V440 Songwriting IV. Students refine songwriting and performance
skills with a focus on melody, lyrics, song structure and style. Students are given
writing assignments leading up to a final self-accompanied performance. One lec- 75
ture hour and one lab hour per week for one quarter.
V287 Songwriters in the Round II (1.5)
Prerequisite: V187 Songwriters in the Round I. Focuses on defining the artistic
signature and style as well as self-accompanied performance. Each week, stu-
dents are given songwriting assignments and perform for the class with group
critique. One lecture hour and one lab hour per week for one quarter.
V240 Songwriting II (1.5)
Prerequisite: V140 Songwriting I. Application of skills taught in Songwriting I with
an emphasis on regular writing assignments. One lecture hour and one lab hour
per week for one quarter.
V265 Extreme Vocals II (1)
Prerequisite: V165 Extreme Vocals I or permission of instructor. The first hour of
each session includes a review of various extreme vocal styles followed by vo-
cal exercises. The second hour consists of graded student performances. Each
student is required to prepare five different performances, including a final perfor-
mance, for critique by both the class and the instructor. Two ensemble hours per
week for one quarter.
 ASSOCIATE OF ARTS IN PERFORMANCE (Voice)
V231a Sightsinging/Sightreading IIIA (1.5)
Prerequisite: V132b Sightsinging/Sightreading IIB. Class covers singing in dia-
tonic major and minor keys as well as odd meters and mixed rhythms. One lecture
hour plus one lab hour per week for one quarter.
V383 Arranging for Your Band II (1.5)
Prerequisite: V283 Arranging for Your Band I. Continuation of V283; culminates in
a final arrangement performance with rhythm section and horns. One lecture hour
and one lab hour per week for one quarter.

V231b Sightsinging/Sightreading IIIB (1.5) V201 Vocal Teacher Training (1)

Prerequisite: V231a Sightsinging/Sightreading IIIA. A continuation of 231a. One
lecture hour plus one lab hour per week for one quarter.
V270 The Art of Success II (1)
Prerequisite: V170 Art of Success. Students expand their perception of the world,
the entertainment business and their definitions of happiness, then engage in ac-
tivities to hone the skills needed to be professional musicians, artists and partici-
pants in the entertainment world and beyond. Success = Happiness. Two work-
shop hours per week for one quarter.
V281 Basic Demo Production for the Singer/Songwriter (2)
Prerequisites: M184 Intro to Songwriting, V183b Arranging for Singers II, V092 Stu-
76 dio Background Vocals II or instructor approval. Learn the fundamental steps to
making cost-effective demos using drum loops and live musicians. One lecture hour
and one lab hour per week plus project for one quarter. May be repeated for credit.
V282 Image Development II (1.5)
Prerequisite: V182 Image Development I. Focuses on preparing artists for live TV
and concert appearances, including live interview techniques, what to wear on
camera, how to perform for the camera, and how to integrate all elements taught
in the course into a complete image. Each class is video-recorded for review and
critique. One lecture hour and one lab hour per week for one quarter.
Prerequisite: V112b Vocal Technique IIB. Prepares vocalists in the fundamental
skills of training the voice. Topics include how to evaluate the throat and estab-
lish the student’s starting point, correct interferences, increase range, apply scale
exercises and communicate the science of vocal technique. One lecture hour per
week for one quarter.
V202 Vocal Teacher Training II (1)
Prerequisite: V201 Vocal Teacher Training I. Continued development of voice train-
ing techniques, including how to recover from vocal abuse, how to bridge and
strengthen the middle register, vocal effects, and how to break down and practice
songs. One lecture hour per week for one quarter.
V440 Songwriting IV (1.5)
Prerequisite: V340 Songwriting III. Students learn the skill of writing on commis-
sion, including writing for television, film, and commercials. Topics include tech-
niques for writing quickly to meet special conditions. One lecture hour and one lab
hour per week for one quarter.

V283 Arranging for Your Band I (1.5)

Prerequisite: M122b Harmony & Theory IIB. Students learn the techniques of
rhythm section and background vocal arranging. Topics include fundamentals of
arranging and writing rhythm parts, lines and voicings. Students apply ideas and
techniques to contemporary songs and original material. One lecture hour and
one lab hour per week for one quarter.

V340 Songwriting III (1.5)

Prerequisite: V240 Songwriting II. Students learn to write in a variety of genres by
studying the development of contemporary songwriting from the 1950s through
the present day. One lecture hour and one lab hour per week for one quarter.
 ASSOCIATE OF ARTS IN PERFORMANCE (COMBINED EMPHASES)
MI’s six-quarter, 90-credit-unit Associate of Arts in Performance (Combined Em-
phasis) programs are vocational1 degrees combining instrument performance
with specialized studies in music industry career skills.

The degree includes 60 units of study in performance (equivalent to the Certifi-

cate in Performance on one of five major instruments (Bass, Guitar, Keyboard
Technology, Drums, or Voice)2 and 30 units of study in one of the following areas
of emphasis (equivalent to the respective certificate program):

Audio Engineering
Professional audio recording and music production

Independent Artist
Original songwriting, recording, production, and career development

Music Business
Music industry business career preparation

Guitar Craft 77
Electric guitar and bass design, fabrication, and maintenance

Music Video, Film and Television Production

Music-driven film and video creation

For specific information about courses and credit requirements, refer to the sec-
tion of this catalog describing the appropriate Certificate in Performance (Bass,
Guitar, Keyboard Technology, Drums, Voice) as well as the section describing
Certificate requirements for the appropriate music industry emphasis (e.g. Cer-
tificate in Audio Engineering).

1
Associate programs are vocational and do not include General Education re-
quirements or direct preparation for study at the Baccalaureate level. For infor-
mation on transfer requirements from an Associate Degree to MI”s Bachelor of
Music Degree, please refer to page 6 of this course catalog.

2
Guitar Craft emphasis is only available in combination with major instrument
study in Guitar or Bass.
 CERTIFICATE IN PERFORMANCE
MI’s 60-credit-unit, four-quarter Certificate in Performance program provides
students with a broad foundation of musical knowledge, technique and prac-
tical experience that prepares them to perform virtually any style of contem-
porary popular music. Core and elective classes, private lessons, live playing
workshops, open counseling sessions, and regular visiting artist concerts and
seminars combine to create an intensive educational environment designed to
encourage rapid development of performance skills in:

n Bass n Guitar n Keyboard Technology n Drums n Voice

Certificate in Performance courses and requirements are equivalent to the first

four quarters of Associate of Arts in Performance program for each instrument.
Program requirements are listed on the following pages in outline form; for full
course descriptions, refer to the Associate of Arts Degree requirements for each
instrument.

78
 CERTIFICATE IN PERFORMANCE (Bass)
CERTIFICATE REQUIREMENTS
The following course requirements must be satisfactorily completed in order to qualify for the Certificate in Performance (Bass). Certificate requirements are listed
here in outline form. Certificate courses and requirements match the first four quarters of the Associate of Arts in Performance (Bass); for full course descriptions of
core classes and electives, refer to that section of the catalog.

Quarter 1 Quarter 2 Quarter 3 Quarter 4

course/credits course/credits course/credits course/credits
major area 36 credits
private lesson T010a 2 T010b 2 T120a 2 T120b 2
live playing workshops E020a 1 E020b 1 E120a 1 E120b 1
playing techniques B011a 1.5 B011b 1.5 B112a 1.5 B112b 1.5
fretboard basics B021a 1.5 B021b 1.5 B122a 1.5 B122b 1.5
rhythm section workshop E01a 1.5 E01b 1.5 E2a 1.5 E2b 1.5
reading M041Ba 1.5 M041Bb 1.5 M142Ba 1.5 M142Bb 1.5

musicianship 12 credits
harmony & theory M021a 1.5 M021b 1.5 M122a 1.5 M122b 1.5
ear training M022a 1.5 M022b 1.5 M132a 1.5 M132b 1.5
79
electives 12 credits
(various) 3 3 3 3

TOTAL 60 CREDITS 15 15 15 15

Upon completion of the above 60 credit units, student is eligible to apply for the Certificate in Performance (Bass)

 CERTIFICATE IN PERFORMANCE (Guitar)
Certificate Requirements
The following course requirements must be satisfactorily completed in order to qualify for the Certificate in Performance (Guitar). Certificate requirements are listed
here in outline form. Certificate courses and requirements match the first four quarters of the Associate of Arts in Performance (Guitar); for full course descriptions of
core classes and electives, refer to that section of the catalog.

Quarter 1 Quarter 2 Quarter 3 Quarter 4

course/credits course/credits course/credits course/credits
major area 36 credits
private lesson T010a 2 T010b 2 T120a 2 T120b 2
live playing workshops E020a 1 E020b 1 E120a 1 E120b 1
single string improvisation G011a 1.5 G011b 1.5 G112a 1.5 G112b 1.5
rhythm guitar G021a 1.5 G021b 1.5 G122a 1.5 G1122b 1.5
rhythm section workshop E01a 1.5 E01b 1.5 E02a 1.5 E02b 1.5
reading M041Ga 1.5 M041Gb 1.5 M142Ga 1.5 M142Gb 1.5

musicianship 12 credits
harmony & theory M021a 1.5 M021b 1.5 M122a 1.5 M122b 1.5
ear training M022a 1.5 M022b 1.5 M132a 1.5 M132b 1.5
80
electives 12 credits
(various) 3 3 3 3

TOTAL 60 CREDITS 15 15 15 15

Upon completion of the above 60 credit units, student is eligible to apply for the Certificate in Performance (Guitar)

 CERTIFICATE IN PERFORMANCE (Keyboard Technology)
CERTIFICATE REQUIREMENTS
The following course requirements must be satisfactorily completed in order to qualify for the Certificate in Performance (Keyboard Technology). Certificate require-
ments are listed here in outline form. Certificate courses and requirements match the first four quarters of the Associate of Arts in Performance (Keyboard Technol-
ogy); for full course descriptions of core classes and electives, refer to that section of the catalog.

Quarter 1 Quarter 2 Quarter 3 Quarter 4

course/credits course/credits course/credits course/credits
major area 39 credits
private lesson T010a 2 T010b 2 T120a 2 T120b 2
live playing workshops E020a 1 E020b 1 E120a 1 E120b 1
keyboard technique K011a 1 K011b 1 K112a 1 K112b 1
keyboard voicings K021a 1 K021b 1 K122a 1 K122b 1
groove K041a 1.5 K041b 1.5 K143a 1 K143b 1
reading M041Ka 1 M041Kb 1 M142Ka 1 M142Kb 1
digital music K031a 1.5 K031b 1.5 K131a 1.5 K131b 1.5
keyboard programming K042a 1 K042b 1 K164a 1 K164b 1

musicianship 12 credits
harmony & theory M021a 1.5 M021b 1.5 M122a 1.5 M122b 1.5 81
ear training M022a 1.5 M022b 1.5 M132a 1.5 M132b 1.5

electives 9 credits
(various) 2 2 2.5 2.5

TOTAL 60 CREDITS 15 15 15 15

Upon completion of the above 60 credit units, student is eligible to apply for the Certificate in Performance (Keyboard Technology)

 CERTIFICATE IN PERFORMANCE (Drums)
CERTIFICATE REQUIREMENTS
The following course requirements must be satisfactorily completed in order to qualify for the Certificate in Performance (Drums). Certificate requirements are listed
here in outline form. Certificate courses and requirements match the first four quarters of the Associate of Arts in Performance (Drums); for full course descriptions
of core classes and electives, refer to that section of the catalog.

Quarter 1 Quarter 2 Quarter 3 Quarter 4

course/credits course/credits course/credits course/credits
major area 48 credits
private lesson T010a 2 T010b 2 T120a 2 T120b 2
live playing workshops E020a 1 E020b 1 E120a 1 E120b 1
playing techniques P021a 1.5 P021b 1.5 P112a 1.5 P112b 1.5
rhythm section workshop E01a 2 E01b 2 E2a 2 E2b 2
developing your groove P185a 1 P185b 1
contemporary drum concepts P166a 1.5 P166b 1.5
music minus one P071a 1 P071b 1
digital drumming P131a 2.5 P131b 2.5
advanced drumming P171a 1.5 P171b 1.5
reading M041Pa 2 M041Pb 2 M142Pa 1.5 M142Pb 1.5
82
musicianship 8 credits
keyboard lab P051a 1 P051b 1
harmony & theory M021a 1.5 M021b 1.5
ear training M022a 1.5 M022b 1.5

electives 4 credits
(various) 1 1 1 1

TOTAL 60 CREDITS 15 15 15 15

Upon completion of the above 60 credit units, student is eligible to apply for the Certificate in Performance (Drums)

 CERTIFICATE IN PERFORMANCE (Voice)
CERTIFICATE REQUIREMENTS
The following course requirements must be satisfactorily completed in order to qualify for the Certificate in Performance (Voice). Certificate requirements are listed
here in outline form. Certificate courses and requirements match the first four quarters of the Associate of Arts in Performance (Voice); for full course descriptions of
core classes and electives, refer to that section of the catalog.

Quarter 1 Quarter 2 Quarter 3 Quarter 4

course/credits course/credits course/credits course/credits
major area 33 credits
private lesson T010a 2 T010b 2 T120a 2 T120b 2
live playing workshops E020a 1 E020b 1 E120a 1 E120b 1
artist showcase performance E02a 2 E02b 2 V142a 2 V142b 2
art of preparation V040a 1.5 V040b 1.5
vocal technique V011a 1 V011b 1 V112a 1 V112b 1
sightreading/sightsinging M041Va 1.5 M041Vb 1.5 V132a 1.5 V132b 1.5

musicianship 21 credits
harmony & theory M021a 1.5 M021b 1.5 M122a 1.5 M122b 1.5
ear training M022a 1.5 M022b 1.5 M132a 1.5 M132b 1.5
keyboard accompaniment EV01a 1.5 EV01b 1.5 M141Va 1.5 M141Vb 1.5 83
arranging for singers V183a 1.5 V183b 1.5

electives 6 credits
(various) 1.5 1.5 1.5 1.5

TOTAL 60 CREDITS 15 15 15 15

Upon completion of the above 60 credit units, student is eligible to apply for the Certificate in Performance (Voice)

 CERTIFICATE IN AUDIO ENGINEERING
The two-quarter, 30 credit-unit certificate program in Audio Engineering provides
an intensive, hands-on curriculum designed to prepare aspiring engineers for
the demands of the professional recording studio. Completion of all program
requirements qualifies students to earn the Certificate in Audio Engineering.
COURSE DESCRIPTIONS
All course descriptions include course number, title, number of credit units per
quarter (multiply by number of required quarters for total credit amount), prereq-
uisites (where applicable), description of content, and contact hours per week.

Quarter 1 Quarter 2
course/credits course/credits
major area 27 credits consoles, including how to route signals for tracking, overdubbing, and mixing.
console operation I/II R100 2 R200 2
pro tools I/II R102 3 R202 2
music pre-production R130 2
musicianship R188 1.5
music studio etiquette R189 1.5
practical recording R192 2
acoustics R196 1.5
recording theory R199 1.5 R102 Pro Tools© I (3)
post-production R150 1.5
84 digital signal processing R184 1.5
mixing and mastering R190 2
electronics R197 1.5
analog signal processing R299 1.5
REQUIRED CLASSES
R100 Console Operation I: SSL© (3)
Students learn signal flow as it applies directly to high-end professional SSL
One 90-minute lecture and one 90-minute workshop per week for one quarter.
R200 Console Operation II: Neve© (2)
Prerequisite: R100 Console Operation I: SSL. Students learn signal flow as it
applies directly to the high-end professional Neve consoles, including how to
route signals for tracking, overdubbing, and mixing. One 90-minute lecture and
one 90-minute workshop per week for one quarter.
Learn the basic concepts and theory involved in using a digital audio worksta-
tion. Students will learn how to set up a Pro Tools session for recording, import
audio, edit and record MIDI, back up data, work with firewire drives, etc. Com-
pletion of the course prepares students to take Digidesign-sanctioned Pro Tools
101 and 110 exams. One 3-hour lecture per week for one quarter.

electives 3 credits R202 Pro Tools© II (2)

various* 3 Prerequisite: R102 Pro Tools I. This class explores powerful Pro Tools editing
and processing functions including plug-ins, automation, synchronization, quan-
TOTAL 30 CREDITS 15 15 tization, mastering and more. One 90-minute class per week for one quarter.

*elective requirement must be met from RIT-specific electives R130 Music Pre-Production (2)
Working with project-studio equipment, this class helps form basic production
Upon completion of the above 30 units, student is eligible to apply for the skills. As an introduction to recording, students record right away and begin to
Certificate in Audio Engineering understand how demos are made and why they are so crucial to having a great
session. One 90-minute lecture per week for one quarter.

R188 Musicianship (1.5)

Note: successful completion of this course or equivalency exam is a prerequi-
site for all electives. This class provides a basic understanding of terms used
by musicians, engineers and producers as well as the information necessary to
bridge the gap separating these three different roles. Learn how to contribute
to the songwriting process in a studio environment. One 90 minute lecture per
week for one quarter.

R189 Music Studio Etiquette (1.5)
A comprehensive look at what goes on before, during and after sessions. Learn
the do’s and don’ts of how to work in a professional recording studio environ-
ment. One 90-minute lecture per week for one quarter.
R192 Practical Recording (2)
Class focuses on recording drums, bass, different types of guitars, vocals, pi-
ano etc. Learn how to overdub single instruments and build a complete, multi-
track arrangement and production using the SSL studio and ProTools HD. One
90-minute lecture and one 90-minute workshop per week for one quarter.
R196 Acoustics (1.5)
Fundamentals of musical phenomena and perception. Learn to recognize fre-
quencies by ear and how different microphone techniques affect the recording
of sound waves, critical elements in creating a professional recording and mix.
Also introduces the student to soundproofing and acoustic treatments of studios.
One 90-minute lecture per week for one quarter.
R199 Recording Theory (1.5)
Fundamentals of analog recording theory and practice, including an overview of
studio components, EQ and filters, dynamic processors, microphones, auxiliary
routing and effects processors. One 90-minute lecture per week for one quarter.
R150 Intro to Post-Production (1.5)
Fundamentals of audio post-production concepts and techniques, includ-
ing sound effects editing, dialogue editing, Foley, and 5.1 Surround mixing for
film and television. Weekly hands-on projects culminate in a final project. One
90-minute lecture per week for one quarter.
R184 Digital Signal Processing (1.5)
This class focuses on plug-ins used with Pro Tools, the difference between TDM
and LE systems, and advanced Pro Tools features and third party plug-in manu-
facturers. One 90-minute class per week for one quarter.
R190 Mixing and Mastering (2)
Learn professional mixing and mastering techniques including fader balance
and automation, lifting instruments with EQ and corrective EQ blueprints, edit-
ing and gating techniques, compressor and limiter settings, imaging, and time-
based processors. During a weekly Project Advisor meeting, students discuss
progress and receive advice and critique on their mandatory Final Recording
Project. One 90-minute lecture and one 90-minute group Project Advisor meet-
ing per week for one quarter.
CERTIFICATE IN AUDIO ENGINEERING
R197 Electronics (1.5)
Builds a firm understanding of soldering techniques, DC and AC circuits, and
various technical components used in studios. One 90-minute lecture per week
for one quarter.
R299 Analog Signal Processing (1.5)
Learn how to operate professional outboard gear including traditional in-line pro-
cessors (compressor, gate, EQ) as well as effects processors (reverb, delay,
chorus, pitch shift, etc). One 90-minute lecture per week for one quarter.
ELECTIVES
Note: Audio Engineering students must complete their elective requirements
from the following program-specific electives only.
Entry-Level Electives
Note: successful completion of R188 Musicianship or equivalency exam is a
prerequisite for all electives.
R180 Music Production (1.5) 85
Students learn the “ins and outs” of both the business and creative sides of
album production. Classes are hands-on, intensive and real-world, covering
concepts such as budgeting, choosing studios and musicians, working with en-
gineers and management, and finessing the best performance out of artists.
One 90-minute lecture per week for one quarter.
R195 Live Sound (1.5)
Class focuses on live sound engineering. Students participate in “front of house”
mixing, monitor mixing and set-up/tear down procedures in a working, 500-seat
concert hall environment. World-class musicians in a variety of styles provide
the music. One three-hour lecture per week for one quarter.
Upper-level Electives (see course descriptions for pre-requisites)
R182 Track Programming (1.5)
Prerequisite: R192 Practical Recording. This course introduces students to the
art of sequencing tracks using MIDI, samplers, loops, and the latest computer
software. This elective is ideal for students interested in producing beats for
popular music styles such as Hip Hop, R & B, pop/rock, dance, electronica, etc.
One 90-minute lecture per week for one quarter.
 CERTIFICATE IN AUDIO ENGINEERING
R201 Studio Design (1.5)
Prerequisite: R196 Acoustics. This course is designed to focus on creating an
acoustically viable space in the home or project studio environment. Students
will learn the various methods of controlling sound in a less than ideal space.
Devices for sound proofing and sound controlling will be studied and used in
the creation of an actual studio. You will get your hands dirty in this one. One
90-minute lecture/workshop per week for one quarter.

R209 Electronics Workshop (1.5)

Prerequisite: R196 Acoustics. Students who are interested in becoming studio
technicians or learning how to do repairs on their own studio gear gain practical
hands-on experience in studio maintenance and repair. Three workshop hours
per week for one quarter.

R250 Intro to Logic (3)

Prerequisite: R102 Pro Tools I. This course introduces songwriters, composers,
audio producers and sound engineers to the primary features and basic user
interface of Logic Pro. Students learn the process of creating an actual song,
86 from recording, editing, and arranging MIDI sequences to digital effects process-
ing, mixing, automation and scoring to picture using Logic Pro’s comprehensive
array of software instruments, Apple Loops and DSP effects. The course covers
the requirements needed to become an Apple Certified Pro – Level One in Logic
Pro 8. One three-hour lecture per week for one quarter.

R325 Audio Internship (1.5)

Prerequisites: R199 Analog Recording Theory, 3.5 minimum GPA. See RIT
Administrator for additional requirements. Students gain practical professional
experience in working recording studios as engineering assistants. Hours and
schedules vary according to the specific position obtained; minimum of five
hours per week for one quarter.
 CERTIFICATE IN AUDIO ENGINEERING (POST-PRODUCTION AUDIO)
The Certificate in Audio Engineering with an emphasis in Post-Production Audio COURSE DESCRIPTIONS
prepares graduates for a wide range of creative and professional opportuni- All course descriptions include course number, title, number of credits, prerequi-
ties in the fields of music, film and television audio. Through hands-on courses sites (where applicable), description of content, and contact hours per week.
taught on industry-standard equipment by experienced professionals, students
learn to manage the entire audio production process from pre-production and
AUDIO ENGINEERING COURSE REQUIREMENTS
tracking through editing, mixing, conforming and mastering. Concepts and tech-
nical skills are presented from a practical perspective with an emphasis on musi- All audio engineering course requirements for the 45-unit Certificate in Audio
cal and creative applications. Engineering (Post-Production Audio) are identical to those for the 30-unit Certifi-
cate in Audio Engineering; see that program description in this catalog for details.
Quarter 1 Quarter 2 Quarter 3 Courses specific to the Post-Production Audio emphasis are described below.
course/credits course/credits course/credits
EMPHASIS IN POST-PRODUCTION AUDIO: REQUIRED COURSES
major area 27 credits
NOTE: successful completion of R190 Mixing and Mastering is a pre-requisite for
console operation I/II R100 2 R200 2
pro tools I/II R102 3 R202 2 all courses in the Post-Production Audio emphasis.
music pre-production R130 2
musicianship R188 1.5 R326 Location Sound Recording and Mixing (1.5)
music studio etiquette R189 1.5 Students learn theory and practical use of microphones, field recorders and mix-
practical recording R192 2 ers in order to capture audio in outdoor and TV/Movie set environments. This
acoustics R196 1.5 course also focuses on the organization and editing of field recorder media inside
recording theory R199 1.5 Pro Tools. One 90-minute lecture per week for one quarter.
intro to post-production R150 1.5
87
digital signal processing R184 1.5
mixing and mastering R190 2
R328 Post-Production Essentials (3)
electronics R197 1.5 Students receive a comprehensive overview of all the essential concepts, equip-
analog signal processing R299 1.5 ment, formats, workflow and scheduling of a Post-Production facility and project.
audio One three-hour lecture per week for one quarter.
engineering
electives 3 credits 3 R330 Music Editing (1.5)
various* Music is an essential element in visual storytelling and emotional development.
emphasis 15 credits This course introduces students to concepts of music aesthetics, music resourc-
location sound es, editing techniques and elements of film scoring. One 90-minute lecture per
recording/mixing R326 1.5
week for one quarter.
post-production essentials R328 3
music editing R330 1.5
background/ R331 Background and Sound Effects Editing (3)
sound effects editing R331 3 Using professional sound libraries and movie scene analysis, students learn how
foley recording and editing R332 1.5 to edit and synchronize background and sound effects. This class also empha-
ADR and dialog editing R333 1.5 sizes the delivery requirements for the dubbing stage. One three-hour lecture per
mixing and conforming R340 3 week for one quarter.
TOTAL 45 CREDITS 15 15 15
R332 Foley Recording and Editing (1.5)
*elective requirement must be met from program-specific electives This class demonstrates the recording and editing techniques for footsteps and
Upon completion of the above 45 units, student is eligible to apply for the Cer- props. Students will learn how to spot and configure the editing environment in
tificate in Audio Engineering (Post-Production Audio) preparation for a Foley session. One 90-minute lecture per week for one quarter.
 CERTIFICATE IN AUDIO ENGINEERING (POST-PRODUCTION AUDIO)
R333 ADR and Dialogue Editing (1.5)
Students are introduced to a comprehensive set of tools and techniques for re-
cording, replacing, and editing dialogue. The emphasis is on maintaining consis-
tent synchronization and audio quality while using different dialogue sources. One
90-minute lecture per week for one quarter.

R340 Mixing and Conforming (3)

Using the Digidesign Icon system in MI’s THX certified stage, students learn the
complex and creative process of mixing sound and music in surround sound. This
class introduces critical elements of dubbing session preparation, organization
and conforming to reflect changes in the picture editing process. One three-hour
lecture per week for one quarter.

