Course Descriptions

MUS 100 - Guitar I

1. Demonstrate musicianship through basic rudiments of music such as music reading in first position and important guitar chord forms.
2. Perform a wide variety of music from both popular and classical styles in an ensemble setting.
3. Demonstrate basic chord strumming and right-hand arpeggio patterns as an accompaniment in ensemble music

1. Parts of the Guitar, Music Symbols, Tuning, Playing Position, Right and Left Hand Technique, Notes on the First Through Third Strings
2. Notes on the Fourth String, Thumb Technique, Chord Strumming, and Right-Hand Arpeggio Patterns
3. Notes on the Fifth and Sixth Strings
4. Sharps and Flats, Twelve (12) Bar Blues (Soloing with Major and Minor Pentatonic Scales)
5. Chord Technique (Right Hand)
6. Open Position Chords (Cmin, Gmaj, E7, C, C7, D, Dmin, Dsus, D7, Amin, A7, A, B7, F, G7)  

MUS 101 - Guitar II

1. Demonstrate musicianship through music reading skills in the first through fifth positions and basic guitar-chord forms in all positions.
2. Demonstrate basic guitar techniques including scales, slurs, barring, shifting, arpeggios and tone production.
3. Focus on classical style in preparation for audition into the Music Applied Track (MUS 062 or MUS 162).

1. Right-Hand Techniques, Solos and Duets by Sor, Carulli, Carcassi and Guiliani
2. The Slur or Ligado (Upward and Downward), Sixth, Major Seventh, Major Ninth and Eleventh Chords
3. Repertoire and Performance
4. Ensemble

MUS 102 - Music Fundamentals

1. Demonstrate basic literacy writing music notation.
2. Develop basic literacy finding notes, intervals, and triads on the piano.
3. Develop and demonstrate basic harmony through intervals, triads, and dominant seventh chords.
4. Develop and demonstrate basic literacy in reading and notating rhythm through 16^th notes and rests.
5. Develop and demonstrate basic literacy with music terminology including dynamics, tempo, and various articulations.
6. Demonstrate basic compositional techniques including writing an accompaniment line to a melody.

1. Basic Concepts, Definitions, and Notation
   1. Pitch, loudness, timbre, octave equivalence
   2. Notes and rests, note heads, stems, flags, beams, time values, dots, accidentals, enharmonics
   3. Letter names of notes, register, staff, clefs, lines, spaces, ledger lines, grand staff, middle-c
   4. Piano registers and keyboard acquaintance
   5. Dynamic marks
   6. Articulations
      1. Slurs
      2. Legato
      3. Tenuto
      4. Staccato
      5. Accents
   7. Enharmonic notation
2. Rhythm and Meter
   1. Note values
   2. Beat and pulse, tempo, meter
   3. Tempo indications
   4. Metrical and non-metrical rhythmic organization
   5. Bar lines
   6. Classification of meters
   7. Counting time in simple meters, downbeat, upbeat, pickup
   8. Beaming notes, hemiola
3. Intervals
   1. Chromatic vs. diatonic
   2. Half and whole steps
   3. Melodic and harmonic intervals
   4. Seconds, thirds, fourths, fifths, sixths, sevenths
   5. Unisons, fourths, fifths, octaves
   6. Perfect and major interval classification systems
   7. Inversion
   8. Compound intervals
   9. Chromatic, diatonic, enharmonic intervals
4. Scales and Transposition
   1. Definitions
      1. Mode
      2. Scale
   2. Major scales
   3. Scale degrees
   4. Key concept, tonality
   5. Key signatures of major keys, circle of fifths
   6. Intervals in the major scale, size and quality
   7. Name of scale degrees
   8. Minor scales
      1. Natural
      2. Harmonic
      3. Melodic
   9. Accidentals in minor keys
   10. Intervals in the minor modes
   11. Parallel and relative keys
   12. Other scale types
       1. Pentatonic
       2. Whole-tone
       3. Chromatic
   13. Transposition
5. Key Signatures
   1. Relationship of key to key signature
   2. Sharp and flat signatures and what they determine
   3. Writing the signatures for major and minor keys
6. Triads
   1. Triad defined, root, third, fifth
   2. Standard types of triads
      1. Major
      2. Minor
      3. Diminished
      4. Augmented
7. Chords and Harmony
   1. Chord types and definition
   2. Chord inversion
   3. Figured bass
   4. The dominant-seventh chord
   5. Arpeggiated chords
   6. Proper names of triads and dominant seventh chords
   7. Chord voicing, root position, inversion, doubling
8. Simple Forms
   1. Cadences
      1. Authentic
      2. Half
      3. Deceptive
      4. Plagal
   2. Simple Forms
      1. Binary
      2. Rounded-binary (song)
   3. Harmonizing melodies

MUS 105 - Introduction to Piano (Non Major)

1. Perform repertory pieces within students’ technical ability.
2. Demonstrate the ability to build major scales.
3. Identify major keys from their signatures.
4. Transpose simple melodies from one tonal center to another.

1. Study of Major/Minor Scales and Key Signatures
2. Root Position Chords (Triads)
   1. Major 
   2. Minor
   3. Augmented
   4. Diminished
3. Repertoire Pieces Which Present Different Styles and Pianistic Challenges
4. Good Learning and Practice Methods/Habits
5. Transposition of Simple Compositions
6. Sight Reading of Pieces With Similar Problems to Those Encountered in Repertoire
7. Harmonizations of Melodies With Simple Accompaniment Figures

MUS 108 - Pima Jazz Band I

1. Demonstrate basic interpretation of jazz literature and its notation, particularly of the swing era.
2. Demonstrate jazz rhythmic proportions.
3. Perform modes melodically.
4. Demonstrate proper ensemble techniques: balance, intonation, and jazz timbres.
5. Demonstrate basic improvisational skills in solo roles.

1. Interpretation of Jazz Literature and its Notation
   1. Differences among jazz rhythms and their interpretations
   2. Interpretational approaches, primarily of the swing era
   3. The freedom/strictness of jazz rhythms
2. Development of Mind and Body Control
   1. Mental intensity
   2. Technical control of one’s instrument(s)
3. Interpretation of Different Jazz Rhythms Through Listening
4. Scales
   1. Learning modes and how to apply them to chord progressions provided by the composer
   2. The art of playing what one hears through intervallic studies
5. Ensemble Techniques
   1. The necessity of good group dynamics
   2. Individual and group intonation
   3. Good ensemble balance

MUS 109 - Pima Jazz Band II

1. Demonstrate interpretative abilities of jazz literature and its notation. 
2. Perform modes melodically at a higher level. 
3. Demonstrate proper ensemble techniques: balance, intonation, principals, and timbres.
4. Demonstrate intermediate improvisational skills in solo roles.

