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Fundamentals of Music Theory

Nikki Moran, Reid School of Music

Michael Edwards, Folkwang University of the Arts

Richard Worth, University of Liverpool

Zack Moir, Edinburgh Napier University

John Kitchen, The University of Edinburgh

Copyright Year: 2021

Publisher: University of Edinburgh

Language: English

Formats Available

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Reviewed by MARK ZANTER, Professor, Marshall University on 12/28/21

It's difficult to comment on the comprehensiveness of the text without knowing to which audience the author is writing. For an independent adult learner or music hobbyist, the text is an enjoyable introduction to the subject with enough general... read more

Comprehensiveness rating: 2 see less

It's difficult to comment on the comprehensiveness of the text without knowing to which audience the author is writing. For an independent adult learner or music hobbyist, the text is an enjoyable introduction to the subject with enough general information to learn the basics of musical notation, pitches, and rhythms on the staff, intervals, scales (major, and minor), keys, key signatures, triads, seventh chords, harmonization, secondary dominants, and modulation. Materials in the written text link to online videos with a discussion of topics (video transcript included after the text). Students and young learners will welcome the easy-going pace of video content. Some pages in the text link to Wikipedia pages on various topics, the text offers tangents into various other topics that might interest a student (e.g, historical notation, just intonation, microtones, etc.) Information in the first five Topics (chapters) would be included in most Music Fundamentals texts (in the U.S.). Modulation and secondary function are typically covered during the second semester of most music theory sequences (in the U.S.). The text would be suitable for hobbyists, high school students or could be used in college courses aimed at non-majors. As it currently stands, it is not comprehensive enough to be used in a college music theory sequence where the primary audience is music majors. The reasons are the: lack of depth of what is covered, sequence of materials, lack of many examples from the literature, and the lack of exercises.

Content Accuracy rating: 4

Accurate enough but lacking the depth necessary to train music majors. Fine for hobbyists, young students, and non-professionals. The text introduces the U.K. jargon for identifying chord inversions. See comment on comprehensiveness.

Relevance/Longevity rating: 3

Relevant and useful especially for non-professionals. Updates can easily be added to the text as needed. If there is a desire to continue to develop the text, it might be developed using a framework that facilitates exploring the material in more depth. For instance: Chord Functions presents inversions and shows harmonizations using inversions from the get-go. In most texts, this topic is presented using many steps. I propose these steps be added, and accessible as "drop-down" topics so an instructor/student can go deeper into the topic. The link to Harmonization on Wikipedia lacks a clear strategy that will yield "good" results. The use of Wikipedia could negatively influence the adoption of this title. These are a few examples of where the good intentions of the text run afoul of what is generally considered sound pedagogy. As I've mentioned this book will be good for amateurs, but will likely not replace any of the standard music theory texts currently available.

Clarity rating: 4

Very clear and easy to follow. There is a consistent approach, but the learning objectives are not well defined. An instructor using the text will need to supplement material and exercises to help students gain mastery.

Consistency rating: 4

There is a consistent approach throughout.

Modularity rating: 5

Yes, the text could be reorganized, but its current form follows the general outline of most music fundamentals texts (U.S.).

Organization/Structure/Flow rating: 4

It follows the general outline of most music fundamentals texts (U.S.).

Interface rating: 4

Using the text online without downloading it, presents some issues when links are not opened in a new tab or window (the PDF reloads when you wish to go back to the text). Overall the interface and navigation are easy to use and intuitive. Pages flow like web pages, which I prefer to online texts that emulate page turns.

Grammatical Errors rating: 5

No egregious grammatical errors.

Cultural Relevance rating: 5

Overall sound.

Overall, there are many learners who could benefit from a text of this sort. It's well organized, easy to navigate, and features videos that are clear and easy to follow. Though I don't think this text is suitable for use in a college music theory curriculum, high school instructors might find it a useful resource when paired with another resource such as Teoria.com, or app-based MusicTheory.net.

Table of Contents

• Topic 0 Music theory in critical and global context 
• Topic 1 Musical notes, scales, and the rudiments of notation
• Topic 2 Tonal music language - concepts and theory
• Topic 3 Musical Time and Rhythm
• Topic 4 More on Chords
• Topic 5 Music theory code-breaking reference guide
• Topic 6 Chord functions in practice

Ancillary Material

About the book.

This open e-book is the result of a project funded by a University of Edinburgh Student Experience Grant,  Open e-Textbooks for access to music education.  The project was a collaboration between Open Educational Resources Service, and staff and student interns from the Reid School of Music. As a proof-of-concept endeavour, the project aimed to explore how effectively we could convert existing course content into convenient and reusable open formats suitable for use by staff and students both within and beyond the University.  The resulting e-book presents open licensed educational materials that deal with the building blocks of musical stave (sometimes known as staff) notation, a language designed to communicate about musical ideas which is in use around the world. The resources in this e-book include video lectures and their transcripts, as well as supporting text explanations, examples and illustrations. The materials introduce topics such as the organisation of discrete pitches into scales and intervals, and temporal organisation of musical sounds as duration, in rhythm and metre. These rudiments are presented through an introduction to the elements of five-line stave notation, and through critical discussion of the advantages and limitations served by notational systems in the representation and analysis of musical sounds. This serves as the basis of further explanations, to illustrate musical concepts including key, time signature, harmonisation, cadence and modulation. We anticipate that subsequent versions of this e-book will update and develop the contents and presentation of the materials, following the success of this student-led collaboration.

About the Contributors

Nikki Moran , Reid School of Music

Richard Worth , University of Liverpool

Zack Moir , Edinburgh Napier University

John Kitchen , The University of Edinburgh

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Piano Workbooks and Sheet Music for Beginner, Intermediate and Advanced Levels

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The piano can open doors of opportunities for wonderful musical experiences. These public and personal experiences will teach you to serve, give, work, practice, polish, create and share. Music expands the mind, heart and spirit. Opportunities may come to listen and learn from directors, vocalists, choirs, congregations, and of course the composers of the music you play. The culmination of which will greatly enhance your life. - Marilee Kay

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CenterStage Singers is a show choir for youth ages 6 to 18. Currently, we hold one session a year, consisting of 8 one hour group lessons where the participants learn to sing, dance and perform together as a group. The session is held each spring and registration will typically begin each December. If interested, submit to our email list for information on upcoming sessions.

The singers have performed at great local events around Tucson including the Pima County Fair, Oro Valley Marketplace Street Fair, Four Corners Festival at La Encatada and Zoo Lights at Ried Park Zoo.

At a young age, I loved to sing, dance, move ... listen. When the piano was introduced to me, I quickly learned how to sight read so I could play all the songs I wanted to sing. The piano became a way for me to express myself and give voice to my feelings. If I was angry, I'd go pound on the piano. When I was happy, I'd skip over to the piano. When I was sad, I'd pour over the piano. When I was in love, I turned to the piano. The piano has been my voice, my beauty and one of my closest and dearest friends. -Marilee Kay

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As the creator of The Complete Pianist system, music has always been a part of Marilee's life. From performing in musicals on the stage to accompanying for them, she grew up loving all kinds of musical performance. After attending college at Utah State University in piano pedagogy, she now does all she can to bring that love of music to the lives of others.

When she is not caring for one of her three lovely children, she is expanding and developing The Complete Pianist Method or leading the CenterStage Singers.

Marilee recently just released and original song she wrote to help raise awareness and funding for GM1 research

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Over the past two decades, music textbooks have gradually disappeared from elementary and middle school systems across the United States. Consequently, music teachers have had to piece together their lesson plans, a time-consuming process that requires substantial effort for every grade level. In the USA, there is no established, standardized approach to music education, forcing teachers to dedicate countless hours to curriculum planning. Even with the emergence of online music programs, fragmentation still persists. My Music Journal marks a significant milestone as the first comprehensive music teaching method to be introduced at each grade level in many years.

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AMEB’s Theory of Music integrated course and workbook series represents the only official Theory of Music publications aimed at preparing students specifically for AMEB Theory of Music examinations. Written and published by AMEB’s music theory team, the publications include brand new content covering all aspects of the syllabus. Available for AMEB Theory of Music Grade 1, 2, 3, 4 & 5.

SKU: 1204070739

ISBN/ISMN: 9781925407372

Publisher: AMEB

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Book Title: OPEN MUSIC THEORY

Subtitle: Version 2

Authors: Mark Gotham; Kyle Gullings; Chelsey Hamm; Bryn Hughes; Brian Jarvis; Megan Lavengood; and John Peterson

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Book Description: Open Music Theory is a natively-online open educational resource intended to serve as the primary text and workbook for undergraduate music theory curricula. OMT2  provides not only the material for a complete traditional core undergraduate music theory sequence (fundamentals, diatonic harmony, chromatic harmony, form, 20th-century techniques), but also several other units for instructors who have diversified their curriculum, such as jazz, popular music, rhythm, counterpoint, and orchestration. This version also introduces a complete workbook of assignments.

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Book description.

Open Music Theory Version 2 (OMT2) is an open educational resource intended to serve as the primary text and workbook for undergraduate music theory curricula. As an open and natively-online resource, OMT2 is substantially different from other commercially-published music theory textbooks, though it still provides the same content that teachers expect from a music theory text.

OMT2 has been designed inclusively. For us, this means broadening our topics beyond the standard harmony and atonal theory topics to include fundamentals, musical form, jazz, pop, rhythm, and orchestration. And within those traditional sections of harmony and atonal theory, the authors have deliberately chosen composers who represent diverse genders and races. The book is accessible. And perhaps most importantly, the book is completely free and always will be.

The text of the book is augmented with several different media: video lessons, audio, interactive notated scores with playback, and small quizzes are embedded directly into each chapter for easy access.

OMT2 introduces a full workbook to accompany the text. Almost every chapter offers at least one worksheet on that topic. Some chapters, especially in the Fundamentals section, also collect additional assignments that can be found on other websites.

Version 2 of this textbook is collaboratively authored and edited by Mark Gotham, Kyle Gullings, Chelsey Hamm, Bryn Hughes, Brian Jarvis, Megan Lavengood, and John Peterson.

OPEN MUSIC THEORY Copyright © 2023 by Mark Gotham; Kyle Gullings; Chelsey Hamm; Bryn Hughes; Brian Jarvis; Megan Lavengood; and John Peterson is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License , except where otherwise noted.

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The Music Mixing Workbook: Exercises To Help You Learn How To Mix On Any DAW Paperback – January 18, 2021

Purchase options and add-ons.

• Print length 260 pages
• Language English
• Publication date January 18, 2021
• Dimensions 8.5 x 0.59 x 11 inches
• ISBN-10 1946837105
• ISBN-13 978-1946837103
• See all details

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Product details

• Publisher ‏ : ‎ BOMG Publishing (January 18, 2021)
• Language ‏ : ‎ English
• Paperback ‏ : ‎ 260 pages
• ISBN-10 ‏ : ‎ 1946837105
• ISBN-13 ‏ : ‎ 978-1946837103
• Item Weight ‏ : ‎ 1.35 pounds
• Dimensions ‏ : ‎ 8.5 x 0.59 x 11 inches
• #54 in Acoustic Engineering
• #114 in Physics of Acoustics & Sound (Books)
• #125 in Music Recording & Sound (Books)

About the author

Bobby owsinski.

Producer/engineer Bobby Owsinski is one of the best selling authors in the music industry with 24 books that are now staples in audio recording, music, and music business programs in colleges around the world, including the Deconstructed Hits series, Social Media Promotion For Musicians, The Mixing Engineer’s Handbook, The Music Business Advice Book, and more.

He’s also a contributor to Forbes writing on the new music business, his popular blogs have passed 13 million visits, and he’s appeared on CNN and ABC News as a music branding and audio expert. Many of his books have also been turned into video courses that can be found online at lynda.com, and he continues to provide presentations, workshops and master classes at conferences and universities worldwide.

After having taught thousands of entrepreneurs the principles of branding and social media in his coaching courses, Bobby has written a number of books outside the music industry including Social Media Promotion for Small Business and Entrepreneurs and The Cruise Vacation FAQ Book.

Bobby also provides a number of audio, music production, social media and music business online courses on both Lynda.com and bobbyowsinskicourses.com.

Visit Bobby's music production blog at bobbyowsinskiblog.com/, his Music 3.0 music industry blog at music3point0.com, his Forbes blog at Forbes.com/sites/bobbyowsinski/, his podcast at bobbyoinnercircle.com, and his website at bobbyowsinski.com.

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Music (MUS)

MUS-101. The Musical Experience. 3 Hours.

A non-technical course designed to increase the listener's understanding and enjoyment of music. Not applicable towards music major or minor requirements.

MUS-103. Basic Materials In Sight Reading. 1 Hour.

This course is designed to develop the foundations of sight reading and increase the first year music student's awareness, understanding and enjoyment of sight reading through practical application exercises and lectures. Students will learn the basics of reading and writing music, sight reading and beginning music theory. Practice and application of sight reading techniques, ear training procedures and related aural and oral skills will be emphasized. This course is designed for students at the beginning level, as determined by a placement exam administered to all music major students at the beginning of the semester.

MUS-104. Music Concepts: An Introduction. 3 Hours.

Elements of music, forms and styles; lectures, discussions, readings, recordings and attendance at musical performances. Open to all students; recommended for prospective majors and required for Elementary Education majors.

MUS-105. Basic Materials In Music Theory. 3 Hours.

MUS-105 Basic Materials in Music Theory, 3 cr. Introduction to notation and perception of pitch and rhythm, including: intervals, triads, scales, meter, and key signatures, time signatures, and basic concepts of sight singing and ear training. Recommended as a remedial course for prospective majors whose music theory skills need enhancement in order to qualify for enrollment in MUS-121 , Music Theory 1.

MUS-106. Orientation To Music Education. 1 Hour.

A broad view of Music Education in Public School K-12 is required of all Music Education majors. Included are visits to all levels of music instruction in local schools. This course is designed to help students decide whether Music Education K-12 is the appropriate career choice and what the total job entails.

MUS-109. First Year Experience:Chi-Tunes: Music In Chicago. 3 Hours.

In this course, the five foundations of the First-Year Experience (Future Planning, Integral Preparation, Research, Self-discovery and Transitions) are interwoven with the field specific concepts and terminology of music. This course is designed to increase the first year student's awareness, understanding and enjoyment of a variety of musical styles through attending live performances. Students will learn the basics of reading and writing music, music history, and music's place in society and culture through pre and post concert discussions.

MUS-110. Class Voice I. 2 Hours.

For beginning students in voice; fundamentals of vocal technique.

MUS-111. Class Voice II. 2 Hours.

Continuation of MUS-110 . Prerequisite: MUS-110 with a minimum grade of C.

MUS-112. Class Piano I. 1 Hour.

Open to all students. Class Piano I is an introduction to keyboard techniques and concepts essential to the development of proficiency at the piano and other keyboard instruments. Topics include: Keyboard topography, foundations of technique, playing “by ear,” improvisation, major scales & arpeggios, note and rhythm reading notation on the grand staff, primary chords, harmonization, transposition, solo and ensemble playing, and practice strategies. Requires outside-of-class practice at a piano or electronic keyboard instrument.

MUS-113. Class Piano II. 1 Hour.

This course is a continuation of MUS-112 . Students will learn expanded theoretical concepts and keyboard techniques. Topics will include minor scales and arpeggios, harmonization and transposition using secondary chords. This course requires outside-of-class practice at a piano or electronic keyboard instrument. Requirement: or a passing the Level 1 piano proficiency assessment Prerequisite: MUS-112 with a minimum grade of C.

MUS-114. Class Piano III. 1 Hour.