88
 INDEPENDENT ARTIST PROGRAM (ARTIST CERTIFICATE)
MI’s two-quarter, 30 credit-unit Independent Artist Program (IAP), leading to the
Artist Certificate, is designed to equip creative musicians with the skills they
need to write, record and market their original music. As the centerpiece of the
program, each student applies skills learned in core classes to produce record-
ings of their original songs, create a website, develop a marketing and career
plan, and design promotional media.
Quarter 1 Quarter 2
course/credits course/credits
major area 22 credits products. Topics include effects, mixing, mastering, buying equipment and
independent artist project I/II RD01a 3 RD01b 3
recording techniques I/II RD04a 2 RD04b 2
apple logic I/II RD05a 2 RD05b 2
visual media I/II RD06a 2 RD06b 2
the business RD10 2
your career plan RD20 2
electives 8 credits
various * 4 4 RD05b Apple Logic© II (2)
TOTAL 30 CREDITS 15 15
*a minimum of 6 credits must be selected from program-specific electives
Upon completion of the above 30 units, student is eligible to apply for the Artist
Certificate per week for one quarter.
Course Descriptions
All course descriptions include course number, title, number of credit units per
quarter (multiply by number of required quarters for total credit amount), prereq-
uisites (where applicable), description of content, and contact hours per week.
RD01a.b. Independent Artist Project I-II (3)
The Independent Artist Project is the cornerstone of both the program and your
career as an artist. Combining all of the knowledge and skills developed during
the program, you’ll write and produce several original songs; create CD artwork,
biography, and a press photo; and develop a marketing and career plan includ-
ing content for an internet marketing campaign. Weekly meetings with a Proj-
ect Advisor provide guidance in topics such as songwriting, music production,
sound recording and career development. One one-hour private Project Advisor
meeting per week plus assigned studio time for two quarters.
RD04a Recording Techniques I (2)
Learn to produce professional recordings in a project-studio environment. The first
portion of this course focuses on recording fundamentals and the tracking/overdub-
bing process. Students learn how to record their original songs using IAP’s studios
as well as their own home setups. Specific topics include project-studio terminology
and setup, microphones and microphone placement, EQ, compression and vocal
production techniques. Two lecture hours per week for one quarter.
RD04b Recording Techniques II (2)
Prerequisite: RD04a Recording Techniques I. Building on the foundation of Re-
cording Techniques I, this course focuses on the mixing and mastering process.
Students learn how to turn basic tracks into dynamic and professional finished
home-studio setup. Two lecture hours per week for one quarter.
RD05a Apple Logic© I (2)
Apple’s Logic Studio is a powerful music production package designed for music
creators and producers. This Apple-Certified course, when combined with Apple
89
Logic II, is equivalent to Apple’s own Logic 101 course. Topics covered include
working with midi and audio, virtual instruments, effects, drum programming, time
stretching and working with loops. Two lecture hours per week for one quarter.
Prerequisite: RD05a Apple Logic I. The second level of this Apple-Certified
course focuses on using Logic as a mixing and mastering tool. Topics include
effects, automation, scoring to picture, third-party plugins, and mastering us-
ing Logic’s companion program, Waveburner. Upon successful completion, stu-
dents are eligible to take Apple’s Logic Pro Certification Exam. Two lecture hours
RD10 The Business (2)
The music business is in a rapid state of change. This course explains how the
business has traditionally been structured and discusses where it may be head-
ed. Topics include the roles and relationships of attorneys and managers, music
publishing, copyrights, and how to write effective press releases and artist bio’s.
Each student will be professionally photographed for their press kit and website
(part of RD01: The Project). Two lecture hours per week for one quarter.
RD20 Your Career Plan (2)
Independent musicians now have more opportunities to control their own ca-
reers than at any time in the history of the business. To be both self-sufficient
and successful, artists must be highly motivated and organized in their business
 INDEPENDENT ARTIST PROGRAM (ARTIST CERTIFICATE)
approach. This course shows how to develop a brand identity, release and mar-
ket your music, promote yourself on the internet and find ways of making money
in the music business. All students are required to develop and submit a de-
tailed marketing & career plan. Three lecture hours per week for one quarter.
RD06a Visual Media I (2)
Learn to design CD artwork, flyers, posters, promotional merchandise, and in-
ternet banners using Adobe Photoshop. Emphasis is on creating exciting and
expressive designs that directly support music marketing campaigns. Detailed
topics covered include Photoshop basics, image manipulation, color theory,
photo retouching, filters and elements of effective design in promotional materi-
als and packaging. Two lecture hours per week for one quarter.
RD06b Visual Media II (2)
Prerequisite: RD06a Visual Media I. The internet has opened up an enormous op-
portunity for musicians to promote themselves directly to music fans. This class fo-
cuses on the technical skills needed to promote music online. Topics include creat-
ing banner ads, building a website using Apple iWeb, electronic press kits, creating
and spreading playlists, podcasting, blogging, video editing basics and customizing
social networking sites. Two lecture hours per week for two quarters.
90
ELECTIVES
Note: Independent Artist Program students must complete at least six (6) of
their eight (8) required elective units from the following list:
T101 Elective Private Lesson (2)
Weekly one-hour private instrument lesson on bass, drums, guitar, keyboards, or
voice. One private lesson hour per week for one quarter; repeatable for credit.
RD12 Song Analysis (2)
Analysis, discussion and critique of original songs. Students learn to analyze
songs for effectiveness in terms of melody, lyrics, structure, rhythm, production
and intangible elements. Examples used in class include student’s songs as
well as selections ranging from classic rock to modern pop and hip-hop. Two
lecture hours per week for one quarter.
AR11 Songwriting Techniques I (2)
An introduction to songwriting through the study of the elements of contempo-
rary song structure. Students develop their songwriting skills by presenting and
evaluating original song ideas. Class time will be split between instructor pre-
sentation of weekly subject matter and student presentation of original songs for
feedback and discussion. Two lecture hours per week for one quarter.
AR21 Songwriting Techniques II (2)
Prerequisite: AR11 Songwriting Techniques I. Students learn advanced song-
writing skills for developing a personal artistic vision as well as commercial writ-
ing strategies. Class time will be split between instructor presentation of weekly
subject matter and student presentation of original songs for feedback and dis-
cussion. Two lecture hours per week for one quarter.
M500 Artist Development: The Songs (2)
Prerequisite: M184 Intro to Songwriting or AR11 Songwriting Techniques I, or
permission of Artist Development Coordinator. During intensive one-on-one ses-
sions, instructor and student work on developing original songs from ideas to fin-
ished arrangements. One private lesson-rehearsal hour per week for ten weeks
plus final presentation. May be repeated for credit.
M501 Artist Development: The Show (2)
Prerequisite: M500 Artist Development: The Songs and permission of Artist
Development Coordinator. Instructor and student develop live performances
of original material written during M500 with concentration on stage presence,
movement, audience rapport, image, song sequence and entertainment value.
At the conclusion, students present their best live material for evaluation and
screening by a jury of guest experts. Selected students qualify for an additional
video-recorded Industry showcase. One private lesson-rehearsal hour per week
for ten weeks plus jury. May be repeated for credit.
M325 Music Internship (1)
Prerequisite: completion of one quarter of study in residence. Gain first-hand
experience within the music industry by interning for a music-related company.
Positions vary according to availability, but typically include music publishing,
management, record label, promotion, or marketing. Specific responsibilities and
working hours vary by position; minimum of ten weeks/three hours per week.
Course enrollment is contingent on placement in a position. The MI Internship
Coordinator will assist in placing students but cannot guarantee placement dur-
ing a given quarter. May be repeated for credit.
RD03a Synthesis and Sampling I (1)
This course covers the history of synthesizers, fundamentals of subtractive syn-
thesis, sampling techniques and their application using Apple Logic software.
One lecture hour per week for one quarter.
RD03b Synthesis and Sampling II (1)
Prerequisite: RD03a Synthesis and Sampling I. More advanced elements of
subtractive synthesis as well as an introduction to FM and granular synthesis.
Students also learn to work with hardware synths and samplers such as the
Waldorf Q and Akai MPC. One lecture hour per week for one quarter.
 CERTIFICATE IN MUSIC BUSINESS
The Certificate in Music Business (two quarters/30 credits) provides intensive, Course Descriptions
hands-on preparation for a business career in the recording industry. Students All course descriptions include course number, title, number of credit units per
gain direct practical experience through guaranteed industry internships and quarter (multiply by number of required quarters for total credit amount), prereq-
workshop-style classes and projects, including forming and managing a record uisites (where applicable), description of content, and contact hours per week.
company that selects and promotes independent artist CDs. MI’s location in the
heart of Hollywood provides the ideal setting in which to study all aspects of the MB102 The Record Company I (2)
contemporary music industry. A thorough look at the music industry from the inside. Analysis of the various
departments within a record company and how they interact with each other and
with management to build an artist’s career (principles will be applied to setting
up a student-run virtual record company in MB205: The Record Company II).
Two lecture hours per week for one quarter.
Quarter 1 Quarter 2
course/credits course/credits MB205 The Record Company II (2)
Prerequisite: MB102 The Record Company I. Students apply principles learned
major area the record company MB102 2 MB205 2 in MB102 to form a virtual record company. Groups are assigned to carry out
music contracts MB104 2 MB214 2 A&R, press, marketing, radio promotion and booking functions on behalf of ac-
internet marketing MB110 2 tual independent artists. Course culminates in a record release showcase event
business writing for with invited guests from record labels, management and booking agencies. Two
the music industry MB291 2 lecture-workshop hours per week for one quarter. 91
music publishing MB103 2
A&R MB105 2 MB104 Music Contracts I (2)
personal management MB106 2 A music business attorney guides students through standard music business
guest lecture series MB108 1 contracts (recording contracts, producer agreements, etc.) and discusses es-
getting gigs MB086 1 sential legal terminology, deal-breaking issues, bargaining power and negotiat-
networking in ing options. Two lecture hours per week for one quarter.
the music business MB101 1
MB214 Music Contracts II (2)
independent artist
Prerequisite: MB104 Music Contracts I. Learn to analyze, understand and define
marketing MB204 2
artist agreements including distribution, deal memos, and name and likeness.
start and run your
Two lecture hours per week for one quarter.
own record label MB211 1
radio promotion MB288 1 MB110 Internet Marketing (2)
music business news MB207 1 Students learn how record company Media Relations departments create artist
music business internship MB325 4 EPKs (electronic press kits). Discussions center on Street Teams, the Internet
and self-promotion of CDs and live performances. Two lecture hours per week
TOTAL 30 CREDITS 15 15 for one quarter.

Upon completion of the above 30 units, the student is eligible to apply for the MB291 Business Writing for the Music Industry (2)
Certificate in Music Business Learn how to use words as a productive business tool to establish a professional
image. This course prepares students to communicate clearly and efficiently
in written communication, including business letters, email, press releases and
website content. Two lecture/workshop hours per week for one quarter.
 CERTIFICATE IN MUSIC BUSINESS
MB103 Music Publishing (2)
Publishing remains one of the most lucrative segments of the music industry.
Topics covered include how to copyright songs and recorded works (PA/SR
Copyrights), licenses, how songs make money, how royalties are paid to writers
and publishers, and the functions and responsibilities of the Performing Rights
Organizations—ASCAP, BMI and SESAC. Two lecture hours per week for one
quarter.
M105 A&R (2)
An examination of the role of the Artist and Repertoire department in the pro-
cess of signing new artists. Included are discussions about the A&R hierarchy
at labels, day-to-day A&R responsibilities, what “talent ingredients” they look for
in new artists, how they manage the recording process and how to establish
a relationship with the A&R community. Class project includes the selection of
actual independent artist CDs for MB 205: The Record Company II. Two lecture
hours per week for one quarter.
MB106 Personal Management (2)
An overview of the responsibilities of personal managers and the nature of the
92
relationships they maintain with their artists. Topics include contractual agree-
ments between the artist and manager, the avenues a manager takes to fulfill
those obligations, and management responsibilities with regard to negotiating
and concluding recording and publishing contracts. Two lecture hours per week
for one quarter.
MB108 Guest Lecture Series (1)
In an informal classroom setting, contemporary music industry executives and
artists discuss their careers and professional experiences and answer ques-
tions from students. One lecture hour per week for one quarter.
MB086 Getting Gigs (1)
Learn the most efficient ways for artists and bands to book live shows and tours.
Subjects include where to play, checking out the venue, personal appearance
contracts, getting paid, and putting together your own tours. Guest speakers (as
available) include club owners, promoters, booking agents and touring artists.
One lecture hour per week for one quarter.
MB101 Networking in the Music Business (1)
Success in a changing music industry is determined by the strength and longev-
ity of personal contacts: who you know, what you know, and most importantly,
who knows you. In this practical, application-oriented course, students analyze,
study and practice social techniques and presentation skills important to making
personal contact with all strata of the music business. All levels of communica-
tion are discussed as the students begin to create an invincible support network
for the future. One lecture hour per week for one quarter.
MB204 Independent Artist Marketing (2)
Learn do-it-yourself grass-roots marketing strategies designed for limited bud-
gets. Topics include defining an image, brand, position and format and identify-
ing the target audience. Students create practical plans for booking live shows
and gaining access to radio, internet, press, video, advertising, sponsorships,
sales & distribution, and film & TV licensing. Mailing press kits, follow-up, and
tracking of results are also discussed. At the completion of the course, students
perform marketing presentations before the class for review and analysis. This
is the real thing! Two lecture hours per week for one quarter.
MB288 Radio Promotion (1)
Getting airplay is the key to increasing sales for your independent CD. This
course shows students how to approach and secure airplay from college and
commercial radio music and program directors. One lecture hour per week for
one quarter.
MB211 Start and Run Your Own Record Label (1)
This course details what is needed to start your own label from both creative
and business perspectives. Topics discussed include choosing a name, obtain-
ing trademarks, signing artists and choosing a distributor. One lecture hour per
week for one quarter.
MB207 Music Business News (1)
Students and instructor review and discuss all of the latest music business news
as reported in Billboard, trade websites and newspapers and general media.
Discussions center on how the news impacts the industry and students’ own
careers. One lecture hour per week for one quarter.
M325 Music Business Internship (4)
Students gain first-hand experience within the music industry by serving as in-
terns for music-related companies. Positions vary according to availability. Spe-
cific hours and duties vary; average of twelve hours per week for one quarter.
 CERTIFICATE IN GUITAR CRAFT
MI’s two-quarter, 30 credit-unit certificate program in guitar design, fabrication COURSE DESCRIPTIONS
and maintenance, offered by the Guitar Craft Academy (GCA), provides com- All course descriptions include course number, title, number of credits, prereq-
prehensive training for the instrument manufacturing and repair professions. uisites (where applicable), description of content, and contact hours per week.
The program is held within GCA’s custom-designed facility containing all of the Lab hours shown are approximate. Total hours vary from week to week during
tools, fixtures and accessories required to build high-quality instruments. During each quarter. All courses include required projects and/or research.
the program, every student designs and builds a custom electric guitar or bass
for their personal use. Each student also receives weekly private instruction in GC06a Instrument Design I (2)
stylistic instrument performance techniques. Completion of all program require- Every detail of an instrument’s design affects its musicality and playability. This
ments qualifies the student to earn the Certificate in Guitar Craft. course covers principles of neck, headstock, and body design including the
weight and musical properties of various types of tone woods as well as pick-
guard and control cover fabrication and design, selecting instrument hardware,
Quarter 1 Quarter 2 musical qualities of hardware materials, overview of instrument fabrication his-
course/credits course/credits tory and template design. Eight lecture hours and 14 supervised lab hours plus
independent research assignments and design projects for one quarter.
major area
instrument design GC06a 2 GC06b 1 GC06b Instrument Design II (1)
instrument fabrication GC09a 6 GC09b 6 Prerequisite: GC06a Instrument Design I. Continuation of GC06a; students de-
fretwork & setup GC03a 2 GC03b 2 sign a tilt-back neck and body and research the design and fabrication of clas-
electronics GC04a 1 GC04b 1 sic instrument designs including the Fender Stratocaster and Gibson Les Paul.
finish work GC07 3
93
Four lecture hours and six supervised lab hours plus independent research as-
instrument repair GC01 2 signments and design projects for one quarter.
instrument performance T232a 2 T232b 2
GC09a Instrument Fabrication I (6)
TOTAL 30 CREDITS 15 15 Building outstanding instruments starts with understanding the tonal properties
of wood and shaping it to produce the most musical results. This course is an
on completion of the above 30 units, student is eligible to apply for the Certifi- introduction to the use of woodworking tools and techniques including routing,
cate in Guitar Craft jointing, milling, and shaping along with the use of large industrial and hand-held
tools. Six lecture hours and 33 supervised lab hours plus independent fabrica-
tion projects for one quarter.

GC09b Instrument Fabrication II (6)

The ultimate proof of a luthier’s knowledge and skill is in the instrument itself. As
the centerpiece of the program, each student designs and fabricates a personal
electric guitar or bass from raw materials, including instrument bodies, necks
and pickups as well as painting and buffing. Four lecture hours and 35 super-
vised lab hours plus independent fabrication project for one quarter.
 CERTIFICATE IN GUITAR CRAFT
GC03a Fretwork & Setup I (2) GC01 Instrument Repair (2)
Learn essential guitar maintenance techniques used by professional technicians. Course covers the methodology and organization of materials and procedures
String height and truss rod adjustment, intonation, fret dressing, fret replacement for basic guitar repair and modification. Includes building the relationship be-
and intonation are covered along with effective methods for trouble-shooting re- tween musician-client and technician and communicating in musical and techni-
lated problems. Students learn principles of temperament and harmonics as well cal language. Twelve lecture hours plus projects for one quarter.
as how to adjust the instrument for proper musical “feel”. Eight lecture hours and
24 supervised lab hours plus projects for one quarter. T232a Instrument Performance I (2)
Private instrument instruction on guitar or bass with a focus on understanding
GC03b Fretwork & Setup II (2) the relationship between musical style, technique, sound and instrument design.
Prerequisite: GC03a Fretwork & Setup I. Continuation of GC03a with emphasis One private lesson hour per week for one quarter.
on final preparation for demands of professional setup. Four lecture hours and
30 supervised lab hours plus projects for one quarter. T232b Instrument Performance II (2)
A continuation of T230a. Private instrument instruction on guitar or bass with
GC04a Electronics I (1) a focus on understanding the relationship between musical style, sound and
An introduction to guitar and bass electronics. Topics include understanding instrument design. One private lesson hour per week for one quarter.
magnetic, piezo, and active pickups; proper shielding techniques; switching op-
tions; and proper soldering technique as well as trouble-shooting and repair.
Students will also learn how to make their own magnetic pickups, balancing
94 output and tone to arrive at optimal tonal properties for different instruments and
stylistic applications. Students are required to research a wide range of after-
market electronics. Ten lecture hours and ten supervised lab hours plus projects
for one quarter.

GC04b Electronics II (1)

Prerequisite: GC04a Electronics I. A continuation of GC04a; students learn elec-
tronic troubleshooting and wiring modifications, coil taps, phase switching and
other more advanced electronics applications. Ten lecture hours and twelve su-
pervised lab hours plus projects for one quarter.

GCO7 Finish Work (3)

An instrument’s finish is not only cosmetic, but can have a profound effect on
its musical properties. Class covers procedures and techniques for finishing
and repairing musical instruments, including preparation, painting and buffing.
Twelve lecture hours and 24 supervised lab hours plus projects for one quarter.
 CERTIFICATE IN MUSIC VIDEO, FILM AND TELEVISION PRODUCTION
MI’s two-quarter/30 credit-unit Music Video, Film and Television program,
offered by the Film Institute of Technology (FilmIT) is an all-inclusive course
in the aesthetic and technical skills of creating music-based short films and
videos. The program culminates in a final project in which each student directly
applies the skills of music selection and analysis, directing, producing, cinema-
tography, editing, and compositing in creating a professional-level short film,
commercial or video incorporating music as a primary element. Successful
completion of all program requirements leads to a Certificate in Music Video,
Film and Television.
Quarter 1 Quarter 2
course/credits course/credits
program core music and sound
for visual media F108 2 F208 2
directing F101 3 F201 1
producing F102 3 F202 1
editing F103 3 F203 2
cinematography F104 3 F204 2
compositing and
motion graphics F105 1 F205 1
industry career strategies F206 1
final project F207 5
TOTAL 30 CREDITS 15 15
on completion of the above 30 units, student is eligible to apply for the
Certificate in Music Video, Film and Television Production ness side of directing, including getting an agent, working with composers, musi-
COURSE DESCRIPTIONS
All course descriptions include course number, title, number of credits per quar-
ter, description of content, and contact hours per week. Successful completion
of all core classes is required in order to be eligible for the Certificate in Music
Video, Film and Television Production.
F108 Music and Sound for Visual Media I (2
Essential elements of song form, meter and rhythm; the relationship between
musical structures, emotion and imagery; music editing and processing as fun-
damental skills in the production of music-based film and video. One and one-
half lecture hours per week for one quarter.
F208 Music and Sound for Visual Media II (2)
Prerequisite: F108 Music and Sound for Visual Media I. Sound design and
soundscape creation; music and location recording; mixing and synchronization
of music and image. One and one-half lecture hours per week for one quarter.
F101 Directing I (3)
An introduction to the art of music selection, script writing and directing, including 95
how to write and pitch music-based scripts and treatments, create shot lists and
storyboards, and develop communication techniques necessary for productive
creative relationships with composers, arrangers and artists, producers, direc-
tors of photography and art directors. One and one-half lecture hours per week
plus class projects for one quarter.
F201 Directing II (1)
Prerequisite: F101 Directing I. Students compose or supervise music scores,
decide on visual elements and direct actors. The class also focuses on the busi-
cal artists and production companies, and dealing with advertising agencies and
record labels. One lecture hour per week for one quarter.
F102 Producing I (3)
An introduction to the music video/film production process from pre-production
through production and post-production. Topics include understanding the key de-
partments and specialized roles of a production team, selecting and renting equip-
ment, creating budgets, specification sheets, contracts, riders, and obtaining per-
mits. One and one-half lecture hours per week plus class projects for one quarter.
 CERTIFICATE IN MUSIC VIDEO, FILM AND TELEVISION PRODUCTION
F202 Producing II (1)
Prerequisite: F102 Producing I. Learn the more complex aspects of produc-
tion including managing location and sound-stage productions, dealing with film
commissions, international productions, and managing the post-production pro-
cess. One lecture hour per week plus class projects for one quarter.
F205 Compositing and Motion Graphics II (1)
More advanced techniques including photorealistic compositing and CGI, ani-
mating to music with motion math, matting & rotoscoping, motion tracking, and
working with programs including Magic Bullet and Ultimatte AdvantEdge. One
lecture hour per week plus lab for one quarter.

F103 Editing I (3) F206 Industry Career Strategies (1)

An introduction to the short-form, music-driven editing process. Technique and
concepts include compression and mastering formats, time code, file manage-
ment, working with transitions and effects using industry-standard editing pro-
grams Final Cut 6.0 and Soundtrack. Students carry out exercises in montage,
synchronization and story development. Two lecture hours per week plus lab for
one quarter.
F203 Editing II (2)
Prerequisite: F103 Editing I. An exploration of advanced editing techniques in-
cluding multi-cam, color correction, format conversions, post-production sound
mixing, ADR and mastering of various HD formats. One lecture hour per week
96 plus lab for one quarter.
F104 Cinematography I (3)
The fundamentals of cinematography, including aspect ratios; film stock; digital
compression; essential lighting skills for people, objects, and sets; film and HD
camera operation; exposing film, maintaining synchronization with sound and
music . Students complete class projects and exercises plus field trips. Two
lecture hours per week plus lab for one quarter.
Essential skills for building and maintaining a career in the music video-film-
television industry. Topics include building and presenting show reels, develop-
ing a career timeline, setting up your own production company, and bidding for
music videos and commercials. One lecture hour per week plus class projects
for one quarter.
F207 Final Project (5)
Students write, plan, produce, shoot and edit a complete music-driven video,
short film, or commercial. Applied skills include selecting, composing or super-
vising the development of musical elements, developing a script or a treatment,
storyboarding, planning a budget, assembling a crew, securing location permits
and insurance, directing, shooting, editing, compositing and mastering. Final
projects are shown in class for review, critique and grade. Two lecture hours per
week plus lab and independent study for one quarter.

F204 Cinematography II (2)

Prerequisite: F104 Cinematography I. Explore more advanced aspects of cin-
ematography including beauty, mood and effect lighting and filtering, camera
support, location sound recording and music playback. Field trips to Panavision
and Riot color. One lecture hour per week plus lab for one quarter.

F105 Compositing and Motion Graphics I (1)

Introduction to compositing using After Effects, including title manipulation, lay-
ering and third-party plugins. Introduction to DVD Studio Pro. One lecture hour
per week plus lab for one quarter.
 ALTERNATIVE PROGRAMS
ENCORE Availability of Classes
The Encore Program offers non-certificate training in music for Performance All courses are not offered every quarter. Courses specific to Baccalaureate
students. With guidance from the Encore Coordinator, Encore students create a and non-Performance Certificate programs (as well as certain other courses
personalized ten-week schedule including lessons, classes, performance work- offered by Performance Certificate and AA programs) are not available for
shops and other activities. There are no required courses; all courses under- Encore enrollment. Before enrolling, consult with the Encore Coordinator to
taken will be graded, but no credit will be awarded. All instruments, styles and confirm the availability of specific courses.
levels are available and students may enroll at the beginning of any quarter.
Materials
The Encore Program includes: Encore students are entitled to the curriculum, materials and other resources
applicable to the courses included in their enrollment schedule only.
Private Lesson
Fees
A weekly, one-hour private lesson on the student’s primary instrument. Instructor
Encore students are responsible for all applicable fees; see “Tuition and Fees”
and student jointly develop a lesson plan that supports the student’s particular in-
for specific information.
terests and provides general guidance throughout the program (requests for pri-
vate lessons with a particular MI instructor are subject to instructor availability).
Course Credit
Courses taken during an Encore session do not earn course credit. Attendance
Personalized Schedule
or completion of any course does not guarantee subsequent advanced place-
Encore students may enroll in any combination of courses normally available to
ment in a Certificate or Degree program.
students at their level of knowledge and performing skill (as determined by the 97
Encore Coordinator and relevant program directors), equal to a full-time credit
load of fifteen units.
SUMMER SHOT
MI’s annual summer program is an intensive, one-week contemporary popular
Access
music education experience for students age 14 and up. Summer Shot offers
Encore enrollment includes 24-hour access to MI’s facilities for practice and
two non-certificate program options:
rehearsal, use of the library, admission to special clinics and seminars, and par-
ticipation in open counseling and live performance workshops.
Performance (Guitar, Bass, Drums, Keyboards, Voice)
The schedule includes classes in instrument technique and general musi-
Please Note:
cianship, group performance workshops, private and group lessons, visiting
instructor seminars, visiting artist concert, and live student performances on
Financial Aid
the professional concert stage.
State and Federal financial aid are not available to students enrolled in non-
Certificate programs.
Recording
Students learn basic computer-based recording and music production tech-
January and July enrollments
niques and participate in recording sessions in MI’s state-of-the-art studios.
Most core classes available to entering Encore students during January and
Each student produces an original recording applying techniques taught during
July quarters are at an intermediate-to-advanced level. January or July enroll-
the program.
ment is not advisable for beginning-level Encore students.