1. Interpretation of Jazz Literature and its Notation
   1. Differences among jazz rhythms and their interpretations  
   2. Interpretational approaches, primarily of the swing era  
   3. The freedom/strictness of jazz rhythms
   4. Continued understanding through practice of proper tempi for musical styles
2. Development of Mind and Body Control
   1. Mental intensity 
   2. Technical control of one’s instrument(s)
3. Interpretation of Different Jazz Rhythms Through Listening
4. Scales
   1. Learning modes and how to apply them to chord progressions provided by the composer  
   2. The art of playing what one hears through intervallic studies
5. Ensemble Techniques
   1. The necessity of good group dynamics
   2. Individual and group intonation 
   3. Good ensemble balance

MUS 111 - Exploring Music through Piano

1. Define fundamental musical terminology as it applies to students’ repertoire.
2. Demonstrate the ability to read music.
3. Perform pieces on the keyboard that reflect the styles of music explored in class.
4. Demonstrate the ability to learn music in an organized and efficient manner.

1. Keyboard Orientation
   1. Perception in playing the piano
   2. Body position
   3. Identifying keys
   4. Intervals
   5. Hand position
   6. Finger numbers
   7. Rhythm and meter
   8. Improvisation
2. Tonality
   1. Major/minor scales
   2. Improvising
   3. Chords in diatonic keys
   4. Chord progressions
   5. Key signatures
   6. Harmonization of melodies within keys
3. Piano Proficiency
   1. Methods of learning repertoire
   2. Practice methods
   3. Technique
   4. Pedal uses
   5. Sight reading
4. Musical Structure
   1. Basic form
   2. Phrase relationships
   3. Cadences
5. Musical Texture
   1. Homophonic (melody/accompaniment style)
   2. Polyphonic (fugal style)
   3. Monophonic
6. Style
   1. Listening to recordings/performances of music representative of various styles
   2. Performing music representative of various styles
7. Global Topics
   1. Arts in education and society
   2. Historical/stylistic trends

MUS 116 - Pima Community College Orchestra I

1. Interpret orchestral literature.
2. Perform notation.
3. Perform rhythmic proportions more accurately.
4. Apply all major and minor scales.
5. Demonstrate proper ensemble techniques: balance, intonation, and timbre (tone production) for orchestra.

1. Orchestral Literature and its Interpretation
   1. Notational variants and their rhythmic interpretations
   2. Recognition of rhythmic structural form
   3. Aesthetic experience and rhythmic accuracy in group performance
   4. Freedom of rhythms and their inherent strictness
   5. Interpretations of tempi
2. Mind and Body Control
   1. Mental intensity in rehearsals and performances
   2. Muscular control
3. Rhythms
   1. Recognition of rhythmic patterns
   2. Quick response to rhythmic patterns
4. Dexterity Through Scales and Intervals Ensemble Performance
   1. Leadership in group dynamics
   2. Improved musical balance
   3. Refined intonation and tone production of individuals and ensemble

MUS 117 - Pima Community College Orchestra II

1. Interpret orchestral literature at a more mature level.
2. Perform notation with greater accuracy.
3. Perform rhythmic proportions more accurately.
4. Apply all major and minor scales.
5. Demonstrate proper ensemble techniques: balance, intonation, and timbre (tone production) for orchestra.

1. Orchestral Literature and its Interpretation
   1. Notational variants and their rhythmic interpretations
   2. Recognition of rhythmic structural form
   3. Aesthetic experience and rhythmic accuracy in group performance
   4. Freedom of rhythms and their inherent strictness
   5. Interpretations of tempi
2. Mind and Body Control
   1. Mental intensity in rehearsals and performances at a more mature level
   2. Muscular control
3. Rhythms
   1. Recognition of rhythmic patterns at a high level
   2. Quick response to rhythmic patterns at a high level
4. Dexterity Through Scales and Intervals in Ensemble Performance
   1. Leadership in group dynamics
   2. Improved musical balance
   3. Refined intonation and tone production of individuals and ensemble

MUS 120 - Concert Band I

1. Demonstrate basic interpretation of instrumental literature.
2. Demonstrate basic motor skills.
3. Demonstrate rhythmic proportional knowledge.
4. Demonstrate proper ensemble techniques: balance, intonation, and timbres.

1. Interpretation of Literature
   1. Personal experiences of literature
   2. Recognition of music as an art form
   3. Compositional techniques
   4. Musical eras and styles
2. Mind and Body Control
   1. Mental intensity towards objectives
   2. Technical control over the instrument
3. Scales
4. Ensemble Performance
   1. Importance of good group dynamics
   2. Proper musical balance
   3. Art of aural perception, intonation, instrumental tendencies, proper embouchure, and tone production

MUS 121 - Concert Band II

1. Demonstrate intermediate interpretation of instrumental literature.  
2. Demonstrate intermediate motor skills.
3. Demonstrate rhythmic proportional knowledge at a high level.  
4. Demonstrate proper ensemble techniques: balance, intonation, and timbres.

1. Interpretation of Literature
   1. Personal experiences of literature  
   2. Recognition of music as an art form  
   3. Compositional techniques
   4. Musical eras and styles
2. Mind and Body Control
   1. Mental intensity towards objectives  
   2. Technical control over the instrument at high level
3. Scales  
4. Ensemble Performance
   1. Importance of good group dynamics
   2. Proper musical balance
   3. Art of aural perception, intonation, instrumental tendencies, proper embouchure, and tone production   

MUS 122 - Mariachi Ensemble I

1. Recognize the history, traditions, and cultural importance of mariachi music.
2. Demonstrate basic interpretation of mariachi musical selections from different regions at an introductory level.  
3. Demonstrate basic motor skills.
4. Demonstrate rhythmic proportional knowledge.
5. Demonstrate proper ensemble techniques, including blending, balance, intonation, and timbres.