This course is a continuation of MUS-113 . Topics will include choral and instrumental score reading, intermediate level solo and ensemble repertoire, harmonization, using seventh chords and secondary dominants and performing from lead sheets. This course requires outside-of-class practice at a piano or electronic keyboard instrument. Requirement: or passing the Level 1 piano proficiency assessment Prerequisite: MUS-113 with a minimum grade of C.

MUS-115. Instrumental Music Studies Brass Instruments. 1 Hour.

Introduction to the techniques and skills of playing brass instruments. Care and maintenance. Study and evaluation of the music literature available for the various brass instruments. Prerequisite: MUS-121 with a minimum grade of C.

MUS-116. Instrumental Music Studies Percussion Instruments. 1 Hour.

Introduction to the techniques and skills of playing percussion instruments. The use of percussion instruments in various types of instrumental ensembles. Prerequisite: MUS-121 with a minimum grade of C.

MUS-117. Instrumental Music Studies String Instruments. 1 Hour.

Introduction to the techniques and skills of playing string instruments. Care and maintenance. Study and evaluation of the music literature available for the various string instruments. Prerequisite: MUS-121 with a minimum grade of C.

MUS-118. Instrumental Music Studies Woodwind Instruments I. 1 Hour.

Introduction to the techniques and skills of playing flute and clarinet. Care and maintenance of the instruments as well as study and evaluation of the music literature available for the instruments. Prerequisite: MUS-121 with a minimum grade of C.

MUS-119. Instrumental Music Studies: Woodwind Instruments II. 1 Hour.

Introduction to the techniques and skills of playing oboe, bassoon, and saxophone. Care and maintenance of the instruments as well as study and evaluation of the music literature available for the instruments. Prerequisite: MUS-121 with a minimum grade of C.

MUS-120. Class Guitar I. 2 Hours.

Basic skills in guitar; basic chords and chord progressions, strumming techniques, playing a simple melodic line, and reading guitar tablature as well as standard musical notation.

MUS-121. Music Theory I. 3 Hours.

Study of harmonic materials in tonal music and standard notational practice. Includes written and aural skills development. Structure, doubling, spacing, voice-leading, triads and inversions. Placement testing or consent of instructor.

MUS-122. Music Theory II. 3 Hours.

Continuation of MUS-121 . Advancing written and aural skills. Phrase structure, cadences, harmonic progression, harmonization techniques, nonharmonic tones. Prerequisite: MUS-121 with a minimum grade of C.

MUS-123. Class Guitar II. 2 Hours.

Continuation of  MUS-120 . More complex and varied chord formations and strumming techniques; note reading of more difficult melodic lines; basics of classical guitar technique. Prerequisite: MUS-120 with a minimum grade of C.

MUS-124. Sight Singing And Ear Training I. 1 Hour.

Practice and application of sight-singing techniques, ear training procedures and related aural/oral skills. Prerequisite: MUS-121 with a minimum grade of C and MUS-122 with a minimum grade of C.

MUS-125. Sight Singing And Ear Training II. 1 Hour.

Continuation of MUS-124 . Prerequisite: MUS-124 with a minimum grade of C.

MUS-150A. Applied Music: Flute. 1 Hour.

Individual study in voice or instrument for the development of performing skills and musical understanding; knowledge of the repertoire at an appropriate level of performing ability. Students will participate in small ensembles as part of the applied lesson studio class. Students taking applied lessons at this level must be music majors, minors, or registered in an ensemble. Consent of instructor and department chairperson.

MUS-150B. Applied Music: Oboe. 1 Hour.

MUS-150C. Applied Music: Clarinet. 1 Hour.

MUS-150D. Applied Music: Saxophone. 1 Hour.

MUS-150E. Applied Music: Bassoon. 1 Hour.

MUS-150F. Applied Music: French Horn. 1 Hour.

MUS-150G. Applied Music: Trumpet. 1 Hour.

MUS-150H. Applied Music: Euphonium. 1 Hour.

MUS-150J. Applied Music: Trombone. 1 Hour.

MUS-150K. Applied Music: Tuba. 1 Hour.

MUS-150M. Applied Music: Percussion. 1 Hour.

MUS-150O. Applied Music: Jazz Piano. 1 Hour.

MUS-150P. Applied Music: Violin. 1 Hour.

MUS-150Q. Applied Music: Viola. 1 Hour.

MUS-150R. Applied Music: Cello. 1 Hour.

MUS-150S. Applied Music: String Bass. 1 Hour.

MUS-150T. Applied Music: Guitar. 1 Hour.

MUS-150U. Applied Music: Harp. 1 Hour.

MUS-150V. Applied Music: Voice. 1 Hour.

MUS-150W. Applied Music: Piano. 1 Hour.

MUS-150X. Applied Music: Jazz String Bass. 1 Hour.

MUS-150Y. Applied Music: Jazz Guitar. 1 Hour.

MUS-150Z. Applied Music: Jazz Voice. 1 Hour.

MUS-151A. Applied Music: Flute. 1 Hour.

One-hour weekly lesson for music education majors. Individual study in voice or any instrument for development of performing skills and musical understanding; knowledge of the repertoire for the voice or specific instrument at an appropriate level of performing ability. Students will participate in small ensembles as part of the applied music studio class. Students taking Applied Lessons must be music majors, minors or registered in an ensemble. Consent of instructor or department chairperson.

MUS-151B. Applied Music: Oboe. 1 Hour.

MUS-151C. Applied Music: Clarinet. 1 Hour.

MUS-151D. Applied Music: Saxophone. 1 Hour.

MUS-151E. Applied Music: Bassoon. 1 Hour.

MUS-151F. Applied Music: French Horn. 1 Hour.

MUS-151G. Applied Music: Trumpet. 1 Hour.

MUS-151H. Applied Music: Euphonium. 1 Hour.

MUS-151J. Applied Music: Trombone. 1 Hour.

MUS-151K. Applied Music: Tuba. 1 Hour.

MUS-151M. Applied Music: Percussion. 1 Hour.

MUS-151O. Applied Music: Jazz Piano. 1 Hour.

MUS-151P. Applied Music: Violin. 1 Hour.

MUS-151Q. Applied Music: Viola. 1 Hour.

MUS-151R. Applied Music: Cello. 1 Hour.

MUS-151S. Applied Music: String Bass. 1 Hour.

MUS-151T. Applied Music: Guitar. 1 Hour.

MUS-151U. Music Applied: Harp. 1 Hour.

MUS-151V. Applied Music: Voice. 1 Hour.

MUS-151W. Applied Music: Piano. 1 Hour.

MUS-151X. Applied Music: Jazz String Bass. 1 Hour.

MUS-152A. Applied Music: Flute. 2 Hours.

One-hour weekly lesson for performance majors. Individual study in voice or any instrument for development of performing skills and musical understanding; knowledge of the repertoire for the voice or specific instrument at an appropriate level of performing ability. Students will participate in small ensembles as part of the applied music studio class. Students taking Applied Lessons must be music majors, minors or registered in an ensemble. Consent of instructor or department chairperson.

MUS-152B. Applied Music: Oboe. 2 Hours.

MUS-152C. Applied Music: Clarinet. 2 Hours.

MUS-152D. Applied Music: Saxophone. 2 Hours.

MUS-152E. Applied Music: Bassoon. 2 Hours.

MUS-152F. Applied Music: French Horn. 2 Hours.

MUS-152G. Applied Music: Trumpet. 2 Hours.

MUS-152H. Applied Music: Euphonium. 2 Hours.

MUS-152J. Applied Music: Trombone. 2 Hours.

MUS-152K. Applied Music: Tuba. 2 Hours.

MUS-152M. Applied Music: Percussion. 2 Hours.

MUS-152O. Applied Music: Jazz Piano. 2 Hours.

MUS-152P. Applied Music: Violin. 2 Hours.

MUS-152Q. Applied Music: Viola. 2 Hours.

MUS-152R. Applied Music: Cello. 2 Hours.

MUS-152S. Applied Music: String Bass. 2 Hours.

MUS-152T. Applied Music: Guitar. 2 Hours.

MUS-152U. Music Applied: Harp. 2 Hours.

MUS-152V. Applied Music: Voice. 2 Hours.

MUS-152W. Applied Music: Piano. 2 Hours.

MUS-152X. Applied Music: Jazz String Bass. 2 Hours.

MUS-152Y. Applied Music: Jazz Guitar. 2 Hours.

MUS-152Z. Applied Music: Jazz Voice. 2 Hours.

MUS-201. Music Theory III. 3 Hours.

Study of seventh chords, secondary dominants, altered nonharmonic tones, modulation, borrowed chords, augmented sixth chords. Advancing analytical and written skills. Prerequisite: MUS-122 with a minimum grade of C.

MUS-202. Music Theory IV. 3 Hours.

Writing and analysis. Study of Neapolitan sixth; diminished sevenths; altered dominants; chromatic mediants; modulation to foreign keys; ninth, eleventh and thirteenth chords. Prerequisite: MUS-201 with a minimum grade of C.

MUS-210. Diction For Singers I. 2 Hours.

Introduction to proper pronunciation of English and Italian texts in classical vocal music. Use of the International Phonetic Alphabet symbols applied to the singing of songs and arias. Prerequisite: MUS-122 with a minimum grade of C.

MUS-211. Diction For Singers II. 2 Hours.

Introduction to proper pronunciation of German and French texts in classical vocal music. Use of the International Phonetic Alphabet symbols applied to the singing of songs and arias. Prerequisite: MUS-122 with a minimum grade of C.

MUS-221. Concert Choir. 1 Hour.

Vocal ensemble open to enrolled students. Opportunities for school and public performance. Audition and consent of instructor required.

MUS-221A. University Chorus. 1 Hour.

MUS-222A. Vocal Ensemble: Chamber Singers. 1 Hour.

MUS-222C. Vocal Ensemble: Opera Workshop. 1 Hour.

A practical workshop in learning and performing opera repertoire. Explore the art of singing and acting through research, preparation and performance of opera scenes or a complete opera production. Open to enrolled students. Opportunities for school and public performance. Audition and consent of instructor required.

MUS-222D. Vocal Ensemble: Music Theater. 1 Hour.

A practical workshop in learning and performing musical theater repertoire. Explore the art of singing and acting through research, preparation and performance of a complete musical theater production. Open to enrolled students. Opportunities for school and public performance. Audition and consent of instructor required.

MUS-222E. Vocal Ensemble: Music Production. 1 Hour.

A practical course in learning and executing the technical aspects of a full music theater/opera production. This course will encompass, but is not limited to: staging, costume design, set design and construction, lighting design and execution, props, wigs, make-up and stage crew.

MUS-226. Orchestra. 1 Hour.

Open to enrolled students with instrumental experience. Opportunities for school and public performance. Audition and consent of instructor required.

MUS-231. Band. 1 Hour.

MUS-231A. Wind Band. 1 Hour.

MUS-234A. Instrumental Ensemble: Brass. 1 Hour.

MUS-234B. Instrumental Ensemble: Percussion. 1 Hour.

MUS-234C. Instrumental Ensemble: Strings. 1 Hour.

MUS-234D. Instrumental Ensemble: Woodwinds. 1 Hour.

MUS-234E. Instrumental Ensemble: Accompanying. 1 Hour.

MUS-234F. Instrumental Ensemble: Piano Music For Four Hands. 1 Hour.

MUS-234M. Instrumental Ensemble: Guitar. 1 Hour.

MUS-235A. Instrumental Ensemble:Jazz Band. 1 Hour.

MUS-235B. Instrumental Ensemble:Jazz Combo. 1 Hour.

MUS-301. Counterpoint I. 3 Hours.

Writing in two parts in various styles and modes, study of species and modal procedures. . Prerequisite: MUS-201 with a minimum grade of C.

MUS-302. Counterpoint II. 3 Hours.

Writing in two parts in various styles and modes, study of species and modal procedures. Prerequisite: MUS-301 with a minimum grade of C.

MUS-305. Form And Analysis I. 3 Hours.

Structural and stylistic features in their musical context; motif, phrase and period; binary and ternary form, theme and variations, rondo, sonata form and unique forms. Prerequisite: MUS-202 with a minimum grade of C.

MUS-306. Form And Analysis II. 3 Hours.

Structural and stylistic features in their musical context, early to contemporary polyphonic forms, multi-movement forms. electronic music, aleatoric music. Consideration of several approaches to structural analysis. Prerequisite: MUS-305 with a minimum grade of C.

MUS-307. Class Composition. 3 Hours.

Composition and performance of students' original works.

MUS-308. Orchestration. 3 Hours.

Intrumental timbres and the capabilities of instruments; scoring for instruments in a variety of combinations, including the orchestra and instrumental vocal combinations. Prerequisite: MUS-202 with a minimum grade of C.

MUS-312. Writing Intensive Program: Beethoven. 3 Hours.

This seminar explores major issues in Beethoven study through the most relevant literature concerning Beethoven's life, musical style, aesthetics, influence on the next generation of composers, and the socio-cultural forces responsible for shaping his ideas and music. Students will carry out individualized research projects culminating in a research paper, as well as completing reading reports, keeping a listening journal, and analyzing the music studied in class. Prerequisite: MUS-122 with a minimum grade of C and ENGL-101 with a minimum grade of C and MUS-203 with a minimum grade of C and (MUS-204 with a minimum grade of C or MUS-205 with a minimum grade of C).

MUS-317. Music Of The Romantic Era. 3 Hours.

Consideration from a historical point of view of structural, stylistic and formal aspects of the musical art of the Romantic era. Prerequisite: MUS-122 with a minimum grade of C and MUS-203 with a minimum grade of C and (MUS-204 with a minimum grade of C or MUS-205 with a minimum grade of C).

MUS-318. Music Of The Twentieth Century. 3 Hours.

Consideration from a historical point of view of structural, stylistic and formal aspects of the musical art of the twentieth century. Prerequisite: MUS-122 with a minimum grade of C and MUS-203 with a minimum grade of C and MUS-204 with a minimum grade of C and MUS-205 with a minimum grade of C.

MUS-320. Independent Study In Music. 1 Hour.

Consent of instructor, department Chair and College Dean.

MUS-321D. Writing Intensive Program: Seminar In Music History:Stravinsky. 3 Hours.

This seminar explores major issues in Stravinsky study through the most relevant literature concerning Stravinsky's life, musical style, aesthetics, impact on the development of twentieth-century music, and the socio-cultural forces responsible for shaping his ideas and music. Students will carry out individualized research projects culminating in a research paper, as well as completing reading reports, keeping a listening journal, and analyzing the music studied in class. Prerequisite: MUS-202 with a minimum grade of C and MUS-203 with a minimum grade of C and MUS-204 with a minimum grade of C and MUS-205 with a minimum grade of C and ENGL-101 with a minimum grade of C.

MUS-321F. Seminar In Music History: Jazz. 3 Hours.

This seminar explores major issues in the history of jazz through most the relevant literature concerning development, musical style and prominent musicians through reading, listening and analyzing music, discussions over the reading material, and through individualized research projects.

MUS-322. Independent Study In Music. 3 Hours.

MUS-323. Music Of The Renaissance Era. 3 Hours.

Consideration from a historical point of view of structural, stylistic and formal aspects of the musical art of the Renaissance Era. Prerequisite: MUS-122 with a minimum grade of C and MUS-203 with a minimum grade of C and MUS-204 with a minimum grade of C or MUS-205 with a minimum grade of C.

MUS-324. Independent Study In Music. 2 Hours.

MUS-325A. Performance Seminar: Brass. 2 Hours.

Performance and critical analysis of performances based upon stylistic, structural, and technical factors. Enrollment in applied lessons and consent of instructor.

MUS-325B. Performance Seminar: Piano. 2 Hours.

MUS-325C. Performance Seminar: Strings. 2 Hours.

MUS-325D. Performance Seminar: Wind Instruments. 2 Hours.

MUS-325E. Performance Seminar: Voice. 2 Hours.