Program dates, specific course offerings, and other information are provided
on MI’s website (www.mi.edu) and updated regularly.
 GENERAL ELECTIVES
Except where students are required to choose electives from a program-specific
list, students may also fulfill their elective requirements with the General Elec-
tives listed here. See program descriptions for specific elective credit require-
ments and program-specific elective offerings.
NOTE: Most electives are not offered every quarter and electives may be added
or cancelled without prior notice. Refer to the current course offering for specific
courses available at time of registration.
GENERAL INTEREST
M112 Open Counseling (1)
Instructors in various programs offer informal coaching, critique and insight into
technique, musicianship and style during weekly scheduled sessions. Student
must attend a minimum of ten one-hour sessions per quarter; may be repeated
for credit.
E020 Live Playing Workshops (1)
(NOTE: LPWs are required for all AA and Certificate in Performance programs;
LPWs are offered for elective credit to eligible students from other programs).
98 Students gain performing experience in a wide range of contemporary styles. See
catalog section on Live Playing Workshops for general descriptions; refer to cur-
rent course offering for specific LPWs available at time of registration. Minimum of
ten performances per quarter, repeatable for credit
M069 Latin Listening (1)
Students gain an understanding of Latin styles through intense listening and dis-
cussion. One lecture hour per week for one quarter.
M155 Audition Workshop (1)
Prerequisite: E01b Rhythm Section Workshop IB (Guitar, Bass, Drums); K041b
Groove IB (Keyboards), or E02b Vocal Performance IB. Learn what it takes to
build and sustain a career as a working musician, including practical advice and
proven steps for getting and passing auditions, preparing and promoting yourself
and obtaining work from clubs and casuals to sessions and tours. Students ex-
perience mock sessions and auditions under the direction of a professional talent
coordinator. Two workshop hours per week for one quarter.
M160 Accelerated Learning (1)
Build speed learning and recall skills to make the most efficient use of practice and
study hours through visualization, time frame practice and isolation of material.
One hour per week for one quarter. Course may be repeated for credit.
M164 Lifemanship (1)
Students learn techniques that develop their ability to be confident in front of an
audience including stage presence and communication skills. One hour per week
for one quarter. Course may be repeated for credit.
CREATIVE DEVELOPMENT
M500 Artist Development: The Songs (2)
Prerequisite: M184 Intro to Songwriting or AR11 Songwriting Techniques I, or per-
mission of Artist Development Coordinator. During intensive one-on-one sessions,
instructor and student work on developing original songs from ideas to finished ar-
rangements. One private lesson-rehearsal hour per week for ten weeks plus final
presentation. May be repeated for credit.
M501 Artist Development: The Show (2)
Prerequisite: M500 Artist Development: The Songs and permission of Artist Devel-
opment Coordinator. Instructor and student develop live performances of original
material written during M500 with concentration on stage presence, movement,
audience rapport, image, song sequence and entertainment value. At the conclu-
sion, students present their best live material for evaluation and screening by a
jury of guest experts. Selected students qualify for an additional video-recorded
Industry showcase. One private lesson-rehearsal hour per week for ten weeks
plus jury. May be repeated for credit.
M303 Creativity Workshop (1)
Based on the book The Artist’s Way, this workshop is intended to help students tap
into a deeper sense of creativity in both music and life. The goal is to create more
dialogue among students, developing a community of artists who learn to open up
and relate to each other while exchanging ideas about the creative process. Two
workshop hours per week for one quarter. May be repeated for credit.
SONGWRITING
M075 Original Song Pre-Production (2)
Grammy-nominated record producer Richie Zito (Cher, Poison, Janet Jackson,
Cheap Trick, The Cult) works with students on getting their original songs ready
for recording. Song arrangements and key studio production tips are discussed.
Two lecture hours per week for one quarter. May be repeated for credit.

M085 Writing TV Themes (2)
Prerequisite: M021b Harmony and Theory IB, M184 Intro to Songwriting. Some-
times it’s the TV theme song that hooks us into watching the show. Who can
forget the themes to Gilligan’s Island, The Flintstones, or Friends? Students learn
how to write memorable TV themes to cartoon shows, crime shows, or shows
about super heroes. Two lecture hours per week for one quarter.
M114 Fundamentals of Lyric Writing (2)
Lyrics are the language of music, and often have as much or more to do with
the success of a song than the music. This class focuses on developing a basic
knowledge of lyric writing, including discussion and analysis of the form, structure
and content of popular hit songs. Two lecture hours a week for one quarter.
M184 Intro to Songwriting (1.5)
Prerequisite: M021a Harmony & Theory IA. This class develops the basic tech-
niques and skills used by effective songwriters. Topics include song form, hooks,
melody, lyrics, rhyme and harmony. One lecture hour and one workshop hour per
week for one quarter.
M185 Professional Songwriting (2)
Prerequisite: M184 Intro to Songwriting. The popular music industry is built first
and foremost on songs, and thousands of musicians earn the bulk of their musi-
cal income from songwriting. This course is a hands-on writing course teaching
students how to create songs on demand in various popular music styles. Stu-
dents develop their craft by learning the structural and stylistic elements of various
genres including pop, rock, country and adult contemporary with assignments that
include creating verses, choruses and bridges in each style. Two lecture hours per
week for one quarter.
M308 Songwriters Lab (1)
Class designed to foster open discussion, idea sharing, performance, and rela-
tionship-building for songwriters. Student songwriters perform their songs and
share the writing process followed by open discussion of alternative writing tech-
niques and the creative process. Two workshop hours per week for one quarter.
May be repeated for credit.
M309 Lyric Writing for Original Songs (2)
Prerequisite: M114 Fundamentals of Lyric Writing. Application of lyric writing fun-
damentals to students’ original work, including extensive writing assignments and
evaluation of material with a focus on lyrical content. Two lecture/workshop hours
per week for one quarter.
GENERAL ELECTIVES
M321 Original Song Workshop (1.5)
Prerequisite: M184 Intro to Songwriting. Students develop songwriting skills by
presenting and evaluating their original songs through critiques of lyrics, melo-
dies, grooves and chord progressions. Weekly writing assignments culminate in
a complete, professionally presented song. One lecture hour and one workshop
hour per week for one quarter.
MUSIC BUSINESS
M008 Evolution of Pop 1960-1980 (1)
Study the musical styles that influenced the modern pop era, exploring music
ranging from Hendrix, Zeppelin and Pink Floyd to the Eagles, Bee Gees, Sex Pis-
tols, Ramones, David Bowie and Alice Cooper, among others. Students analyze
recordings and videos. One lecture hour per week for one quarter.
M009 Evolution of Pop 1980-Present (1)
Students listen to recordings and view videos of performances by artists including
Madonna, Nirvana, Alice in Chains, Alanis Morissette, Eminem, Dre, Coldplay,
Blink-182 and others across the spectrum of popular music. One lecture hour per 99
week for one quarter.
M065 Business of the Beatles (1)
A nuts & bolts overview of the Beatles’ business career. Topics include their failed
audition for Decca Records, how Capitol almost lost the band, Brian Epstein’s poor
merchandising deal, songs they gave away, John Lennon’s copyright infringement
case and more. One lecture hour per week for one quarter.
M074 The Songwriters (1)
Seminar series featuring a different successful guest songwriter each week play-
ing demos of songs recorded by major artists as well as discussing how to break
into the business of songwriting and maintain a career. Each class includes a Q&A
session with students. Two lecture hours per week for one quarter. Repeatable
for credit.
M076 Do-It-Yourself Promotion (1)
Learn to put together a promotion and publicity campaign to market and sell origi-
nal music. One lecture hour per week for one quarter.
 GENERAL ELECTIVES
M078 The Business of Working Musicians (1)
Learn to manage a career as a working musician. Topics include managing life
on the road, negotiating an employment contract, calculating per diems, key-man
clauses, equipment endorsements, working with unions (AFM and AFTRA), band
membership agreements and more. One lecture hour per week for one quarter..
M079 Music Business Basics (1)
A survey of essential elements of the music business as they pertain to musicians
and songwriters. Topics include publishing, copyrights, management, A&R and
getting gigs. One lecture hour per week for one quarter.
M080 The Touring Musician (1)
An introduction to what to expect as a touring musician. Includes finding and ne-
gotiating live gigs, negotiating performance contracts, planning a budget, and cov-
ering the ‘real’ costs of traveling. Students learn to make and follow through on an
actual tour plan from first phone call to final costs. One lecture hour per week for
one quarter.
100 M083 From the Streets to Success (1)
This class reveals how to deal effectively with obstacles encountered by artists
as they move to a professional career status. Topics include rehearsal tips, press
packages, dealing with the press, getting gigs and creating a buzz. One lecture
hour per week for one quarter.
M087 Doing Business as a Band (1)
An in-depth discussion of the creative and business aspects of operating a band.
Topics include: auditioning band members, protecting your band’s name, delegat-
ing responsibility, partnership papers, rehearsal tips, putting together a killer live
set, and promoting your band’s image and music. One lecture hour per week for
one quarter.
M092 The Record Producers (1)
Each week, a different guest producer brings demo and final master recordings of art-
ists’ songs for analysis and comparison, critiques students’ original song productions,
and discusses record producers’ career preparation, development and responsibili-
ties. Two lecture hours per week for one quarter. May be repeated for credit.
M101 Making Money in New Music Markets (1)
Students explore ways of making money in new and different music markets, in-
cluding getting endorsements, applying for showcases, grants, festival gigs, col-
lege shows and sponsorships. One lecture hour per week for one quarter.
M325 Music Internship (1)
Prerequisite: completion of one quarter of study in residence. Gain first-hand ex-
perience within the music industry by interning for a music-related company. Posi-
tions vary according to availability, but typically include music publishing, manage-
ment, record label, promotion, or marketing. Specific responsibilities and working
hours vary by position; minimum of ten weeks/three hours per week. Course en-
rollment is contingent on placement in a position. The MI Internship Coordina-
tor will assist in placing students but cannot guarantee placement during a given
quarter. May be repeated for credit.
ADVANCED MUSICIANSHIP
E20 Fusion Ensemble (1)
Prerequisite: permission of instructor. Advanced ensemble performs complex
jazz/fusion arrangements during weekly rehearsals. The emphasis is on ensem-
ble playing, listening and improvisation. One ensemble hour per week for one
quarter. May be repeated for credit.
M290 Advanced Ensemble Skills (1)
Prerequisite: B112B, P112B, G112B, or K112B (depending on major instrument).
How to function as a professional-level rhythm section. Instructor acts as a musi-
cal director for a Funk, Fusion, Jazz-Rock-oriented rehearsal band. Emphasis is
placed on groove, timing, and feel. Bass, drum and keyboard chairs will be open
to a maximum of three students; the guitar chair a maximum of four. Improvisation,
lead sheet, and notation skills will be required. Two ensemble hours per week for
one quarter.
NON-INSTRUMENTAL SKILLS
M107 Computer Notation (2)
An important, practical and contemporary survey of computer notational tech-
niques using Sibelius notation software. Recommended for all students, this
course has wide application for theory, arranging, songwriting and other assign-
ments requiring notation. Two hours per week for one quarter.

M109 Introduction to Final Cut Pro© (2)
This hands-on course introduces students to the interface and primary feature set
of Final Cut Pro, the powerful industry-standard film-video editing program. Topics
include navigating the interface, basic editing techniques, adjusting and custom-
izing settings, capturing HD video and audio, trimming, audio editing, finishing,
and final output to various formats and compressions. One lecture hour and two
lab hours per week for one quarter.
M187 Computers in Music (1.5)
Students become familiar with music-oriented software applications ranging from
ear training, practice and songwriting aids, sequencing and digital editing. Each
program is covered in an introductory fashion geared toward combining computer
and musical understanding. One lecture hour and one lab hour per week for one
quarter.
M330 Composing/Scoring for Film and TV (2)
An overview of the TV & Film industries as lucrative outlets for original music.
Class covers the creative process of seeing a video and creating an audio track
from scratch, including such factors as the equipment needed to get started, how
to create tension and emotion in your music, considerations of time and space in a
visual medium, and time code & sync tracks. Also covers the business side of how
to create industry interest in your music, developing your reel, royalties, contracts,
points, credits, and dealing with music supervisors. Two lecture hours per week
for one quarter.
GENERAL ELECTIVES
M167 Hand Percussion (1)
An introduction to percussion techniques including hand coordination and rhythm
as they relate to various types of Latin hand percussion instruments with applica-
tion to Latin and pop music. One hour per week for one quarter.
M305 Introduction to Bass (1)
For non-bass majors interested in learning how to play appropriate basslines us-
ing correct playing techniques and understanding the role of the bassist in a band.
Covers all essentials of the bass for the non-bassist. One hour per week for one
quarter.
M306 Introduction to Keyboards (1)
Covers basic chord voicings, scales and fingerings for non-keyboard majors. The
keyboard is the basic reference instrument for the study of every style of music
and the basic tool of songwriters. All musicians can benefit from knowledge of
basic keyboard technique. One hour per week for one quarter.
101

NON-MAJOR INSTRUMENT STUDY

See instrument program course offerings for additional entry-level instrument
electives.

M110 Introduction to Voice (1)

For non-vocal majors. Students learn to develop techniques for proper breathing,
pitch accuracy, and improving range while protecting their vocal instrument with
application to popular styles in both lead and backup vocal roles. One lecture hour
per week for one quarter.

M111 Introduction to Guitar (1)

For non-guitar majors. Covers simple note reading, fingerings and accompaniment
patterns. Great tool for singer-songwriters. One hour per week for one quarter.
 LIVE PLAYING WORKSHOPS
Live Playing Workshops (LPWs) and Ensembles provide students with a wide MUSICIANSHIP ENSEMBLES
range of opportunities to gain valuable performing experience and fulfill their In these ensembles, students confront musical and professional challenges that
performance requirements by concentrating in one area or sampling a variety expand their stylistic range while teaching them to think on their feet. Musician-
of styles and settings according to their needs. Live performance courses are ship ensembles include Real World (playing contemporary styles while chart-
offered in three general categories: reading and following a musical director), Schroeder Ensemble (developing sty-
listic range and improvisational skills under the guidance of popular MI instructor
STYLE & REPERTOIRE Carl Schroeder) and Traditional Jazz.
Staffed by experienced instructor-performers, these LPWs use a “tune of the
week” format. Students prepare parts in advance, perform on stage with other ARTIST DEVELOPMENT
students, and receive coaching and critique on their musical and performing Designed to help students form original bands, showcase original material and
skills. These LPWs are also a great way for students to meet each other, learn gain experience as performing artists in solo or group settings, these perfor-
about different styles, and develop their repertoire. Regularly scheduled* Style mance workshops emphasize creativity, stagecraft and professionalism. Artist
& Repertoire LPWs include: Development LPWs include Coffeehouse (solo performance) and Pro Perfor-
mance (original groups).
Blues Classic Rock
Country Rock Modern Rock
Hard Rock Metal
Classic R&B Contemporary R&B
Fusion Funk
102
Reggae Latin
Traditional Jazz Ensemble Student Choice (styles vary)
Digital

* LPW offerings vary by quarter; check current course schedule for availability.

Akimoto, Takeshi (Guitar)
Guitarist Takeshi Akimoto maintains a very busy schedule between live tours
with such artists as Ziggy Marley, The Marley Brothers, and Raya Yarbrough and
sessions including soundtracks for the recent motion pictures 50 First Dates and
Christmas With The Kranks, as well as ABC-TV’s Jimmy Kimmel Live. At GIT,
Takeshi teaches private lessons and open counseling.
Akutsu, Keita (Drums)
Keita Akutsu is a native of Yokohama, Japan, and is an honors graduate of PIT,
where he earned the Most Improved Student of the Year Award. Keita also
graduated from the California Institute of the Arts with BFA in music where he
studied under the guidance of Joe LaBarbera. He regularly performs at various
major venues in the LA area including Catalina Bar & Grill. He has performed
with such artists as Larry Koonse, Bob Shepard, Nate Morgan and Darek Oles
among others. At MI, Keita teaches private lessons and Traditional Jazz LPW.
Allen, Brian (Bass)
Since graduating in 1999 from the Bachelors Program at Musicians Institute
with the BIT Outstanding Student Award, Brian has maintained a busy schedule
of live performances and sessions in Los Angeles, performing on both electric
and upright bass in styles ranging from jazz to heavy alternative. Currently, he
is playing with Greg Adams, the legendary trumpeter/ arranger for Tower Of
Power, and works as a clinician for Zon basses, SWR amps and Lightwave
optical pickups. At BIT, Brian teaches private lessons, open counseling, and the
Hip-Hop LPW.
Alonzo, Lance (Guitar Craft)
Lance Alonzo graduated from the Guitar Craft Academy program in March 2001
and soon joined the staff as a teaching assistant by then-Program Director John
Carruthers. His teaching assignments expanded over the next few years and
from 2005-08 he served as the program’s Department Head before returning to
teaching full-time. Aside from his teaching duties, Lance also repairs and builds
custom guitars and basses for local musicians.
Amicone, Michael (Music Business)
Michael Amicone has been a respected music journalist and editor for over two
decades. He has served as managing editor of the award-winning daily music
news source Billboard Bulletin, editor-in-chief of the innovative Universal Music
Group TV show/website Farmclub and senior editor of Music Connection maga-
zine. He has also interviewed scores of top artists and executives, including
David Bowie, Quincy Jones, Tony Bennett and Ringo Starr, been a guest com-
FACULTY BIOS
mentator on TV and radio shows, and worked on CD reissue projects for Elton
John and Nilsson. At MI, Michael teaches Music Business News, Business His-
tory of the Beatles and Public Relations.
Anderson, Michael (Multi-Program)
Michael Anderson is a songwriter, artist, producer, and author who has written
songs for John Fogerty, Juice Newton, Pam Tillis, Phil Seymour, Rebecca St.
James, and others in rock, pop, country, and CCM. He has been a staff writer for
EMI and BMG Publishing in Nashville, as well as MCA /Universal and Criterion
Music in Los Angeles. He wrote the #1 country single, “Maybe It Was Memphis”,
several #1 CCM singles, and won a Dove Award for “Hard Rock Song of the
Year.” As a solo artist he has released six albums, including two on A&M Re-
cords, two on EMI / Forefront, and two independent releases. Michael is also an
author of screenplays and books including Michael Anderson’s Little Black Book
of Songwriting and works as a music business career and song consultant. At
MI, he teaches Professional Songwriting and Artist Development.
Aponte, Bryan (Audio Engineering)
Bryan Aponte received his Bachelor of Arts degree cum laude from Long Island
103
University’s School of Broadcasting and graduated from New York’s Institute of
Audio Research. After completing his studies in audio engineering, he turned
professionally to post-production for television and film, first at BET and sub-
sequently as an engineer/mixer for ABC, CBS, E! Network, Fox TV, Mad TV
and more, receiving two Emmy Award nominations for his work in sound. For
MI’s Audio Engineering/Post-Production Audio program, Bryan teaches ADR/
Dialogue Editing and Foley Recording and Editing.
Avery, Justin (Keyboards)
Justin Avery is a versatile performer whose original arrangements have been
performed from his hometown of Traverse City, Michigan all the way to South
Africa. He grew up in a musical family, performing at his father’s nightclub before
entering Western Michigan University as a Jazz Studies major. His arrange-
ments and original compositions were featured in the school’s Gold Company
performances around the world. Justin won a 2004 Downbeat Student Music
Award for best Blues, Pop, Rock Band as well as best Blues, Pop, Rock soloist
with his all-original Justin Avery Band. He has also created Icons, a multi-media
showcase performance of his original music that can be viewed at www.justinav-
erymusic.com. As a performer, Justin works as a keyboardist with the Emotions
and as lead vocalist for his original rock band, Population Game, named in Music
Connection Magazine’s 15th Annual “Hot 100 Unsigned Artists”. For MI, Justin
conducts ensembles and teaches arranging as well as keyboard private lessons.
 FACULTY BIOS
Avveduti, Peter (Independent Artist)
Peter has worked for Howard Benson, Robi Draco Rosa, and Leslie Van Treese
performing jobs from guitar & bass tech to Pro Tools engineer. He later went on to
become the head engineer at Mad Heaven Studios where he produced numerous
artists in genres ranging from acoustic to rock to electronic. He currently works as
an independent producer, engineer, mixer, and as a session guitar player while
also focusing on his own music, including his band Illium which has released its
first album, All Our Hope Is... For the Independent Artist Program, Peter engi-
neers drum sessions, maintains the studios, and teaches private lessons.
Banks, Tio (Independent Artist)
After a four-year honorable tour of duty in the United States Marine Corps at
Quantico, Tionno Banks moved to Los Angeles to study piano, synthesizers and
voice at the Dick Grove School of Music. Upon completion, Tio went on tour
as the assistant keyboardist for legendary keyboardist Billy Preston, followed
by recording, writing and more touring with various artists including Don Was,
Khaleb, John Taylor (Duran Duran) and Mandy Moore. Tio’s current musical
projects include the completion of his debut solo CD entitled Tiopiah, producing
Eminem artist Cashus, and touring with the funk-rock-blues band The Bone-
shakers. When he’s in LA, Tio teaches private keyboard lessons for the Inde-
104 pendent Artist Program.
Basick, Shawna Voice)
Shawna Basick has been performing most of her life, with experiences ranging
from sports events to musical theater. Recently, Shawna has been touring the
UK with Leslie Paula & the Latin Soul Band as well as performing at a variety of
venues in LA. A VIT grad noted for her stylistic versatility, Shawna specializes in
voice technique and placement for different styles of music. At VIT, she teaches
Sightsinging and private lessons.
Bates, Jonathan (Independent Artist)
Jonathan is the singer and founding member of the Columbia recording group
Mellowdrone. Music from his current LP Box has been licensed by the likes of
Six Feet Under, Nissan, Project Runway, Bravo, Disney, MTV, and several video
game titles. A by-product of years of solid touring has lent to a lot of DIY know-how
and experience with business matter such as contract law. He has shared the
stage with Paul Weller, The Fire Theft, Johnny Marr, The Killers, and She Wants
Revenge. In the studio, he was worked and collaborated with Eric Valentine, Bob
Ezrin, Tony Berg, and Sean Beaven. Visit www.mellowdrone.com or myspace.
com/mellowdrone for more info. Jonathan is currently a Project Advisor for IAP.
Baur, Bernard (Music Business)
Bernard Baur is an artist crusader and award-winning journalist. For many art-
ists he’s the connection between the streets and the suites. Credited with over
1200 published articles in a variety of publications and general entertainment
websites, he is currently Review Editor, A&R Reporter and Features Writer for
Music Connection Magazine. With over twenty years in entertainment and mu-
sic, Bernard has worked with superstars and emerging artists as a Director of
Marketing and Promotions, Director of Business Affairs, PR consultant, Media
Liaison and A&R executive. At Warner Bros. Entertainment, he handled market-
ing and copywriting for all WB products, including music, television programs,
films and DVDs. As a partner in BGO Entertainment Network, he consults for
record labels, entertainment firms (music, TV, and internet) and Minarik Guitars.
Bernard has appeared in documentaries, VH1, MTV and CNN specials and is a
frequent participant in music conferences and workshops across the US. At MI,
he teaches Music Business Basics and Start & Run Your Own Record Label.
Berestovoy, Marcelo (Guitar)
GIT graduate (‘86) Marcelo Berestovoy’s recording credits include Ricky Martin,
Jessica Simpson, and Selena, as well as movies (with Tom Coster and Tom
Coster Jr.) and TV spots. As a player, he’s truly versatile, covering all of the gui-
tars for the live production of “Holiday on Ice”. Recent songwriter credits include
a cut on Natalia Oreiro’s Latin Grammy-nominated Tu Veneno (BMG Argentina).
Stylistic preferences: anything with guitar in it! At GIT, Marcelo conducts Rumba
Workout classes, and teaches Single String Improvisation, Rhythm Guitar, RSW,
open counseling and private instruction.
Berry, Kris (Drums)
Kris Berry works professionally in a variety of styles including jazz, Latin, rock,
funk, R&B, soul and classical. Artists he has worked with include Clare Fischer
(Latin/Jazz quartet & vocal ensemble), Otmaro Ruiz (Alex Acuna, Sheila E), Stu
Goldberg (John McLaughlin, Pat Martino), Smokey Robinson, Doc Severenson,
Tim Bogert (Jeff Beck, Rod Stewart), Keith Jones (Santana, Andy Narell, Airto
& Flora Purim) and musicians from the LA Philharmonic Orchestra. At MI, Kris
specializes in mallet percussion and private instruction.
Blue, Jeff (Music Business)
Jeff Blue’s extensive music industry resume includes positions as Senior Vice
President of A&R and Staff Producer for Interscope Records, Vice President of
A&R for Warner Bros. and Jive/RCA Records, writer for Warner Chappell Music
and music business attorney. He has worked with artists who have sold in ex-
cess of 130 million records, including Linkin Park, Limp Bizkit, Korn, Hoobastank,
Macy Gray and Better Than Ezra, among others. He is currently an A&R consul-
tant for Jive Records and writer with Universal Music Publishing. For MI’s Music
Business program, Jeff teaches A&R and Music Contracts.