1. Introduction to Mariachi Music
   1. The Mariachi Tradition
      1. History of mariachi groups in Mexico
      2. Cultural contexts of mariachi music
   2. Preliminary Evaluation of Musicianship 
      1. Assessment of aural perception, intonation, proper embouchure, tone production, posture, and playing position of instrument
      2. Review of tuning, maintenance, and care for instrument
2. Interpretation of Mariachi Music
   1. Personal experiences with mariachi music
   2. Introduction to simple melodies
      1. Aural recognition and imitation of simple melodies
      2. Transposition of simple melodies and songs
   3. Identification of song forms and compositional techniques through recorded music from different regions
      1.  Polkas
      2.  Corridos
      3.  Rancheras
      4.  Huapangos
      5.  Sones
      6.  Paso Dobles
      7.  Valses
   4. Translating Spanish vocabulary for use with musical nomenclature.
3. Mind and Body Control
   1. Mental intensity towards objectives in rehearsals and performances
   2. Technical control over the instrument, including demonstrating proper playing position
      1. Special features of the guitarrón and vihuela
      2. Bass movements (guitarrón)
      3. Trumpet (including embouchure and fingering positions)
      4. Harp
      5. Violin
   3. Technical control over the body, including using proper posture, alignment, breathing, and diction in ensemble singing
4. Rhythms, Scales, Chords, and Endings
   1. Recognition of rhythmic patterns and meters
   2. Playing major scales (including one octave scales in the keys of C Major, G Major, D Major, and A Major)
   3. Identifying simple chord progressions and bass movements
   4. Aural recognition of major and minor three-part chords 
   5. Identification of the I, IV, V7 progression
   6. Identification of “de cajón” endings for rancheras, boleros, romanticos, rancheras, románticos, and corridos
5. Ensemble Performance
   1. Importance of good group dynamics
   2. Proper musical balance and blending
   3. Proper tone quality/production, intonation, and timbres.
   4. Proper apparel for mariachi ensembles (including its authenticity and appropriate use)

MUS 124 - Mariachi Ensemble II

​

1. Discuss the history, traditions, and cultural importance of mariachi music.
2. Demonstrate interpretation of mariachi musical selections from different regions at an intermediate level.  
3. Demonstrate intermediate motor skills.
4. Demonstrate rhythmic proportional knowledge at a high level.
5. Demonstrate proper ensemble techniques, including blending, balance, intonation, and timbres, at an advanced level.

1. Further Exploration of Mariachi Music
   1. The Mariachi Tradition
      1. History of mariachi groups in Mexico
      2. Cultural contexts of mariachi music
   2. Evaluation of Musicianship 
      1. Assessment of aural perception, intonation, proper embouchure, tone production, posture, and playing position of instrument
      2. Review of tuning, maintenance, and care for instrument
2. Interpretation of Mariachi Music
   1. Personal experiences with mariachi music
   2. Reviewing simple melodies
      1. Aural recognition and imitation of simple melodies
      2. Transposition of simple melodies and songs
      3. Application to more advanced melodies 
   3. Review of song forms and compositional techniques through recorded music from different regions
      1.  Polkas
      2.  Corridos
      3.  Rancheras
      4.  Huapangos
      5.  Sones
      6.  Paso Dobles
      7.  Valses
   4. Translating Spanish vocabulary for use with musical nomenclature.
3. Mind and Body Control
   1. Mental intensity towards objectives in rehearsals and performances
   2. Technical control over the instrument, including demonstrating proper playing position
      1. Special features of the guitarrón and vihuela
      2. Bass movements (guitarrón)
      3. Trumpet (including embouchure and fingering positions)
      4. Harp
      5. Violin
   3. Technical control over the body, including using proper posture, alignment, breathing, and diction in ensemble singing
4. Rhythms, Scales, Chords, and Endings
   1. Recognition of rhythmic patterns and meters
   2. Review of major scales 
   3. Demonstrating chord progressions and bass movements
   4. Aural recognition of major and minor three-part chords 
   5. Demonstration of the I, IV, V7 progression
   6. Demonstration of “de cajón” endings for rancheras, boleros, romanticos, rancheras, románticos, and corridos
5. Ensemble Performance
   1. Importance of good group dynamics
   2. Proper musical balance and blending
   3. Proper tone quality/production, intonation, and timbres.
   4. Proper apparel for mariachi ensembles (including its authenticity and appropriate use)

MUS 125 - Structure of Music I

1. Demonstrate basic reading and writing of music notation.
2. Compose and part-write four independent voices.
3. Demonstrate harmonization of melodies using diatonic chords, including seventh chords.
4. Identify and use intervals, keys, chords, notation, tonality, and forms.
5. Analyze diatonic music for its structure, keys, chords and cadence type.
6. Demonstrate the ability to voice chords and lead properly.
7. Write diatonic harmonic progressions.