MUS-326. Songwriting. 3 Hours.

Techniques of songwriting; consideration and analysis of classical and folk song models; emphasis on writing lyrics, melody and accompaniment.

MUS-327A. Repertoire Seminar: Piano. 3 Hours.

This is the first semester of a two-semester sequence of courses that survey the standard repertoire for different performance areas. Content varies according to the performance area studied. 300-level in applied lessons or consent of instructor required.

MUS-327B. Repertoire Seminar: Strings. 3 Hours.

MUS-327C. Repertoire Seminar: Winds. 3 Hours.

MUS-327D. Repertoire Seminar: Voice. 3 Hours.

MUS-327E. Repertoire Seminar: Choral. 3 Hours.

MUS-327F. Repertoire Seminar: Brass. 3 Hours.

MUS-327G. Repertoire Seminar: Percussion. 3 Hours.

MUS-328A. Repertoire Seminar: Piano. 3 Hours.

This is the second semester of a two-semester sequence of courses that survey the standard repertoire for different performance areas. Content varies according to the performance area studied. 300-level in applied lessons or consent of instructor required.

MUS-328B. Repertoire Seminar: Strings. 3 Hours.

MUS-328C. Repertoire Seminar: Winds. 3 Hours.

MUS-328D. Repertoire Seminar Varies: Voice. 3 Hours.

MUS-328E. Repertoire Seminar:Choral. 3 Hours.

MUS-328F. Repertoire Seminar: Brass. 3 Hours.

MUS-328G. Repertoire Seminar: Percussion. 3 Hours.

MUS-329. Advanced Conducting. 2 Hours.

Prerequisite: MUS-223 with a minimum grade of D or MUS-224 with a minimum grade of D.

MUS-330. Music Technology Seminar: Current Topics. 3 Hours.

A survey of the latest developments in music technology designed to keep today's musician up-to-date with current trends and applications, new gear and instruments, software upgrades and other current topics. Includes demonstrations and hands-on experience in the Computer/Electronic Music Lab.

MUS-331A. Applied Music Pedagogy I: Piano. 3 Hours.

Methods of teaching applied music for prospective and experienced teachers. 300 level in applied lessons and consent of instructor.

MUS-331B. Applied Music Pedagogy I: Strings. 3 Hours.

MUS-331C. Applied Music Pedagogy I: Brass. 3 Hours.

MUS-331D. Applied Music Pedagogy I: Woodwinds. 3 Hours.

MUS-331E. Applied Music Pedagogy I: Voice. 3 Hours.

MUS-331F. Applied Music Pedagogy I: Percussion. 3 Hours.

MUS-332A. Applied Music Pedagogy II:Piano. 2 Hours.

A practicum for implementing the methods of teaching applied music learned in MUS-331. Prerequisite: MUS-331 with a minimum grade of C.

MUS-332B. Applied Music Pedagogy II: Strings. 2 Hours.

MUS-332C. Applied Music Pedagogy II: Brass. 2 Hours.

MUS-332D. Applied Music Pedagogy II: Woodwinds. 2 Hours.

MUS-332E. Applied Music Pedagogy II: Voice. 2 Hours.

MUS-332F. Applied Music Pedagogy II: Percussion. 2 Hours.

MUS-333. Internship In Music. 3 Hours.

Field experience in schools, community organizations or industry. Detailed information is available in the departmental office. Departmental approval required.

MUS-334. Basic Conducting. 2 Hours.

Basic techniques of conducting: meter, dynamics, cuing, etc., applicable to both instrumental and choral conducting. Serves as prerequisite to specialized Instrumental and Choral Conducting courses. Prerequisite: MUS-122 with a minimum grade of C.

MUS-335. Choral Conducting. 2 Hours.

Choral conducting techniques; ability to read and analyze choral scores; choral repertoire. Prerequisite: MUS-122 with a minimum grade of D.

MUS-336. Instrumental Conducting. 2 Hours.

Techniques of conducting and score reading; rehearsal techniques and interpretation. Prerequisite: MUS-122 with a minimum grade of D.

MUS-339. Senior Project. 1 Hour.

A culminating Project presented after the Bachelor of Arts in Music Major reaches their senior year. The Project topic must be approved by the Applied Instructor and Advisor as appropriate to the culminating genre of the student's focus. Format style may include, but is not limited to: Research Paper, Lecture Demonstration, Composition(s) (submitted and/or performed), or Recital. Students that choose to give a formal Recital performance must be at the 300-level in Applied Lessons. Students select a committee of three faculty members, in conjunction with, their applied instructor. The student must pass a hearing before a public presentation is given. Requirement: a minimum of 4 semesters of Applied Lessons (MUS150 or MUS350).

MUS-340. Junior Recital. 1 Hour.

A formal 1/2 hour recital given after the music performance major reaches the 300 level in applied instruction and during their junior year. Students select a recital committee of three faculty members including, and in conjunction with, their applied instructor. The student must pass a hearing presented to the recital committee before the recital is given. Once the recital is presented, a grade of pass or fail will be determined by the recital committee.

MUS-341. Senior Recital. 1 Hour.

A formal recital of 50 minutes of music given after the music performance major reaches the-300 level in applied instruction and during their senior year. Students select a recital committee of three faculty members including, and in conjunction with, their applied instructor. The student must pass a hearing presented to the recital committee before the recital is given. Once the recital is presented, a grade of pass or fail will be determined by the recital committee.

MUS-342. World Music. 2 Hours.

A study of world music and various cultures for use by music education students in the classroom. Students experience world music through performance on ethnic instruments, listening to recordings of authentic music, as well as map study, and attendance at live performances. Students develop and implement lesson plans at various levels of music instruction. Prerequisite: MUS-202 with a minimum grade of C.

MUS-343. Music Before 1600. 3 Hours.

Survey of musical styles, types and forms from Gregorian Chant through the Renaissance. Prerequisite: MUS-121 with a minimum grade of C.

MUS-344. Music From 1600 Through Beethoven. 3 Hours.

Survey of musical styles, types and forms in representative composers of the Baroque and Classical Periods. Prerequisite: MUS-121 with a minimum grade of C.

MUS-345. Music After Beethoven. 3 Hours.

Survey of musical styles, types and forms in representative composers of the Romantic Period, the Twentieth Century, and Global Music. By consent of instructor. Prerequisite: MUS-121 with a minimum grade of C.

MUS-350A. Applied Music: Flute. 1 Hour.

MUS-350B. Applied Music: Oboe. 1 Hour.

MUS-350C. Applied Music: Clarinet. 1 Hour.

MUS-350D. Applied Music: Saxophone. 1 Hour.

MUS-350E. Applied Music: Bassoon. 1 Hour.

MUS-350F. Applied Music: French Horn. 1 Hour.

MUS-350G. Applied Music: Trumpet. 1 Hour.

MUS-350H. Applied Music: Euphonium. 1 Hour.

MUS-350J. Applied Music: Trombone. 1 Hour.

MUS-350K. Applied Music: Tuba. 1 Hour.

MUS-350M. Applied Music: Percussion. 1 Hour.

MUS-350O. Applied Music: Jazz Piano. 1 Hour.

MUS-350P. Applied Music: Violin. 1 Hour.

MUS-350Q. Applied Music: Viola. 1 Hour.

MUS-350R. Applied Music: Cello. 1 Hour.

MUS-350S. Applied Music: String Bass. 1 Hour.

MUS-350T. Applied Music: Guitar. 1 Hour.

MUS-350U. Applied Music: Harp. 1 Hour.

MUS-350V. Applied Music: Voice. 1 Hour.

MUS-350W. Applied Music: Piano. 1 Hour.

MUS-350X. Applied Music: Jazz String Bass. 1 Hour.

MUS-350Y. Applied Music: Jazz Guitar. 1 Hour.

MUS-350Z. Applied Music: Jazz Voice. 1 Hour.

MUS-351A. Applied Music: Flute. 1 Hour.

One-hour weekly lesson for music education majors. Individual study in voice or any instrument for development of performance skills and musical understanding; knowledge of the repertoire for the voice or specific instrument at an appropriate level of performing ability. Students will participate in small ensembles as part of the applied music studio class. Students taking Applied Lessons must be music majors, minors or registered in an ensemble. Consent of instructor or department chairperson required.

MUS-351B. Applied Music: Oboe. 1 Hour.

MUS-351C. Applied Music: Clarinet. 1 Hour.

MUS-351D. Applied Music: Saxophone. 1 Hour.

MUS-351E. Applied Music: Bassoon. 1 Hour.

MUS-351F. Applied Music: French Horn. 1 Hour.

MUS-351G. Applied Music: Trumpet. 1 Hour.

MUS-351H. Applied Music: Euphonium. 1 Hour.

MUS-351J. Applied Music: Trombone. 1 Hour.

MUS-351K. Applied Music: Tuba. 1 Hour.

MUS-351M. Applied Music: Percussion. 1 Hour.

MUS-351O. Applied Music: Jazz Piano. 1 Hour.

MUS-351P. Applied Music: Violin. 1 Hour.

MUS-351Q. Applied Music: Viola. 1 Hour.

MUS-351R. Applied Music: Cello. 1 Hour.

MUS-351S. Applied Music: String Bass. 1 Hour.

MUS-351T. Applied Music: Guitar. 1 Hour.

MUS-351V. Applied Music: Voice. 1 Hour.

MUS-351W. Applied Music: Piano. 1 Hour.

MUS-351X. Applied Music: Jazz String Bass. 1 Hour.

MUS-352A. Applied Music: Flute. 2 Hours.

One-hour weekly lesson for performance majors. Individual study in voice or any instrument for development of performing skills and musical understanding; knowledge of the repertoire for the voice or specific instrument at an appropriate level of performing ability. Students will participate in small ensembles as part of the applied music studio class. Students taking Applied Lessons must be music majors, minors or registered in an ensemble. Consent of instructor or department chairperson required.

MUS-352B. Applied Music: Oboe. 2 Hours.

MUS-352C. Applied Music: Clarinet. 2 Hours.

MUS-352D. Applied Music: Saxophone. 2 Hours.

MUS-352E. Applied Music: Bassoon. 2 Hours.

MUS-352F. Applied Music: French Horn. 2 Hours.

MUS-352G. Applied Music: Trumpet. 2 Hours.

MUS-352H. Applied Music: Euphonium. 2 Hours.

MUS-352J. Applied Music: Trombone. 2 Hours.

MUS-352K. Applied Music: Tuba. 2 Hours.

MUS-352M. Applied Music: Percussion. 2 Hours.

MUS-352O. Applied Music: Jazz Piano. 2 Hours.

MUS-352P. Applied Music: Violin. 2 Hours.

MUS-352Q. Applied Music: Viola. 2 Hours.

MUS-352R. Applied Music: Cello. 2 Hours.

MUS-352S. Applied Music: String Bass. 2 Hours.

MUS-352T. Applied Music: Guitar. 2 Hours.

MUS-352V. Applied Music: Voice. 2 Hours.

MUS-352W. Applied Music: Piano. 2 Hours.

MUS-352X. Applied Music: Jazz String Bass. 2 Hours.

MUS-352Y. Applied Music: Jazz Guitar. 2 Hours.

MUS-352Z. Applied Music: Vocal Coaching. 2 Hours.

MUS-391. Contemporary Music Education - Grades K-6. 3 Hours.

This course is designed for music education students and includes a study of philosophy, methods, materials, and assessment techniques suitable for developing music potential in elementary school-aged children. Special areas of focus include long and short term lesson planning, sequencing concepts and skill, ethnic music, music in Special Education, and assessment correlated with State and National Standards for Arts Education. Prerequisite: MUS-202 with a minimum grade of C.

MUS-393L. Clinical Field Experience. 2 Hours.

A supervised clinical experience designed with less emphasis on observational experiences and more on direct involvement with the instructional process. Requires 100 hours experience with a broad range of students. Taken with TED SCED-303I and 303V . Completion of all education courses required. Prerequisite: MUS-391 with a minimum grade of C.

MUS-396A. Practicum In Music: Chamber Music. 1 Hour.

The purpose of this course is to give the student an opportunity to explore and perform this selected topic in music. Consent of instructor required.

MUS-396B. Practicum In Music: Computer Music. 1 Hour.

MUS-396D. Practicum In Music: Choral Music. 1 Hour.

MUS-396K. Practicum In Music: Orchestra. 1 Hour.

MUS-397A. Practicum In Music: Chamber Music. 2 Hours.

MUS-397B. Practicum In Music: Computer Music. 2 Hours.

MUS-397C. Practicum In Music: Computerized Notation. 2 Hours.

MUS-397K. Practicum In Music: Orchestra. 2 Hours.

MUS-398A. Practicum In Music: Chamber Music. 3 Hours.

MUS-398B. Practicum In Music: Computer Music Studio. 3 Hours.

The course addresses a broad range of technical and aesthetic issues relevant to the creation of music and artistic manipulation of sound. The course combines theoretical, conceptual and practical information with hands-on experience with software and hardware. Students design and realize projects in consultation with the instructor for presentation in class or public forum. Projects may incorporate elements of audio recording, audio editing, MIDI, sound synthesis, sound design, combined media or other innovative concepts which develop as technology and the arts combine.

MUS-398K. Practicum In Music: Orchestra. 3 Hours.

MUS-405. Form and Analysis. 3 Hours.

This course focuses upon advanced analysis of linear, vertical and structural dimensions of western music. Large and small scale works from various historical periods and for a variety of media will considered. Procedures as appropriate to style and period will be applied with an emphasis upon development of analytical skill as an interpretive tool leading to more insightful performance.

MUS-411. Vocal Ensemble: Chorus. 1 Hour.

The University Chorus is a large choral ensemble which explores the great choral literature from the Middle-Ages and Renaissance periods to the present day in preparation for public and school performances. Emphasis is on choral rehearsal techniques, appropriate vocal technique, historical performance practice for the works being prepared and research on composers and compositions being studied.

MUS-412. Chamber Singers. 1 Hour.

Chamber singers explores the art of ensemble singing through the preparation and performance of choral literature composed for a smaller ensemble. Emphasis is on choral rehearsal techniques, appropriate vocal technique and performance practice for the works being prepared, as well as research about the composers and the compositions being prepared.

MUS-413. Opera Workshop. 1 Hour.

A practical workshop in learning and performing opera literature and exploring the art of singing opera through research, preparation and performance of scene excerpts and complete opera productions. Graduate students are expected to sing the leading roles and/or assist the director in staging, managing and research.

MUS-414. Musical Theater. 1 Hour.

A practical workshop in learning and performing musical theater repertoire and exploring the art of singing and acting through research, preparation and performance of a complete musical theater production. Graduate students are expected to sing the leading roles and/or assist the director in staging, managing and research.

MUS-415. Music Production. 1 Hour.

MUS-416. Seminar In Music History: Beethoven. 3 Hours.

This seminar explores major issues in Beethoven study through the most relevant literature concerning Beethoven's life, musical style, aesthetics, influence on the next generation of composers, and the socio-cultural forces responsible for shaping his ideas and music. Students will carry out individualized research projects culminating in a research paper, as well as completing reading reports, keeping a listening journal, and analyzing the music studied in class.

MUS-417. Seminar In Music History: Stravinsky. 3 Hours.

This seminar explores major issues in Stravinsky study through the most relevant literature concerning Stravinsky's life, musical style, aesthetics, influence on the next generation of composers, and the socio-cultural forces responsible for shaping his ideas and music. Students will carry out individualized research projects culminating in a research paper, as well as completing reading reports, keeping a listening journal, and analyzing the music studied in class.

MUS-420. Independent Study In Music. 1 Hour.

Individual investigation into a topic of the student's choice. Consent of instructor, department Chair and College Dean.

MUS-421. Independent Study In Music. 2 Hours.

(See MUS-420 for description.).