Bolton, Ross (Guitar)
Currently on tour with jazz vocal legend Al Jarreau, Ross Bolton has also re-
corded or performed with Rick Braun, David Benoit, Warren Hill, English funk-
sters Down to the Bone, Jeffrey Osborne and many others, as well as providing
guitar work for soundtracks including the The Gary Shandling Show (HBO) and
movies such as Switch, Into the West, and Friday. Ross has also recorded with
The Beach Boys and played on the theme song of the long running radio show
Rockline. Ross has an instructional video entitled Funk Rhythm Guitar. Special-
ties: funk, R&B, contemporary improvising
Bonhomme, Al (Guitar)
Al has performed for many years as a freelance working guitar player covering
all styles of music from country and blues to rock and roll, R&B, finger picking
and everything in between. Al has worked with country star Dwight Yoakum, gui-
tarist/producer Pete Anderson, the Bull Durham Band and Disney Entertainment
as well as performing at the Grand Old Opry, on CNN’s Crook and Chase show
and with country artists Mark Collie and Tracy Lawrence. In 1988, he was voted
“Guitarist of the Year” by the California Country Music Association. Specialties:
country, “roots” music and finger picking
Borg, Bobby (Music Business, Independent Artist)
Bobby Borg is an international recording and touring musician with over 25
years experience in the music business. He has worked with a variety of artists
including the multi-platinum group Warrant as well as Beggars & Thieves and his
own band, Left For Dead. As a consultant to both artists and independent labels,
he is a familiar guest speaker at music industry events, a regular contributor to
music business publications and on-line sites, and a music screener for the in-
dependent A&R company, TAXI. A graduate of Berklee College of Music, Bobby
is also the author of the highly endorsed Billboard publication The Musician’s
Handbook: A Practical Guide To Understanding The Music Business. At MI, Bob-
by teaches Inside the Recording Industry and the Independent CD Project.
Bowders, Jeff (Drums)
Jeff Bowders began playing professionally at age 14 and graduated from PIT
as “Outstanding Student of the Year”. After relocating to Nashville, he record-
ed and toured internationally with various artist including Rebecca St. James,
Ginny Owens, Fusebox, Chuck Yamek, and the Paul Colman Trio. In 2003, Hal
Leonard Publishing/MI Press released Jeff’s book, Double Bass Drumming-The
Mirrored Groove System. Jeff currently keeps a busy schedule touring and re-
cording with bands and artists from the LA area; check out www.jeffbowders.
com for more info. At MI, Jeff teaches Rock Drums, Rhythm Section Workshop
and private lessons.
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Brewer, Henry “Soleh” (Keyboards)
Henry Brewer received his musical education at Webster College Music Conser-
vatory in St. Louis, MO. After relocating to L.A. in 1983, Henry remained active
in writing, performance and recording. Some of his professional credits include
B.B. King, Lou Rawls, Gladys Knight, and The O’Jays, and most recently, The
Emotions, members of Earth, Wind, & Fire and legendary guitarist Paul Jackson
Jr. Recording credits include soundtracks for the films Nemesis, Police Acade-
my II, Bob Roberts and Fast Getaway II, as well as his Warner Bros instructional
video Blues Keyboard. He is the author of two instructional books, R&B Soul
Keyboards and Pop Rock Keyboards (with David Garfield) and also records for
and endorses Ensoniq Corporation. Specialties: Blues, voicings, and groove.
Broderick, Chris (Guitar)
As guitarist for legendary metal pioneers Megadeth, Chris has toured the world
and earned critical praise for his virtuosic guitar style. After receiving his degree
in Classical Guitar Performance from the University of Denver and studying at
the Lamont School of Music, he went on to release five albums with his band
Jag Panzer (Century Media Records) and is currently endorsed by companies
including Ibanez, Bareknuckle Pickups, ENGL amps, and DR strings (for more
information about Chris, check out www.chrisbroderick.com). At GIT, Chris 105
teaches private lessons and open counseling.
Brown, Dean (Guitar)
For more than twenty years, Dean Brown has been one of the most sought-after
“A-list” guitar players for both recording and tours, with a credit list of over 100
major artist recordings (including four Grammy Award winners) and tours with
the Brecker Brothers, Marcus Miller, David Sanborn, Kirk Whalum, Bob James,
George Duke, and Billy Cobham, among others. At GIT, Dean teaches electives
in Advanced Electric Guitar Styles and Advanced Ensemble Skills as well as
weekly Open Counseling sessions.
Buckingham, Bruce (Guitar)
Bruce is an experienced teacher at MI and author of several courses, including
Rhythm Guitar, Chord Melody, and Latin Guitar Styles, as well as three books
for MI Press and one video for Hal Leonard Publishing. He has played and/or
recorded with musicians as diverse as Helen Reddy, John Pattitucci and Michael
Jackson’s live production of Sisterella. Bruce’s classes at MI include rhythm gui-
tar, chord melody, Latin guitar, single string technique, theory and ear training.
Specialties: jazz and Latin styles.
Burn, Roger (Keyboards)
Roger’s national and international tours and television appearances include Lou
 FACULTY BIOS
Bega, Vanessa Williams (Arsenio Hall, Grammy Awards), Brian Setzer Orches-
tra (Jon Stewart Show, VH-1 Duets, Tonight Show), and Lionel Richie (Tonight
Show, Today Show, Oprah Winfrey). He also played piano on Brian Setzer’s
Guitar Slinger. Roger has also played for Pepsi, Acura, Dodge and Cadillac
jingles, and has recorded soundtracks for feature films The Mask and McHale’s
Navy. In addition to keyboards, Roger plays vibraphone, marimba, and drumset.
At MI, Roger introduces students to the realities of the working musician through
the Real World LPW.
Calzatti, Alan (Music Video-Film)
FilmIT director/instructor Alan Calzatti was destined to be behind the camera—
his grandfather was a film director and his father a director of photography.
Alan’s first taste of the film world was as a child on location as his father shot
documentaries throughout the war-torn Middle East. After moving with his fam-
ily from Russia to Jerusalem to Hollywood, by 1984 Alan was ready to begin
his own career, honing his craft by directing & producing numerous industrial
films and home video titles. After he was approached to direct a music video
for Compton’s Most Wanted, he never looked back. With partner Jeff Clark, he
formed Calzatti/Clark Productions (later Sputnik Films) and during the next 18
years completed over 250 commercials and music videos for the domestic and
106 international markets, working with Atlantic, Sony, A&M, Jive, Hollywood Re-
cords, WEA International, & BMG/RCA, to name a few. In 1996 Alan received
the MTV Viewer’s Choice—Video of the Year Award for the Backstreet Boys’
“Get Down”, which launched the band into first place in Europe and changed the
way “Boy Bands” were marketed. A year later, Alan repeated that success with
N’ Sync’s climbing to a number-one position on the European charts. Still very
active in the industry, Alan most recently shot the critically acclaimed rockumen-
tary “Heima” for the Icelandic group Sigur Ros. At FilmIT, Alan trains students
in multiple areas including directing, shooting, editing and creating CGI/visual
effects. www.alancalzatti.com
Campbell, Kathryn (Baccalaureate)
Katie Campbell, a Los Angeles native, completed her Bachelor of Music Degree
in Jazz Studies at Western Michigan University. While at WMU, she performed
throughout Europe and South Africa with the award-winning ensembles, “Gold
Company” and “University Chorale.” In the US, Katie has performed from New
York to Los Angeles in venues including Alice Tully Hall (Lincoln Center), Bird-
land, and The Jazz Bakery. She has also performed with Bobby McFerrin, Janis
Siegel, and Darmon Meader. Katie was named “Best Collegiate Jazz Vocalist” in
the 2004 Downbeat Awards. Katie was the stand-by for both female roles in the
off-Broadway production “Toxic Audio” and performed with the show in Mexico
and the Caribbean. Back in Los Angeles, Katie is the lead vocalist for the Matt
Roberts Group, studies acting and dance, and is a certified yoga instructor. At
MI, Katie teaches Harmony & Theory, Ear Training, and Intro to Keyboards at
Musician’s Institute. http://www.myspace.com/singinkate
Campbell, Mike (Voice)
Aside from his duties as VIT department head, Mike Campbell has maintained
a busy career as a vocalist, including seven solo recordings as well as appear-
ances with artists as diverse as Sarah Vaughn, Count Basie, Ella Fitzgerald,
Henry Mancini, Nancy Wilson, Roger Miller, Bobby Darin, Petula Clark, The Su-
premes, the Mamas and the Papas, Quincy Jones, Joe Williams, Tuck & Patti,
Benny Carter and the North Carolina Symphony. He has recorded with Nancy
Wilson, Donald Byrd, and Brazilian composer Moacir Santos, with whom he
co-wrote the title track for Carnival of the Spirits. He has contributed his vocal
talents to numerous jingles, TV and movie soundtracks, and has performed on
over forty television shows, including Ed Sullivan, Jerry Lewis, Red Skelton and
Roger Miller. He has served on the Board of Governors of NARAS and is a
member of AFof M, SAG., and AFTRA. As an educator, before coming to VIT
Mike was chairman of the vocal department at the renowned Grove School of
Music for ten years and has presented vocal clinics worldwide. He has done
two vocal instructional videos for Warner Bros. and written Sight Singing: The
Complete Method for Singers (MI Press/Hal Leonard) and Harmony Vocals (with
Tracee Lewis). Mike appears in the 2005 Who’s Who Among American Teachers
and was named one of the “The 500 Greatest Jazz Singers of All Time” in Scott
Yanow’s book of the same title. Specialties: Jazz vocals and interpretation
Campos, Carlos (Keyboards)
Carlos Campos completed his undergraduate studies at the National Conserva-
tory of Lima, received his B.M. in Composition from the Berkley College of Music
and completed his Masters Degree at the New England Conservatory. Carlos
is the author of Salsa and Afro Cuban Montunos for Piano and has recorded
over twenty albums for international artists. He is also the head writer for Indi-
ant Productions in Los Angeles and maintains an active recording schedule in
broadcast television and radio. Carlos currently teaches keyboard proficiency,
theory, and ear training for MI’s Degree Program.
Carruthers, John (Guitar Craft)
Well-known LA guitar builder, instrument repairman and Guitar Craft Program
Director John Carruthers wrote the guitar repair column in Guitar Player maga-
zine for ten years. He has also worked with Fender, Ibanez, Yamaha and EMG
and helped create such signature series guitars as the Robben Ford, Joe Pass,
and Lee Ritenour models, as well as the EMG pick-up. His shop, Carruthers
Guitar Repair, has been in business in LA since 1977.
Carson, Rob (Drums)
Rob Carson is recognized as one of today’s finest rudimental performers. His
snare drum talents have won him more than 30 competition awards, including

three World Snare Drum Championships. He is a highly regarded educator, per-
former and clinician, and through his disciplined and aesthetic approach to music
he has perfected many new and enlightening rudimental techniques. Carson is
also the co-inventor of Remo’s Power Stroke and Falam Drum Head and designer
of the DC10 ProMark Drumstick. At MI, Rob teaches Playing Techniques.
Christie, Jerry (Audio Engineering)
Born in Seattle to a family of engineers and musicians, Jerry started playing
guitar at the age of eight, spurred by his parents’ love of American blues and big
band jazz, and soon began rebuilding and modifying guitar amps in order to im-
prove their tone and output. By his late teens, he was working in studios and as
a touring live sound engineer. After relocating to Los Angeles in 1983, he began
working in studios full time with many gold and platinum records to his credit. In
1997, he became a training instructor on SONY’s large-format digital consoles
and taught at Los Angeles Recording Workshop. He joined the RIT staff in 2003
teaching NEVE and SSL consoles, Pro Tools and Studio Etiquette while also
instructing on the SSL 9000K console at Los Angles Recording School. In his
spare time, Jerry builds guitar amps, microphones and high-end audio equip-
ment, writes books on audio and is completing his Digidesign certification for Pro
Tools. He is currently teaching Acoustics and Automation for RIT
Cohen, Barbara (Multi-Program)
Barbara Cohen is a gifted singer songwriter, composer and multi-instrumen-
talist. Her intricate body of work embraces a variety of musical genres from
folk, roots rock, trip-hop, electronica and world music. A former Virgin Records
recording artist, her credits include co-founding the trip-hop band Brother Sun,
Sister Moon; collaborating with England’s rave luminaries Orbital on their big
beat-techno classic Middle of Nowhere; featured vocals for France’s experi-
mental duo Air; and several critically-acclaimed solo albums. Cohen’s diversity
can be heard in her scores, ranging from the klezmer influence in the Academy
Award-winning short The Confession to the whimsical horn and Mellotron ar-
rangements for the film American Shopper to the ambient, Andean guitar and
charango music for the PBS documentary The Judge and the General. Her
songs have appeared in film and television including the Fox production Broke
Down Palace, Director Michael Radford’s film Dancing at the Blue Iguana and
NBC’s Lipstick Jungle and Third Watch. Cohen’s awards include the 2008 BMI
Conducting Workshop, The 2005 Sundance Film Composer Lab Fellowship and
The Minnesota State Arts Board Fellowship Grant for Artistry and Composition.
At MI, Barbara teaches Songwriting and Artist Development.
Comstock, Kevin (Keyboards)
Native Southern Californian Kevin Comstock received his music education at
FACULTY BIOS
California State University Long Beach as well as the Dick Grove School of
Music with an emphasis on music synthesis and technology. Kevin has per-
formed and/or recorded with The Clue, Hotboxx, Gone Wilde, Bent, 11th Hour,
Funk Rage N Soul, Bare Bones and Christine Russell, and also worked as a
live-performance consultant for many LA based bands and performers. In 1996
Kevin began producing live shows and events for corporate clients including the
NFL, Capcom Entertainment, Xtrasports LA Radio, Nickelodeon Television En-
tertainment, Jet Blue, Boeing, Warner Brothers, Six Flags Magic Mountain, Taco
Bell among others. Kevin also serves as musical director for several LA-based
sketch comedy groups, including writing and recording the theme song for “The
Instigators.” He also plays guitar and percussion and is a member of the Music
Teachers Association of California and the National Association of Music Educa-
tion. In 2008, he joined MI as Director of the Keyboard Department.
Contreras, Joshua (Guitar Craft)
Joshua Contreras graduated from the Musician Institute’s Guitar Craft Academy in
2005 and was soon hired by G&L Guitars while simultaneously working at GCA as a
Teaching Assistant. At G&L, Joshua supervised the Final Assembly department and
also worked in the Custom Creations department developing artist models, custom
107
runs and prototypes. In 2008, he was promoted to Assistant Director of GCA.
Corne, Eric (Independent Artist)
Eric is a Canadian producer/engineer and singer-songwriter currently based in
Los Angeles. In the late 1990s, he formed the Toronto space-pop group, Myste-
rio. Since 2004, Corne has worked primarily out of Dusty Wakeman’s Mad Dog
Studios in Burbank, CA where he has amassed a diverse list of credits spanning
many different genres including Lucinda Williams, Michelle Shocked, Walter
Trout (Canned Heat, John Lee Hooker), John Mayall, Glen Campbell, Airto Mor-
eira (Miles Davis, Joni Mitchell), PF Sloan, Anne McCue, Nancy Wilson (Heart),
Louie Bellson (Duke Ellington), John Doe (X, The Knitters) and Tsar. Corne also
recorded and mixed a track for the Instant Karma charity project for Darfur with
Ghanaian reggae/afro-beat artist Rocky Dawuni and he has written, produced
and or recorded music for film and television projects such as Underworld 2, Blu
Ray and Sony animation.
Cross, Mark (Audio Engineering)
Mark Cross has engineered and mixed numerous albums, film scores and tele-
vision soundtracks from the Grammy-winning I Am Shelby Lynne and Randy
Newman’s Oscar-nominated and Grammy-winning CARS to the Meet the Par-
ents score and soundtrack and hundreds of episodes of ER. As a producer and
composer, Mark has created the musical themes for Nickelodeon’s Wow Wow
 FACULTY BIOS
Wubbzy and the Seinfeld Season 8 DVD as well as producing and performing
with Grammy-winner John Legend on HBO’s CurbYour Enthusiasm. Mark has
been a NARAS member since 2000 and served in the 2007 NARAS P&E Wing
as well as on the 2008 NARAS Board of Governors.
Derrico, Justin (Guitar)
Justin Derrico resumed teaching at GIT in 2008 following two years of touring
the world with pop vocalist Pink. GIT grad Derrico has also toured with The Call-
ing and records as a solo artist. At GIT, you’ll find Justin teaching Open Coun-
seling and Private Lessons. To learn more about Justin and his music, check
out www.myspace.com/justinderricomusic.
Desai, Pathik (Guitar)
Pathik completed his undergraduate studies at University of Texas at Arlington
before receiving a scholarship to attend the Berklee College of Music in Boston.
Since moving to Los Angeles and joining the GIT staff in 1996, he has been
busy with recording sessions, touring and teaching, including writing for Guitar
Player magazine and online lesson provider Truefire.com. Pathik’s recording
experience includes major motion pictures (such as the 2000 hit Finding For-
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rester), television shows (Cedric the Entertainer, American Idol) and countless
jingles (Doritios, Mercedes Benz, Dirt Devil, Yamaha Motorcycles). In 2003, he
played on Kelly Clarkson’s first single “A Moment Like This” which went to #1
on the Billboard Charts and was the best-selling single of the year. Pathik has
toured with a wide range of artists including Kelly Clarkson, Westlife, Anastacia,
Nick Lachey, Aaron Carter, Deborah Cox, Patti Austin, Kelly Price, Javier, Taylor
Dayne and A.J. McLean (Backstreet Boys) just to name a few. He has also
appeared on the Tonight Show with Jay Leno, David Letterman, Today, Good
Morning America, the CBS Early Show, Rosanne, Ellen, Jimmy Kimmel, TRL
Live (MTV), Regis and Kelly, and Craig Ferguson. At MI, Pathik teaches Single
String, Rhythm Guitar, RSW, Reading and private lessons while specializing in
funk, R&B and contemporary pop styles.
De Togni, Maurizio (Audio Engineering)
Maurizio (better known as Otto) has been a music-maker and independent mu-
sic producer since 1990. His background includes wide experience as a musi-
cian, composer, arranger and programmer for Italian and international artists in
the classical, pop, rock, and dance fields as well as international commercials
and TV award programs with major Italian networks. His Logic and Pro Tools
credentials include Apple Logic Pro Studio Certified Master, Apple Distinguished
Audio Professional, and Digidesign Certified Pro Tools Expert Music/Post Op-
erator along with qualifications as an Apple Logic Studio Certified Master Trainer
and Digidesign Certified Pro Tools Instructor. He has taught at the Academy
of Entertainment Arts and Professions at Milan’s Teatro alla Scala, Soho Edi-
tors (AATC - London, UK), Espero (AATC - Milan, IT), University of California
Los Angeles (UCLA Extension), and Moviola (Hollywood, CA). He writes articles
on music data processing and audio-pro solutions for Macworld magazine and
Macworld Online. At MI, Otto teaches Pro Tools 1 Classes. Learn more about
Otto at his website, http://www.superotto.net
Dinkins, Fred (Drums)
One of PIT’s most popular instructors, Fred Dinkins has performed with the
likes of Tramaine Hawkins, Andre Crouch, David Peaston, Wilton Felder, Ndugu
Chancellor, Norman Brown, and many others. Fred is also busy with numerous
club dates, clinics, and session work in the L.A. area and touring as musical
director with the R&B vocal group The Emotions. At MI, Fred teaches Playing
Technique, Sightreading, and private lessons.
Doolittle, Andrew (Guitar)
Los Angeles-based guitarist Andrew Doolittle has performed and recorded with
a broad palette of artists representing a wide variety of styles, including Geffen
Artist Rich Price, French rock band Stripped Polaris, songwriters Bird York, Cor-
rinne May and Joe Deveau, legendary entertainer Patti Page, and the Tulsa Phil-
harmonic. Andrew has a B.M. from the Oberlin Conservatory of Music, where he
studied with Bob Ferrazza, and a Master of Music Degree from the New England
Conservatory, where he studied with Gene Bertoncini and John Abercrombie. At
GIT, Andrew specializes in Reading, private instruction and open counseling.
Echizen, Kenny (Guitar)
Born and raised in Torrance, California, Kenny Echizen graduated from GIT in
2006 with the Outstanding Stylist award. Kenny has since recorded for ABC-TV
(One Life to Live), Daytime Emmy Nominee Rie Sinclair, and Steve Hopkins. At
GIT, Kenny can be found teaching Private Lessons.
Edwards, Robert “Masta” (Voice)
Masta began singing in his early teens in Suffolk, Virginia, and then moved to
New York City to further develop his skills. His performance credits include Ste-
vie Wonder, Wilson Pickett, Norman Brown, Don Covay, Millie Jackson, Thelma
Houston and Carol King. Masta recently released a series of instructional vid-
eos through Warner Bros., and has been performing on the set of the televi-
sion series, Almost Perfect. Masta teaches Stagecraft, the R&B LPW and open
counseling.

Elliott, Joe (Guitar)
Joe Elliott started playing at 13 and was performing gigs by the age of 15. He
studied with Nashville guitarist Jimmy Bird and toured the U.S. and Canada
non-stop from 1980-1985 with his own band. Joe moved to L.A. in 1985 to at-
tend GIT, where he was voted Outstanding Student. He has appeared in many
network and local T.V. productions along with numerous recording sessions and
club dates in the L.A. area. In 1999, Joe released his first solo CD entitled Joe’s
Place. He has performed clinics around the U.S. and is currently working with
his own original instrumental group. Specialties: jazz, fusion, R&B, funk.
Emmons, Tim (Bass)
Tim is an active freelance musician and a veteran of more than one hundred
film and television scores including The Simpsons, Family Guy, Mission Impos-
sible III, The Incredibles The Day After Tomorrow, Something’s Gotta Give, and
The Wedding Planner and for dozens of major theatrical productions including
Candide, Swan Lake, Swing, and Ragtime. He is known as a performer on both
contrabass (Stevie Wonder, Beyonce, Josh Groban, Justin Timberlake, Ken-
ny G, Andrea Boccelli, Brandy, John Tesh, Toni Braxton) and bass (Joe Pass,
Richard Greene, Bo Diddley, Art Pepper, Lionel Hampton, Liza Minelli, Donna
Summer, Carol Channing, Rod Stewart, Cab Calloway). In 2000 he joined the
seminal Classical-Jazz-Fusion ensemble Freeflight, and in 2001 arranged, con-
ducted and performed on the soundtrack of HBO’s F. Scott Fitzgerald bio-pic
Last Call and Peter Bogdanovich’s The Cat’s Meow. Tim also directs actor Jeff
Goldblum’s “Mildred Snitzer Jazz Orchestra”. As an educator, he teaches bass
and directs the Jazz Ensemble at Occidental College and is a bass instructor at
Cal State Los Angeles, Azusa Pacific University, the University of Redlands, the
University of California at Riverside, and Musicians Institute.
Fanelli, Lynn (Voice)
Born in New York and raised in Los Angeles, Lynn spent many of her forma-
tive years in Hollywood, learning the ins and outs of the music business from
her father, a skilled singer and saxophone/keyboard player. Her versatility has
netted her a career rich in varied music opportunities with such diverse acts as
Delaney Bramlett, Wild Cherry, Peter Reckell, Les Brown, Connie Stevens, Pat
Boone, Heatwave and Gene Chandler, to name a few. Lynn has recorded with
some of the nation’s top music producers, including Giorgio Moroder (Blondie,
Donna Summer), David Briggs (Neil Young), Jim Steinman (Meatloaf, Bonnie
Tyler), Ray Ruff (Van Morrison, Tanya Tucker, Merle Haggard) and Jonathan
Wolff (Seinfeld, Will & Grace). She has also been heard on numerous jingles
including Nickelodeon, Michelob and Wella and currently maintains a busy free-
lance career as a singer and vocal arranger. At VIT, Lynn specializes in Contem-
porary Vocal Styles, private lessons and open counseling. She will be the first to
tell you she’s ready to rock.
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Feinberg, Jason (Music Business)
Jason Feinberg is the President and founder of On Target Media Group, an
entertainment industry Internet-based marketing and promotion company. Ja-
son is responsible for business development, formulation and management of
online marketing campaigns, and media relations with over 1,000 websites and
media outlets. The company has served clients including Warner Bros. Records,
Universal Music Enterprises, Concord Music Group, Rockingale Records and
others with an artist roster that includes Carole King, JJ Cale/Eric Clapton, Neil
Young, Primus, George Benson/Al Jarreau, Poncho Sanchez and many more.
Jason started his career in college radio as Music Director of KUNV, a multiple
Gavin station-of-the-year award winner. He has also worked for record labels
such as Nitro Records and Favored Nations, at the National Association of Re-
cording Arts and Sciences, and is a founder and lead editor at Rapid Jackalope,
a video editing and DVD authoring company with clients such as Steve Vai and
Rendevous Records. Jason teaches Internet Marketing and Independent Artist
Marketing for the Music Business Program.
Ferrante, Russ (Keyboards)
Russell began studying piano at age 9, performing first in church and then with
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various R&B and jazz groups in the San Francisco Bay area. His professional
career began in 1973 when he and guitarist Robben Ford toured the US and Eu-
rope with legendary blues singer Jimmy Witherspoon. In 1977, Russell moved to
LA and within a short time was recording and touring with a variety of musicians
including Joe Farrell, Tom Scott, and Joni Mitchell. In 1980 he co-founded the
Yellowjackets jazz-fusion group with Ford and Jimmy Haslip and began working
as a freelance writer, arranger and producer for artists including Bobby McFerrin,
Michael Franks, Al Jarreau, Take Six and many others. Currently, Russell contin-
ues to perform worldwide with the Yellowjackets, who have recorded seventeen
albums, received thirteen Grammy nominations and won two. He teaches and
conducts clinics at colleges and private music schools throughout the United
States, Japan and Europe, including Musicians Institute, Berklee School of Mu-
sic (which offers a course in the Yellowjackets’ music) and USC, where he is an
adjunct professor. At MI, you’ll find Russell in Fusion LPW, Keyboard Mastery
and Open Counseling.
Findlay, Jamie (Guitar)
Originally from Seattle, Washington, 1978 GIT grad Jamie Findlay is one of the
masters of contemporary acoustic guitar. He has released two CDs under his
own name, Amigos del Corazon and Wings of Light, featuring Alex Acuña, Gary
Willis, and Russell Ferrante, and has performed with Robben Ford, Don Mock,
Frank Sinatra Jr. and the Tony Guererro Band. Jamie has also toured extensively
 FACULTY BIOS
throughout Europe, Asia, Central America, and the United States. His author
credits include four books for Hal Leonard, featuring his own techniques and
compositions plus arrangements of jazz standards, plus two Star Licks videos,
Acoustic Soloing and Acoustic Fingerstyle Guitar. Specialties: solo jazz guitar,
fingerstyle acoustic.
Finn, Ed (Guitar)
Born in Rock Island, Illinois, Ed has studied music at Blackhawk College, Florida
Atlantic University, and GIT. A professional guitarist since 1966 and an MI staff
instructor since 1985, Ed does freelance live and studio gigs around L.A., and
can be heard on the theme to the HBO series Dream On. Touring credits include
singer Nell Carter and pianist Roger Williams. Specialties: musicianship and
technique classes, commercial styles.
Fletcher, Chris (Multi-Program)
Chris Fletcher owns & operates her own company, Coast-to-Coast Music
Promotion & Consulting, where for the past fifteen years she has directed en-
tertainment careers ranging from bands (The Ravyns, BB Chung King) and
songwriters (Platinum award-winning Harold Payne) to solo artists (Grammy-
110 nominated Peter Alsop) and a variety of others. Chris has also produced, direct-
ed and edited music performance videos, consults regularly on music business
touring, publicity and promotion, and continues to book engagements and man-
age tours. Her teaching experience also includes music business workshops at
California State Universities at Long Beach, Northridge and Fullerton as well as
UCLA. At MI, Chris teaches Getting Gigs and The Touring Musician.
Flores, Chuck (Drums)
Chuck Flores is MI’s jazz drumming specialist. His extensive background in-
cludes gigs with Woody Herman, Stan Kenton, Bud Shank, and the Toshiko
Akiyoshi Big Band. Chuck’s authentic interest in students’ education makes him
a perennially popular teacher.
Galane, Bernard (Drums)
Bernard Galane was born in Vienna, Austria, the classical music capitol of the
world. He started playing drums at age 4 and later joined a band called “Kits on
The Drums” at age 12. This band was very successful in Europe, had songs in
the charts, and opened for major acts like Brian Adams. Around this time Ber-
nard got also very interested in more complex, jazz oriented music. At the age
of 15, he was accepted by the University for Music and Performing Arts, Vienna.
He continued playing and recording in and around Vienna and graduated from
the Conservatory with outstanding results. After graduation, he moved to Los
Angeles to expand his musical career and joined the MI staff, where he teaches
private lessons. Visit www.BernieGalane.com for more info.
Garbatini, Gary (Drums)
Gary Garbatini, a PIT graduate, is an in-demand drummer who has had private
instruction with such noted artists as Ed Soph and Nick Forte. His proficiency
in various styles such as rock, pop, jazz, reggae, and funk make him versatile
enough to play in almost any situation. Currently, Gary keeps a busy schedule do-
ing studio and session work as well as teaching RSW and private lessons for MI.
Gilbert, Daniel (Guitar)
One of GIT’s most popular instructors, Daniel Gilbert has played guitar profes-
sionally in the Northeast since age 16. He has studied music at Queensborough
Community College, Brooklyn Conservatory of Music and GIT. Private teachers
have included Pat Martino, Howard Morgan and Ronnie Lee. He has kept busy
teaching, doing sessions, and producing his own fusion band Mr. Invisible (YT
Records), plus performing with Cone of Silence and Terri and the T-Bones. Dan
is also the co-author of Guitar Soloing for MI Press (Hal Leonard Publications).
Specialties: Single String Improvisation, Applied Technique, Guitar Workout, Fu-
sion LPW and Eclectic Electric Guitar and Guitar EFX.
Gold, Jude (Guitar)
GIT Director Jude Gold served as Associate Editor of Guitar Player magazine
since 2003 and prior to that was a staff editor from 2001-2003. He has written
features on countless guitar greats including everyone from Slash, Joe Perry,
Zakk Wylde, and Alexi Laiho to John Mayer, Pat Metheny, Brad Paisley, and Larry
Carlton. As a guitarist, Jude has toured, performed, and/or recorded with JGB (for-
merly the Jerry Garcia Band), the Oakland Symphony, 2 Live Crew, DJ/Producer
Miguel Migs, DJ Spooky,Spinal Tap’s David St. Hubbins (actor Michael McKean),
BX3, (the band featuring electric bass ninjas Stu Hamm, Jeff Berlin, and Billy
Sheehan) and the Van Halen tribute band Hot For Teacher. In addition to his duties
as Director of the Guitar Program, Jude also teaches Private Lessons and Open
Counseling.
Grasamke, Chas (Guitar)
Guitarist-arranger Chas Grasamke majored in music at the University of Wiscon-
sin and studied with greats Howard Roberts, Ted Greene, Johnny Smith, Jimmy
Wyble and Lenny Breau. In his many years as a performer he has opened con-
certs for major recording acts, toured extensively, and is an active force in music
education. Chas is also an accomplished Travis picker and Beatles enthusiast.
Specialties: Coffeehouse LPW, Harmony and Theory, Eartraining, Reading.
Gruendler, Donny (Drums)
Donny Gruendler was born and raised in Detroit, Michigan. In 1996, at age
twenty, Gruendler graduated Cum-Laude with a Bachelor of Music Degree from