1. Review
   1. Intervals
   2. Scales
   3. Meter
   4. Keys
   5. Key signatures
   6. Chords
   7. Chords in a key
   8. Related subjects
2. Form and Analysis
   1. Cadences
      1. Authentic
      2. Half
      3. Deceptive
      4. Plagal
      5. Perfect
      6. Imperfect
   2. Phrases
      1. The four-bar phrase
      2. Question and answer
      3. Periods
      4. Parallel
      5. Contrasting
   3. Introduction to motives and variations
   4. Introduction to simple forms
      1. Binary
      2. Rounded-binary
      3. Ternary
      4. Strophic (song)
   5. Demarcations of form
      1. Slurs
      2. Cadences
      3. Double bars
      4. Repeat signs
      5. Da capo
   6. Textures
      1. Monophony
      2. Homophony
      3. Counterpoint
3. Non-Harmonic Tones and Harmonic Analysis
   1. Harmonic rhythm
   2. Chord recognition
   3. Non-harmonic tones
      1. Passing
      2. Neighbor
      3. Suspension
      4. Appoggiatura
      5. Escape
      6. Pedal
      7. Retardations
4. Simple Keyboard-Style Harmony
   1. How to harmonize a diatonic melody
   2. Melodic analysis
      1. Phrase structure
      2. Cadences
      3. Form
      4. Harmonic background
   3. Choosing chords and outlining the harmony
   4. Chord voicing/positions doubling
   5. Smoothing chord motions
   6. Chord figurations
   7. Non-harmonic tones
   8. Alto line
5. Figured Bass
   1. Chord inversions
   2. Symbols for tertian trichords and tetrachords (seventh chords)
   3. Chromatic alterations
6. Chord Functions
   1. Grammatical analogues
   2. Primary and secondary chords
   3. Composite chord symbols
7. Voicing Chords
   1. Voice ranges
   2. Crossed voices
   3. Spacing: closed and open positions
   4. Doubling
8. Voice Leading
   1. Motion types
      1. No motion
      2. Step motion
      3. Small leaps
      4. Large leaps
   2. Rules of voice leading
9. Part-Writing
   1. Types of relative motion
      1. Parallel
      2. Similar
      3. Oblique
      4. Contrary
   2. Goal – independence of parts
   3. Parallel and consecutive octaves/fifths
   4. Awkward leaps – a2 and tritone
   5. Smooth voice leading
   6. Direct octaves and fifths
   7. Overlapping and crossed voices
   8. Common tones and smooth part-writing procedures
   9. Cross relations
10. Part-Writing Seventh Chords
    1. Diatonic seventh chord types
    2. Resolution of seventh
    3. Seventh chords in a key
    4. Seventh chord functions
11. Cadences
    1. Authentic
    2. Perfect and imperfect
    3. Half
    4. Deceptive
    5. Plagal
12. Chords in Second Inversion
    1. Figured bass
    2. Doubling
    3. Cadential 6-4
    4. Passing 6-4
    5. Pedal 6-4
    6. Arpeggio 6-4
13. Harmonic Progression
    1. Definitions of progression and retrogression
    2. Root movement determination interval class
    3. Rules governing harmonic progression: strong and weak
14. Introduction to Secondary Dominants and Sevenths
15. Chorale Harmonizations
    1. Melodic and phrase analysis
    2. Harmonic rhythm
    3. Choosing chords from melody notes
    4. Writing the bass line
    5. Voice leading
    6. Part-writing four voices
    7. Non-harmonic tones
    8. Using chord inversions
    9. Step-by-step procedure for harmonization

MUS 126 - Structure of Music II

1. Write compositions using chromatic chords.
2. Demonstrate the ability to modulate to and from various keys.
3. Identify chromatic chords, keys, modulations, and other musical structures.
4. Discuss the relationship of text, meaning, and music.
5. Discern and analyze the chromatic content in various musical works

1. Part-Writing Four-Part Chromatic Harmony
2. Secondary Dominants and Modulation
3. Seventh and Ninth Chords
4. Analysis and Use of Chromatic Harmony and Melody
5. Neapolitan and Augmented-Sixth Chords
6. Enharmonic Relations
7. Chromatic Mediants and Modulation
8. Harmonic Sequence
9. Borrowed Chords
10. Technical Vocabulary

MUS 127 - Aural Perception I

1 Credits, 2 Contact Hours
0 lecture periods 2 lab periods

intervallic recognition, and sight singing.

Corequisite(s): MUS 125  
Gen-Ed: Meets AGEC - FA; Meets - CTE - A&H.

1. Aurally distinguish intervals in dictation.
2. Distinguish rhythmic patterns in dictation.
3. Aurally identify major and three (3) forms of minor scales.

1. Simple rhythms with no subdivisions
2. Rhythms containing subdivisions in various meter signatures

II.     Intervallic Recognition – Pitch Distances within the Octave

III.    Sight Singing

A.    Melodies containing step-wise intervals

B.    Melodies with jumps to chord tones

MUS 129 - Aural Perception II

1. Write diatonic harmony and melodies in dictation.
2. Diagram in dictation various rhythmic, melodic, and harmonic patterns.
3. Sight-sing melodies.

1. Aural Approaches
   1. Diatonic harmony including seventh chords
   2. Melodies with larger leaps, sequences, and melodies that modulate
   3. Advanced rhythmic structures
2. Advanced Applications
   1. Rhythmic dictation
   2. Intervallic recognition
   3. Advanced melodic applications
   4. General listening techniques
   5. Embellishments

MUS 130 - Chorale (SATB)

1. Demonstrate basic interpretation, style, and performance practice of choral literature. 
2. Demonstrate proper choral ensemble techniques: blending, balance, intonation, and timbre. 
3. Demonstrate proper diction in different languages.
4. Demonstrate proper vocal technique.
5. Demonstrate performance experience with literature of varying historical styles, suitable for ensemble.

1. Rehearsal of Selected Choral Literature
2. Performance of Selected Choral Literature

MUS 131 - College Singers (SATB)

1. Demonstrate basic interpretation, style, and performance practice of choral literature. 
2. Demonstrate proper choral ensemble techniques: blending, balance, intonation, and timbre. 
3. Demonstrate proper diction in different languages.
4. Demonstrate proper vocal technique.
5. Demonstrate performance experience with literature of varying historical styles, suitable for small ensemble.

1. Rehearsal of Selected Literature
2. Performance of Selected Literature

MUS 136 - Voice Class I

1. Demonstrate basic vocal production techniques.
2. Demonstrate rudimentary skills in studying and interpreting a song.
3. Discuss the use and abuse of the voice.
4. Demonstrate control of agitation and stage fright.

1. Discussion of Skills and Techniques
2. Group Singing
3. Individual Practice
4. Individual Performance in Class

MUS 141 - Piano Class I (Majors)

1. Perform and play major and natural minor scales in tetrachord form as clusters.
2. Identify and play major, minor, augmented, and diminished triads in root position.
3. Perform repertoire representative of various styles and pianistic challenges.
4. Perform transposition of simple pieces.

1. Scales: All Major and Natural Minor Scales in Tetrachord Form
2. Chords
   1. All major, minor, augmented, and diminished triads
   2. Tonic, subdominant, dominant, and dominant seventh chord in any major key
3. Repertoire (Pieces Which Present Various Technical and Stylistic Challenges)
   1. Two-voice texture
   2. Melody and accompaniment
   3. Varying style periods
   4. Various compositional forms
4. Technique
5. Practice Habits
   1. Posture and body position
   2. Hand position
   3. Effective learning methods
   4. Use of pedal
   5. Some analysis of form and phrase structure
   6. Sight reading techniques
   7. Control of dynamics and balance
6. Transposition of Single-Line Melodies Which Require No Change of Hand Position
7. Sight Reading of Pieces Similar to Those Encountered in Class, But Somewhat Easier, With An Emphasis on Rhythmic Continuity

MUS 142 - Piano Class II (Majors)

1. Perform major scales two octaves, hands separately.
2. Perform chord progressions using primary and secondary chords.
3. Harmonize melodies using primary and secondary chords.
4. Transpose short pieces appropriate to course level.