MUS-421A. Independent Study In Music. 2 Hours.

MUS-421B. Independent Study In Music. 2 Hours.

MUS-422. Independent Study In Music. 3 Hours.

MUS-422A. Independent Study In Music. 3 Hours.

MUS-423. Band. 1 Hour.

Band is a large performing ensemble exploring standard wind band repertoire. Performance of two public and school concerts each semester is required. Graduate students are expected to perform solos, be section leaders, and assist the director in conducting rehearsals.

MUS-424. Music Bibliography And Research. 3 Hours.

Study of basic reference and research materials in music and introduction to methods of research appropriate to music.

MUS-425A. Music Performance Seminar: Brass. 2 Hours.

This seminar is an extension and compliment to the applied lesson and focuses on the art of performance. Enrollment in applied lessons and consent of instructor.

MUS-425B. Music Performance Seminar: Piano. 2 Hours.

MUS-425C. Music Performance Seminar: Strings. 2 Hours.

MUS-425D. Music Performance Seminar: Woodwind. 2 Hours.

MUS-425E. Music Performance Seminar: Voice. 2 Hours.

MUS-425F. Music Performance Seminar: Percussion. 2 Hours.

MUS-426. Orchestra. 1 Hour.

Open to all students with instrumental experience by audition. Opportunities for school and public performance.

MUS-427. Repertoire Seminar. 3 Hours.

This is the first semester of a two-semester sequence of courses that survey the standard repertoire for different performance areas. Content varies according to the performance area studied.

MUS-427A. Repertoire Seminar: Piano. 3 Hours.

MUS-427B. Repertoire Seminar: Strings. 3 Hours.

MUS-427C. Repertoire Seminar: Woodwinds. 3 Hours.

MUS-427D. Repertoire Seminar: Voice. 3 Hours.

MUS-427F. Repertoire Seminar: Brass. 3 Hours.

MUS-427G. Repertoire Seminar: Percussion. 3 Hours.

MUS-428A. Music Repertoire Seminar: Piano. 3 Hours.

This is the second semester of a two-semester sequence of courses that survey the standard repertoire for different performance areas. Content varies according to the performance area studied.

MUS-428B. Music Repertoire Seminar: Strings. 3 Hours.

MUS-428C. Music Repertoire Seminar: Woodwinds. 3 Hours.

MUS-428D. Music Repertoire Seminar: Voice. 3 Hours.

MUS-428F. Music Repertoire Seminar:Brass. 3 Hours.

MUS-428G. Music Repertoire Seminar:Percussion. 3 Hours.

MUS-431A. Advanced Applied Music Pedagogy I: Piano. 3 Hours.

At an advanced level, this course explores various aspects of the field of teaching applied music. The course will explore available methods and materials and techniques of teaching students at various ages and levels of advancement. It will also focus on various approaches to teaching technique, placing them in a historical context and learning how to apply them to students at various levels of advancement.

MUS-431B. Advanced Applied Music Pedagogy I: Strings. 3 Hours.

MUS-431C. Advanced Applied Music Pedagogy I: Brass. 3 Hours.

MUS-431D. Advanced Applied Music Pedagogy I: Woodwinds. 3 Hours.

MUS-431E. Advanced Applied Music Pedagogy: Voice. 3 Hours.

MUS-431F. Advanced Applied Music Pedagogy I: Percussion. 3 Hours.

MUS-432A. Advanced Applied Music Pedagogy II: Piano. 2 Hours.

This course builds upon the knowledge gained in Pedagogy I and continues its exploration of advanced topics in applied music pedagogy. These include music learning theories and their application to the teaching of applied music, analysis from a pedagogical point of view of teaching repertoire, and further exploration of technique in relation to teaching students of various levels of advancement. Special emphasis will be placed on the difficult problem of choosing appropriate repertoire for students which challenges the student in terms of his/her musical, technical, and psychological development. Prerequisite: MUS-431A with a minimum grade of B.

MUS-432B. Advanced Applied Music Pedagogy II: Strings. 2 Hours.

This course builds upon the knowledge gained in Pedagogy I and continues its exploration of advanced topics in applied music pedagogy. These include music learning theories and their application to the teaching of applied music, analysis from a pedagogical point of view of teaching repertoire, and further exploration of technique in relation to teaching students of various levels of advancement. Special emphasis will be placed on the difficult problem of choosing appropriate repertoire for students which challenges the student in terms of his/her musical, technical, and psychological development. Prerequisite: MUS-431B with a minimum grade of B.

MUS-432C. Advanced Applied Music Pedagogy II: Brass. 2 Hours.

This course builds upon the knowledge gained in Pedagogy I and continues its exploration of advanced topics in applied music pedagogy. These include music learning theories and their application to the teaching of applied music, analysis from a pedagogical point of view of teaching repertoire, and further exploration of technique in relation to teaching students of various levels of advancement. Special emphasis will be placed on the difficult problem of choosing appropriate repertoire for students which challenges the student in terms of his/her musical, technical, and psychological development. Prerequisite: MUS-431C with a minimum grade of B.

MUS-432D. Advanced Applied Music Pedagogy II:Woodwind. 2 Hours.

This course builds upon the knowledge gained in Pedagogy I and continues its exploration of advanced topics in applied music pedagogy. These include music learning theories and their application to the teaching of applied music, analysis from a pedagogical point of view of teaching repertoire, and further exploration of technique in relation to teaching students of various levels of advancement. Special emphasis will be placed on the difficult problem of choosing appropriate repertoire for students which challenges the student in terms of his/her musical, technical, and psychological development. Prerequisite: MUS-431D with a minimum grade of B.

MUS-432E. Advanced Applied Music Pedagogy II: Voice. 2 Hours.

This course builds upon the knowledge gained in Pedagogy I and continues its exploration of advanced topics in applied music pedagogy. These include music learning theories and their application to the teaching of applied music, analysis from a pedagogical point of view of teaching repertoire, and further exploration of technique in relation to teaching students of various levels of advancement. Special emphasis will be placed on the difficult problem of choosing appropriate repertoire for students which challenges the student in terms of his/her musical, technical, and psychological development. Prerequisite: MUS-431E with a minimum grade of B.

MUS-432F. Advanced Applied Music Pedagogy II: Percussion. 2 Hours.

This course builds upon the knowledge gained in Pedagogy I and continues its exploration of advanced topics in applied music pedagogy. These include music learning theories and their application to the teaching of applied music, analysis from a pedagogical point of view of teaching repertoire, and further exploration of technique in relation to teaching students of various levels of advancement. Special emphasis will be placed on the difficult problem of choosing appropriate repertoire for students which challenges the student in terms of his/her musical, technical, and psychological development. Prerequisite: MUS-431F with a minimum grade of B.

MUS-434A. Instrumental Ensemble:Brass. 1 Hour.

Open to enrolled students with instrumental experience. Opportunities for school and public performance. Audition and consent of instructor.

MUS-434B. Instrumental Ensemble: Percussion. 1 Hour.

MUS-434C. Instrumental Ensemble: Strings. 1 Hour.

MUS-434D. Instrumental Ensemble: Woodwinds. 1 Hour.

MUS-434E. Instrumental Ensemble: Accompanying. 1 Hour.

MUS-434F. Instrumental Ensemble: Piano Ensemble. 1 Hour.

MUS-434M. Instrumental Ensemble: Guitar. 1 Hour.

MUS-442. World Music. 3 Hours.

A study of world music, cultures and their values, as reflected in the arts; experiencing their music through performance on ethnic instruments, singing and dancing, listening to recordings, map study, with focus on methodology suitable for public school teaching.

MUS-450A. Applied Music: Flute. 0.5 Hours.

Individual study in voice or any instrument for continued development of performing skills and musical artistry: knowledge of the repertoire for the specific voice or instrument at an appropriate level of performing ability.

MUS-450B. Applied Music: Oboe. 0.5 Hours.

See course description for MUS-450A .

MUS-450C. Applied Music: Clarinet. 0.5 Hours.

MUS-450D. Applied Music: Saxophone. 0.5 Hours.

MUS-450E. Applied Music: Bassoon. 0.5 Hours.

MUS-450F. Applied Music: French Horn. 0.5 Hours.

MUS-450G. Applied Music: Trumpet. 0.5 Hours.

MUS-450H. Applied Music: Euphonium. 0.5 Hours.

MUS-450J. Applied Music: Trombone. 0.5 Hours.

MUS-450K. Applied Music: Tuba. 0.5 Hours.

MUS-450M. Applied Music: Percussion. 0.5 Hours.

MUS-450O. Applied Music: Jazz Piano. 0.5 Hours.

MUS-450P. Applied Music: Violin. 0.5 Hours.

MUS-450Q. Applied Music: Viola. 0.5 Hours.

MUS-450R. Applied Music: Cello. 0.5 Hours.

MUS-450S. Applied Music: String Bass. 0.5 Hours.

MUS-450T. Applied Music: Guitar. 0.5 Hours.

MUS-450U. Applied Music: Harp. 0.5 Hours.

MUS-450V. Applied Music: Voice. 0.5 Hours.

MUS-450W. Applied Music: Piano. 0.5 Hours.

MUS-450X. Applied Music: Jazz String Bass. 0.5 Hours.

MUS-450Y. Applied Music: Jazz Guitar. 0.5 Hours.

MUS-450Z. Applied Music: Jazz Voice. 0.5 Hours.

MUS-451A. Applied Music: Flute. 1 Hour.

Individual study in voice or any instrument for development of performance skills and musical understanding; knowledge of the repertoire for the voice or specific instrument at an appropriate college freshman/sophomore level of performing ability.

MUS-451B. Applied Music: Oboe. 1 Hour.

MUS-451C. Applied Music: Clarinet. 1 Hour.

MUS-451D. Applied Music: Saxophone. 1 Hour.

MUS-451E. Applied Music: Bassoon. 1 Hour.

MUS-451F. Applied Music: French Horn. 1 Hour.

MUS-451G. Applied Music: Trumpet. 1 Hour.

MUS-451H. Applied Music: Euphonium. 1 Hour.

MUS-451J. Applied Music: Trombone. 1 Hour.

MUS-451K. Applied Music: Tuba. 1 Hour.

MUS-451O. Applied Music: Jazz Piano. 1 Hour.

MUS-451P. Applied Music: Violin. 1 Hour.

MUS-451Q. Applied Music: Viola. 1 Hour.

MUS-451R. Applied Music: Cello. 1 Hour.

MUS-451S. Applied Music: String Bass. 1 Hour.

MUS-451T. Applied Music: Guitar. 1 Hour.

MUS-451U. Applied Music: Harp. 1 Hour.

MUS-451V. Applied Music: Voice. 1 Hour.

MUS-451W. Applied Music: Piano. 1 Hour.

MUS-451X. Applied Music: Jazz String Bass. 1 Hour.

MUS-451Y. Applied Music: Electric Bass. 1 Hour.

MUS-452A. Applied Music: Flute. 2 Hours.

One-hour weekly lesson. Individual study in voice or any instrument for continued development of performing skills and musical artistry; knowledge of the repertoire for the specific voice or instrument at an appropriate level of performing ability. Consent of instructor or department chairperson and graduate standing.

MUS-452B. Applied Music: Oboe. 2 Hours.

MUS-452C. Applied Music: Clarinet. 2 Hours.

MUS-452D. Applied Music: Saxophone. 2 Hours.

MUS-452E. Applied Music: Bassoon. 2 Hours.

MUS-452F. Applied Music: French Horn. 2 Hours.

MUS-452G. Applied Music: Trumpet. 2 Hours.

MUS-452H. Applied Music: Euphonium. 2 Hours.

MUS-452J. Applied Music: Trombone. 2 Hours.

MUS-452K. Applied Music: Tuba. 2 Hours.

MUS-452M. Applied Music: Percussion. 2 Hours.

MUS-452O. Applied Music: Jazz Piano. 2 Hours.

MUS-452P. Applied Music: Violin. 2 Hours.

MUS-452Q. Applied Music: Viola. 2 Hours.

MUS-452R. Applied Music: Cello. 2 Hours.

MUS-452S. Applied Music: String Bass. 2 Hours.

MUS-452T. Applied Music: Guitar. 2 Hours.

MUS-452U. Applied Music: Harp. 2 Hours.

MUS-452V. Applied Music: Voice. 2 Hours.

MUS-452W. Applied Music: Piano. 2 Hours.

MUS-452X. Applied Music: Jazz String Bass. 2 Hours.

MUS-463. Women In Music. 3 Hours.

A study of some of the most notable women composers and musicians from the Middle Ages to the present. Designed both for musicians and non-musicians, the course will focus equally upon aspects of the music of the historical, social and cultural milieu.

MUS-471. Seminar In Music History:Baroque. 3 Hours.

In-depth study of selected topics in the music history and literature of the Baroque. Individual research topics.

MUS-472. Seminar In Music History:Classic Era. 3 Hours.

In-depth study of selected topics in the music history and literature of the Classic era. Individual research topics.

MUS-476A. Theory Seminar: 20th Century Analytical Procedure And Compositional Techniques. 3 Hours.

The purpose of this course is to give the student an opportunity to explore this selected topic in music. Consent of instructor.

MUS-5901. Thesis Hours. 1 Hour.

Guidance of students preparing a thesis, project or recital to fulfill requirements for the Master of Arts in Music.

MUS-5902. Thesis Hours. 2 Hours.

See course description for MUS-5901 .

MUS-5903. Thesis Hours. 3 Hours.

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Sam’s <strong>Gospel</strong> <strong>Music</strong> <strong>Course</strong> <strong>Workbook</strong><br />

www.Samsmuzikco.com<br />

Fall <strong>Music</strong> <strong>Course</strong> 2011<br />

THEME : “ Playing with the Spirit and Understanding “<br />

Theory for New Muscicians<br />

Practice for Intermediate <strong>Music</strong>ians<br />

Techniques for Advanced <strong>Music</strong>ians<br />

Church <strong>Music</strong>ian _______________________________<br />

Church Name __________________________________

Sam Tolbert CEO Sound of Joy <strong>Music</strong> Services<br />

Online <strong>Gospel</strong> <strong>Music</strong>ian Instruction since 1999<br />

Welcome to Sam’s <strong>Gospel</strong> <strong>Music</strong> <strong>Course</strong><br />

Let me first give honor to God, the author and finisher of my faith, to Jesus Christ the ruler and sovereign friend who<br />

thought it not robbery to die on the cross and rise that I may have eternal life, and finally to the Holy spirit that works in<br />

my being, giving me guidance where I need to be and the strength to endure until Jesus’s return.<br />

Yes, back then I loved playing the organ and this model was among the first to have play along chords. I never used<br />

them, back then I wanted to play the chords I learned by “ear” from albums and the radio church services. Ever since<br />

then I been on this marvelous music journey giving back the gift of music that was placed in my life. And now after 10<br />

years on the Internet we begin the next phase of musician instruction.<br />

I thank God for the desire to be a role model for this generation of church musicians. Many of you have discovered my<br />

course via Youtube, search engines and perhaps word of mouth via email. A brief background on myself, I’m a 37 year<br />

church musician, self taught through “ear” training and hymnal books. I was raised musically on a Hammond C3/B3.<br />

Lowery organ and a spinet piano throughout my youth. My family has a rich heritage as church musicians in the COGIC<br />

and Baptist Church throughout the NYC area.<br />

Sound of Joy is my vehicle the Lord has impressed upon me to be a avenue whereby I can help new musicians navigate<br />

the ministry of music in their local churches. I began using this name based on the scripture from Psalm 100:1 “Make a<br />

Joyful Noise Unto the Lord....” aka Sound of Joy. So you will see all of what I teach is bible based with the blessing of<br />