Berklee College of Music in Boston, followed by a Master of Music Degree from
Wayne State University in Detroit. While living in Detroit, Gruendler freelanced
in a wide variety of musical styles, touring internationally and recording behind
such artists as Kenny Burrell, John Medeski, Alberta Adams, Denny Freeman
and W.C. Handy award winner Johnny Jones. Since moving to LA, Gruendler
has been working in a wide variety of styles including traditional drum set as well
as beats, loops and samples, notably while touring with genre-stretching roots
artist Rick Holmstrom. At MI, Donny specializes in private instruction.
Grierson, Don (Music Business)
As Vice President of A&R for Epic, Capitol and EMI Records, Don signed Celine
Dion, Heart, Iron Maiden, Sheena Easton, Joe Cocker, George Clinton, J.Geils
Band and Kate Bush. He has also worked with Gloria Estefan, The Jacksons,
Duran Duran, Queen, Tina Turner, Indigo Girls, Alice Cooper and many others.
At MI, Don teaches Music Business News.
Greenberg, Ted (Audio Engineering)
Ted Greenberg is a producer, recording engineer, writer, and performer who
has won two Grammy Awards and two TEC Awards for his work on Standing in
the Shadows of Motown. Mr. Greenberg has written and placed songs in recent
feature films (Feast of Love) and network TV shows (Friday Night Lights) and
has recorded with such artists as G Love, Cypress Hill, Stuttering John, Howard
Stern, Cyndi Lauper, Philosopher Kings, Taj Mahal, The Roots, Teddy Pender-
grass, Rita Coolidge, Joan Osbourne, Chaka Khan, Ben Harper, Pink, The Wall-
flowers, and The Cult. At MI, he teaches Recording Theory and Acoustics.
Gullu-Badat, Kether (Independent Artist)
Kether has worked in the music and new media industries for over fifteen years,
currently as co-owner and co-president of Latchkey Recordings, an indie label
with North American distribution via Koch Entertainment. The Latchkey artist
roster includes an eclectic handful of artists including Rev Run’s teenage son
JoJo and his group Team Blackout (from MTV’s Run’s House), Kool G Rap
and Luscious Jackson co-founder Gabby Glaser. Kether has worn many hats
through the years such as A&R Director for SouthBeat Records/ADA; Music
producer for companies such as MTV, Eidos Games, Ichiban Records, Damon
Dash Films, Diplomat Records and more. He’s worked as a music journalist,
having written for various publications and websites such as Scratch Magazine,
WaxPoetics, URB and MTV.com and he also spent time as an Internet designer/
developer, creating sites for companies such as Hermes, Shop NBC, Barclays
Bank and many more.
FACULTY BIOS
Harnell, Jason (Drums)
Jason Harnell started playing the drums at the ripe old age of six when long-time
family friend Louie Bellson gave him his first real drum set. Jason attended the
University of South Florida as a jazz performance major and moved to L.A. in
1990. Soon after, Jason joined Maynard Ferguson’s Big Bop Noveau Band. He
toured the world with Maynard and recorded These Cats Can Swing (Concord
Jazz). He has also toured extensively with contemporary jazz keyboardist Keiko
Matsui. Recently, Jason has performed and/or recorded with such prestigious
jazz artists as Kei Akagi, Bob Sheppard, Steve Tavaglione, Darek Oles, David
Goldblatt and on sessions for Nissan and Verizon. Currently, Jason is leading
his own trio featuring Larry Koonse and Joe Bagg as well as being a member
of the bass-less trio “Joe-less Shoe” with Matt Otto and Jamie Rosenn. Jason
teaches private lessons at University California Irvine as well as MI. www.jason-
harnell.com.
Harrison, Greg (Guitar)
Originally from Wilmington Ohio, Greg Harrison graduated from GIT as Out-
standing Stylist in late 2004. While attending the school he founded Shredzilla,
an all-instrumental shred band, and briefly studied with Paul Gilbert. Greg has
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been performing live for years in various bands with styles ranging from jazz,
country and classic rock to metal, death metal, and shred. His specialties in-
clude advanced shred techniques, improvisation, and overall stylistic diversity.
At GIT he teaches Single String Improvisation, Rhythm Guitar, RSW, private
lessons and open counseling.
Harriton, Lisa (Keyboards)
Born into a professional music family, by age eight Harriton was working as
a studio singer on dates for Disney, Integrity Media and Word Records, and
later on preproduction tracks for Rod Stewart’s Great American Songbook. She
graduated with distinction from the Royal Schools of Music London with a de-
gree in classical piano followed by a degree in Jazz Piano from USC, where she
studied privately with prominent jazz pianist Alan Pasqua. For several years Har-
riton played the Los Angeles jazz club scene, building a growing following with
eclectic sets interspersing jazz with original songs influenced by artists such as
Maria Schneider and the Yellowjackets, and she played and recorded with veteran
jazz musicians including Ernie Watts, Joe LaBarbara, Darek Oles, Ingrid Jensen
and Larry Koonse. In 2007, Lisa was unveiled as touring keyboardist and backing
vocalist for the reformed Smashing Pumpkins, appearing in videos for “Tarantula”
and “That’s the Way (My Love Is)”. Featured in the April 2008 issue of Keyboard
Magazine, Lisa plays Yamaha Acoustic pianos and is also sponsored by Roland
and Moog. At MI, Lisa teaches Private Lessons and Open Counseling.
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Hassine, Mehdi (Audio Engineering)
Medhi comes to RIT from Paris, where he received a Master’s Degree in Elec-
tro-Optical Engineering from Paris University followed by extensive working ex-
perience with computers. A 2000 graduate of RIT, he is an active sound engineer
with international album credits (Dave Weckl, Dennis Chambers, Gary Willis,
Scott Henderson etc.) and a parallel career as a performing bass player. At MI,
Mehdi is head engineer for MI’s Degree projects and teaches Hard Disk Editing,
Recording Theory, Acoustics, Electronics, and Automation.
Hauser, Dominik (Bass)
Dominik Hauser was born and raised in Switzerland, where he attended the
Jazz School and received his Masters Degree in music. As a composer, ar-
ranger and bassist for the jazz-funk group “The Ruleless” he was awarded the
prestigious “Prix Walo” and performed at the Montreux Jazz Festival. After mov-
ing to Los Angeles in 1996, Dominik studied film scoring at UCLA and began
composing for independent films, which led to his selection for the 2000 AS-
CAP Film Scoring Workshop. At BIT, Dominik teaches Fretboard Improvisation,
Private Lessons and Open Counseling, and he continues to play and record
around Los Angeles.
112 Helmerich, T.J. (Audio Engineering)
RIT instructor TJ Helmerich has worked with some of the biggest names in the
business as both a recording engineer and musician. Behind the console, he’s
worked with world-class musicians including Stanley Clarke, Scott Henderson,
Dennis Chambers, Gary Willis and many others. His brand of 8-finger guitar play-
ing, showcased on two albums with Brett Garsed Quid Pro Quo and Exempt),
has brought him international acclaim. T.J. is also an exceptional vocalist and has
featured his playing and singing skills on tour with fellow GIT alumnus Paul Gilbert
(Mr. Big). At RIT, TJ specializes in Automation and Session Engineering.
Henderson, Scott (Guitar)
Scott studied arranging and composition at Florida Atlantic University. After
graduating from GIT, he toured and recorded with bassist Jeff Berlin, Jean-
Luc Ponty, Chick Corea, and Weather Report’s Joe Zawinul. Scott joined up
with bassist Gary Willis in 1985 and together they have released eight albums
with the critically acclaimed fusion group Tribal Tech. In 1991, Henderson was
named by Guitar World as the #1 Jazz Guitarist, and in January 1992 he was
named #1 in Guitar Player’s Annual Readers Poll. Scott has released three solo
albums, Well to the Bone, Tore Down House, and Dog Party (Guitar Player’s
“Best Blues Album of 1994”). Scott has also released two instructional videos,
Jazz Fusion Improvisation and Melodic Phrasing. Two books containing Scott’s
compositions are also available through Hal Leonard publishing. Scott’s open
counseling sessions are some of GIT’s most popular.
Hess, Gary (Drums)
Gary Hess began his professional music career in 1971, playing clubs through-
out the United States and Canada. In September of 1980 he became the first
enrollee at the Percussion Institute of Technology (PIT). Upon graduating in
September of 1981 he was offered a position with the school as a staff instruc-
tor, and served as Department Head of PIT from 1995-2000. Besides having
years of extensive hands-on teaching experience, he is also the author of The
Encyclopedia of Reading Rhythms (MI Press/Hal Leonard), used as the basis
of PIT’s drum reading program. His expertise in a wide variety of styles and
techniques has made him an invaluable part of the MI staff. Gary has conducted
drum clinics in Japan and the U.S. and continues to maintain a full schedule of
free-lance work and teaching. Specialties: R&B, blues, funk, country, reading
and interpretation.
Hewitt, David (Audio Engineering)
David Hewitt is an accomplished pianist – composer – arranger – producer –
engineer. He began his musical career as a classical pianist, and his talent and
determination garnered many awards and local acclaim. David later learned the
guitar and subsequently spent many years traveling the US and Europe as the
guitar player and engineer with an internationally known folk group. He began
his engineering endeavors as a live sound and venue engineer, mixing and re-
cording sound for theater, concerts and outdoor events. This path led eventually
to studio recording, and today engineers and produces for a wide variety of art-
ists in LA including international pop/rock artist Hector King, jazz/contemporary
singer Constance Jensen and many other local and national acts. For RIT, Da-
vid teaches Music Studio Etiquette, SSL Signal Flow, and Open Counseling.
Hill, Dave (Guitar)
Dave Hill graduated from Musicians Institute in March of 1983 and has toured
extensively throughout the United States, Canada, and Europe, where he per-
formed at the Montreux Jazz Festival. Dave has also played with Frank Gam-
bale, Jimmy Earl, Three Dog Night, The Coasters, and Al Wilson, and is a staff
transcriber for REH Instructional Videos. Currently, Dave is working with the
Dave Hill Group and Cone of Silence. Specialties: fusion, jazz improvisation,
sightreading, ear training, rhythm guitar, and live performance.
Hinds, Allen (Guitar)
Allen attended Berklee School of Music in 1978 and GIT in 1985, where he was
the winner of the Larry Carlton Scholarship. Allen has recorded many TV and
radio jingles as well as recording and/or touring with Natalie Cole, the Crusaders,
Roberta Flack, Eric Marienthal, BeBe and CeCe Winan, Hiroshima, Randy Craw-

ford, Boney James and many more. Recent credits include TV scores for Lucky
(EFX) and JAG (CBS), touring with London funk/jazz all-stars Down To The Bone,
and work with Marc Antoine, Jeff Kashiwa, and Rayford Griffin. At GIT, Allen’s spe-
cialties include jazz improvisational techniques, contemporary rock and R&B.
Hoffmeyer, Frank (Guitar)
Frank Hoffmeyer received his formal music training at the University of Muenster
in his native Germany before moving to Los Angeles to study at the University of
Southern California, where he earned his Master’s Degree. Since graduation, he
has maintained a busy schedule in the Los Angeles club and recording scene,
earning credits on a wide variety of film soundtracks, commercial jingles, and
theater productions. Frank’s specialties as a player include Classical guitar and
fingerpicking techniques, and at GIT he concentrates on private instruction.
Holden, Mark (Multi-Program)
Originally from Houston, Mark Holden attended the High School for the Per-
forming & Visual Arts, the University of Houston and the Berklee College of
Music. As founder of Musicomm, Inc., Holden composes themes and scores
for TV programming including feature films, interactive features and series. His
advertising and corporate clients include General Motors, NBC, Fox, The Los
Angeles Times, Continental Airlines, Zales Jewelers, Texas Rangers Baseball
and Compaq. Mr. Holden has received numerous Addy and Telly awards for
his music in addition to two Emmy nominations in regional categories and an
Emmy award for his score to Good Luck, Mr. Robinson. Holden is a member of
The American Federation of Musicians (AFM), has served as Seminar Chair for
The Society of Composers & Lyricists (SCL) as well as Acting Secretary of the
American Alliance of Composer Organizations (AACO) in Los Angeles. He also
writes a column on performing rights for Film Music Magazine and teaches Film
& Television Scoring at MI.
Holder, Mitch (Guitar)
Mitch Holder has been a first-call session guitarist on the LA studio and jazz
scene for nearly forty years, with a wide range of professional credits that reflect
his mastery of every style of music. Highlights of his career to date (to name
very few) include records with Barbra Streisand, Frank Sinatra, Joe Cocker,
Diana Ross, and Brian Wilson; film soundtracks for Little Children, Kicking &
Screaming, Something’s Gotta Give, Catch Me If You Can, Saturday Night Fe-
ver, E.T., Indiana Jones & The Temple of Doom, and Terms of Endearment;
and TV work for the Tonight Show With Johnny Carson, The Simpsons, King
Of The Hill, Family Guy, The Academy Awards, Grammy Awards, Country Mu-
sic Awards, American Music Awards, and the Emmy Awards. In the process,
FACULTY BIOS
Mitch has worked with composers including John Williams, Dave Grusin, Clint
Eastwood, Alan Silvestri, Lalo Schifrin, Michel Legrand, Johnny Mandel, Mark
Shaimen, John Barry, Tom Scott, David Newman, Hans Zimmer, and Herbie
Hancock. He has been an adjunct professor at USC, conducted numerous mas-
ter classes and workshops, and recently authored “The Jazz Guitar Stylings of
Howard Roberts” (Mel Bay), an analysis of the playing of MI’s founder. At GIT,
Mitch can be found teaching Private lessons and Open Counseling. To learn
more about Mitch and his extraordinary career, visit www.mitchholder.com.
Homeyer, Ernst (Guitar)
Ernst traveled to LA from his native Argentina to earn his Bachelor’s degree from
MI. Ever since, he has been brandishing his monster rock and fusion chops as
a session player, live performer and recording artist with a CD entitled EGH I. At
GIT, Ernst specializes in rock guitar and fusion styles and teaches Single String
Improvisation, Rhythm Guitar, RSW and private instruction.
Hsu, Talun (Music Video/Film)
Born in Taipei, Taiwan, Talun spent his formative years in Vienna, Austria before
finally relocating to Southern California. After graduating from UCLA, Talun Hsu
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toiled for six months in the camera department for legendary producer Roger
Corman before moving on to directing three feature films, Witchcraft V, Body
Count, and Fatal Blade with stars like: Robert Davi, Steven Bauer, Sonny Chiba,
Gary Daniels, Eric Lutes, and Seiko Matsuda. Shortly after Talun directed his
third film, he wrote his first screenplay, Snake Heads, an epic gangster saga
about the rise and fall of Chinese immigrants set in New York. Talun also gained
experience as a line producer and producer on feature films including Lethal
Eviction, Finding Madison and The Tailor. For FilmIT, Talun teaches Directing
and Producing.
Hume, Peter (Baccalaureate)
Born in Washington DC, Peter Hume took up the guitar at age twelve and began
his professional career while still in his teens. In 1978, he graduated Summa
Cum Laude from Berklee College of Music in Boston. Peter taught at Berklee
from 1978 until 1982. For many years he has been the musical director for
vocalist Melissa Manchester, appearing in concerts all over the world, includ-
ing a 2004 appearance at the White House. Peter has conducted the Toronto
Symphony, Hollywood Bowl Orchestra, Atlanta Pops Orchestra and Dallas Sym-
phony, to name just a few. Over the years he has also played for Paul Williams,
Michael McDonald, Natalie Cole and Johnny Mathis. Peter is active in commer-
cial, film and TV music, contributing arrangements, orchestrations, source cues,
MIDI production and guitar to a variety of projects. His movie and TV credits
 FACULTY BIOS
include The Colt, Major Payne, Money For Nothing, Pearl, Evening At Pops
& The Tonight Show, and commercial credits include Albertson’s, Del Monte,
Disneyland, Levi’s, MTV, Sprite & Toyota. For MI’s Bachelor Degree program,
Peter teaches Single String Improvisation, Rhythm Guitar, Reading, Ear Train-
ing, Reading Ensemble, Conducting, and Private Lessons.
Humphrey, John (Bass)
John Humphrey graduated from BIT and took private instruction with such noted
artists as Jeff Berlin and Bob Magnusson. His proficiency in styles from rock
and pop to jazz and funk have made him versatile enough to play in almost any
setting and kept him in demand for studio and session work. At BIT, he teaches
private lessons and assists Carl Schroeder in his Jazz Live Playing Workshop.
Hutchison, Tita (Voice)
Tita Hutchison’s strength lies in her extraordinary versatility. Her recording and
performing credits extend from work with industry legends Rick Rubin, Herbie
Hancock and Keith Forsey and soundtrack sessions for commercials, TV and
film (Baywatch the Movie), live radio performance (KCRW’s landmark original
music showcase, Morning Becomes Eclectic) and tours (Shooter Jennings) as
114 well as fronting her own band, Bullet Proof Soul. At VIT, Tita’s diverse schedule
includes the Rock, Modern Rock and Country LPWs as well as Artist Develop-
ment, Private Lessons and Open Counseling.
Iadarola, Matthew (Audio Engineering)
Matthew Iadarola attended UCLA film school where he received a B.A. in Film
and Television. Over the course of his career he has recorded location sound,
sound effects, Foley and ADR as well as editing, mixing and mastering with
most current audio formats and technologies including Pro Tools and the Digide-
sign Icon console. Matthew has mixed the soundtracks of over 150 feature films
while working with such directors as Robert Altman, Sam Raimi, Spike Jonze
and Carl Franklin and he is a member of the Academy of Motion Picture Arts
and Sciences.
Jacobs, Sid (Guitar)
Sid was born in Miami, Florida and raised in Cuba, returning to the US after the
revolution to continue his education. By age 18, he was the youngest instructor on
the faculty of the University of Las Vegas. Sid has performed with a multitude of
entertainers such as Steve Lawrence and Eyde Gorme, Diahanne Carroll, Ike and
Tina Turner, Luciano Pavarotti, and Frank Sinatra Jr. Sid has been receiving rave
reviews for recent performances and his first album on Delmark Records. As an
author, Sid has written The Complete Book of Jazz Guitar Lines and Phrases and
Jazz Guitar I and II. At GIT, Sid’s specialty is jazz guitar and Reading.
Jean, Stewart (Drums)
Originally from New Jersey, Stewart studied at the University of Miami and re-
ceived a Bachelor of Music in Studio Music and Jazz, including studies with
Steve Rucker and Steve Bagby. Stewart’s performing credits include Raul Mi-
don, Jimmy Buffett, Mike Utley, Bo Diddley, Ben Vereen, Lucky Peterson, Pres-
ton Smith, Ellis Hall, Sam Moore, and Betty Wright, to name a few. He has
recorded for various artists on the Sony and Columbia labels and can be heard
on the soundtrack for the film Contact. An inspiring educator who is well versed
in all aspects of music, Stewart teaches a variety of classes including Theory,
Ear Training, Keyboard Lab, Drum Solos and private lessons.
Jong, Greg (Independent Artist)
Greg was a founding member of progressive rock outfit Pure Reason Revolu-
tion on Sony/BMG, which formed while he was completing a BA in Commercial
Music at the University of Westminster in London. He has also worked in New
Media Licensing for the Association of Independent Music (AIM) in London and
toured as a session drummer for EMI-Sparrow artists Tim Hughes & Matt Red-
man. More recently, he was a member of The Procession on Nude/V2 Records
in the UK and is currently working on his own solo artist project. At MI, Greg is
an Independent Artist Project Advisor.
Juergensen, Chris (Guitar)
Veteran studio musician and session guitarist Chris Juergensen is in constant
demand as a sideman, front man, and clinician. Chris’ latest CD, Big Bad Sun
(Abiku Records) as well as his instructional book The Infinite Guitar are both
popular international sellers. For his efforts in promoting international music edu-
cation, Chris was made an honorary citizen of New Orleans by the Mayor of the
city and more recently asked to perform on behalf of Japan at the Japanese em-
bassy in Seoul, Korea. At GIT, Chris can be found teaching private lessons, the
Guitar Effects elective, and open counseling. More info on Chris can be found
on his website, www.chrisjuergensen.com
Keif, Dave (Bass)
David Keif is a freelance bassist and has performed and recorded with Mark
Lindsay, Rita Coolidge, Etta James, Freida Payne, Carla Olson, Darlene Love
and the Platters and on TV shows and movies including Smallville, the Horse
Whisperer and Trekkies, As an author, Dave’s titles range from Arpeggios For
Bass and Grooves For Electric Bass to Classic Rock Bass and Latin Bass (w/
George Lopez), all for Hal Leonard Publishing. At BIT, Dave specializes in Mo-
town Bass, RSW, Recording Performance and private lessons.