1. Scales

1. All major, minor and other modes in tetrachord form as clusters
2. Chromatic scales in contrary and parallel motion, two octaves, hands together
3. All major scales two octaves ascending and descending, hands separately
4. Distinguish analytically and aurally between major and minor sounds in repertoire
   1. Chords
      1. Primary chord progression: I IV I V(7) in all major keys
      2. All major and minor triads and major-minor seventh chords in root position, and ability to find their inversions
      3. Diminished and augmented triads in root position on any pitch
      4. All diatonic triads in any major or minor key
   2. Harmonization of Major and Minor Melodies With Different Accompaniment Patterns Using I IV V Chords in Various Inversions and Accompaniment Styles
   3. Transposition of Short Major and Minor Pieces Which Utilize Primary Chords
   4. Repertoire: Pieces Which Present the Following:
      1. Some with two-voice, polyphonic textures
      2. Some with a texture of melody with accompaniment of chords or their textural outlines
      3. At least three different style periods
      4. Pieces which include three-voice texture
      5. Pieces which utilize extended hand positions
      6. One piece learned entirely on the student’s own
      7. Pieces in modes other than major or minor and those using both pentatonic and chromatic scales
   5. Technique and Practice Habits Continued From MUS 141
   6. Sight Reading of Pieces Similar to Those Encountered in Class, But Somewhat Easier, and Also Demonstrating the Technical and Musical Goals, With an Emphasis on Rhythmic Continuity; Methods to Include Covering of Measures by Classmates and Outlining of Beats

MUS 143 - Piano Class III (Majors)

1. Transpose selected chord progressions in major and harmonic minor keys.
2. Play all major and harmonic minor scales, two octaves, hands together.
3. Play all major and minor arpeggios, two octaves, hands together.
4. Demonstrate the ability to harmonize short major and minor pieces, utilizing primary and secondary chords in block form in various accompaniment patterns to reflect those found in piano literature.
5. Perform transposition of short major and minor pieces.
6. Perform repertoire pieces that represent various pianistic and musical challenges.

1. Scales: All Major and Harmonic Minor Scales, Two Octaves, Hands Together
2. Chords
   1. Review of previous work including triads and seventh chords and their inversions
   2. Chord progressions utilizing secondary dominant chords, all major keys
   3. Chord progressions utilizing substitute chords
3. Arpeggios: All Major and Minor Arpeggios, Two Octaves, Hands Together
4. Harmonizations of Major and Minor Pieces Using Primary and Secondary Chords in Various Accompaniment Patterns
5. Transpositions of Pieces Presenting More Textural Complexity Than Previously Studied
6. Repertory Pieces Presenting the Following:
   1. Contrapuntal and homophonic textures
   2. Variety of forms
   3. Continuation of more textural complexity requiring extended hand positions and position shifts with pivots at the thumb
7. Technique and Practice Habits
   1. Good posture and practice habits
   2. Practicing isolated problems separately and at slower tempos
   3. Effective and clean use of pedal where appropriate
   4. Analysis of form, tonality, harmonic function, and texture
   5. Blocking of textures by harmonies and hand positions
   6. Reading ahead, grouping notes visually by beats and by harmonic shapes
   7. Control of dynamics and the projection of melodic lines over accompaniments
   8. Control of legato and staccato articulation
   9. Smooth pivoting at the thumb and position preparation in hand position shifts
8. Sight Reading: Continuation of Piano II
9. Score Reading: Playing of Single-Line Melodies in Soprano, Alto, Tenor, and Bass With Two Hands

(Open Score)

MUS 144 - Piano Class IV (Majors)

1. Perform arpeggios in all major and minor keys – four octaves, hands together using correct fingering.
2. Perform all major and harmonic minor scales – four octaves, hands together using correct fingering.
3. Demonstrate advanced methods of learning and practicing repertoire pieces.
4. Demonstrate mastery of memorization method.
5. Perform finger strengthening and technique-building exercises.

1. Scales
   1. All major scales, four octaves, hands together – ascending and descending in parallel motion
   2. All harmonic minor scales, four octaves, hands together – ascending and descending in parallel motion
2. Arpeggios
   1. All major arpeggios, four octaves, hands together- ascending and descending in parallel motion
   2. All minor arpeggios, four octaves, hands together – ascending and descending in parallel motion
3. Learning Methods
   1. Applied to at least two Czerny etudes
   2. Applied to repertoire piece(s)
4. Technique Building Exercises for Finger Strength
5. Memory Method: Must Be Applied to One Repertoire Piece  
6. Advanced Methods of Practicing

MUS 148 - Musical Theater Workshop

1. Demonstrate improvement in skills for musical and vocal communication.
2. Demonstrate improvement in poise and reduction of stage nerves.
3. Demonstrate increased ability to use body language to communicate to the audience.
4. Demonstrate the ability to audition.
5. Demonstrate the ability to perform.

1. Exercise in Stage Movement for Musical Theater
   1. Body language
   2. Mood projection
   3. Dialogue
   4. Entrance and exit
2. Staging and Memorization of Scenes for Musical Theater
   1. Exploration of musical theater repertoire
   2. Vocal range and rhythmic considerations
   3. Stage blocking for maximum vocal effect
3. Performance and Musical Theater
4. Reevaluation and Practice

MUS 149 - Opera Workshop

1. Demonstrate improvement in skills for musical and vocal communication. 
2. Demonstrate improvement in poise and reduction of stage nerves. 
3. Demonstrate increased ability to use body language to communicate to the audience. 
4. Demonstrate the ability to audition. 
5. Demonstrate the ability to perform. 

1. Exercise in Stage Movement for Opera
   1. Body language
   2. Mood projection
   3. Dialogue
   4. Entrance and exit
   5. Recitative and aria differences
2. Opera Scene Musical Preparation
3. Staging and Memorization of Scenes for Opera
   1. Exploration of operatic repertoire
   2. Vocal range and rhythmic considerations
   3. Stage blocking for maximum vocal effect
4. Performance of Opera
5. Reevaluation and Practice

MUS 151 - Exploring Music

1. Describe various styles and periods of Western music (Europe, United States, and Mexico) along with jazz/popular styles.
2. Identify major composers of specific periods of Western music (Europe, United States, and Mexico) along with jazz/popular artists.
3. Describe elements of music and their function.
4. Identify various forms of music.