God.<br />

Enough about me, it’s all about everyone of you who are taking my course. I have read each of your emails and I’m<br />

setting up online classes for those who are new to the piano/keyboard, those who are currently serving as church musi-<br />

cians on the organ/keyboard and those who are experienced and looking to enhance the sound they have developed.<br />

It’s never my desire to make you a Sam Tolbert Clone.....on the contrary there’s a sound in you that even I can’t play.<br />

That’s my desire to help bring out what is in you using the same techniques that worked for me. Ok, you say I don’t<br />

sound that good. See that picture above...I had the same testimony and with all the talent in my family no one had the<br />

time to teach me anything. Thank God for a listening ear and a desire to learn. Everything you will receive from my<br />

course will have the purpose of “training you ear”, “stimulating your mind” and “working your fingers” to make music.<br />

I know I write a lot and times but this will be the only email of this length and I want to assure you that I’m in it for the<br />

long haul. I want to see you progress and prosper not only in healthy music ministry but every avenue music opens to<br />

you.<br />

I’m looking forward to being a servant first and instructor second. As always you can contact me anytime via email<br />

regarding the course or any music ministry concerns. The updated workbooks will be placed on the main web site on<br />

Monday. By your registering I will be creating a personal title page for your workbook in case you print it out. This will be<br />

a living workbook in that I will update and add pages during the course. If you don’t have a printer you can always view<br />

the workbook using the Iphone (tested it already and it looks great) Ipad or your blackberry. Oh yes, and there will be<br />

MP3 files created of spiritual, hymnal, gospel and praise songs for you to store as a quick reference on your portable<br />

MP3 player or cellphone.<br />

Sam Tolbert<br />

2<br />

Sam‛s <strong>Gospel</strong> <strong>Music</strong> <strong>Course</strong> 2010<br />

Vol. 2 Rev. 2 January 2011<br />

_________________________________________<br />

Editor Sam Tolbert<br />

Cover Design Sam Tolbert<br />

Web site www.Samsmuzikco.com<br />

Adverstisement<br />

<strong>Music</strong> links<br />

Sam’s <strong>Gospel</strong> DVD lessons<br />

www.Samsmuzikco.com/cmp.htm<br />

Youtube Lessons<br />

www.Youtube.com/Soundofjoy<br />

Midi files for Churches<br />

www.Samsmuzikco.com/mlibrary.htm<br />

Find US ON FACEBOOK Samuel Tolbert<br />

FIND US ON MYSPACE<br />

myspace.com/150psalm<br />

FIND US AT LEARNGOSPELMUSIC.COM<br />

Soundofjoy<br />

FIND US ON YOUTUBE<br />

YouTube.com/Soundofjoy<br />

Sam’s <strong>Gospel</strong> DVD Lessons<br />

www.Samsmuzikco.com/cmp.htm

Psalm 100:1 - “ Make a Joyful Noise Unto the Lord, Serve the Lord with Gladness...”<br />

Oh Lord, please bless this music that it might glorify your name.<br />

New <strong>Music</strong>ian<br />

TABLE OF CONTENTS<br />

Piano/Keyboard Tips and Techniques page 5<br />

Minor Scale Practice page 6<br />

Piano/Keyboard Scale/Chord Practice page 7<br />

Chord Practice page 11<br />

Intermediate <strong>Music</strong>ian<br />

Hymnal Standards used in the Pentecostal Church page 12<br />

Hymns and Spiritual Songs History page 14<br />

Hammond Organ Drawbar Settings page 19<br />

Advanced <strong>Music</strong>ian<br />

The <strong>Music</strong>ians Prayer<br />

May the talent that you have bestowed upon me be used only to serve you.<br />

Let this music be a witness to your majesty and love, and remind us that you are always watching, and listening, from your throne above.<br />

May your presence and beauty be found in every note played so that it reaches the hearts of your people and draw them closer to you.<br />

May your Spirit guide us through every measure so that we might be the instruments of your peace, and proclaim your glory.<br />

AMEN<br />

Chords and Harmony techniques page 21<br />

Preacher Chords page 22<br />

Hymnal Sheet <strong>Music</strong> Site Reading page 25<br />

Intro’s for Praise/Shout Techniques page 28<br />

Chord Reference Chart page 29<br />

All the information contained in this workbooks can be applied to all musician skill levels<br />

NOTES<br />

Scale Practice Fingering<br />

5 4 3 2 1 1 2 3 4 5<br />

One of the best ways to train your fingers how to move across the keyboard is by practicing all the scales as your warm-up.<br />

It’s always best to use the proper fingering technique so that you don’t put too much stress on your hands. I use the spider technique where your hand hovers over the keys<br />

and your finger press the notes. See the youtube example for that technique. This way your hand is lined up over each note before your press down to play it.<br />

Starting with middle C using your right hand play the C major scale without hesitation in acending then decending order. Now do the same with your left hand.<br />

This warm-up you should use for the first 3-8 minutes of practice on your keyboard. Weighted keyboard are always preferred but you can do this excersise on any keyboard.<br />

C<br />

R/H 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5<br />

L/H 5 4 3 2 1 3 2 1 4 3 2 1 3 2 1<br />

D<br />

E<br />

F<br />

R/H 1 2 3 4 1 2 3 1 2 3 4 1 2 3 4<br />

G<br />

A<br />

B<br />

L/H 4 3 2 1 4 3 2 1 3 2 1 4 3 2 1<br />

5<br />

Db<br />

R/H 2 3 1 2 3 4 1 2 3 1 2 3 4 1 2<br />

L/H 3 2 1 4 3 2 1 3 2 1 4 3 2 1 3<br />

Eb<br />

R/H 3 1 2 3 4 1 2 3 1 2 3 4 1 2 3<br />

Gb<br />

R/H 2 3 4 1 2 3 1 2 3 4 1 2 3 1 2<br />

L/H 4 3 2 1 3 2 1 4 3 2 1 3 2 1 2<br />

Ab<br />

R/H 3 4 1 2 3 1 2 3 4 1 2 3 1 2 3<br />

Bb<br />

R/H 4 1 2 3 1 2 3 4 1 2 3 1 2 3 4<br />

Whats missing? That’s right we didn’t give your the scale note names. Use the keyboard reference above to view the notes that correspond to each fingering number.<br />

The purpose of this lesson to train your fingers to move over the leyboard. No speed or technique is necessary when practicing.<br />

The scales are played in two octaves.

MINOR SCALE PRACTICE SESSION<br />

“The melody line to every song is found in the root scale of key of the song”<br />

The one concept you will here me stress is learn the fingering and the tones of the major / minor and the harmonic minor scale. In my years of<br />

learning gospel selections I have found one or all of these scales are extensively used. When you are familair with the sound of the scale and you<br />

listen to a recording you immediately find the notes of that song. For example the praise song “ Our God is an Awesome God” in Eb. The Helen<br />

Baylor version uses the C natural minor(Aeolin) (C, D, Eb, F, G, Ab, Bb, C) and C harmonic minor scale ( C, D, Eb, F, G, Ab, B, C). Believe it or<br />

not the chords used in that song are also found in part throughout these scales. Here’s a secret “Eb major scale is the same as C natural minor if<br />

you start on the 6th note from Eb root)<br />

For example:<br />

Lyric Our..........God.......is....an......awe....some....God - He.......reigns.....from.......heaven.......a - bove<br />

meloly Eb............C..........C......D.......Eb.......Bb..........G.......G.........F.............D...........Eb...............D...C<br />

chord G B Eb ......Eb G C.....................G Bb Eb ............................F Bb D...................D F Ab B......Eb G C...D F Bb ...C Eb G<br />

Compare the notes in the chords to the notes in the scale. You will find the chord structure is imbedded in the scale tones of the melody line. This<br />

is the technique I’ved used for the past 30 years to learn how songs are constructed and how you find the chords that support that melody line.<br />

There are 11 basic scales. all of them you don’t really have to know as far as gospel music goes but its good to know they exist. They are the<br />

major(Ionian), natural minor(Aeolian), harmonic minor, melodic minor (ascending), melodic minor(desending), Dorian, Lydian, Locrian, Phry-<br />

gian, Mixolydian and Whole-tone. These scale tones make up the runs you’ve been hearing all you life played in churches. We’re only covering<br />

the scales related to hymnal, gospel and praise songs for this course. You can do a Internet search for more information about all the scales. A<br />

natural minor scale has a certain characteristics, the 3rd, 6th and 7th note are played 1/2 down from a major scale. In the harmonic minor scale<br />

the 3rd and 6th note is played 1/2 step down from a major scale.<br />

Fill in the scale note in the following keys:<br />

1. D natural minor D, _____, _____, _____, _____, _____, _____,______, D<br />

2. Eb natural minor Eb , _____, _____, _____, _____, _____, _____,______, Eb<br />

3. E natural minor E , _____, _____, _____, _____, _____, _____,______, E<br />

4. F natural minor F , _____, _____, _____, _____, _____, _____,______, F<br />

5. G harmonic minor G , _____, _____, _____, _____, _____, _____,______, G<br />

6. A hamonic minor A , _____, _____, _____, _____, _____, _____,______, A<br />

7. Gb harmonic minor Gb , _____, _____, _____, _____, _____, _____,______, Gb<br />

8. Ab harmonic minor Ab , _____, _____, _____, _____, _____, _____,______, Ab<br />

9. Bb harmonic minor Bb , _____, _____, _____, _____, _____, _____,______, Bb<br />

10 C harmonic minor C , _____, _____, _____, _____, _____, _____,______, C<br />

Here’s a harmoinc minor chord progression excersise I use to keep my ears trained to play beihind any song using this scale.<br />

In C (can be transposed into every key)<br />

Sequence is:<br />

minor/1 Eb G C<br />

7th/4, F G B D<br />

minor/2, G C Eb<br />

minor/1, Ab C F<br />

minor, C Eb G<br />

minor/2 C F Ab<br />

7th/3 D F G B<br />

minor/2 Eb C C<br />

<strong>Music</strong> Theory<br />

The musical alphabet is a continuum, repeating endlessly the first seven letters of<br />

the English language alphabet:<br />

A B C D E F G A B C D E F G A B C D E F G........etc<br />

A scale is a series of tones in organized sequence.<br />

A major scale is an eight-letter sequence of the musical alphabet.<br />

The first of the major scale is called the tonic note, or keynote: the last letter of the<br />

major scale is the same as the keynote but it is called the octave.<br />

Ex. C major scale<br />

C D E F G A B C<br />

keynote octave<br />

The tones of the major scale can be numbered:<br />

1 2 3 4 5 6 7 8<br />

The numbers referring to the tones of the major scale are called scales degrees.<br />

The musical relationships between the tones of a major scale can be expressed by<br />

means of whole-steps and half steps.<br />

The major scales are:<br />

W W H W W W H (W=whole, H=half)<br />

Db Eb F Gb Ab Bb C Db<br />

D E F# G A B C# D<br />

Eb F G Ab Bb C D Eb<br />

E F# G# A B C# D# E<br />

F G A Bb C D E F<br />

Gb Ab Bb B Db Eb F Gb<br />

G A B C D E F# G<br />

Ab Bb C Db Eb F G Ab<br />

A B C# D E F# G# A<br />

Bb C D Eb F A B Bb<br />

B C# D# E F# G# B# B<br />

8<br />

This is your reference information to the scale fingering chart from the<br />

previous page. Practice playing each of these scales in the two octaves using the<br />

proper fingering at the beginning of your practice time. I would like you to post a<br />

YouTube video clip and send to my site www.Youtube.com/soundofjoy so that I may<br />

view your techniques. Nothing fancy I want to see if you are applying the proper<br />

fingering techniques I teaching you.<br />

I you have a keyboard with a metronome start your practice tempo to 50 bpm and<br />

gradually increase each scale run by 10 bpm up to 100 bpm. Don’t rush to get there<br />

in one practice session the idea is to be as accurate as possible. This will help you<br />

when we cover gospel runs later on during this course.<br />

Remember practice right hand first then left hand, if you ‘re daring do both hands at<br />

the same time and send me the video clip.<br />

As a new musician I believe its very important that you follow routine of practice until<br />

you’re ready to go at it on your own. Here are some suggestions I believe will assist<br />

you in developing a practice routine. TURN OF YOUR CELLPHONE!<br />

1. Pray - this is essential for getting yourself in tune with what you are about to do<br />

2. Start with scale fingering in every key - duration 5 - 10 min<br />

3. Practice your triad inversions in every key - duration - 10 min<br />

4. Practice chord progressions and transition chords in C, Db, D, Eb for 10 min<br />

5. Take a break get some water (no soda will make you hyper) this also gives your<br />

fingers a rest period<br />

6. Practice the melody line with left hand chords to a familiar song ( I suggest a<br />

hymn that you like to play) or a praise song<br />

Now that you are warmed up you can tackle more advanced practice<br />

7. Work on your preacher chords ( if you play for a minster that needs you to play<br />

them)<br />

8. Select 3 congregational songs normal sang at your church play them in the key<br />

they sing them in using techniques practiced from this course.<br />

Do not use the transpose key!<br />

9. If you play for a choir or praise team begin practicing the songs they will sing at<br />

the next service<br />

10. Take another break - answer your cellphone and update your facebook :)<br />

Now you’re ready to learn a new song having warmed-up and practice all the<br />

techniques you’ve practice from this course. When learning a new song I always<br />

recommend you listen to the entire song at least 3 times, each time writing down<br />

information you hear in the song, the intro, the choir parts and the piano/keyboard<br />

parts. We will cover this techniques later on in the course also.<br />

A chord is defined as two or more notes played at the same time. In popular music<br />

a chord generally has a minimum of three notes.<br />

The pitches which make up a chord are called chord-tones: any other pitches are<br />

called non-chord-tones.<br />

Chords can be related to major scales by means of scale degrees.<br />

The chord-tone upon which the rest of the chord is built on is called the root.<br />

Scale C D E F G A B C<br />

Keynote<br />

degrees 1. 2. 3. 4. 5. 6. 7. 8.<br />

chord tones R 2 3 4 5 6 7 8<br />

Root<br />

R=is used to differentiate clearly the root of the chord from the keynote of the scale<br />

when using numbers.