Keller, John (Multi-Program)
John Keller is the co-writer of the multi-format Number-One hit “Love Is”, record-
ed by Vanessa Williams and Brian McKnight. His songs have been recorded
by Rickie Lee Jones, Al Green, Aaron Neville, and Wynonna. He also co-wrote
“Get Over Yourself”, a Top-Ten single by Eden’s Crush as well as “I’ve Gotta See
You Smile”, performed by Leigh Nash (of Sixpence None The Richer) for the
movie Because Of Winn Dixie. Currently signed to Sony Music, John has col-
laborated with top writers including Tonio K, Will Jennings, Bonnie Hayes, Shelly
Piken, David Baerwald, Danny Wilde, Beth Neilson Chapman, and Leigh Nash.
At MI, he teaches Artist Development.
Kerner, Kenny (Music Business)
Director of the Music Business Program Kenny Kerner comes to MI as a thirty-
year music industry veteran. He has produced records for Kiss, Gladys Knight,
Jose Feliciano, and Badfinger. He has also worked in personal management
and is a former record company A&R executive, public relations expert, and
music journalist. Specialties: Music business and promotion.
Kim, Hyun (Joyce) (Keyboards)
Hyun Kim completed her Bachelors Degree in Music Composition in Korea,
where she also performed with Abraham Laboriel and Gary Garbatini. After mov-
ing to Los Angeles to attend KIT, she received the Outstanding Student Award
two years in a row. Since graduation, Hyun has been directing music for church,
arranging, and performing live in the LA area. For KIT, she teaches private les-
sons and directs keyboards for the Fusion LPW.
Kimpel, Dan (Music Business)
Acknowledged as a foremost authority on popular music, Dan Kimpel contrib-
utes to a dizzying variety of print and electronic media including books, interac-
tive CD’s, magazines, web sites, and videos. He is the author of the best-seller
Networking in the Music Business as well as Networking Strategies for the New
Music Business and most recently, How They Made It: True Stories of How
Music’s Biggest Stars Went from Start to Stardom (Hal Leonard Publishing). For
five years, Dan conducted weeklong master seminars at Sir Paul McCartney’s
Liverpool Institute for Performing Arts (LIPA) in the UK. Stateside, he lectures
at colleges, universities and conferences across the U.S. and Canada, and at
MI he teaches a course in Music Business Networking and conducts personal
career counseling. To learn more, visit www.dankimpel.com.
Kleutgens, J.K. (Bass)
J.K. was born in Germany and has lived in Los Angeles for 10 years. In 1987,
he studied at BIT with Jim Lacefield, Gary Willis and Steve Bailey. As a bassist
FACULTY BIOS
and composer he has recorded and performed live with artists such as Vinnie
Colaiuta, Peter Erskine, Dave Weckl, Randy Brecker and Toots Thielemans. At
BIT, J.K. teaches Sightreading, Private Lessons and also holds Open Counsel-
ing sessions with an emphasis on technique and soloing.
Klikovits, Christian (Keyboards)
Originally from Vienna, Austria, Christian received classical training from age
11, eventually studying jazz piano at the Vienna Conservatory. Since moving to
California he has remained active as a freelance keyboardist as well as compos-
ing and producing music for films and commercials. Specialties are sight reading
and vocal accompaniment.
Kohring, Jörg (Guitar)
Originally from Germany, Jörg Kohring studied at the “Hochschule für Musik und
Darstellende Kunst” and earned his Master’s Degree in jazz guitar. During that
time he toured with the “LJJO” Big Band in Indonesia, Spain and France and
worked as an instructor at the prestigious Music Station in Hamburg. After moving
to the US in 1995, Jörg graduated from MI with Vocational Honors and resumed
recording and touring, with TV appearances in both Europe and the States (Pop
Of The Tops, Live And Kicking and Olympics broadcasts among others) and per- 115
formances with multi-platinum selling artists “Lifehouse”, as well as his own band,
“Blend”. At GIT, Jörg’s specialties include rock, pop, blues and guitar technique.
Kolb, Tom (Guitar)
Tom Kolb graduated from Musicians Institute in 1989 as an honors graduate
as well as Student of the Year. A veteran of over 4,000 gigs, Tom has worked
in nearly every musical situation imaginable, from tours to sessions to his own
funk/rock band, the Gurus. He has been a featured artist and musical director
for Star Licks Videos and a regular contributor and columnist for Guitar One
magazine, as well writing Classic Rock Workshop (MI Press/Hal Leonard). Spe-
cialties: rock improvisation, melodic soloing, rhythm guitar.
Kotikoski, Antti (Guitar)
Antti Kotikoski began playing guitar at age nine, and after being introduced to the
rudiments of electric guitar at the Pop/Jazz Conservatory in Helsinki, Finland, it
was time to move to Los Angeles to attend GIT. By the time he graduated in
1994, he had completed his first album in MI’s own Tommy Tedesco Studio with
fellow Dutch GIT student Richard Hallebeek. The album, Richie & Antti: Genera-
tor also features such guitar greats as Scott Henderson, Dan Gilbert, and Frank
Gambale as well as keyboardist Scott Kinsey. As a guitarist and composer, Antti
has recorded and performed with artists including Vinnie Colaiuta, Steve Tava-
glione, JK Kleutgens, Marco Minnemann, Virgil Donati, Gary Novak and Andre
 FACULTY BIOS
Manga. At MI, Antti teaches private lessons and holds open counseling sessions
with an emphasis on rock/jazz improvisation, technique and composition. To
learn more, visit www.kotikoski.com
LaFleur, Bill (Guitar)
Originally from Rochester, New York, guitarist Bill LaFleur relocated to Los An-
geles where he studied composition and film scoring at UCLA. He has worked
as a freelance music transcriber with dozens of published works for most major
publishing companies including music portfolios from such diverse artists as
Sheryl Crow, Dream Theater, Dwight Yoakam and many others. He is also a
demonstrator for Yamaha Guitars. At GIT, Bill’s busy schedule includes Single
String Improvisation, Rhythm Guitar, RSW, Theory, Ear Training, private instruc-
tion and open counseling.
Lander, Tony (Keyboards)
Music has been a part of Tony’s life since he was a young boy growing up out-
side of Washington D.C. In 1988, Tony formed an original band and performed
throughout the New York-New Jersey area before relocating to Las Vegas in
1996, where he joined Planet Groove, a classic funk-R&B-blues ensemble. In-
116
spired to further his music career, he moved once again to Los Angeles to study
music on a full-time basis at MI and upon graduation began teaching and work-
ing as a professional keyboard player and singer in the LA area. At MI you’ll find
Tony teaching Rock Keyboards, Keyboard Reading, Live Playing Workshops
and Private Lessons
Lauretta, Troy (Independent Artist)
Troy Lauretta is a singer, songwriter and performer with the R&B/Neo-soul duet
A2C (myspace.com/a2csoul). A classically trained pianist, he has been studying
music his entire life. Troy’s songs have been featured on TV shows around the
world, including MTV Asia, ABS-CBN and local shows in Hawaii and the Phil-
ippines. His performing experience includes work with American Idol finalists,
MTV, John Legend, and Stevie Wonder to name a few. After completing MI’s
Audio Engineering and Independent Artist programs and winning Outstanding
Project awards in both, Troy joined the Independent Artist staff as a project advi-
sor.
Littlefield, David (Independent Artist)
David Littlefield is a web designer, graphic artist, and illustrator whose recent
projects include designing the social networking component for the Adam Car-
olla Radio Show website, MacArtFilms.com, and Print Ads for Monte Nido & Af-
filiates. David graduated from the School of Visual Arts in New York and is fluent
with Adobe Photoshop, Illustrator, Indesign, and Dreamweaver. David works in
the Independent Artist Program as a project advisor. His portfolio can be viewed
at: www.dmlworx.com
Lopez, George (Bass)
At age 14, George began his professional music career, quickly developing a
local reputation as a formidable talent. In 1981, George moved to L.A., where
he graduated from MI, then established himself as one of the area’s finest Latin
bass players. He has performed with Tito Puente, Celia Cruz, Azteca, El Chi-
cano, Dave Valentine, Poncho Sanchez, Norman Brown, and many other local
musicians. At BIT, George teaches Latin Bass, the Latin LPW, Bass RSW and
private lessons.
Lula, Jami (Voice)
Jami Lula is a soulful singer and songwriter/performer/recording artist. As the
leader of the band “LULA” he released two albums, Waiting and Live Groove
(Circle Up Records) and early in 2009 brought out a new solo CD, There’s a
Healin’ Goin On. Jami was twice nominated as Best Vocalist of the Year by the
L.A. Music Awards and took home the award in 1997. His work has earned rave
reviews from the LA Times, The Album Network, and Whole Life Times, which
remarked “As Jami Lula sings you will be aware that he becomes the music, the
sound, the energy and spreads a powerful message of Love and positive inten-
tion.” He has recently been performing in Spiritual Fellowships Theaters and
house concerts. At MI, Jami’s specialties include Coffeehouse LPW as well as
Artist Development, Voice and Songwriting.
Lynn, Jessica (Voice)
With her versatility and flavor, Jessica Lynn is one of the most sought-after danc-
ers in Los Angeles. She has danced for artists including Blu Cantrell, Nelly
Furtado, and Fantasia Barrino as well as the Reggaeton artist Adassa. Other
film, television, music video and live credits range from Alias and the hit sketch
show MadTV to the feature films Grind, Wes Craven’s Zombie Prom, and the
Bette Midler Workshop. Jessica’s choreography credits include TV (FOX pilot
Hype Dat Track), tours (Jon.B promo tour), and commercials (Century 21) as
well as numerous videos and stage performances for new artists. She is also an
established teacher and has taught master classes throughout the US and Italy.
At MI, Jessica teaches the beginning and intermediate level Hip-Hop Dance
electives.
Machacek, Alex (Guitar)
Alex Machacek’s musical journey has taken him from his native Austria (where
he holds a degree from the prestigious Conservatory in Vienna) to LA where he

now resides; performing and recording his own original projects (including Alex’s
trio featuring Terry Bozzio) and now as a member of the GIT faculty. With two
CD releases under his own name, Alex has garnered praise from many notable
music critics and fellow musicians alike, including John Mclaughlin who stated,
“Alex Machacek’s music starts where other music ends. He is playing some
amazing guitar on (his CD) SIC. He is going where other people stop. He has
done some very deep excavation in the mind of music.” At GIT, you’ll find Alex
teaching private lessons and open counseling. To learn more about Alex and his
music visit him at www.alexmachacek.com.
Maddux, David (Guitar Craft)
David Maddux began repairing and modifying guitars in 1966. In 1977, he went to
work for Fender where his first assignment was in the paint department. In 1998,
after having learned the various aspects of guitar production, he became the su-
pervisor of the Fender Custom Shop. Dave currently oversees the production of
Factory Special Run guitars, which are limited-edition instruments for special cus-
tomers. At GCA, he teaches Woodworking, Hardware Selection and Installation,
Design Theory, Template Fabrication, and History of Guitar Fabrication.
Maloney, Christopher (Bass)
Syracuse, NY native Christopher Maloney graduated with a BA in music from
Oswego State University and graduated from BIT in 1994, winning the award for
Outstanding Student of the Year. Recent recording projects include work with
Dweezil Zappa, Lisa Loeb, Lao Tizer, and members of Journey, Earth, Wind and
Fire and INXS. He has recorded two vocal CDs with the Sunset Records la-
bel, Control and The Terrors Of Intimacy (see www.christophermaloney.com for
more information). Christopher is also a two-time ASCAP Plus award winner for
songwriting, and his compositions have been featured on television programs
throughout the United States and Europe. As a touring musician, Christopher
has worked in North, Central and South America, Europe, Japan and the Ca-
ribbean, and he maintains a regular schedule of sessions and club dates in
Los Angeles. Endorsements include Linc Luthier basses, SWR amps and Dean
Markley strings. At MI, Christopher’s varied teaching interests include creative
basslines, slap-style, fretless bass, songwriting, and music theory.
Marlis, Beth (Guitar)
VP of Education Beth Marlis was GIT Director 2000-2009 and a Vocational Hon-
ors graduate of the program in 1986. She holds a BA in Music from UC Santa Cruz
and a Master’s in Music from USC in Studio/Jazz Guitar Performance. Beth has
co-authored (with Daniel Gilbert) two instructional books for Hal Leonard/MI Press
(Guitar Soloing and Advanced Guitar Soloing) as well as a video release for Hal
FACULTY BIOS
Leonard/MI Press. While working her way up the musical food chain, Beth has
performed with a wide range of artists including Harold Land, Brownie McGee,
Helen Reddy and Louis Bellson. She’s composed more than a dozen indepen-
dent film scores and maintains an active schedule as a freelance guitarist. She’s
served on the Steering Committee and as a panel moderator for the 2004 World
Guitar Congress, and was a judge for 2007 North American Rock Guitar Competi-
tion. Beth has been a GIT Instructor since 1987, teaching all levels and courses
in the GIT core curriculum and specializing in jazz and funk.
Marshall, Jeff (Guitar)
Jeff Marshall is a graduate of GIT (‘89) and has since toured and recorded
with Nashville artist Rick Monroe and opened for the likes of Montgomery Gen-
try, Dwight Yoakum, Patty Loveless, and Kenny Wayne Shephard, to name a
few. He has done sessions with(AC40 Female Vocalist of the Year Debbie Hen-
nessey, solo artist Gene Owens, Petru Luna and countless demo sessions for
various artists. Jeff stays ever-busy doing gigs and sessions in the LA area,
covering almost any style of popular music from rock to country, jazz or blues.
At GIT, Jeff can be found teaching Single String Improvisation, Rhythm Guitar,
RSW, private lessons and open counseling.
117
McIntyre, Tim (Drums)
Tim McIntyre is a 1987 Vocational honors graduate of PIT, receiving the Out-
standing Student of the Year Award. Tim also graduated in 1981 with a B.M.
Degree from the University of Calgary, Alberta. Tim maintains a busy club, con-
cert, and recording schedule in the L.A. area while also teaching Styles Primer,
Jazz LPW and private lessons at MI.
Megna, Andy (Drums)
Andy is an honors graduate of PIT and was awarded the Rock/Funk Stylist of
the Year award. He specializes in rock, funk and fusion music with an emphasis
on hand technique and rudiments. Andy is currently recording for Lueken In-
novations (Pocket Percussion, Rock University) and playing with various artists
in the LA area, including Dakota Moon. He endorses Spaun drums and Truline
drumsticks.
Meza, Aaron (Music Business)
Aaron Meza is an ASCAP writer and publisher, NARAS musician and vocal-
ist, SAG and AFTRA-member voice actor, and has served on the Los Angeles
Board of the Recording Academy. His narration talents have been recognized
with Telly and Golden Aurora awards. Based on his many years of experience
as the West Coast Director for The Songwriters Guild of America, Aaron wrote
 FACULTY BIOS
the audiobook, You’ve Written A Song, So Now What? He holds a music degree
from UCLA and certificates from USC Law Center and UCLA Extension, and
has taught at UCLA Extension, Cal State Dominquez Hills, Los Angeles City
College and El Camino College. At MI, Aaron teaches Music Publishing and
Music Licensing.
Mikkelsen, Ronny (Independent Artist)
Ronny Mikkelsen is a freelance audio engineer based in Los Angeles; originally
from Odense, Denmark. He is currently the Technical Director for two nation-
ally syndicated radio programs, Sounds Eclectic, hosted by Nic Harcourt (Host
of Morning Becomes Eclectic and Music Director of KCRW 89.9 - FM, Santa
Monica), and The Axis of Justice Radio Network featuring hosts Tom Morello
(Audioslave, Rage Against the Machine) and Serj Tankian (System of a Down).
Ronny graduated from the GIT program in 1999 and was nominated for the Stu-
dent of the Year and Outstanding Stylist awards. For MI, he is an Independent
Artist Project Advisor.
Mina, Maurilio (Bass)
Maurilio hails from Ticino, Switzerland. After studying and playing in various
118
bands there, he moved to LA to study at MI. Upon graduation (where he re-
ceived the award for Outstanding Student) he was asked to stay and teach. Cur-
rently, Maurilio is a working bassist in Los Angeles doing casuals, jingles, and
sessions. At MI, he teaches Live Playing Workshops in Classic Rock, Reggae,
Country and ‘80s Pop.
Morgan, Alicia (Voice)
Keyboardist/vocalist Alicia McCracken Morgan is a New York-born, Florida-
raised singer-songwriter-musician. Noted for her raspy blues style, Alicia’s cred-
its include recording and/or performing with a wide range of artists including Neil
Young, Oasis, Al Wilson, Bobby Womack, Sally Kellerman, Kevin Murphy (of
Rufus), Don & Dewey, Billy Vera & The Beaters, The Nelsons, Tata Vega, King
Ernest, Peter Tork, Chuck Negron, Klymaxx. Her TV experience includes Rose-
anne, The Jeff Foxworthy Show, The Naked Truth, Almost Perfect, Phenom, and
Sibs. She has had original songs in the feature films Beyond Desire and Tom
Arnold’s Barhopping, and was the singing voice for Caroline Rhea in the Dis-
ney movie Mom’s Got a Date With A Vampire. As a keyboard player, Alicia has
worked with MI alum smooth-jazz artist Norman Brown, LA soul/blues favorites
The Scarletts and Some Like It Hot, producer Richard Perry on the cast album
for the musical Baby, It’s You and Rod Stewart. She produces and records in
her own studio and has received an Addy advertising award for vocals and en-
gineering. A mother of four, she collects vintage keyboards, builds computers,
and has been a circus performer and fire-eater. At MI, Alicia teaches voice,
keyboards, Arranging For Singers, and Demo Production.
Morgan, Burgundy (Music Business)
Burgundy Morgan is a graduate of Pepperdine University School of Law and is
a member of the State Bar of California, the United States District Court for the
Central District of California and the United States District Court of Michigan,
Western Division. A former professional musician, Ms. Morgan holds two under-
graduate degrees in Music from William Paterson University and Raritan Valley
College, with applied music in Classical Guitar and Jazz Piano, respectively. Ms.
Morgan’s law practice focuses on entertainment transactions and litigation, in-
cluding copyright infringement lawsuits, drafting and negotiating music contracts
and licenses, and application of new technology relating to music, including on-
line music distribution and Digital Millennium Copyright Act issues. Ms. Morgan
is a member of the National Association of Recording Industry Professionals, the
California Copyright Conference and California Lawyers for the Arts. Presently,
Ms. Morgan teaches Music Contracts and Owning and Operating A Music Busi-
ness as part of Musicians Institute’s MBP program.
Morgan, James (Audio Engineering)
RIT instructor-engineer-producer-studio technician-songwriter Jim Morgan has
been engineering in Los Angeles recording studios for over twenty years. He
has held chief engineer positions at RFH Records, A&R Studios/Hollywood and
currently Silent Sounds Recording Studios (which he also designed and built
with owner Steve Jacobson). Jim’s extensive client list includes Kool Keith, Raz
Kaz, George Clinton (P-Funk), Laurence Tollhurst (The Cure), Bootsy Collins,
Killah Priest, Cannabis, Sunshine Anderson, Kurupt, Joe Walsh, Nancy Wilson,
Don Henley, Mark Latham, Guitar Jack, Mike City, Billy Gibbons, Billy Preston,
Capitol Records, Interscope and Warner Bros., to name a few, and his efforts
to further the art of audio engineering have earned him a collection of Gold and
Platinum records. Jim is also an accomplished technician, so when he’s not
actually operating a world-class recording console he can often be found in the
wee hours of the morning taking one apart, just because he can. For RIT, Jim
teaches Electronics and Mixing & Mastering.
Nathan, Robert (Music Business)
Robert Nathan began his protean career as a performer in television and on stage,
transitioning to producer and writer, and later to management and law. With over
fifty years in the entertainment industry, including over twenty years in Business
Affairs and Legal Affairs for record labels and stage, television, and film production
companies, Mr. Nathan is the author of The Business Affairs Glossary, heads a

specialized legal consulting firm in Beverly Hills, and is regularly engaged in ne-
gotiating and packaging entertainment projects. At MI, he applies his expertise to
teaching courses in Music Contracts, Legal Issues, and Music Business.
Nikou, Ali (Independent Artist)
Ali has been working as a multi-tasking musician in Los Angeles for the last
nine years in roles including touring guitarist, musical director/band leader for
theatrical productions, songwriter, producer, and original artist. Collaborators
and project affiliations include producer Jim Wirt (Incubus), Dave Carlock (The
Transplants), and Chris Julien (De La Soul). At MI, Ali teaches private guitar les-
sons and works as a project advisor in the Independent Artist Program.
Nonisa, Mark (Audio Engineering)
Mark Nonisa has been a working professional in the music industry for nearly
three decades. In 1990, he graduated with honors from MI and began teaching
for the Recording program in 1999. Some of his professional credits include
work as an actor and musical performer in the feature film A Mighty Wind, vocal-
ist on Scott Henderson’s Tore Down House, and guitarist on Babyface’s sound-
track for the film Have Plenty on the YabYum label. He is currently performing
with his group The Basix and working on a new musical project with guitarist/
producer TJ Helmerich, bassist Ric Fierabracci and drummer Bernie Galane. At
RIT, Mark teaches Musicianship and SSL Console Workshop.
Oakes, David (Guitar)
David Oakes graduated in 1978 with a B.M. from North Carolina School of the
Arts and studied Classical guitar with Jesus Silva, Pepe Romero, and Andres
Segovia, flamenco with Juan Serrano and harmony with Ted Greene. Before
moving to California, David taught at Appalachian State University, Greensboro
College, and Winston Salem State University. As a classical guitar soloist, he
has done studio work for NBC and Paramount. David is an expert with music
notation and computer generated music notation programs and is the author of
Music Reading for Guitar (MI Press/Hal Leonard). Specialties: Reading, Playing
Techniques, classical guitar.
Ozaki, Jinshi (Guitar)
Jinshi Ozaki is a specialist in funk, R&B and contemporary jazz styles. He has
toured with Kirk Whalum, Paul Taylor, Keiko Matsui and Jody Watley and is also
a busy recording session veteran. At GIT, he specializes in Acid Jazz, Funk and
private instruction.
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Panciera, Greg (Independent Artist)
Greg Panciera received his Bachelor’s Degree in Computer Engineering from the
University of Michigan and later graduated from GIT. As a sound engineer, Greg
has worked as an assistant to engineer/producers Sylvia Massey (Tool, System
of a Down), Dusty Wakeman (Dwight Yoakam, Me’shell Ndege’ocello), David Bi-
anco (Rage Against the Machine, The Black Crowes, Tom Petty) and MI’s own TJ
Helmerich (Uncle Moe’s Space Ranch, Scott Henderson). As a guitarist, he has
performed with Warner Bros recording artist Bonnie Mckee. He is currently focus-
ing on his original project Veiled (www.veiledmusic.com ). At MI, Greg directs the
Independent Artist Program (IAP) and teaches Recording Techniques classes.
Paris, Anika (Voice)
Anika Paris is a singer/songwriter and recipient of ASCAP’s Abe Oleman Schol-
arship at the Songwriters Hall of Fame, Nashville’s City Song Festival, and AS-
CAP’s Pop Plus Award for the past six years. A published writer with Universal
Polygram and Warner Bros, her songs are featured in major motions pictures
starring Gwyneth Paltrow, Ben Affleck, Mariah Carey, Mira Sorvino, John Tuturro,
to name a few, and on soundtracks alongside Carly Simon, Dido, and Six Pence
None the Richer. She has released three solo CD’s (EAR/Sony, Warner Brothers
London, Abbeylane Records). Anika is the only female composer for Telepictures 119
Television shows (Ellen, Extra, The Tyra Banks Show, TMZ), and has songs on
Lifetime, Hallmark, MTV, Oprah, HBO’s Sex in the City and the CW. As a per-
former, she has been a musical guest on TV’s Late Night with Craig Kilborn, Latin
Explosion (with Christina Aguilera and Ricky Martin), Celebrity Justice, and even
performed for the Royal Princess of Thailand. She had the honor of sharing the
stage with legendary Stevie Wonder, John Legend and John Mayer in a ben-
efit concert with Musicians Institute and Hollywood Pop Academy. Most recently,
Anika composed the score and songs for the Off-Broadway musical The Judas
Tree, by Mary Fengar, which premiered in New York City. She is a published poet
with Kansas City Star, Helicon Nine Editions, Gival Press, Soft Blow Poetry and
has completed a book of poetry Life in Check. At MI, Anika teaches Artist Devel-
opment, Songwriting & Performance, Voice and Image Development.
Parker, Scott (Guitar)
A native Floridian, Scott toured the Latin circuit out of Miami for years and is
an alumni of both the Florida State School of Classical Guitar and University of
Miami Jazz and Music Business School. Scott moved to Los Angeles in 1993
and has maintained a busy schedule as a studio musician/producer. Currently,
Scott works as a session guitarist for Sabour Entertainment and Fox Television
and performs around town with Mr. Nice Guy. Specialties: Versatility as both a
musician and a producer.
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Pedersen, Tim (Drums)
Tim Pedersen has been performing and recording for over 30 years. Some of
his credits include Spencer Davis, Fabian, Little Anthony, Johnny Nash, Ron
Wood, Peter Noone, Jeff Pilson, and Mackenzie Phillips. Tim graduated from
the Grove School of Music in 1981, and studied privately with Terry Bozzio, Tom
Brechtlein, David Garibaldi, Mark Craney, and Les DeMerle before coming to
PIT as an instructor. Tim is featured on the best-selling instructional videos Be-
ginning Drums Vol. 1 & 2 (Hal Leonard) and is the co-founder of the free drum
lesson/interview site www.learn2drum.com In 2000, Tim took over duties as the
Department Head while maintaining a teaching schedule that includes RSW,
Rock Drums and the Classic Rock and Hard Rock LPWs.
Petco, Peter (Music Business)
From 2000-2004 Peter Petco was a staff writer for the industry-leading Radio
and Records newspaper, covering AAA and Smooth Jazz formats and editing
their R&R Retail product. In 2004, he joined Bryan Farrish Radio Promotion as a
staff promoter for college and commercial radio, later segueing to campaign di-
rector/client relations for BFRP’s indie promotions, which cover all radio formats
as well as press, touring, product placement and imaging services. He also
120 helps music supervisors source music (signed and unsigned) for TV, film, new
media and video games. At MI, Peter teaches Radio Promotion.
Rabhan, Jeff (Music Business)
Jeff Rabhan has an extensive resume in the music industry, including positions
as a Partner in Three Rings Projects, personal manager representing artists
including American Idol finalist Elliott Yamin, Lil’ Kim, Everlast and Jermaine
Dupri, five years as a partner in The Firm, and soundtrack executive for Atlantic
and Elektra Records. At MI, Jeff teaches Personal Management in the Music
Business program.
Rabuchin, Brad (Guitar)
LA native Brad Rabuchin studied music formally at Pierce Junior College, but
his true musical identity was formed by self-study and several excellent private
teachers including Derol Coraco, Ted Greene and Joe Pass. Brad’s eclectic per-
forming career began as a sideman playing Balkan Gypsy, Flamenco, Indian,
Punk, Atonal/Free, Persian, Turkish, Brazilian and African music. Some of the
his professional credits include Bonnie Raitt, Al Kooper, Steve Wonder, Buddy
Miles, Lean-to, Diane Shurr, David “Fathead” Newman, Ta Ta Vega, Willie Nel-
son and even Mr. Tom Jones. Brad also toured six continents as Ray Charles’
guitarist during the final years of his career (you can learn more about Brad at
www.bradrabuchin.com). At GIT, you’ll find Brad teaching private lessons and
open counseling.
Randall, Robin (Keyboards, Voice)
Robin Randall’s specialty is songwriting, with classes covering such topics as
song form, melodic development, chord progressions, lyric analysis, writing
in different styles, music business for the songwriter and more. No slouch in
the songwriting biz herself, her credits include the platinum hit Starship single
“Hoopla,” and the 1991 number one hit “Roxus.” Along with her partner and
mother Judithe Randall, she had the honor of being the only songwriter as-
signed to compose hit songs for the world’s most- watched television show,
Baywatch. In 1994 Robin and singer/songwriter Diana DeWitt released their
debut CD in Europe and Japan.
Rappoport, Doug (Guitar)
Doug Rappoport has played guitar professionally since age 15 and is currently
playing lead guitar, touring and recording with the Edgar Winter group. The band
has performed for hundreds of thousands of people throughout Europe, the UK,
Japan, Canada and the USA. Doug has also composed for television and acted
as Music Director and composer for LA TV favorite “The John Kerwin Show”. At
GIT, Doug can be found teaching Private lessons and Open Counseling. Check
out his website at www.dougrappoport.com
Rashid, Orlando (Audio Engineering)
Orlando Rashid is an experienced audio engineer and producer whose credits
include local and international bands. A musician/songwriter as well, he brings
both technical and creative skill to the classroom. Orlando’s specialties at RIT
include both Recording Theory and ProTools.
Razze, Ralph (Drums)
Ralph Razze studied with Jim Chalpin and Charlie Perry in New York, performed
with the Buddy Rich Band, the Nelson Riddle Orchestra, and has recorded with
the L.A.-based Steve Speigel Band. His TV credits include Trapper John M.D.,
Matlock, Highway to Heaven, and The Fall Guy, as well as the TV specials War
and Remembrance and Perry Mason. His most recent film credits are Cocoon,
Beaches, and Teenage Mutant Ninja Turtles. Ralph works extensively as a
well-rounded studio and big band drummer in L.A. besides teaching Three Horn
Band, Ensemble Technique and Percussion Ensemble at MI.
Reeves, Tommy (Keyboards)
Tommy is a producer, arranger, pianist, singer and songwriter who has worked
with Smokey Robinson, Melissa Ethridge, James Ingram, Burt Bacharach, Betty
Buckley, Brian McNight and the hit songwriting team of Billy Steinberg and Tom
Kelly. Tommy has played and arranged for Dick Clark Productions and on ani-