1. Elements of Music
   1. Melody
   2. Rhythm
   3. Harmony
   4. Texture
   5. Form
   6. Tempo, dynamics
2. Musical Instruments
3. The Middle Ages
   1. Sacred music
   2. Secular music
4. The Renaissance
   1. Sacred music
   2. Secular music
5. Baroque Era
   1. Baroque opera
   2. Bach
   3. Handel
6. Classics
   1. Chamber music
   2. Symphony
   3. Haydn
   4. Mozart
   5. Beethoven
7. 19th Century
   1. Romantic movement
   2. Art song
   3. American parlor song
   4. Solo piano piece
   5. Wagner
   6. Program music
   7. Nationalism
8. 20^th Century
   1. Impressionism
   2. Expressionism
   3. 20^th century nationalism
   4. Chance music
   5. Minimalist music
   6. Neo-classicism
   7. Neo-romanticism
   8. Electronic music
9. Music of Mexico
   1. Music traditions
   2. Revueltas
10. Jazz Styles and Popular Genres
    1. Jazz/popular artists
    2. Music theater
    3. Music for film

MUS 153 - Introduction to Electronic Music: Sequencing and Video

1. Experiment with commercial music software packages to produce sequenced music examples.
2. Apply basic principles of music composition in construction electronically produced music compositions and/or arrangements including chord progressions, melody, form, and texture.
3. Describe the differences between WAV and MP3 sounds and their uses in electronic produced music.
4. Describe the evolution of electric music from analog to digital production through major compositional shifts from musique concrete to analog synthesizers with magnetic tape storage to computer software.
5. Create a narrative paper for each project describing the process of composition or arranging.
6. Utilize advanced software and synthesizer editing features to add sound to video.
7. Develop complex musical arrangements and/or original compositions appropriate for video.
8. Examine wave file (WAV) timbres and loops and their uses in software to create and/or arrange music for video.  

1. Introduction to Electronic Music
   1. Overview of the history of electronic music
   2. Development of analog and digital synthesis
   3. Electronic music in the home studio, albums, movies, video, commercials, and live performance
2. Concepts in Acoustics and Music Synthesis
   1. Basic harmonic structure and sound waves
   2. Envelopes and wave forms
3. Use of Hardware and Software
   1. Computer and printer
   2. Keyboard controllers
   3. Using computer software
      1. Initialize storage media
      2. Open programs
      3. Cut, copy and paste
      4. Create and save files
      5. Mouse and keyboard commands
      6. Print hard copy
   4. WAV and MP3 basics
      1. Use of WAV and MP3 files in music software
      2. Import/export applications of WAV and MP3 files
4. Music Sequencing Software
   1. Creating looping patterns
   2. Principles of cloning, modifying, and copy/paste functions of looped sounds
   3. Timing patterns of looped sounds
   4. Use of mixing functions to modify looped sounds
   5. Use of composite sounds to enhance looped patterns
5. Documentation of Projects
   1. Diary of work sessions using a standard word processing package
   2. Copying songs to tape or disc for archiving and storage
6. Song Data Entry from Computer Synthesizer Keyboards
7. Composition software
   1. Song data entry
   2. Experience using virtual analog equipment through software
8. Advanced sequencing techniques
   1. Develop multiple sequencing events using WAV information
   2. Use of automation techniques to enhance music composition
   3. Develop skills to demonstrate quantizing of rhythmic figures using software editing features
   4. Using sequencing to develop SMTE time code techniques for video playback with sound
9. Editor/Library
   1. Patch editing through customized or default sound banks with software
   2. Use pre-defined sounds in song arrangements
10. Percussion Writing
    1. Basic programming techniques
    2. Use drum patterns in data entry
    3. Include drum patterns in song projects
11. Timing to Video

MUS 153A - Introduction to Electronic Music: Sequencing

1. Experiment with commercial music software packages to produce sequenced music examples.
2. Apply basic principles of music composition in construction electronically produced music compositions and/or arrangements including chord progressions, melody, form, and texture.
3. Describe the differences between WAV and MP3 sounds and their uses in electronic produced music.
4. Describe the evolution of electric music from analog to digital production through major compositional shifts from musique concrete to analog synthesizers with magnetic tape storage to computer software.
5. Create a narrative paper for each project describing the process of composition or arranging.

1. Introduction to Electronic Music
   1. Overview of the history of electronic music
   2. Development of analog and digital synthesis
   3. Electronic music in the home studio, albums, movies, video, commercials, and live performance
2. Concepts in Acoustics and Music Synthesis
   1. Basic harmonic structure and sound waves
   2. Envelopes and wave forms
3. Use of Hardware and Software
   1. Computer and printer
   2. Keyboard controllers
   3. Using computer software
      1. Initialize storage media
      2. Open programs
      3. Cut, copy and paste
      4. Create and save files
      5. Mouse and keyboard commands
      6. Print hard copy
   4. WAV and MP3 basics
      1. Use of WAV and MP3 files in music software
      2. Import/export applications of WAV and MP3 files
4. Music Sequencing Software
   1. Creating looping patterns
   2. Principles of cloning, modifying, and copy/paste functions of looped sounds
   3. Timing patterns of looped sounds
   4. Use of mixing functions to modify looped sounds
   5. Use of composite sounds to enhance looped patterns
5. Documentation of Projects
   1. Diary of work sessions using a standard word processing package
   2. Copying songs to tape or disc for archiving and storage

MUS 154 - Jazz Improvisation

1. Develop a conceptual approach to jazz improvisation.   
2. Demonstrate basic abilities to improvise. 
3. Experience playing a set of standards (tunes) in the jazz idiom.

1. Rhythmic Awareness in the Jazz Idiom
2. Melodic Development in Relation to Modes
3. Fundamental Understanding of Chords
4. Perform Jazz Compositions with Improvisation

MUS 160 - Popular Music in America

3 Credits, 3 Contact Hours
3 lecture periods 0 lab periods

Study of the history of popular music culture in America through current trends in today’s society. Includes background of music, sources of music, birth of music, syncopated song and dance, jazz, crooners and jazz singers, musical theater, country music, Latin music traditions, and roots of rock and roll. Also includes impact of technology, motown and soul, rock in the seventies, and modern trends.

Gen-Ed: Meets AGEC - FA or HUM and C; Meets - CTE - A&H and C.