A major triad consists of the root, third and fifth scale degrees (R, 3. 5.)<br />

Ex. C major triad<br />

chord tones R 3 5<br />

A minor triad consists of the root, flatted third and fifth scale degrees ( R. b3. 5.)<br />

Ex. C minor triad<br />

chord tones R b3 5<br />

Inversions<br />

A rearrangement of chord-tones is called an inversion.<br />

A chord with the root as the lowest note is said to in the root position;<br />

a chord with the third as the lowest note is said to be in the first inversion;<br />

a chord with the fifth as lowest the is said to be in the second inversion.<br />

G = 5 C = Root E = 3rd<br />

E = 3rd G = 5th C = Root<br />

C = Root E = 3rd G = 5th<br />

Root Position First Inversion Second Inversion<br />

Since chord-tones can be rearranged into as many positions (inversions) as there are<br />

chord tones, four note chords will have four positions, five-note chords will have five<br />

positions, etc.<br />

Specific chord positions can be indicated by using a slash mark ( / ) after the chord<br />

symbol and a letter, “R” for root position, or a number for other positions:<br />

C/R = C major triad, root position; C/2 = C major triad, second position;<br />

C/3 = C major triad, third position, etc.<br />

When the composer wished to specify a particular bass note he may use a slash mark<br />

and a letter indicating the desired bass note:<br />

C/E = C major triad (any position), E bass note; C/G = C major triad, G bass note, etc.<br />

A specific chord and a specific bass note can be indicated by using two slash marks,<br />

the letter or number after the first slash indicating the chord position, the letter after the<br />

second mark indication the bass note:<br />

C/2/G = C major triad, second position, G bass note, etc.<br />

As a musician you should know what chords and inversions are available to you in every<br />

key.<br />

9<br />

Many of you may have learned the number system approach to playing songs. As a rule<br />

I don’t teach that method but I will speak to the concept throughout this course. As you<br />

become more familiar with chords and progressions you will soon ween off the number<br />

system. In this new musician course we will cover alternate ways to support the mode of a<br />

service when you’re on the keyboard or organ. Here’s a few techniques your can apply to<br />

what you’re currently playing now.<br />

1. Before service starts if there’s no praise team at your church use an opening song like “<br />

Lord prepare me to be a Sanctuary” (not the up tempo version) :)<br />

A good congregation key is Eb or F. I suggest in order to warm up the singing of your<br />

congregation start in the key of Eb. Here’s your first look at our song teaching method<br />

Lord Prepare Me in Eb<br />

Lyrics: Lord....... pre - pare.... me....to be a sanc...tu....ar.....y<br />

Melody: G F Eb .................Eb .........G......Bb .........F<br />

R/H chord Ab m73b Eb 9/2 ...........................................Bb 9....<br />

Bass Bb ........Eb .........................................................D.....<br />

Lyrics Pure and ho...........ly tried and tru...............e<br />

Melody F G Ab F Eb F G, Ab , G F<br />

R/H chord Fm/2 C7/4 Fm/2 Fm/1 Ab maj7/4 Bb 7/4 Eb /2 Bb 9<br />

Bass Ab G F Bb Eb Bb<br />

Lyrics: With thanks giv-ing I’ll be a liv - ing<br />

Melody: G F Eb ...........Eb ..G....Bb ..........G<br />

R/H chord Bb 7 Eb 9/2 ....................................Bb 9....<br />

Bass Bb ........Eb ....................................................D.....<br />

Lyrics: with thanks...giving I’ll be a liv - ing sanc.....tu...........ar....y<br />

Melody: G F Eb Eb G Bb F F G Ab F<br />

R/H chord Ab maj7 Bb 7 Eb 9..............................Bb 9 Fmin/1 Db dim/4 Fm/2<br />

Lyrics: Lord for you<br />

Melody: G B Eb<br />

R/H chord Ab maj7 Bb 7 Eb<br />

Bass Bb ....................Eb .................<br />

Here are a few of the chord progressions posted above you will<br />

<br />

Bb9/2<br />

learn how to use during this course.<br />

Eb9/2<br />

Dbdim7/4<br />

Abm7b3<br />

Abmaj7/4<br />

Root Position<br />

1st Inversion<br />

2nd Inversion<br />

C7+5<br />

CHORDS IN C<br />

Cm<br />

Practice these chords using the fingering<br />

from the image on the previous lesson on<br />

scales page. Thumb is always in the root<br />

note of the chord.<br />

Quiz<br />

1. When switching inversions which finger<br />

plays the first note of each inversion<br />

chord?<br />

10<br />

Cdim<br />

C6<br />

2nd Inversion

Oh<br />

How I Love<br />

Jesus<br />

Oh, how I love<br />

Je -<br />

-<br />

PRACTICE THESE CHORDS<br />

TO THIS FAMILIAR SONG<br />

sus<br />

be....<br />

ca..<br />

me<br />

ause<br />

first<br />

he<br />

Intermediate <strong>Music</strong>ian <strong>Course</strong> for Keyboard - Piano and Organ<br />

As an Intermediate Church <strong>Music</strong>ian your find yourself currently serving as the church musician and<br />

playing for the choir(s). This course is going to assist you in finding your place in minsitry as you’re<br />

growing in confidence serving the local church. We have been where you are right now and we’ve<br />

provided ongoing techniques in order that you may grow into your position as church musician.<br />

It’s more than just chord ans runs now as you have an important role to fulfill providing appropriate<br />

music to support your Pastor and those the minister to the congregation.<br />

Let the lessons begin.............<br />

Sammy Says<br />

As the new musician it’s very important to establish a foundation of music theory first. I know you want to play all the phat chords and<br />

you want the “shout the house” chords. There’s plenty of time to learn those trust me. Right now I want you to become a well rounded<br />

musician able to play at a moments notice any song that is relative to the church service you’re ministering in. To accomplish this I have<br />

made available reference material at the end of this workbook and I suggest in your practice time you view the information provided for<br />

your education. Practice the lessons for your skill set and learn them well. I will have quizzes throughout this course book to assist you<br />

in monitoring your progress. Take a look at the chords in C located in the reference pages. You will need to know all of these chords and<br />

many more in order to reach the next level.<br />

Praise Chords in C ” How Great is Our God “<br />

Lyrics How great is our God.........how great..... is our God......how.....great.....how......great...is.... our...God<br />

Melody C.......C.....G...D....C............C....C...........G...D...C.........C.........C...........C.........D.........G......D.....C<br />

chords G C E..G B D..G C E, G B D, G C E, G B D, G C E, G B D, G A C................A B D...............E G C<br />

Bass C........................C.......B..........A.....................A..............G........F...........F...........G.........................C<br />

chords II G C D E....................A D G....G B C E.......................F G A C...........G A B D............................D G C<br />

chords III C D E G..........E B D / Ab C D G...............................D A / E F A C....................................<br />

The way I teach is you start off with the basic melody and basic chords. Next time around you mix in the next level of chords. Third time around you mix<br />

and match the first two chord patterns with the third pattern. The key is to know when to play the 2nd and 3rd chords remembering you have to support the<br />

melody line.<br />

“ Establishing the Local Church <strong>Music</strong> Department”<br />

It has been brought to my attention that many of the new musicians serving the local church are faced with the task of establishing a music department complete with choir Presidents, <strong>Music</strong><br />

Directors etc. In this organization sometime the roles tend to overlap and feelings become hurt because of misunderstandings.<br />

Every church organization is separate unto itself but I have gathered some basic rules which may assist you in formation of a Local Church <strong>Music</strong> Department.<br />

You and your group<br />

1. Is your life in harmony with Jesus? Very important that you are prayerful in seeking wisdom from God as you deal with His people. Begin your rehearsals with prayer and scripture and end<br />

with a prayer.<br />

2. Remember the ministry of music should exalt “God” not the “singers” or the “musician”.<br />

3. You must all be in harmony with the Pastor and the spirit of the ministry of your church.<br />

4. Can you talk and communicate with the spirit of intelligence? Soft words turn away wrath.....<br />

5. Can you say forgive me when you’re wrong in the presence of your group?<br />

6. As much as possible invite suggestions from the members of your music group as you organize.<br />

7. Build up and encourage one another.<br />

When do we need a Minister of <strong>Music</strong> or <strong>Music</strong> Director?<br />

1. When you have several choirs active in the church.<br />

2. When you need someone to select music, train the choirs and be responsible for the overall quality of music presented in the church services. This person should be knowledgeable in the<br />

field of music.<br />

When do we need a Choir President and what is their responsibility?<br />

1. When the administration concerns become too involved for the Minster of <strong>Music</strong> then a Choir(s) President can be appointed or voted upon to be the administrative voice to the choir. The<br />

President provides the business format for the group and provides discipline so that things run smoothly, running meetings and<br />

anything else which is non music related fall under the Presidents role. In some instances a vice President may be required. In such case they must work together to meet the needs of the<br />

group and are in close consultation with the Minister of <strong>Music</strong>/Director over any choir concerns. They all must work together in harmony as an<br />

example to the members.<br />

What are other necessary positions?<br />

<strong>Music</strong>ian - This can be one or more individuals led of God to provide and accompaniment for the choir.<br />

Director - This person teaches the choir(s) the music and should be musically inclined. Works closely with the musician in leaning the music and the various voicing for choir rehearsals. Be on<br />

time for rehearsals and always prepared with sheet music, words or music for the choir rehearsal. Verifies all music selected with the<br />

Minister of <strong>Music</strong> to be certain that it’s in harmony with the Pastor and spirit of the ministry of the church.<br />

Chaplain - The Chaplain offers prayer prior to the choir going into the sanctuary or a building to minister in song<br />

.<br />

Building a Good Choir<br />

1. Every officer know specifically what their job is.<br />

2. The better trained the musicians are, the better the choir, musically.<br />

3. The director should have a working knowledge of music and know what they are doing.<br />

4. Choir members should be willing to listen to the director. The director instructs the choir not the choir instructs the director.<br />

5. Promptness to rehearsal, good attendance, willingness to learn and alertness makes for a good choir.<br />

6. The director must prayerfully know what to sing, when and where.<br />

7. The musicians must realize they take directions from the director also.<br />

8. Be prayerful, take directions and be the best singer/musician in your section.<br />

THE MUSICIANS & THE SINGERS & MINISTRY by Min. Steven Ford<br />

MUSICAN ETIQUETTE ( Pre-Service Prep)<br />

A) Establish Priorities in Your Life (Get Order)<br />

1. Relationship with God<br />

2. Your spouse, ....your family<br />

3. Your health<br />

4. Your employment<br />

5. Your ministry<br />

6. Your <strong>Music</strong>al Development<br />

7. Other Interests (sports, hobbies, etc.)<br />

8. Pray for the Pastor of your Church<br />

9. Pray for the Minster of <strong>Music</strong><br />

10. Pray for your fellow musicians, respect their time of service and confirm them in<br />

Ministry.<br />

11. Attend rehearsals<br />

12. Bible Study before <strong>Music</strong> Study<br />

13<br />

13. Practice..Learn Hymns, Worship, all Styles<br />

14. Develop an organized life style.<br />

15. Become faithful, and accountable for everything you do or say<br />

16. Keep a folder of all your music, be prepared<br />

17. Sanctify you attitude<br />

Temperamental <strong>Music</strong>ians need deliverance<br />

Sensitivity and Flow ( The Service)<br />

1. Arrive early before the pre-service to check you instrument and tune up.<br />

2. Respect others during the tune up, this is not a JAM Session.<br />

3. JOIN THE PRAYER<br />

4. Play with dynamics...be sensitive to the Spirit.<br />

5. Watch you Minister of <strong>Music</strong><br />

6. Watch your Worship and Praise Leader<br />

7. Song selection is not your job, unless instructed by the Minster of <strong>Music</strong>, each song<br />

should be played as unto the lord.<br />

8. Give Excellence whether you feel like it or not.<br />

9. Let the playing of your instrument be an extension of your worship to God

Playing Hymns and Spiritual Songs used in the Church<br />

What’s the secret to playing hymns effectively? Here’s an excerpt from the Methodist Songs of Zion supplement hymnal:<br />

Keys to <strong>Music</strong>al Interpretation, Performance, and Meaningful Worship<br />

General Suggestions<br />

DIRECTOR<br />

Proper musical performance and interpretation are aids to meaningful worship experiences. <strong>Music</strong> is and important part of the worship service, so be sensi-<br />

tive to the worship leader. Worship is a total experience, and many through the musical word as well as through the spoken word.<br />

Sometimes the place of a song in the worship service can say much about the tempo. For example, the refrain to the hymn” I Surrender All,” may be used as<br />

a prayer chant, in which case it would be performed slower than usual.<br />

Be creative and add other instruments, such as guitars, drums, and tambourines to performances, but use discretion in doing do. Don’t overdo it! Hand clap-<br />

ping can also be a very effective with certain music genres.<br />

ACCOMPANIST (PIANIST or ORGANIST)<br />

Accompanying is an important role, so pay close attention to the director, soloist, and worship leader. If no one is directing the congregation, it is left to the<br />

accompanist to lead with his or her instrument, so lead forcefully.<br />

Be careful not to play too loudly. It can overpower the singing or detract from a worship mood.<br />

INSTRUMENTAL IMPROVISATION<br />

The beat (rhythm) is one of the most important aspects of Black music, whether the composition is fast, slow, or moderate. It must be kept as soon as it is<br />

established. Sometimes the beat (rhythm) changes while the performance is in progress and then revert to the original beat. No matter what , keep whatever<br />

beat is established at any given time.<br />

There are very few in moments of silence in improvisation of Black music, and when they do occur they are generally for special effects. Fill in measures of<br />

rests (or open spaces) with chords duplicated at the upper or lower octave, broken chords (arpeggios) , passing tones either as single notes or in octaves,<br />

passing tone chords, upper and lower neighboring tones, runs, turns, glissandi, chromatic motives or phrases an so on. Remember, however, that all these<br />

“extras” must be utilized with taste and discretion. Whatever the nature of your improvisation, do not leave open spaces.<br />

The changing of keys (modulation) is very common in Black music performance. It adds variety and often heightens the emotional effect of the composition.<br />

Most compositions can be reduced to a I-IV-V-I chord progression, whether they are written in major or minor key. Therefore, chordal embellishment or deco-<br />

ration is very common in black music performance. Use augmented tonic and dominant chords; dominant chords; secondary dominant chords; diminished<br />

triads; dominant, augmented, and diminished seventh chords; ninth, eleventh, and thirteenth chords; chordal inversions and altered chords. Flatted thirds,<br />

sixths and sevenths are common.<br />

<strong>Music</strong> Director/Organist<br />

Galilee United Methodist Church, Englewood, NJ<br />

Thought this was going to be an easy course? No way, I use every one of the above techniques in my hymn playing and<br />

if you follow my examples, I will teach you how to improve your understanding of hymn playing using these techniques.<br />

In the follwing sections we will cover the “standard hymns” used in todays church and praise songs which have now become the “new” standard.<br />

As a church musician you have the responsibility of learning all the selections needed to fulfill the major worship needs of the<br />

service. As time changes some of these songs not sung regualry but you should know they are applicable to morning worship.<br />

Here are some suggestions we encourage you to add to the list you already play.<br />

Processionals: Key Seasonal Selections ( Christmas ) Key<br />

Holy, Holy, Holy Eb Joy to the World Bb<br />

Guide Me O, Thou Great Jehovah G O Come All Ye Faithful G<br />

Rejoice Ye Pure in Heart F Silent Night Bb<br />

Sign Me Up G Hark the Hearal Angels Sing F<br />

We’re Marching to Zion F Emanuel C<br />

Lord Prepare Me to be Sanctuary F Jesus, O What a Wonderful Child Ab<br />

Prayer Chants ( Easter )<br />

Hear Our Prayer O Lord Eb At the Cross F<br />

The Lord is in this Holy Temple Db Nothing But the Blood of Jesus F<br />

The Blood will Never Lose its Power Ab<br />

Opening Hymns Because He Lives Ab<br />

A Mighty Fortress Is Our God C Christ Is Alive<br />

Great is thy Fatihfulness Eb Up from the Grave He Arose C<br />

Blessed Assurance Db<br />

To God Be the Glory(Hymn version) Ab<br />

O How I Love Jesus G<br />

Love Lifted Me Bb<br />

What a Fellowship G<br />

Sweet Sweet Spirit Gb<br />

Invitation/Prayer<br />

Come Unto Jesus F<br />

I Surrender All Db<br />

Just As I Am Eb<br />

I Have Decided to Follow Jesus Db<br />

Pass Me Not O Gentle Savior F<br />

What a Friend We Have in Jesus F<br />

I Am Thine O Lord Ab<br />

No Not One F<br />

Sweet Hour of Prayer C<br />

Congregational Selections<br />

I Feel Good, Good Good Ab<br />

What a Mighty God We Serve Eb<br />

Praise the Name of Jesus Eb<br />

I’m Running For My Life Eb<br />

He Never Failed Me Yet F<br />

My Soul Loves Jesus Ab<br />

Yes God Is Real Bb<br />

God’s Not Dead, He’s Yet Alive G<br />

Jesus on the Inside Working on the Outside Bb<br />

Hallelujah Anyhow Db<br />

I’m a Soldier in the Army of the Lord G<br />

The Windows of Heaven are Open Bb<br />

There are of course many more songs we have not inlcuded with this list. I feel these are the standard songs every church<br />

musician should already know. We will cover all these selections as part of this course and others not on this list.<br />