mated features for NBC Television. Tommy is also a co-founder of Catalina Island
Music, for which he recently released his own CD entitled Another Lap Around The
Sun. At KIT, Tommy teaches Keyboard Voicings, Reading, and private lessons.
Richman, Jeff (Guitar)
Jeff Richman is a 1976 graduate of Berklee College of Music. His performance
credits include Blood, Sweat and Tears, John Klemmer, Ronnie Laws, Doc Sev-
erinson, Don Grusin, and Alphonse Mouzon. Jeff has also recorded six solo
albums and teaches seminars and clinics around the world. Currently, Jeff is
busy doing studio work for albums and TV shows. At GIT, Jeff conducts the Fu-
sion Ensemble, and teaches private lessons and open counseling.
Roberts, Paul (Guitar)
Paul Roberts is a Los Angeles native and graduate of MI’s Guitar Craft program.
His first professional experience was gained while working for GCA instructor
and master luthier John Carruthers at his custom guitar and repair shop. Paul’s
duties included performing all types of repairs and modifications on a wide va-
riety of stringed instruments while also working as a guitar tech for local bands.
Currently, Paul works at the custom shop of noted LA guitar designer James
Tyler, where he wires, assembles, and sets up guitars. At MI, Paul teaches the
Guitar Repair and Maintenance class.
Rogers, Carol (Voice)
“Mama O” is a 30-year veteran of the recording and performing industries. Her
numerous vocal recording credits include a “Best World Recording” Grammy
winner, Brasileiro (Sergio Mendes), and her voice has also been featured in
major motion pictures (Antitrust w/Leonardo DiCaprio and Bossa Nova w/
Amy Irving), network TV (2001 Teen Choice Awards) and educational software
(Walla’s World). As a live performer, Carol has toured the world with her musi-
cal inspiration and mentor, Sergio Mendes, and appears regularly with her own
group, “Mama O”. During ten years of teaching vocal technique at VIT, Carol’s
multilingual stretching and strengthening techniques for the voice have trained
students from all over the US as well as Sweden, Japan, Mexico, and Brazil,
where she is the vocal coach for teenage duo sensation Sandy & Junior. Her
stylistic teaching technique has been captured on the Warner Brothers instruc-
tional video, Blues Vocals. Carol’s personal credo is “Learn, laugh, and master
your craft!” At VIT, her specialties include “everything you can do in the studio”
plus Blues Vocals and the Blues LPW.
Roper, Jan (Keyboards)
With more than 25 years of experience as a professional keyboard player,
singer, arranger, composer and music director, Jan brings exceptional depth
to her roles as teacher and private coach. She has performed hundreds of gigs
as singer and/or keyboard player at top venues including the Kodak Theater,
Hollywood Bowl and Greek Theater and since 2000 has been a featured singer
at Governor’s Balls for the Oscars and Emmys. As a keyboard player, Jan has
FACULTY BIOS
music-directed numerous shows including her own rock opera, Jerusalem A.D.. In
2008, she released a CD of original inspirational rock tunes with her band, Breath-
ing Room. As an educator, she spent nine years on the keyboard faculty at Grove
School of Music and currently divides her time between performing, recording
projects and teaching. At MI, Jan teaches private lessons and open counseling.
Roscetti, Ed (Drums)
Ed Roscetti, an accomplished composer, producer and performer, has worked
with such notables as Joe Sample, The Crusaders, Barry Mann, Cynthia Weil,
Tommy Tedesco, Gary Wright, and Clair Marlo. He is currently producing and
composing music for both records and television. Ed specializes in drum high
tech and is a key live performance instructor at Musicians Institute.
Rosenberg, John (Keyboards)
John Rosenberg has played and taught piano from Philadelphia and Boston to
San Francisco and Los Angeles, working with artists from Cab Calloway, Carlos
Santana and Bonnie Raitt to Phil Collins, Huey Lewis and Bobby Blue Bland.
John’s recording credits include Jerry Garcia, Maria Muldaur and Dan Hicks;
and he has written songs for television and film, most notably for the Jim Henson
Production Animal Jam and Disney’s Air Bud and MVP series. His songs have 121
been recorded by Mandy Patinkin and Bernadette Peters for a new children’s
book/CD entitled Dewey Doo-it Helps Owlie Fly Again based on the life and
work of Christopher Reeve. As an educator, John developed Improvisational
Music courses for Harvard University’s Adult Education program and has taught
Cognitive Therapy workshops at the Sufi Institute in Istanbul. He was also Artist-
in-Residence aboard the University of Pittsburgh’s Semester At Sea voyage-
around-the-world in the spring of 2000. At MI, John teaches Private Lessons,
Open Counseling, Groove and the Country LPW.
Rosenn, Jamie (Guitar)
Jamie holds a Bachelors Degree in Music from the New England Conserva-
tory of Music and a Masters Degree in Music from CalArts. He has studied with
such jazz greats as Jimmy Giuffre, Ran Blake, Mick Goodrick, Cecil McBee,
Bob Moses, Charlie Haden, Leo Smith, Larry Koonse and Joe LaBarbera, and
his teaching resume includes positions at UCLA, Saddleback College, and the
Los Angeles Music Academy. In 1996, Jamie was chosen by the United States
Information Agency to be an artistic ambassador, an assignment that took his
duo on a seven week tour of the Middle East and South Asia. Currently, Jamie
co-leads an original group, is working on a new CD, and is a very active member
of the Los Angeles jazz scene (see www.jamierosenn.com for current info). At
GIT, Jamie teaches private lessons and open counseling.
 FACULTY BIOS
Rosser, Ken (Guitar)
Ken Rosser’s lengthy performance resume ranges from John Cage, Billy Hig-
gins, Bennie Wallace and Vinny Golia to the Elvis Schoenberg Orchestra Sur-
real, with appearances at prestigious festivals including the Monterey Jazz Fes-
tival, The Frankurt Jazz Festival and the International Reggae Festival in New
Orleans. He is also actively involved in the World Music scene, studying tradi-
tional Chinese, African and Brazilian music and performing with several South-
ern California-based Chinese orchestras. Currently, Ken is performing with the
Grandmothers (featuring Frank Zappa alumni playing Zappa’s music), West Af-
rican kora virtuoso Prince Diabate, free-jazz luminary Bobby Bradford, the David
Pritchard Guitar Quartet, jazz pianist Steve Lockwood, vocalist Angela Carole
Brown, the Steve Weisberg Big Band, world music/jazz group Quarteto Nuevo
and others. Ken’s recording experience includes work for Warner Brothers and
Nine Winds records, the films American Beauty and Runaway Jury, TV shows
and commercials. His Delta blues-inspired score for the play Turning Points won
an L.A. Theatre Award. At GIT, Ken teaches Single String Improvisation, Rhythm
Guitar, RSW, Reading, private lessons and open counseling.
122 Salinas, David (Drums)
David Salinas received his music education at the Leeds College of Music in
England and at PIT before joining the teaching staff in 1995. He has performed
and/or recorded with artists such as Josh Kelley, Melissa Etheridge, Black Lab,
Rita Coolidge, Mick Taylor, Chuck Berry, Donny Osmond, Adam Cohen, Box-
ing Ghandis, Billy Vera & the Beaters and others. At MI. he specializes in Funk
Drums and the Bass & Drum Groove Workshop.
Saltzman, Steven (Audio Engineering)
Music Editor & Composer Steven Saltzman received his Bachelor degree in
Composition and Film Scoring from Berklee College of Music. While in Boston,
he also studied composition with Boston Conservatory composer John Hess
and composed music for television, animated films, commercials, and theater.
After moving to Hollywood, he continued studying and composing scores for
independent films, commercials and TV before turning his focus to music editing
for film and television. His editing credits include Dragon Ball, War Inc, The King
of California, Strange Wilderness, Bewitched, The House Of D, Santa’s Slay,
A Guy Thing, HeartBreakers, The Outsider, How To Kill Your Neighbor’s Dog,
Dead And Breakfast, This Space Between Us, and the WB series Hyperion Bay,
with credits for additional editing on Deck The Halls, Ghost Rider, Desperate
Housewives, and The Perfect Score. In 2005, Steven received a Golden Reel
Award for music editing, and he has worked with composers including Dave
Robbins, Mark Mothersbaugh, J.A.C. Redford, Larry Groupé, and Ernest Troost.
He is a certified Digidesign pro tools instructor, a member of the Editors Guild,
board member of the M.P.S.E. and is also on the roster of the prestigious music
editing group MAD 4 MUSIC (http://www.mad4music.biz).
Sandoval, Jaime (Guitar Craft)
Jaime A. Sandoval attended Los Angeles Trade Technical College, where he
learned basic machining skills, before he completed MI’s Guitar Craft program
in 2004. Shortly after graduation he was hired as a teacher’s assistant and now
teaches a wide range of classes for GCA while also holding a full-time position
at the Matchless Amplifier company.
Saucier, Michael (Bass)
Born in California and raised in Omaha, Nebraska, Michael began his musical
development with the saxophone before switching to electric and acoustic bass.
While in Omaha, he played rock, R&B and with a 7-piece jazz band directed by
saxophonist Stemsy Hunter (formerly with the Electric Flag and Buddy Miles
Band). In 1978 Michael relocated to LA where he recording two albums with
a jazz group as well as performing and recording with Alligator Records artist
Guitar Shorty. Additional credits include performances with Johnny Hammond
Smith, Earl Palmer, Gene Harris, and David Whitfield, as well as work for the hit
TV series Seinfeld and The Single Guy. At BIT, Michael teaches private lessons,
ensembles, and the Blues and R&B Live Playing Workshops.
Saunders, Daniel (Guitar)
Daniel studied at Berklee College of Music and is an MI graduate. He has
performed countless live shows in a diverse array of musical styles alongside
national recording artists including Candiria and Drowning Pool and has several
years of experience as a studio musician. As a player, Daniel specializes in
classic rock, hard rock, heavy metal and blues; at GIT he can be found teaching
private lessons.
Schroeder, Carl (Keyboards)
Pianist Carl Schroeder is from New York, where he started his career playing
with blues legends Jimmy Reed and John Lee Hooker, subsequently switching
gears and recording with jazz greats Art Blakey and Roy Haynes. His work with
the illustrious jazz vocalist Sarah Vaughan enabled him to perform around the
world and be heard on two Grammy-nominated recordings. In addition to ap-
pearing several times at the White House for Presidents of the United States, he
is featured in the Smithsonian Collection of Classic Jazz. Carl teaches impro-
visation and composition, and the Schroeder LPW has introduced hundreds of
students on all instruments to the mysteries of chord changes.

Sezaki, Katsuya (Voice)
Kats Sezaki was born in Brazil and raised in Japan. After completing high school
in Tennessee, he graduated from Hiwassee College in 2004 with an award for
“Outstanding Choral Member.” Turning his focus to music, he went on to receive
his Bachelor Degree in Voice from Musician’s Institute in 2008. As a studio
vocalist, Kats has recorded the original song “Bright Shine” for Fervor Records
and Matt Hirt. He has also been directing and arranging for choirs and bands
for several churches in Los Angeles. His musical strengths also include percus-
sion, harmony and theory, composition and chart transcription. At MI, he can be
found teaching private lessons and open counseling.
Sheehan, Coreen (Voice)
A five-time nominee and three-time winner of LA’s Best Rock Vocalist Award,
Baltimore, Maryland native Coreen Sheehan has toured and recorded with art-
ists including Whole Lotta Rosies, Richie Kotzen, Richie Zito, Japan’s Tyed Dyed
Junkies and Bricks Dance Company in Paris, including shows alongside such
acts as David Lee Roth and The Foo Fighters. She can be seen and heard in TV
commercials in the U.S., Germany, Japan (MTV) and South Korea, and served
as Music Consultant for the series You Rock (VH1) where she prepared vocal-
ists for performances with Rod Stewart, The Bare Naked Ladies and others. Her
education credits include writing the popular Vocal Technique curriculum for MI
Japan, where she taught from 1994-99 before returning to MI Hollywood. Voted
MI’s Instructor of the Year in 2008, she maintains a full class schedule with Vocal
Technique, Rock Vocal Workshops, Pro Performance Showcase, Vocal Perfor-
mance, Teacher Training, Vocal English Workshop, Contemporary Vocal Styles,
Accent Reduction, Private Lessons and Open Counseling.
Shotts, Blair (Independent Artist)
Blair Shotts’ extensive performing resume includes work with Tone Loc, El Hefe
of NOFX, Hollywood Records recording artist Jesse McCartney, and The Zodiac
Show with Macy Gray. Recently, Blair has been recording with engineers Ben
Grosse (Marylin Mason, Depeche Mode, Disturbed) and Brian Carlstrom (Alice In
Chains, Offspring) and working as musical director for Everyman For Himself; a
play directed by Ameenah Kaplan of STOMP. He has shared the stage with artists
including Kid Rock, Fishbone, Cypress Hill, The Wailers, David Crosby, Beenie
Man, Buckethead, Mix Master Mike of The Beastie Boys, and many more. Cur-
rently, Blair is playing with actor/singer Eric Balfour in Fredalba, Rachel Sierra, and
LA melodic gloom masters Veiled. Aside from drumming, Blair writes experimen-
tal, ambient, exotic hip-hop and soundtrack music (you can hear some his work on
the Stone Brothers’ films 12 O’clock and Urban Street Bike Warriors. At MI, Blair
works as the Independent Artist Program session drummer.
FACULTY BIOS
Silva, Rick (Audio Engineering)
Rick Silva has accumulated a wide variety of experience in his dual roles as
guitarist and engineer. Years of teaching and studio work as a player have coin-
cided with an impressive list of credits in the recording field, including work as a
digital editor for hip-hop artists Pharcyde (Chapter One Records) and mixer for
reggae/rock artists Pysde Car (Stellar Records) as well as tracking, mixing and
live engineering numerous projects for such labels as Legato, Shrapnel, Inside
Out and Tone Center. Recently, Rick opened his own production studio in LA
(Mixed Emotions Productions). At RIT, Rick’s specialties include Musicianship,
Hard Disk Editing, Recording Workshop and Recording Theory.
Silverman, Chuck (Drums)
World renowned as a drummer, percussionist, educator and writer for many of
the world’s drumming magazines, Chuck’s unique brand of rhythmic communi-
cation has touched musicians worldwide. His works include the Drumset Artists
of Cuba educational video, Afro-Caribbean Practical Playalongs book and CD
set, The Funkmasters book and CD set for drums, bass, and guitar, Practical Ap-
plications Parts 1,2, and 3 book and CD packages, Practical Applications edu-
cational video , and Power Grooves by Chuck Silverman and Dave Lombardo.
123
At MI, Chuck teaches the Latin Drums and Latin LPWs, Latin-Funk Connection,
Latin Percussion and private lessons.
Simper, Jay (Bass)
Jay Simper has been a professional bass player for seventeen years, with the
past ten spent in the Los Angeles area. Jay graduated with honors from Musi-
cian’s Institute in 1992 and has been a member of the BIT staff since 1996.
Professionally, he is currently recording and performing as a freelance bassist
with various artists in a variety of styles. At BIT, Jay is the bass instructor for the
Classic Rock and Real World LPWs.
Sklarevski, Alexis (Bass)
A BIT “Outstanding Achievement” graduate, Alexis has worked with Crosby, Stills
& Nash, Manhattan Transfer, Jackson Browne, Dweezil & Ahmet Zappa, Albert
Lee, Carole King, Rita Coolidge, Johnny Rivers, Jamie Walters, Daniela Romo,
Martha Reeves and Chuck Berry. He has performed on The Tonight Show with
Jay Leno, The Late Show with David Letterman and numerous film, TV and
jingle sessions. Alexis is the author of the critically acclaimed instructional video
The Slap Bass Program and also co produced Fingerstyle Funk, the instruc-
tional video by legendary Tower Of Power bassist Francis Rocco Prestia. In ad-
dition to having written the Bottom-Line Bass column in Bass Player magazine
for seven years, Alexis is the author of Bass Playing Techniques -The Complete
Guide (Hal Leonard/MI Press) and has done bass clinics throughout Japan and
 FACULTY BIOS
Europe. Currently, he continues recording and performing with many artists in
the US and around the world. In addition to his duties as BIT Department Head,
Alexis teaches Playing Techniques, Blues Bass, Beatles Bass, Fusion LPW and
private lessons.
Smalios, Tony (Audio Engineering)
Tony Smalios has worked for over twenty-five years as a composer, engineer,
and producer in both the music and television industries. He is the recipient of
multiple Grammy awards as well as dozens of Gold and Platinum albums and
has worked with such notable clients as Arista, BMG, CBS, Columbia, Chrysalis,
Electra, BMG, Epic, Geffen, Interscope, Islan, Jive, Maverick, Motown, MTV,
VHI, Sony (France, Greece, Japan, UK, US), Universal, Warner Brothers, NBC,
and Virgin. At MI, Tony teaches Analog Signal Processing.
Smart, Delbi (Voice)
Delbi Smart is an all-around music professional with extensive credits as a sing-
er, songwriter, producer, vocal arranger and recording artist. Her first solo CD,
World Of Emotions, won the Vocalist and Song of the Year awards from the
CCMA. As a studio vocalist she has worked with extraordinary producers in-
124
cluding David Foster, Mark Shaman, Dennis McCarthy , Jonathan Wolff (Who’s
The Boss, Will and Grace, Seinfeld) and Tommy Banks. She has performed
with and/or recorded guide vocals for artists as diverse as Celine Dion, Bar-
bra Streisand, Luciano Pavarotti, Frank Sinatra, Neil Diamond, Rick Springfield,
Anita Baker, Melissa Manchester, Alan Thicke, Tony Renis, Pat Boone, Johnnie
Carl (Crystal Cathedral), Carol Bayer Sager, Carole King, Barry Manilow, Reba
McEntire, Steve Allen, Randy Travis, John Berry and Grace Jones, just to name
a few, and directed the MI Choir in performance with Stevie Wonder. At MI,
Delbi teaches Artist Recording Sessions, Basic Demo Production, Background
Vocals, Studio For Singers, Voiceover, Advanced Acapella, Country LPW and
private lessons. Learn more at www.myspace.com/delbismartvocals.
Smith, Putter (Patrick) (Bass)
Upright specialist Putter Smith has worked with music legends ranging from
Thelonious Monk and Art Blakey to Phil Spector, the Beach Boys, John May-
all, Marlene Dietrich and Burt Bacharach. In addition to playing concerts with
his own band, “Left Coast”, Putter is a very active figure on the Los Angeles
jazz scene, performing and recording with numerous other artists including Alan
Broadbent, Mose Allison, Karin Alyson, Natalie Cole, Sam Most, Walter Nor-
ris, Larry Koonse, Dave Koonse and Gary Foster. His schedule at BIT includes
Sightreading and Walking Basslines as well as private lessons on upright bass.
Sobel, Glen (Drums)
Glen Sobel is a Los Angeles-based drummer who has toured and recorded with
a diverse list of national and international acts including Beautiful Creatures,
Brooks Buford, Tony Macalpine, Gary Hoey, Impellitteri, Jennifer Batten, mem-
bers of Cypress Hill, Everlast, Saga and many more. In addition to a busy ses-
sion schedule including numerous TV appearances and major label CD credits,
Glen has been active in music education, conducting clinics, master classes
and lessons. For more info, visit his website at www.glensobel.com. At MI, Glen
specializes in private instruction.
Solt, Gary (Baccalaureate)
Gary’s professional credits include session guitar work for Star Trek: The Next
Generation, Deep Space Nine, Voyager, Enterprise, Becker, Knots Landing and
other television shows. His guitar playing has been featured on many Jay Chat-
taway scores including Masters of Horror (Showtime). He has toured North
America and Japan as a featured guitarist with The Percy Faith Orchestra,
Don Rader, Leslie Uggams, Shirley Bassey, The Bruce Paulson LA All-Star Big
Band, and many others. Gary serves as a performing artist and clinician for the
Northern Arizona Jazz Festival, directed by former Tonight Show bassist, Joel
DiBartolo. He has played in the pit at the Pasadena Playhouse for the world
premieres of Broadway musicals Sister Act, Mask, Vanities, Stormy Weather
and many others. He has performed with Gordon Goodwin, Natalie Cole, Josh
Groban, David Foster, Frank Sinatra, The Boston Pops, and numerous others.
He is a former faculty member at the Berklee College of Music in Boston and
performed for the Boston Pops with John Williams conducting. At MI, aside from
his duties as Associate Dean of the Baccalaureate program, he is an instructor
in Music Theory, Degree Ensemble, Performance, History of Rock, and various
computers-in-music classes.
Squire, Barry (Music Business)
Barry spent fifteen years as a professional drummer before starting a career
as a record company A&R executive, including fourteen years at Warner Bros.,
Geffen and Columbia records. He currently works as an independent A&R
consultant and operates an exclusive musician referral service for professional
musicians and recording artists. His client list includes over 400 recording art-
ists such as John Mayer, Weezer, Guns and Roses, Kelly Clarkson, Smashing
Pumpkins, Hoobastank, Perfect Circle and Justin Timberlake. Barry’s resume
also includes work at Musicians Union Local 47 as a rock music representative,
two consulting positions at music business web sites and twelve years of music
business instruction at UCLA extension. Since joining the MI staff in 2001, his
emphasis has been on helping students transition from their school experience