2.  Describe forms, structures, instruments, rhythms and styles of the music.

3.  Explain how our culture affects the music, and how music affects our culture.

4.  Discuss the influence of technology upon the music (records, CD’s, microphones, amplifiers, electronics, multi-track recording, video, computer technology).

1. Background of the Music
   1. What is popular music?
   2. Instruments
   3. Melody and harmony
   4. Form, structure and texture
2. Sources of the Music
   1. European heritage
   2. Anglo-American folk song
   3. African heritage
3. Birth of the Music
   1. Stephen Foster and the Minstrelsy
   2. After the Civil War
   3. Ragtime
   4. Blues styles
4. Syncopated Song and Dance
5. Jazz
6. Crooners and Jazz Singers
7. Musical Theater (Broadway)
8. Country Music
9. Latin Music Traditions
10. Roots of Rock and Roll
    1. Rhythm and blues
    2. Chuck Berry
    3. Elvis
    4. British invasion and Beatles
11. Impact of Technology
12. Motown and Soul
13. Rock in the Seventies
14. Modern Trends
    1. Age of MTV
    2. Rap music
    3. “Alternative” styles

MUS 181 - Small Ensemble: Brass

1. Practice playing small ensemble literature using brass instruments.
2. Expand upon the continuation of the student’s musicianship.
3. Develop through rehearsal and performance, emphasis on proper playing characteristics in a small ensemble.

1. Literature Appropriate for Brass Ensembles
2. History and Theory Appropriate to Literature Being Covered
3. Accurate Rhythmic Interpretation
4. Accurate Ensemble Playing Characteristics

MUS 182 - Small Ensemble: Guitar

1. Practice playing small ensemble literature using guitars.
2. Expand upon the continuation of the student’s musicianship.
3. Develop through rehearsal and performance, emphasis on proper playing characteristics in a small ensemble.

1. Literature Appropriate for Guitar Ensembles
2. History and Theory Appropriate to Literature Being Covered
3. Accurate Rhythmic Interpretation
4. Accurate Ensemble Playing Characteristics

MUS 183 - Small Ensemble: Percussion

1. Practice playing small ensemble literature using percussion instruments.  
2. Expand upon the continuation of the student’s musicianship.
3. Develop through rehearsal and performance, emphasis on proper playing characteristics in a small ensemble.

1. Literature Appropriate for Percussion Ensembles
2. History and Theory Appropriate to Literature Being Covered
3. Accurate Rhythmic Interpretation
4. Accurate Ensemble Playing Characteristics

MUS 184 - Small Ensemble: Woodwinds

1. Practice playing small ensemble literature using woodwind instruments.  
2. Expand upon the continuation of the student’s musicianship.
3. Develop through rehearsal and performance, emphasis on proper playing characteristics in a small ensemble.

1. Literature Appropriate for Woodwind Ensembles
2. History and Theory Appropriate to Literature Being Covered
3. Accurate Rhythmic Interpretation
4. Accurate Ensemble Playing Characteristics

MUS 200 - UA Marching Band “Pride of Arizona”

2.00 Credits, 6.00 Contact Hours
0 lecture periods 6 lab periods

Progressive development of musical skills through interpretation of literature and marching band strategies.  Includes mind and body control, scales, ensemble performance, marching and maneuvering.

Information: All interested students are welcome to register. Faculty approval required for registration. May be taken two times for a maximum of four credit hours. If this course is repeated, see a financial aid or Veteran’s Affairs advisor to determine funding eligibility as appropriate.

1. Demonstrate a variety of techniques leading to an ability to perform at a professional level in an ensemble setting.
2. Demonstrate proper ensemble techniques: balance, intonation and timbre
3. Demonstrate basic interpretation of instrumental literature
4. Experience musical maturity and comfort in a live performance setting
5. Recognize the relationship between the theory and history of music and the performance thereof
6. Compare the art of music in the context of the sister arts, history and culture
7. Demonstrate the integration of movement and sound with style elements using proper marching band techniques.

1. Interpretation of Literature
   1. Personal experiences of literature
   2. Recognition of music as an art form
   3. Compositional techniques
   4. Musical eras and styles
2. Mind and Body Control
   1. Mental intensity towards objectives
   2. Technical control over the instrument
   3. Technical control over body
3. Ensemble Performance
   1. Importance of good group dynamics
   2. Proper musical balance
   3. Art of aural perception, intonation, instrumental tendencies, proper embouchure, and tone production

IV. Marching and Maneuvering

1. Formation marching techniques
2. Integration of movement and sound
3. Elements of style

MUS 201 - History and Literature of Music I

1. Discuss and date the historical development of Western music.
2. Distinguish styles of various periods of music and their composers.
3. Discuss important literature (music and theories) of Western music.
4. Discuss and date composers and the work that they wrote.
5. Relate historical events and milieu with the music created.
6. Identify and date specific musical works by their sound and significant characteristics.

1. Analysis of Important Large and Small Musical Works
2. Research and Readings in the History of Music
3. Listening and Analysis of Works by Important Composers from Each Period
4. Aesthetics of Composers and Periods
5. Musical Theories of Periods
6. Genres and Forms of Each Era
7. Social and Political Milieu
8. Cultural Centers and Dissemination of Ideas
9. Dates and Chronologies of Composers and Their Works

MUS 202 - History and Literature of Music II

1. Discuss and date the historical development of Western music.
2. Distinguish styles of various periods of music and their composers.
3. Discuss important literature (music and theories) of Western music.
4. Discuss and date composers and the work that they wrote.
5. Relate historical events and milieu with the music created.
6. Identify and date specific musical works by their sound and significant characteristics.