Scale Practice<br />

Here are some of the same scales you’ve already practiced in<br />

sheet music format. For extra credit can you name the key and<br />

the notes in the scale of that key?<br />

YOU CAN SUPPORT OUR MUSIC MINISTRY BY PURCHASING OUR<br />

CHURCH MUSICIAN DVD AND CD’S PRODUCTS<br />

Sam’s <strong>Gospel</strong> Chord Progessions<br />

for Advanced <strong>Music</strong>ians<br />

Sam’s Hammond Organ Corner<br />

Drawbar settings Upper(chord/solo hand) Lower(chord hand) Bass Pedals<br />

During Meditaion Time 007800453 006700540 63<br />

Testimony Service 787746046 008800673 71<br />

While speaker is talking 678404231 006602024 63<br />

Latin 880060000 006676000 62<br />

Progessive 888800000 008884000 75<br />

Born to B3 888808008 007725400 84<br />

Theatre Organ 878656467 008844000 75<br />

America 887724110 006606000 61<br />

House Bass 880000000 008080000 80<br />

House Church 808808008 008808021 80<br />

Jimmy Mc G 883200125 448650000 83<br />

5th Organ 080080883 008806000 73<br />

Full B3 Clean 888888888 777777777 85<br />

Soft Backing 888700000 555400000 62<br />

Holmes 888420080 000505000 72<br />

Screaming 800388888 007033333 72<br />

Shoutin 878645466 888800000 84<br />

To thoses of you new to the Hammond Organ:<br />

To start the Hammond Organ you push and hold the start switch while counting 8 seconds. Continue to hold the start switch then press and hold the run switch and count for 8 seconds.<br />

Release them both and the start switch will toggle back but the run switch will stay forward. On the preset keys you will find preset tones. When you depress any of these key they will<br />

stay depressed and select the tones printed on the keys. If you depress the keys to the right of the preset keys you will enter the harmonic drawbar mode. This is where you can create<br />

your own combination of tones independent of the preset harmonic tones. Each manual has two sets of drawbar that correspond to the preset manual drawbar you have selected.<br />

The bass drawbars found in the middle of the drawbars control the tone of the bass foot pedals. The Bass foot pedals are played with he heal/toe method where you play the lighter<br />

pedals with the heal area of your foot and the black pedals with your toe. The volume pedal controls the over all loudness of the organ. The Leslie switch (some models don’t have one)<br />

controls two whirling cones in the Leslie amplifier that creates that theatrical effect of sound splitting the air synonymous with the Hammond Organ. Then bench is where you sit of<br />

course. I you have the later version of the Hammond Organ (XB-2 and up) you will not have the start/run or Leslie switch. Some organs have been modified with newer technology<br />

eliminating these components. There’s are many models of Hammond Organs in churches today. I have acquired some images of them and a brief description of what features they<br />

have in common. Some of the do’ and don’t are<br />

1. make sure you press start and hold for 8 second then push the run. Never press both switches at same time.<br />

2. pull gently on the drawbars, there are stops that will break and drawbars come off in you hand.<br />

3. when playing foot pedals try not to “stomp” on then. There are springs called pedal pushers that will break.<br />

4. if certain tones are not heard when drawbars are pulled out chances are the wire in rear of that drawbar has broken. If your mechanically inclined you can repair the problem yourself<br />

with a soldering iron.<br />

5. if your area experiencing distortion from the Leslie amp chances are the vacuum tubes have worn out.<br />

Have only a qualified Hammond Organ tech to come and check out entire organ and have him do preventative maintenance such as checking the oil level in the reservoirs, foot pedal tension and worn<br />

belts in Leslie amp. The Hammond Oran has stood the test of time and will continue to be the instrument of choice in today’s churches.<br />

Church <strong>Music</strong>ian Do’s and Don’ts<br />

A quote from a church musician:<br />

We need to teach this course because some musicians just don’t get it. I’m at revival tonight where my church is the host church. The musician for the pastor<br />

preaching the revival isn’t present, so as musician for the host church I play. Now there is a guest church choir. Their musician asks me to play with her on the<br />

organ as her choir sings. She’s very old school, so I play with her using old school changes and not playing over her. Cool. How ‘bout when the preacher gets<br />

up, instead of her taking her out of style playing self back to her seat, she insists upon playing with me (make that she played all over the place while I was<br />

concentrating on supporting the preacher) and doesn’t follow me at all! I gave her all the “I’m on the organ and I got this” signals, but she doesn’t have a clue.<br />

Back in my younger days I would have unplugged the keyboard!<br />

Then, later on, during the altar call, another musician, this one younger, proceeds to play with me, using the transpose button. Mind you, the minister doing the<br />

altar call is the pastor of the host church, which I play for. He starts a little hoop during the prayer, and this musician plays all in front of me and doesn’t follow at<br />

all. How you gonna try and play all over me at my church with the pastor I play for every Sunday?? I don’t try to musically fight musicians while service is going<br />

on because I think that is a serious distraction, but in both of these cases, I had to handle my business and ignore them since they didn’t have sense enough to<br />

follow me.<br />

Don’t musicians understand any protocol anymore? It’s just plain rude to not try to play together instead of going your own way when you’re a guest at another<br />

church. I love playing with other musicians because I often learn a lot from them. But clueless folks like tonight work my nerves and makes me mad. But when<br />

folks don’t check their egos at the door, and want to show they can play as well when they can’t, we got problems.<br />

The scripture says that David played “skillfully” before the Lord. Some musicians have just cut that out of their bibles.<br />

<strong>Music</strong>ians, don’t abuse the gift because you have the loudest instrument at the time. Work with other musicians and respect the<br />

“house” in which you’re playing in when its not yours. :)<br />

Looking for a local church to minster your gift of music. Register with Sound of Joy and we will add you to our referral listing. We want to send<br />

only prepared musicians to serve.<br />

iF YOU HAVEN’T ALREADY TAKE A 15 MINUTE BREAK THEN CONITUNE WITH YOUR LESSONS<br />

PROGRESSIONS CHORDS IN C<br />

BASS L/H R/H<br />

C C D G C E<br />

D D F A Bb D F<br />

E E G Bb D E G<br />

F C G A E A<br />

F C F A D A<br />

E B E B D E Ab<br />

E Eb A C Eb Gb A<br />

D D Ab B D F Ab B<br />

A A E G C E G B D<br />

D D Gb C E Ab B<br />

G D F C E F A C<br />

G F B Eb G B<br />

C F G Bb D F A C<br />

C E Bb D E A C<br />

C E Bb Eb E Ab C<br />

F Eb G Bb C Eb G C<br />

F Eb A Eb G A C<br />

Gb Eb Gb A Eb Gb A C<br />

G F Bb D F G A C<br />

C E Bb D E G C<br />

Assignment:<br />

Be very patient when learning these progressions. The secret<br />

behind my progessions is the top note. It’s a melody line<br />

supported by chords and a bass bottom. Learn the right hand<br />

chords first then the bass and left hand. Hear how the chords<br />

mesh with each other if though you were mixing a cake. Don’t<br />

rush and feel the power behind each progression as it builds<br />

off the previous. This is how I use chords in support of any<br />

melody line I may be playing.<br />

Once you have learned this progression lesson transpose enitre lesson to Db and send me a youtube<br />

video of this progression and the one in C.<br />

Welcome to Sam’s Preacher Chords Page<br />

The effectiveness of preacher chords in a service carries a great responsibility. As the musician you, the preacher and evangelist or minister are working<br />

in harmony to deliver the point of the message. Preacher chords can vary depending upon the spirit of the minister and the receptiveness of the congrega-<br />

tion. Preacher chords in essence becomes the stamp of approval musically to the message. Therefore, you must develop a sense of which chords, chord<br />

patterns and most importantly the placement of those chords should be used as you minister in music while the preacher ministers the word of God. I have<br />

the experience of playing behind some great preachers over the past 27 years. I have complied a basic to advanced list of chords and chord patterns you<br />

can learn and then adapt to your own.<br />

Here are my basic “up the ladder” preacher chords. Most preachers minister well when you keep the patterns simple. Remember, the preacher is in<br />

charge. You are just accompanying them while they are delivering message. Do not lead them with these chords, you follow behind them. Most like it<br />

when you give them a short and long burst with the chords. This allows them to catch their breath in between preaching. A good rule I use is to let the<br />

preacher “signal” you when they invite you to minister with him or her. Now some preachers like to “moan” first, then they want you to accompany them.<br />

Beware that some may not be used to how you work with them. Some may bring their own musician with them for this reason. Don’t ever feel embar-<br />

rassed if the minster instructs you to “hold your fire” when they’re preaching. It’s a way to let you know that they are not ready to “take off” yet. You can<br />

burn out a preacher too early in his/her message with preacher chords. Experience will be your best teacher when it come this. I always wait until the<br />

preacher signals me when they’re ready for me to give them the fuel to “take off”.<br />

When using these chord patterns you always end each pattern with the 1st chord.<br />

Here is the “burst” pattern I talked about earlier - short - long - short - long - short - long - short<br />

Website page for chords - www.Samsmuzikco.com/preacher.htm<br />

YouTube video references:<br />

Check out these preachers as they “tune” up and send me what “key” they are in and how many times they change key.<br />

http://www.youtube.com/watch?v=y7pEm9Hul4M Pastor Joe Hughs<br />

http://www.youtube.com/watch?v=pMz0xsiNm24&feature=PlayList&p=E5A3FC060EB52C35&playnext=1&playnext_from=PL&index=35 Min Mark Moore<br />

http://www.youtube.com/watch?v=V7r9Zc-Nwxg&feature=PlayList&p=E5A3FC060EB52C35&playnext=1&playnext_from=PL&index=21 Rev Tellis Chapman<br />

http://www.youtube.com/watch?v=8Mtf0XsGOM0 Rev. Clay Evans<br />

http://www.youtube.com/watch?v=bDOkHlAn9Mc Dr. Leroy Elliot<br />

http://www.youtube.com/watch?v=CEJHH4qGYok Rev. Jerry Black<br />

http://www.youtube.com/watch?v=SOTE_7YW9zk Min. Felton Rowe Jr<br />

http://www.youtube.com/watch?v=nClKIYMFRiU&feature=PlayList&p=E118B67B6D5FAEEB&playnext=1&playnext_from=PL&index=88 Dr. Patrick T. Brown<br />

When it comes to “preacher chords” you can almost make them up as you go. Rather that post the chords we use we’ll give you basic to advanced chords that<br />

you can mix and match depending upon how you feel to use them.<br />

Preacher chord patterns with variations.<br />

short long short long short end<br />

C C / E Bb /E A C E / E Ab Bb C F / Eb G A D,C Gb / Eb Gb A C G / D G / C F G A C C / E G Bb / D E G C<br />

Db Db / F Ab B / F Ab Db F/ Eb A / Eb G Db Gb / E Bb / Ab Db E E / D Ab / D Gb Ab Db Eb / Db G /Db F G Bb Db<br />

Ab/ Eb Gb / Db Gb Bb Db Db / F Ab B / Eb F AbDb<br />

D D / F# / C E A G# D# F# / C F A# D G / D F / F A C D G# / D F G# / F G# B D A / E G / C E G B D D / F# C / D F# A D<br />

Eb Bb/ F A / Db F Ab C EbA / E G / Db G B Eb Ab / Eb Gb / Eb Gb Bb C E......Bb C Eb Gb....Ab C F........Gb Bb C Eb<br />

A / Gb A / Eb Gb A C E Bb / F A / Eb Ab Bb C Eb E / F G Bb Eb<br />

Basic Preacher Chord Patterns in Every Key<br />

Key 1st chord 2nd chord 3rd chord 4th chord 5th chord 6th chord<br />

C major C / E G A C F# / E Ab BbC F / EbGAC F# / Eb F# A C G / E G A C G / F B EbG<br />

Db major Db/ F AbBbDb G / F A B Db F# / EAbBbDb G / E G BbDb Ab/ FAb Bb Db Ab/ F# C E Ab<br />

D major D / F# A B D Ab / F# BbCD G / FABD Ab/ F AbB D A / F#A B D A / A DbF A<br />

Ebmajor Eb/ GBbCEb A / G B DbEb Ab/ F#BbC Eb A / F# A C Eb Bb/ G BbC Eb Bb/ BbD F# Bb<br />

E major E / AbB DbE Bb/ AbC D E A / G B DbE Bb/ A BbDbE B / AbB DbE B / A EbG B<br />

F major F / A C D F B/ A Db Eb F Bb/ AbC D F B / Ab B D F C/ A C D F C/ Bb DAb C<br />

F# major F# / BbDbEb F# C / BbD E F# B / B Db Eb F# C / A C Eb F# Bb/ Db Eb F# Db/B F A Db<br />

G major G / B D EG C# / B EbF G C / BbD EG Db/ BbDbE G D / B D E G D / C F# Bb D<br />

Ab major Ab/ C EbFAb D / C E F# A Db/ B EbF Ab D / B D F Ab Eb/ C EbF Ab Eb/ EbG B Eb<br />

A major A/ DbE F# A Eb/ Db F G A D / CEF#A Eb/ C EbF#A E / DbEbF#A E / DbAbC D<br />

Bb major Bb/ D F G Bb E / D F# Ab Bb Eb/ DbF G Bb E / DbD G Bb F / E F G Bb Eb/ EbA Bb F<br />

B major B / Eb F# Ab B F / EbG A B E / D F# Ab B F / D F Ab B F# / Eb F# Ab B F# / E Bb D F#<br />

Practice these chords with the youtube video links and learn the technqiue of playing behind the preacher.<br />

Hymn Momment<br />

Blessed Assurance key of D major<br />

Not much is known of the background of this Fanny Crosby hymn, “Blessed Assurance, Jesus is Mine.” Fanny tells this one story about the hymn.<br />

Mrs. Joseph Fairchild Knapp, wife of the organizer of the Metropolitan Life Insurance company, went to visit her and get an opinion of a tune Mrs.<br />

Knapp had written. “What does it say to you, Fanny?” she asked. Fanny’s answer was “Blessed assurance, Jesus is mine.” And then a few minutes<br />

later she handed to Mrs. Knapp the completed lyrics of the hymn. The tune and the lyrics were put together and are still sung today.<br />

Fanny Crosby wrote over 8000 hymns. She said about her blindness, “The first face ever to gladden my sight will be when I get to heaven and<br />

behold the face of the One who died for me. . . . I verily believe that God intended that I should live my days in physical darkness so that I might<br />

be better prepared to sing His praise and lead others from spiritual darkness into eternal light. With sight I would have been too distracted to have<br />

written thousands of hymns.”<br />

Blessed assurance, Jesus is mine!<br />

Oh, what a foretaste of glory divine!<br />

Heir of salvation, purchase of God.<br />

Born of His Spirit, washed in His blood.<br />

refrain:<br />

This is my story, this is my song,<br />

Praising my Savior all the day long.<br />

Perfect submission, perfect delight,<br />

Visions of rapture now burst on my sight;<br />

Angels descending, bring from above<br />

Echoes of mercy, whispers of love.<br />

Perfect submission, all is at rest,<br />

I in my Savior am happy and blest;<br />

Watching and waiting, looking above,<br />

Using the keyboard chart in the previuos scale lessons practice site reading by playing the notes which is the melody line. You will find a<br />

midi file of this lesson in the Advanced <strong>Music</strong>ians Link. Now transpose to the congregational key of Db and play the melody line. A video<br />

file of this lessson. Site reading requires you have a excellent understanding of scale notes and the relative pitch of this keys. The follow-<br />

ing sheet music lesson are of famliar songs sang in the pentcostal church. Practice these songs and send me a video file of you playing<br />

just the meldoy line. We will learn the chord patterns as part of the course later on.<br />