to a future in the music world. He teaches A&R, coordinates Industry Semi-
nars, and oversees MI’s weekly “Hiring Hall” that offers exclusive auditions at the
school for tours and recording artists. Learn more at www.Barrysquire.com.
Steele, Mark (Audio Engineering)
Mark Steele is an award-winning sound editor with 32 years of editing experi-
ence and 20 years of sound mixing experience. He has won seven Primetime
Emmys, three Golden Reels, and has received thirty-two other nominations. At
MI, he teaches the Background and Sound Effects Editing class for the Post-
Production Audio program.
Steiger, Ken (Guitar)
A GIT honors graduate in 1992. Ken gathered wide-ranging film score, radio
and TV experience before returning to GIT, where he offers new explorations in
rock/metal guitar and intense lessons on the latest techniques of modal shred
guitar improvisation. Ken’s current activities include his “Instra-Metal” shred gui-
tar project Project Steiger , available in May of 2002, featuring special guests
Derek Sherinian (Dream Theater, KISS) on keyboards, Virgil Donati (Steve Vai)
on drums and Tony Franklin (Whitesnake, Jimmy Page) on bass. Ken is also
known as a “guitar coach for the stars”, most recently on the Warner Brothers
movie, Rock Star. At GIT, Ken currently teaches the Metal LPW, Metal Guitar
and private lessons specializing in speed picking, arpeggios studies, string skip-
ping, advanced modal improvisation and advanced rock rhythm guitar. Check
out Ken on the web at www.Steiger.RockGuitar.net
Steinman, Roger (Baccalaureate)
Roger Steinman was educated at Performing Arts High School, Youngstown
State University (BM, Magna Cum Laude), and California Institute of the Arts
(MFA). Additional composition studies were undertaken at Juilliard and Dart-
mouth with Vincent Persichetti, Carlos Chavez, Mel Powell, and George Trem-
blay. He has taught at the Grove School of Music, California State University,
Fullerton, and Musicians Institute, where he oversees the Degree program. For
network television, Roger has scored Best of the West, George Burns Comedy
Week, Family Man, and Major Dad. As a keyboardist, he has performed at CBS
Television, A&M Records, Los Angeles Music Center (Phantom of the Opera),
Shubert Theatre (Evita, Cats, Les Miserables, Sunset Boulevard, Beauty and
the Beast, Ragtime) and Pantages Theater (Lion King, Wicked). In addition to
his duties as Dean of the Degree Program at MI, Roger also teaches theory, ear
training and advises the Sophomore and Senior juries.
Swann, Darryl (Audio Engineering)
Darryl’s first session as second engineer took place in 1986 with famed produc-
tion team LA and Babyface as they produced the hit song “Rock Steady” for
R & B vocal group The Whispers. Within a month, he became night manager
FACULTY BIOS
and first engineer at Silverlake Recording Studios, literally living at the studio
while conducting round-the-clock sessions and learning the Trident Series 80B
console. After a break to earn his bachelor’s degree from UCLA, Darryl returned
to engineering full time at Straight Arrow Studios in Van Nuys, where he wrote,
produced, and engineered his first major label release with Motown group Pretty
in Pink before his own group, Cultural Revolution, signed with Sony/Epic/New
Deal Records and released the single “Nite & Day” on the soundtrack to the
John Singleton-directed film Poetic Justice. In 1997, Darryl began writing and
producing with Macy Gray, resulting in the multi-platinum album Macy Gray on
How Life Is as well as her follow-up, The Id. His other recent projects include
developing a music-related video game for Sony Playstation 3 and Microsoft X-
Box 360. At MI, he teaches Music Production and Track Programming.
Tagliarino, Barrett (Guitar)
Barrett’s extensive performing experience includes tours of Asia and Europe,
where he served as Rock Department Head at Hohner Musikchule in Vienna.
He has recorded projects for ARCO, Sony, MTV, The Food Network, and his
own CD, Moe’s Art. Barrett’s education-oriented projects include Classic Rock
Soloing (Starlicks/Hal Leonard DVD) and Guitar Fretboard Workbook (Hal Leon-
ard) as well as columns for Guitar One and Guitar Player magazines. He also 125
created and maintains a guitar-oriented website, www.monsterguitars.com. At
GIT, Barrett’s specialties include rock, blues, jazz and composition.
Taylor, Joel (Drums)
Born in Worland, Wyoming, in 1959, Joel started playing drums and trumpet
at an early age, performing at Carnegie Hall with the McDonald’s All American
High School Band when still only 16. From 1979-82 he studied at Berklee Col-
lege of Music with a focus on recording engineering and drums, including private
instruction with Alan Dawson and Gary Chaffee. Since moving to Los Angeles in
1985, Joel Taylor has been in demand as one of the most versatile drummers on
the LA studio and touring scene. He has performed and recorded with artists that
span the whole stylistic spectrum of the music world including Stanley Clarke,
Allan Holdsworth, Al Dimeola, Frank Gambale, Andy Summers, Mickey Thomas
(Starship), Bobby Kimball (Toto), Edgar Winter, Vesta Williams, Phil Perry, Bob-
by Caldwell, Joe Sample, Jeff Lorber, Herb Alpert, Yanni and Freeflight. Joel has
worked with legendary producers David Foster and Peter Wolf and numerous
other film, TV, and jingle composers. At MI, Joel teaches open counseling.
Tibbs, Ernest (Bass)
Ernest Tibbs graduated from BIT in 1989 and received the Bass Student of the
Year Award. Since then, he’s gone on to develop an impressive list of credits,
including work with Melba Moore, Natalie Cole, Gladys Knight (musical Madam
 FACULTY BIOS
Lilly), Eloise Laws, Debra Laws, Miki Howard with the Kevin Toney Band, Carl
Anderson, and James Ingram. Ernest has also toured and/or performed with
Allan Holdsworth, Thom Rotella, David Benoit, David Garfield, Phil Upchurch,
Dan Segal, Tom Scott, Eric Marienthal, Brian Auger, Ronnie Laws, Jeff Lorber,
Pat Kelley, John Pisano, and Norman Brown, as well as symphony orchestras
in San Francisco, Atlanta, and Los Angeles. His TV appearances include The
Tonight Show with Jay Leno, the Rosie O’Donnell Show, and the 2002 Ameri-
can Idol finale. His recording credits are equally impressive: David Garfield,
Pat Kelley, Kevin Toney, Reggie C, Mijares, Phil Upchurch & the Phil-Harmonic
Orchestra, Vernell Brown, and David Benoit At BIT, Ernest teaches private les-
sons and LPWs.
Turner, Dale (Guitar)
As West Coast Editor of Guitar One magazine, Dale Turner has interviewed up-
wards of 100 world-renowned players (from Al Di Meola to Zakk Wylde) and con-
ducted exclusive lesson features with the A-List of “instrumental guitar”greats
(from Scott Henderson and Mike Stern to Yngwie Malmsteen and John Petruc-
ci). An author, transcriber, and multi-stylist, Dale received his Bachelor’s degree
in Studio Guitar Performance from USC in 1991. Performance highlights include
126
appearances with Billy Cobham (Mahavishnu Orchestra/Miles Davis), Larry Klein
(Joni Mitchell/Shawn Colvin), and Eric “Bobo” Correa (Cypress Hill), among oth-
ers. Recent releases include David Pritchard’s Acoustic Guitar Quartet CD, Un-
assigned Territory (Zebra Acoustic). At GIT, Dale teaches private lessons, open
counseling (focus: guitar for the vocalist), music theory and ear training.
Verheyen, Carl (Guitar)
Guitar Magazine calls him “one of the top 10 best guitar players in the world.”
For the past two decades, Carl Verheyen has been one of LA’s first call session
players as well as a member of Supertramp and leader of his own successful
band. Carl has played on hundreds of recordings, movie soundtracks and TV
shows, and 1996 won the Guitar Player Magazine Reader’s Poll for Best Studio
Guitarist. In addition to his work as for others, Carl has released several solo
CDs, written for all of the major guitar periodicals, conducted seminars, and
produced instructional videos and software (see Carl’s website,
www.carlverheyen.com , for updates and details). At GIT, Carl teaches Advanced
Electric Guitar Styles.
Verbaten, Menno (Bass)
Born and raised in The Netherlands, Menno relocated to Los Angeles to attend
Musicians Institute, studying with the likes of Steve Bailey, Billy Sheehan and
Stuart Hamm. He graduated in 1998 as Outstanding Student and started playing
the LA club scene, sharing the stage with artists such as Marty Friedman (Mega-
deth), Steven Adler (Guns ‘n Roses) and Mike Hartman (David Lee Roth).
Although fluent in many musical styles, Menno specializes in Hard Rock and
Heavy Metal, with a ‘heavy’ emphasis on ‘shred’ style bass and two-handed
tapping. At MI, Menno teaches private lessons and the Metal LPW. Check out
Menno at www.nihilistworkshop.com or www.thecauterized.com.
Verloop, Maurice (Bass)
A native of the Washington D.C. area, Maurice is a BIT honors graduate and recipient
of the Outstanding Student award. Maurice’s busy LA performing schedule includes
work with Carl Anderson, Zakk Wylld, Nick Menza and Virgil Donati as well as various
original projects. At MI, Maurice teaches BIT private lessons and workshops.
Watson, Sammy J. (Drums)
Sammy has toured and recorded with multiple artists, including most recently
The Apex Theory. After graduating with honors from PIT in 1995, he toured with
Ricky Lee Jones on the H.O.R.D.E. Festival and a variety of other artists. With
The Apex Theory, Sammy has performed at the Ozz Festival, Warped Tour, Snow
Core and many others, both in the US and internationally. Sammy’s teaching
specialties include rock, jazz, drum-n-bass, jungle, fusion, reggae, metal, pop
and funk influences with heavy emphasis on odd meter groove and stylistic feel.
Sammy’s outlook towards the drums is passionate and honest, summed up by
the statement, “We were born students and will die students.”
Way, Jason (Jay) (Audio Engineering)
Jay Way has been a musician for over 15 years. His experiences in the studio
as a musician along with his desire to become more self-sufficient led him into
the field of recording. In addition to his skills as an engineer, Jay continues to
perform with his group The Gravity Guild (www.thegravityguild.com). After at-
tending MI in 2001, Jay returned as an instructor and currently teaches SSL
Console Theory, Pre-Production, and Applied Hard Disk Editing.
Waymire, Charlie (Drums)
Charlie studied music at the McNally Smith College of Music in St. Paul, MN and
Musicians Institute in Hollywood, CA where he graduated with “Rock Drummer
of The Year” honors. Following graduation, he was signed to Universal Records
with the hard rock act, Speak No Evil and toured extensively throughout the
United States. He has since toured Europe with his band JKB and has achieved
critical acclaim through his work with his Rock-Fusion trio, EGH, with the CD re-
leases Live at MI and a studio recording both due in 2007 along with his first solo
electronica record. Charlie endorses Trueline Drumsticks, which has created

his signature stick known as “The Basher”. Besides Charlie’s drumming work
he also stays busy writing, producing and mixing for his production company
Abrasive Productions and various TV shows including Malcolm in the Middle
(Fox Television) at his studio in Hollywood, CA. For MI, Charlie teaches private
lessons, Live Playing Workshops, Rock Drums & Rhythm Section Workshop.
For more bashing mayhem check out www.thebasher.com!
Weinstein, Paul (Independent Artist)
Paul began playing music at an early age while growing up in New Hyde Park,
NY. After graduating with a Bachelor’s of Arts in Music from SUNY Oneonta
he honed his skills working as a writer and studio musician for various Pop,
Hip-Hop, and R&B producers in New York City. Paul has collaborated on count-
less sessions with multi-platinum mega-producer Timbaland, working on record-
ings for artists including Justin Timberlake, Bubba Sparxxx, Petey Pablo, Ms.
Jade, Shady Sheist, and many more. His recent sessions and original music
placements include TV (MTV Making the Band IV, VH-1), independent feature
films (Downtown, The Angry Trainer), commercials (“Steve Irwin Action Figure”),
and indie artists (Cassanova Jones). For the Independent Artist Program, Paul
works as a Project Advisor.
Widegren, Lenny (Guitar)
MI Bachelor’s Degree graduate (‘98) Lenny Widegren was born and raised in
Sweden. After playing the local scene, he recorded two albums with Boulevard
(1987) and The Ungrateful (1993). Lenny plays Blues, Hard Rock, Metal, and
slide guitar with equal passion and performs internationally with his band, El-
egantly Wasted. At MI, he currently teaches Alternative Guitar Heroes, Hard
Rock LPW, Single String Improvisation, Rhythm Guitar, RSW, open counseling
and private lessons.
Williams, Brian (Voice)
Hacksaw has been entertaining audiences since shortly after the creation of the
wheel. In the summer of 1985, he thrilled his parents by moving to Los Angeles
with his high school rock band instead of attending the Ivy League school to
which he had been accepted. Since that fateful decision, Hacksaw has recorded
and performed with numerous aggressive ensembles in LA and across North
America. He has also supplemented his income as a comedy writer, received a
B.A. in Political Science from UCLA and generally avoided substantial jail time.
In his free time, he likes to knit Velcro jumpsuits for his two cats: Daisy Mae &
Sugar Bear. Hacksaw’s latest musical project is Damn Hippie Freaks. At MI,
Hacksaw teaches the Hard Rock Live Performance Workshop, The Art of Suc-
cess 1 & 2, Extreme Vocals 1 & 2 and Vocal Private Lessons.
FACULTY BIOS
Witt, Tom (Bass)
Tom Witt graduated from Berklee College of Music in ’93 and has assembled an
impressive array of credits in his musical journey since then. He has toured exten-
sively with artists including Javier, Missing Persons, and American Idol Live! and
worked with such artists as Enrique Iglesias, Andrae Crouch, Fantasia, Jennifer
Hudson, Impromp2, Lemar, Pepe Aguilar, Martha Reeves, Isyss, Don Omar, and
many more. His television appearances include 2005 Latin Grammy Awards, The
Ryan Seacrest Show, The Ellen DeGeneres Show, BET’s 106 & Park, and Soul
Train. Tom’s recording career includes #1 singles, film soundtracks, and com-
mercial jingles. He has also had the privilege of tracking sessions with drummers
Steve Smith, Vinnie Colaiuta, Carmine Appice, Abe Laboriel, Jr., and Joey Here-
dia. Currently, he works as a LA-based sideman and session player. For BIT, Tom
teaches the Slap Bass 101 course and the Funk LPW.
Wood, Doug (Voice)
As a singer, Douglas Wood has toured nationally with the award-winning rock
a cappella group, Chicago Voice Exchange, and performed as lead vocalist
in the Chicago area with the Stanley Paul Orchestra while also unleashing his
original fusion of pop, rock and soul. Other notable performances include ap- 127
pearances on the Today Show, at the Illinois Governor’s Inauguration Ball, for
the White Sox and Halsted St. Market Days, and live performances on WGN-TV,
WJYS-TV and WCBR radio. He (and his songs) can be heard in the indie films
Angels Don¹t Live Here, Finders Keepers and The Promise. Doug was nominat-
ed for a 2001 JPF pop songwriting award and has composed songs for twelve
original stage plays and musicals in addition to earning a BFA in Musical Theatre
from Millikin University. At VIT, Doug handles Vocal Review, Vocal Interpretation,
Acting for Singers, private lessons and open counseling.
Wright, Ross (Bass)
Ross Wright (AKA Elvis Schoenberg) is a composer, conductor and bassist
whose educational background includes a Masters Degree in Music from Cali-
fornia State University, Los Angeles; a Bachelor Degree from California State
University, Northridge; a diploma from the UCLA Film Scoring Program, and cer-
tificates from the Dick Grove School Of Music and Musicians Institute. Trained
in classical and jazz bass, Ross has worked as composer or orchestrator on
over 20 feature films and composed four concerti, two symphonies and dozens
of chamber pieces that have been performed internationally. As a bassist, he
has performed and toured internationally with artists from Ray Charles to Middle
East superstar Darioush and served as music director and bassist for the Frank
Zappa musical, “Joe’s Garage.” His alter-ego, Elvis Schoenberg, is the writer,
conductor, and producer of the Orchestre Surréal, a 25-piece group that mixes
 FACULTY BIOS
classical, rock, jazz, and hip-hop into an unclassifiable musical hybrid that has
won him honors for Best Orchestral Arranger and Best Rock Opera at the Los
Angeles Music Awards. The group, which performs regularly at theaters, festi-
vals, and clubs throughout Southern California, has recorded albums including
Air Surreal, It’s Alive, and Manic Voodoo Lady, an orchestral tribute to Jimi Hen-
drix. At MI, Ross teaches private lessons and courses including Harmony and
Theory, Playing Techniques, and Melodic Bass Duets.
Wyatt, Keith (Guitar)
A graduate of MI’s second GIT class, Keith helped design MI’s curriculum and
later served as department head of GIT before becoming Director of Programs.
As a guitar education specialist, he has created over a dozen best-selling in-
structional videos for Warner Brothers (including Rockin’ the Blues and Guitar
Basics), books for MI Press/Hal Leonard (Harmony and Theory: a Comprehen-
sive Guide), award-winning CD-ROMs for Play Music (Play Blues Guitar and
Play Rock Guitar), DVDs for Hal Leonard/Fender (the award-winning Getting
Started on Guitar) and has written columns and articles for all of the major guitar
magazines. As a performer, Keith is currently touring with the Blasters, and has
performed and recorded in the US, Europe and Asia. Specialties: blues and
128
American “roots” music.
Wyble, Jimmy (Guitar)
Jimmy Wyble’s discography and touring credits span the gamut of Western
Swing and Jazz from Bob Wills and the Texas Playboys to Benny Goodman,
Red Norvo, Frank Sinatra, Barney Kessel and Tony Rizzi’s Five Guitars. At GIT,
Jimmy can be found teaching the course “Developing the Art of Two Line Impro-
visation” and weekly Open Counseling sessions.
Yares, Spencer (Independent Artist)
Spencer Yaras is a songwriter, producer, and composer with a passion for digital
music production. He has a degree in Computer Science from University of Cali-
fornia at San Diego and currently teaches Computer Recording and Synthesis
and Sampling for the Recording Artist program. He has written and produced
music for television shows such as Star Search, Dance Fever, The Road to Star-
dom with Missy Elliot, and Close To Home and has scored many independent
films. Along with his Los Angeles-based production team, District 78, he has
worked with artists such as Volume 10, Blaque, and Turtleman. His most recent
CD release contains material from Sen Dog, Kottonmouth Kings, and Insane
Clown Posse. To learn more, visit www.district 78.com
Yoon, Rachel Jiyoung (Baccalaureate)
Rachel Jiyoung Yoon graduated from Seoul National University (BA and MA in
Composition) and UCLA (PhD in Composition). Professionally, Rachel consults
with jazz groups (including the Yellowjackets) and film composers on orchestra-
tion and music preparation in the Finale format in addition to playing sessions for
noted R&B producer Wah-Wah Watson. As a teacher, her classical background
combines with her contemporary commercial music experience to provide a
unique educational approach. At MI, she teaches Western Music History, World
Music History, Theory, Composition, and Keyboard Proficiency as well as private
lessons.
Yoon Seung, Cho (Keyboards)
Cho Yoon Seung was born 1973 in Seoul, Korea and at 14 moved to Buenos
Aires, Argentina where he studied classical music at C.L.B Nacional Conser-
vatory. While attending Berklee College of Music in Boston from 1996-2000,
he studied with Paul Schmeling and Hal Crook as well as with Jerry Bergonzi
and John Lockwood at the New England Conservatory. From 2001-03, after
being selected by Herbie Hancock he attended the exclusive Thelonious Monk
Institute at USC and studied with Dave Holland, Lewis Nash, Kenny Barron,
John Scorfield and Terence Blanchard. Currently, Cho works with the Ron King
Quartet and Big Band, participating in world festivals including the Umbria Jazz
Festival, Java Jazz Festival and Tri-C Jazz Festival and has released his own
CDs for the Sound Sketch and Woong-Jin Media labels in Korea. At MI, Cho
teaches Open Counseling and Private Lessons.
Zargaran, Mahsa (Independent Artist)
Mahsa is an Iranian-born singer, songwriter and classically trained pianist cur-
rently based in Los Angeles. Her credits include piano/synth programming ses-
sions for producer Dave Ogilvie (Nine Inch Nails, David Bowie, Marilyn Manson),
studio vocal sessions at Dream Sequences for producer Dan Chase (Cheryl
Crow, Celine Dion, Pink), and co-writing the score for the short film A Season To
Whither for The Director’s Guild of Canada. Mahsa is currently focusing on her
solo project, performing with the electronic/rock band The Sweet Kill and teach-
ing keyboard lessons in the Independent Artist Program at MI. Learn more at
www.myspace.com/mahsa and www.myspace.com/thesweetkill
Ziff, Stuart (Guitar)
Native New Yorker Stuart Ziff has crafted a career as professional guitarist,
songwriter, and popular music historian. Ziff’s expertise lies in Rock & Roll, R&
B, Funk, Blues and all points in between. A veteran sideman of 25 years, he
has supported legends including Wilson Pickett and Charles Brown and backed
 FACULTY BIOS
contemporary artists, emerging singer-songwriters as well as Broadway shows. Biographies not available:
In 1994, Ziff co-wrote the #1 single “Thinkin’ Problem” with country artist David
Ball (Warner Bros.). He has numerous recording credits as a writer, guitarist, Bertelli, Valente (Keyboards)
producer, and vocalist in NYC, Nashville and Los Angeles, and tours as guitar- Cho, Yoon-Seung (Keyboards)
ist for the legendary Funk-R&B-Latin group War. At GIT, Stuart teaches Blues
Howard, Charissa (Voice)
Guitar, Slide, private lessons and Open Counseling.
McPherson, Shawn (Voice)
King, Kevin (Keyboards)
Zilbershtein, Vadim (Guitar)
Miller, Luke (Keyboards)
Vadim’s resume as a guitarist includes Earth Wind and Fire (2003-08) as well
as performances and recordings with such industry luminaries as Marcus Miller, Park, Adrian (Voice)
Chaka Khan, Chick Corea, Lenny Kravitz, James Brown, and Mary J Blige, to Pfeifer, Daren (Drums)
name a few, with numerous TV appearances including the Grammy and Emmy Schoenhals, Tim (Keyboards)
award shows. At GIT, Vadim can be found teaching the Earth, Wind, and Fire Wittenberg, Scott (Drums)
LPW, Open Counseling and private lessons.

Zito, Richie (Multi-program)

Richie Zito was a sought-after session guitarist throughout the 1970s, recording
with artists including Neil Sedaka, Rick James, Barbara Streisand, the Beach
Boys, Donna Summer, Tina Turner, Lionel Richie and the soundtracks for Flash-
129
dance, Top Gun and Scarface before joining Elton John’s band in 1980.
During the next two decades Zito produced 38 singles that reached Billboard’s
Hot 100, including two number-one records, “The Flame” (Cheap Trick) and
“When I See You Smile” (Bad English). Other successes included Eddie Mon-
ey’s “Take Me Home Tonight”, Sam Kinison’s “Wild Thing”, Joe Cocker’s “You
Can Leave Your Hat On”, and Heart’s multi-platinum “Brigade”. In1990, Zito won
recognition as Billboard’s “Producer of the Year” and the following year formed
Zito/RCA Records. Additional credits included Cher’s double-platinum Greatest
Hits, Poison’s platinum Greatest Hits and his role as Music Supervisor for the
feature film Wise Girls. 2006 saw Zito’s first solo CD release, Avalon, and the
launch of a new label, Your Music America, with Larry Lee and Zito at the helm
backed by WMC Mortgage CEO Amy Brandt. For MI, Richie teaches Original
Song Pre-Production.

Zunigar, Rick (Guitar)

Jazz guitarist Rick Zunigar has been on the professional scene since he was
sixteen years old. He has accumulated an extensive list of studio credits includ-
ing work with Stevie Wonder, Freddie Hubbard, Cal Tjader, Ray Charles, Willie
Bobo, Roberta Flack, Smokey Robinson, and the Crusaders. At GIT, you’ll find
Rick teaching private lessons and Open Counseling.
 ADMINISTRATION
EXECUTIVE OFFICERS
President Hisatake Shibuya
General Manager Takeshi Sakimoto
Vice President of Programs Keith Wyatt
Vice President of Education Beth Marlis
Accounting
Controller Kengo Kido
Accounting Manager Benedict Bacon
Payroll Coordinator Robyn Hansen
Staff Accountant Peter Spyropoulos
Accounts Payable Claudia Melgar
Student Billing Coordinators Darlene Carillo
Yaritza Santana
Admissions
Director Steve Lunn
130
Director Jonathan Wilder
Assistant Director Paul Weinstein
Assistant Director Elicia Hernandez
Admissions Coordinator Marcos Ochoa
Administrative Assistant Angelo Aguiluz
Receptionist Rossana Brassea
Admissions Representatives Brooke Archilla
Jennifer Cazares
Michael Coleman
Cullen Dickson
Phillip Dippold
Geffrey Fafenrodt
Lori Johns
Marshall McQuown
Valerie Smith
Roy Walker
Michael Winn
Gary Younger
Education
Director of Education Tom Engfer
Program Directors
Dean, Baccalaureate Program Roger Steinman
Associate Dean Gary Solt
Bass Alexis Skljarevski
Guitar Jude Gold
Keyboards Kevin Comstock
Percussion Tim Pedersen
Voice Mike Campbell
Audio Engineering Monica Mancillas
Guitar Craft John Carruthers
Music Business Kenny Kerner
Music Video/Film/TV Alan Calzatti
Independent Artist Greg Panciera
Alternative Programs Daniel Gilbert
Education Coordinators
Encore Program Chris Maloney
Live Playing Workshops Tita Hutchison
Musicianship Bill LaFleur
Course Scheduler Angel Ricciardi
Scheduling Assistant Kristina Fox
Financial Aid
Director Melissa
Cuesta-Booker
Financial Aid Officers Barbara Corzo
Kymberlee Nelson
Isabel Cano
Ty West
Human Resources
Director Jeff Spencer
Generalist Mari Yoshida
Marketing
Director Coko Johnson
Outreach Coordinator Travis Johnson
Designer Jim Felix
 ADMINISTRATION
Operations Assistant Evan Parker
Director Michael Phifer Assistant James Rhee
Drum Services Anthony Taddeo Assistant Michael Schoemer
Electronics Technician Dale Scott Assistant Jon Robaina
Facilities Technician Juan Hernandez Assistant Nick Lindholm
Facilities Technician Victor Ortiz
Student Records
Facilities Technician Ismael Martinez
Registrar Jim McMains
Librarian Josh Moorman
Assistant Registrar Shaun Vieten
Circulation Supervisor Ermila Carlin
Assistant Registrar/Collection Michelle Leadon
Curriculum and Printing Coordinator Mark Thomas
Assistant Mario Hernandez
Mail Room Dave Leggett
Academic Advisor/Retention Christina Page
Security Manager Raymond Daniels
Assistant Security Manager Anthony Williams Student Services
Security Guard Bernard Brooks (including Housing and Events)
Security Guard Adrian Williams Manager Gabriel Hernandez
Security Guard Nick Douglas Assistant Hilde Klain
Security Guard Mike Delaney 131
Director of International Student Affairs Dan Diaz
Information Technology Artist and Career Services
Director Iyob Araia Manager Todd Berhorst
Network Administrator Ramil Gavia Job Outreach Coordinator Michael Bishop
Database Administrator Rajesh Anamanal Internships Chris Fletcher
System Administrator Tim Metz Assistant Gina Galardo
Mac Technician Joaquin Pacheco
Musicians Institute Contact Information:
Players Supply
Manager Scott Munday
Telephone: 800-255-7529 (US and Canada)
Assistant Manager Steven Barbola
323-462-1384 (Local/International)
Assistant Robert Smith
Fax: 323-462-6978
Assistant Miguel Vega
Mail: 6752 Hollywood Boulevard
Hollywood, CA 90028
Production Services
E-mail: admissions@mi.edu
Production Manager Joe Fiorello
Website: www.mi.edu
Production Assistant Yolen Farias
Employment: jobs@mi.edu
Video Director Michael Ellenshaw

Lighting Director Lenny Douglas

 CAMPUS HOLLYWOOD
CAMPUS HOLLYWOOD

Musicians Institute is part of Campus Hollywood, a group of entertain-

ment-related schools and companies dedicated to the development of
the contemporary arts, performance, and education. Campus Hollywood
includes:

ESP Guitars www.espguitars.com United Television Broadcasting www.utbhollywood.com

Leading manufacturer of electric guitars and basses including ESP, LTD, Southern California’s premier provider of Japanese-cultural television
and X-Tone. programming.

Schecter Guitars www.schecterguitars.com Theater of Arts www.toahollywood.com

Manufacturer of unique, high-quality guitars and basses for the contem-
porary music market.
MI Japan www.mijapan.com.jp
132 Providing Musicians Institute’s world-renowned contemporary music
education to students throughout Japan.
Los Angeles Music Academy www.lamusicacademy.com
A boutique contemporary music school training well-rounded musicians
for professional performing careers.
Innovative education in the theatrical arts.
International Dance Academy www.idahollywood.com
Training in all styles of contemporary dance, from novice to professional.
Elegance International www.ei.edu
Comprehensive, innovative education in professional and special-ef-
fects makeup.
The Green Room Cafe www.thegreenroom-hollywood.com
A full-service restaurant and cafe located in the heart of downtown
Hollywood.