1. Analysis of Important Large and Small Musical Works
2. Research and Readings in the History of Music
3. Listening and Analysis of Works by Important Composers from Each Period
4. Aesthetics of Composers and Periods
5. Musical Theories of Periods
6. Genres and Forms of Each Era
7. Social and Political Milieu
8. Cultural Centers and Dissemination of Ideas
9. Dates and Chronologies of Composers and Their Works

MUS 208 - UA Pep Band “Pride of Arizona”

1. Demonstrate a variety of techniques leading to an ability to perform at a professional level in an ensemble setting.
2. Demonstrate proper ensemble techniques: balance, intonation and timbre
3. Demonstrate basic interpretation of instrumental literature
4. Experience musical maturity and comfort in a live performance setting
5. Recognize the relationship between the theory and history of music and the performance thereof
6. Compare the art of music in the context of the sister arts, history and culture

1. Interpretation of Literature
   1. Personal experiences of literature
   2. Recognition of pep band music as having entertainment and morale value
   3. Knowledge of structure of pep band and relationship to individual instruments
   4. Musical eras and styles appropriate for pep band music
2. Mind and Body Control
   1. Mental intensity towards objectives
   2. Technical control over the instrument
   3. Technical control over body
3. Ensemble Performance
   1. Importance of good group dynamics
   2. Proper musical balance
   3. Art of aural perception, intonation, instrumental tendencies, proper embouchure, and tone production

MUS 209 - Leadership and Instructional Strategies for Marching Band

1.00 Credits, 1.00 Contact Hours
1.00 lecture periods 0 lab periods

Effective leadership techniques and essential instructional strategies utilized in successful organizations with a focus on the marching arts. Includes the development of the student leader/performer and the professional educator for the “Pride of Arizona” Marching Band.

Information: All interested students are welcome to register. Faculty approval required for registration. Must have taken at least one (1) semester of MUS 200 (UA Marching Band), and have the intention of auditioning for a student leadership position in the University Athletic Bands’ program.

1. Model, demonstrate, and teach appropriate marching band techniques.
2. Demonstrate aurally through discussion specific leadership skills relevant to marching band.
3. Demonstrate specific leadership skills through application of these skills on the marching field.

1. Teaching specific marching band skills
2. Developing and using collaboration skills for marching band

II. Leadership Skills

1. Application of leadership skills in the classroom
2. Application of the leadership skills on the marching field

MUS 223 - Structure of Music III [SUN# MUS 2222]

1. Write simple two-part counterpoint.
2. Analyze contrapuntal compositions including preludes and fugues, orchestral forms including theme and variations, rondo, binary, sonata and concerto form utilizing newly learned techniques and reinforcing principles acquired in previous structure of music courses.
3. Demonstrate the ability to read orchestral, operatic, and piano scores.
4. Discuss the various forms, devices and techniques used by composers from the late Baroque period through the Classical to the Romantic era.
5. Explain and compare the compositional characteristics employed, and the trends, which identify these three periods of piano, operatic, and orchestral music.
6. Discuss the relationship of text, meaning, and music.
7. Discern and analyze the motivic content in various musical works.

1. The Nature of Polyphony
2. Writing Simple Melodic Lines
3. Basic Contrapuntal Technique
4. First Species: 1:1, the Foundations
5. Fugue
6. Theme and Variations
7. Binary Form
8. Rounded Binary Form
9. Rondo
10. Sonata Forms
    1. Sonata allegro
    2. Sonata rondo
11. Concerto Form

MUS 224 - Aural Perception III [SUN# MUS 2222]

1. Demonstrate sight singing and perform melodic lines.
2. Transcribe melodic, harmonic, and rhythmic examples into musical notation. .
3. Conduct common meters while performing rhythmic singing.

1. Scales
2. Intervallic Recognition Melodically and Harmonically
3. Melodic Dictation of Melodies Leading to Chromatic Tonal Melody
4. Chord Type Identification Including Diatonic Seventh Chord Types
5. Rhythmic Dictation and Performing Notated Rhythms
6. Syncopated Rhythms, Borrowed Beat Division, and Subdivided Beats
7. Sight Singing Melodies
8. Conducting While Performing Various Rhythms and Melodies

MUS 226 - Structure of Music IV [SUN# MUS 2223]

1. Analyze late Romantic compositions for thematic and programmatic materials, rhythm, melody, harmony, texture, timbre, and orchestration.
2. Analyze early 20^th century compositions for thematic and programmatic materials, rhythm, melody, harmony texture, timbre, and orchestration.
3. Discuss the historical, political, and social developments in late romantic and early 20^th century tonal compositions.
4. Demonstrate familiarity with the language of early 20^th century tonal composers.
5. Incorporate terms, techniques, and structures from previous structure of music courses, including arranging and score reading.

1. Extended Chromaticism
   1. Modes and scales
   2. New chords and harmonic progressions
   3. New melodic features and voice leading
   4. New developments in rhythm
   5. Polymodality and polytonality
   6. Explorations of texture and timbre
2. Aspects of Form
   1. Musical miniatures
   2. Program music
   3. Bel canto aria
3. Influence of Musical Nationalism
4. Compositional Techniques/Technical Vocabulary
5. Late Romantic and Early 20^th Century Tonal Music
   1. Literature
   2. Composers
   3. Important dates

MUS 228 - Aural Perception IV [SUN# MUS 2223]

1. Continued demonstration of sight singing and performing melodic lines.
2. Continued transcription of melodic, harmonic, and rhythmic examples into music notation. 
3. Notate harmonic progressions containing chromatic tonal harmony from dictated examples.
4. Continued development of conducting skills applied to common meters while performing rhythmic singing

1. Scales and Modes
2. Intervallic Recognition Melodically and Harmonically
3. Melodic Dictation of Chromatic Tonal Melodies
4. Chord Type Identification of Chromatic Chords
5. Chord Progressions with Chromatic Chords
6. Rhythmic Dictation and Performing Notated Rhythms
7. Syncopated Rhythms, Cross-Rhythms, Hemiola, and Asymmetrical Meter
8. Sight Singing Melodies
9. Conducting While Performing Various Rhythms and Melodies

MUS 257 - Music Recording and Production

1. Experience creating a recording signal chain.
2. Describe the various waveforms and applications in recording.
3. Experience using difference microphones.
4. Use a computer interface for editing recording projects.
5. Experience the use of editing software.
6. Explain the basics of audio processing such as compression, eq, etc.
7. Experience setting up and recording using basic microphone techniques.
8. Initiate and complete a music mixing project.

1. Elements of Sound
2. The Mixing Board
3. The Hard Drive Recorder/Computer Hard Drive as a Recorder
4. Microphone Types and Applications
5. Live Music Recording Strategies and Room Use
6. MIDI  Lab Software for Editing
7. Mixing and Re-Recording
8. Creating a Final Project of Live Recordings

MUS 296 - Independent Studies in Music

1. Identify a topic of interest and significance in music.
2. Organize the topic in a plan of research.
3. Gather, analyze, and interpret data in the topic area.
4. Present results in a scholarly format determined by student and instructor.