When learning how to site read its always better to start off with a song you maybe familiar with. This song is a traditional congre-<br />

gations song. Many of you chord around the song but may not know the exact melody line. This lesson is to train your ear to hear<br />

and your hands to follow the melody line so that chording and playing with feeling comes easy. Listen to the MP3 lesson file for the<br />

melody line, organ progressions I use with this song.Most congregations do not sing 4 part harmony. We will learn to chord around<br />

the melody and change the flavor of the song.<br />

For my advanced sheet music readers here’s a gospel selection you can practice with seeing how chords and formed<br />

around the melody line. The singing is done in unison from a congregational perspective but the music around the<br />

singing brings out the song. We will post a video of this song showing how this is done. If you can send me a video at<br />

our youtube site. For those taking the site reading course your assignment is to practice the melody line. I know it has<br />

triplet notes however, you know how the song sounds improvise ;) That’s the fun part about playing.<br />

IT’S TIME FOR A PRAISE BREAK<br />

Now most musicians find themselves caught between a rock and a hard place when it’s time to praise the Lord with a dance and shout. They<br />

fall back on basic standard runs and loud chords the repeat themsleves and maybe the change key once. I’ve always held the opinon when<br />

the praise starts it should follow the path and pattern of a song. Intro, verse, chorus, vamp and ending. Here’s our first lesson on building a<br />

praise shout. in the musicians shout key of A<br />

Ok, lets get our intro pattern:<br />

Bass left hand right hand run pattern<br />

C G B C F C E F A<br />

D F B E A B E F<br />

D D F A B A B D F A<br />

E E G A C A C E F A<br />

Now adding this opening pattern<br />

C C E B C E A<br />

D D F B E F A<br />

C C E B D E G<br />

F C D A B C E F A<br />

28<br />

(bass note) E , D, D<br />

(both hands) B, C, E ,F, E<br />

Now this is just the into or opening to the praise or shout. You can vary the runs to whatever your using now and incorporate new ones. I<br />

always recommend the shout start off at a pace of 145-150 bpm but some druumers my differ with me ;). At any rate if you have a drum<br />

machine or rhytmn section on your keyboard start at the practice tempo of 135 and work up to 150. I’ll post a video of this lesson on youtube<br />

so that you will visualize the concept. Frno here you can conitnue with your shout patterns unless you want some more from me?<br />

Ok here’s some verse patterns I use at times. In the bass patterns the “bold” denotes playing the lower key.<br />

Bass patterns left hand right hand run pattern<br />

A , C, F, E, E , F, G , G, A<br />

A , C, D , D, E , B, B , A, A<br />

A , C, E , D , D, F, G , G, A<br />

A , C, F, E, E , B, B , A, A<br />

Chords G B C F B,C E F A .........E , F B D<br />

G B E E A B<br />

These chords revolve around the movement of the base patterns. Again you can substitute your own patterns also.

KEYBOARD / ORGAN<br />

CHORD REFERENCE CHARTS<br />

THE FOLLOWING PAGES ARE SOME OF THE TRADITIONAL CHORDS USED IN GOSPEL MUSIC<br />

THE CHORDS ARE FOR REFERENCE PURPOSES ONLY<br />

WE WILL REFER TO THE CHORDS THROUGHOUT THIS COURSE<br />

WE ENCOURAGE YOU TO PRACTICE THESE CHORDS AND LEARN THE INVERSIONS<br />

• Recommendations

Sam’s <strong>Gospel</strong> <strong>Music</strong> <strong>Course</strong> <strong>Workbook</strong> www.Samsmuzikco.com Fall <strong>Music</strong> <strong>Course</strong> 2011 THEME : “ Playing with the Spirit and Understanding “ Theory for New Muscicians Practice for Intermediate <strong>Music</strong>ians Techniques for Advanced <strong>Music</strong>ians Church <strong>Music</strong>ian _______________________________ Church Name __________________________________

• Page 2 and 3: Sam Tolbert CEO Sound of Joy Music
• Page 4 and 5: NOTES 4
• Page 6 and 7: MINOR SCALE PRACTICE SESSION 6
• Page 8 and 9: Music Theory The musical alphabet i
• Page 10 and 11: C Root Position 1st Inversi
• Page 12 and 13: Intermediate Musician Course for Ke
• Page 14 and 15: Playing Hymns and Spiritual Songs u
• Page 16 and 17: Scale Practice Here are some of the
• Page 18 and 19: Advanced Musician Sam’s Gospel Ch
• Page 20 and 21: Church Musician Do’s and Don’ts
• Page 22 and 23: Welcome to Sam’s Preacher Chords
• Page 24: Hymn Momment Blessed Assurance key
• Page 27 and 28: For my advanced sheet music readers
• Page 29: KEYBOARD / ORGAN CHORD REFERENCE CH

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The Bachelor of Arts (BA) in Music is an academic degree that includes the study of a broad range of subjects covering music theory, history, music technology and performance. All students entering the program must take a number of core music classes and select a concentration in either Music Technology or General Music Studies to complete the major. Depending upon which ensembles one enrolls in, the number of credits for the major may vary between 42 and 46 credits. Because of this, electives vary between 17 and 21 credits.

College of Liberal Arts Major Change (CODO) Requirements    

Degree Requirements

120 credits required, auditions and interviews.

Students may begin scheduling their auditions and / or interviews post their initial meeting with their academic advisor. Students who are admitted to the University have up to one full year to pass an audition and/or interview. The audition/interview expectations vary somewhat from one concentration to another. See the Auditions and Interviews  page on the Division of Music website for more information.

Departmental/Program Major Courses (42-46 credits)

Required major courses (24-28 credits), foundational studies (15 credits).

Students may test out of various levels of music theory and other credits may be substituted.

• MUS 13200 - Music Theory I Credits: 3.00
• MUS 13300 - Music Theory II Credits: 3.00
• MUS 16100 - Class Piano And Musicianship I Credits: 3.00
• MUS 16200 - Class Piano And Musicianship II Credits: 3.00
• MUS 27000 - Computer Skills In Music Credits: 3.00

Discovery Forum (0 credits)

Music majors are required to attend a number of weekly events of their peers and faculty each semester for four six semesters. Students receive a pass or no pass grade in Discovery Forum, MUS 10100 depending upon the required number of Forums offered each semester. Consult with the Chair of Music to determine the exact number of required Forums needed to pass. Students may substitute up to 2 semesters of performance in band, orchestra, choir or other approved ensembles for MUS 10100.

• MUS 10100 - Discovery Forum Credits: 0.00

Symposia (Non-course Requirement)

Students must perform or present their research, compositions, arrangements or other creative work in their chosen style in two 30-minute presentations or Symposia over the course of their undergraduate career at Purdue. This may involve performing music, presenting their research, compositions, arrangements or other musically based work in a public forum. Students will work with a faculty member of their choice in preparing for the presentations.

Music History (3 credits)

Choose one.

• MUS 38100 - Music History I: Antiquity To Mozart Credits: 3.00
• MUS 38200 - Music History II: Beethoven To The Present Credits: 3.00

Music Making Studies (6-10 credits)

Studio courses (6 credits).

Studio courses provide private and group instruction on individual instruments or voices in a masterclass setting. Students with a concentration in Music Technology must take 3 semesters of MUS 35100 Studio Piano to fulfill the course requirements. However, those whose concentration is General Music Studies may take any studio classes. Availability of approved studio classes to fulfill the requirement may vary somewhat from one semester to the next. Music Majors are given first priority for enrollment. Non-Music Majors are required to get instructor approval to enroll in the course. Please check the current schedule of classes or the Music Division website for new offerings.

• MUS 35100 - Studio Piano Credits: 2.00
• MUS 35200 - Studio Voice Credits: 2.00

Ensemble Participation (0-4 credits)

University Bands and Orchestras offers 2 credits for each of their performance ensembles and PMO and the Black Cultural Center do not offer credit for their performing groups. The zero-credit listed above is for performance in those ensembles.  A minimum of two semesters of ensemble participation is required for this degree .

For students who perform in groups that do not receive official university credit for their musical activities, they must submit an Attendance Verification Form which can be obtained in the Division of Music main office. Forms must be signed by the Director of the ensemble each semester in attendance.

• BAND 11000 - Marching Band Credits: 2.00
• BAND 12100 - Symphony Orchestra Credits: 2.00
• BAND 11300 - Jazz Ensemble Credits: 2.00
• BAND 11500 - String Orchestra Credits: 2.00
• BAND 11600 - Symphonic Band Credits: 2.00
• BAND 11700 - Concert Band Credits: 2.00
• BAND 11800 - Collegiate Band Credits: 2.00
• BAND 11900 - Varsity Band Credits: 2.00
• BAND 33000 - Summer Concert Bands Credits: 2.00
• BAND 33100 - Summer Jazz Bands Credits: 2.00
• BAND 34100 - Renaissance Ensemble Credits: 2.00
• BAND 35000 - Wind Ensemble I Credits: 2.00
• BAND 36000 - Wind Ensemble II Credits: 2.00

Required Concentration (18 credits)

Choose either the Music Technology or General Music Studies concentration.

Music Technology Concentration

Required courses.

• MUS 29200 - Music, Media, And Technology Credits: 3.00
• MUS 23200 - Music Theory III Credits: 3.00
• MUS 38300 - Digital Audio Recording And Production I Credits: 3.00
• MUS 38400 - Digital Record And Production II Credits: 3.00
• MUS 37600 - World Music Credits: 3.00
• MUS 37800 - Jazz History Credits: 3.00

Theory & Composition Studies

• MUS 23300 - Music Theory IV: Contemporary Music Credits: 3.00
• MUS 34100 - Music Composition I Credits: 3.00
• MUS 34200 - Music Composition II Credits: 3.00

General Music Studies Concentration

Choose one not taken previously.

Culture & Technology

Choose two.

Composition Studies

Other departmental - liberal arts core for bfa, professional, & education (25-34 credits).

The College of Liberal Arts Other Departmental area is designed to be experiential, informative, and relevant to life in a rapidly changing universe. It combines courses that fulfill University Core foundational outcomes, discipline diversity, social diversity, and other languages to produce a well-rounded background for students. Coursework is integrative and collaborative and fosters insight, understanding, independence, initiative, and the desire to reach across divides and redefine our relationship to the peoples and the worlds that surround us.

Core III: Linguistic Diversity (3-4 credits)

Proficiency through Level IV in one world language. Courses may be required to reach Level IV proficiency; these courses will be counted toward electives. (fulfills Humanities for core)

Foundational Requirements (21-30 credits)

Students must complete approved coursework that meet the following foundational outcomes. Many of these can also be used to fulfill Core I, Core II, or Core III.

• Humanities - all approved courses accepted (fulfills Humanities for core).
• Behavioral/Social Science - all approved courses accepted. (fulfills Behavioral/Social Science for core)
• Information Literacy - all approved courses accepted. (fulfills Information Literacy for core)
• Science #1 - all approved courses accepted. (fulfills Science for core)
• Science #2 - all approved courses accepted. (fulfills Science for core)
• Science, Technology, and Society - all approved courses accepted. (fulfills Science, Technology, Society for core)
• Written Communication - all approved courses accepted. (fulfills Written Communication for core)
• Oral Communication - all approved courses accepted. (fulfills Oral Communication for core)
• Quantitative Reasoning - all approved courses accepted. (fulfills Quantitative Reasoning for core)
• 2.0 Graduation GPA required for Bachelor of Arts degree.
• 32 credit hours at 30000 level or higher required for Bachelor of Arts degree.
• Liberal Arts offers a streamlined plan of study for students pursuing a second degree outside CLA. Contact the CLA Advising Office for more information. 

Electives (40-53 credits)

The following list of courses is only to show the music courses available to a student to assist in meeting the 32-hour 300-level university requirement. Students are in no way required to choose these courses as part of their electives.

University Requirements

University core requirements, for a complete listing of university core course selectives, visit the provost’s website ..

• Human Cultures: Behavioral/Social Science (BSS)
• Human Cultures: Humanities (HUM)
• Information Literacy (IL)
• Oral Communication (OC)
• Quantitative Reasoning (QR)
• Science #1 (SCI)
• Science #2 (SCI)
• Science, Technology, and Society (STS)
• Written Communication (WC) 

Civics Literacy Proficiency Requirement

The civics literacy proficiency activities are designed to develop civic knowledge of purdue students in an effort to graduate a more informed citizenry. for more information visit the civics literacy proficiency  website..

Students will complete the Proficiency by passing a test of civic knowledge, and completing one of three paths:

• Attending six approved civics-related events and completing an assessment for each; or
• Completing 12 podcasts created by the Purdue Center for C-SPAN Scholarship and Engagement that use C-SPAN material and completing an assessment for each; or
• Earning a passing grade for one of  these approved courses (or transferring in approved AP or departmental credit in lieu of taking a course).

Upper Level Requirement

• Resident study at Purdue University for at least two semesters and the enrollment in and completion of at least 32 semester hours of coursework required and approved for the completion of the degree. These courses are expected to be at least junior-level (30000+) courses.
• Students should be able to fulfill most , if not all , of these credits within their major requirements; there should be a clear pathway for students to complete any credits not completed within their major.

Program Requirements

Fall 1st year.

• Ensemble (see University Bands and Orchestras, PMO) - Credit Hours: 0-1.00
• World Language Level I - Credit Hours 3.00
• Oral Communication - Credit Hours 3.00
• Elective - Credit Hours: 3.00

15-16 Credits

Spring 1st year.

• World Language Level II - Credit Hours 3.00
• Written Communication - Credit Hours 3.00-4.00

15-17 Credits

Fall 2nd year.

• MUS 35100 - Studio Piano Credits: 2.00 or
• MUS 38100 - Music History I: Antiquity To Mozart Credits: 3.00 or
• Ensemble (see University Bands and Orchestras, PMO) - Credit Hours 0-1.00
• World Language Level III - Credit Hours: 3.00
• Concentration Course - Credit Hours 3.00
• Science #1 - Credit Hours: 3.00

17-18 Credits

Spring 2nd year.

• World Language Level IV (CLA Core III) - Credit Hours: 3.00
• Human Cultures: Behavior/Social Science - Credit Hours: 3.00
• Concentration Course - Credit Hours: 3.00

14-15 Credits

Fall 3rd year.

• Information Literacy - Credit Hours: 3.00
• Quantitative Reasoning - Credit Hours: 3.00
• Concentration Course - Credit Hours: 3.00
• Science #2 - Credit Hours: 3.00

Spring 3rd Year

• Science, Technology, and Society - Credit Hours: 3.00

Fall 4th Year

Spring 4th year.

• Human Cultures: Humanities - Credit Hours: 3.00

Pre-Requisite Information

For pre-requisite information, click here .

World Language Courses

World Language proficiency requirements vary by program. The following list is inclusive of all world languages PWL offers for credit; for acceptable languages and proficiency levels, see your advisor. (ASL-American Sign Language; ARAB-Arabic; CHNS-Chinese; FR-French; GER-German; GREK-Greek(Ancient); HEBR-Hebrew(Biblical); HEBR-Hebrew(Modern); ITAL-Italian; JPNS-Japanese; KOR-Korean; LATN-Latin; PTGS=Portuguese; RUSS-Russian; SPAN-Spanish)

Critical Course

The ♦ course is considered critical.

In alignment with the Degree Map Guidance for Indiana’s Public Colleges and Universities, published by the Commission for Higher Education (pursuant to HEA 1348-2013), a Critical Course is identified as “one that a student must be able to pass to persist and succeed in a particular major. Students who want to be nurses, for example, should know that they are expected to be proficient in courses like biology in order to be successful. These would be identified by the institutions for each degree program.”

The student is ultimately responsible for knowing and completing all degree requirements. Consultation with an advisor may result in an altered plan customized for an individual student. The myPurduePlan powered by DegreeWorks is the knowledge source for specific requirements and completion.