Advanced Performance Program (APP)

 

*Please note course descriptions are subject to change without notice*

 

Advanced Performance Program – 1 (APP-1)

Kim Plainfield – Program Instructor

Level 5-6

This is one of two programs that are designed to help students’ transition from being a student to becoming a professional musician. Courses focus on musicianship, technology, and include a final video and audio recording, showcasing each student’s unique talent. Students have the responsibility of choosing the material they want to rehearse, perform, and record. A faculty producer/advisor is assigned to each student to offer advice and help guide him or her through the process of producing his or her own final product.

 

This program includes the following courses: 


 

Musicianship: 
(9 class sequence – 13.5 contact hours)
This class is a part of a seven-level sequence, which focuses on music theory, aural skills, and keyboard proficiency.

 

 

Reading Proficiency Program: (9 class sequence – 18 contact hours) 
The Collective Reading Proficiency Program consists of a series of progressive courses on levels from 1 to 7. Students learn sight-reading skills and the ability to interpret music from a wide variety of sources and formats.

 

 

Intro to Music Production: 
 (9 class sequence – 18 contact hours)
Having a deep understanding of current digital music technology is essential for today’s professional musician. This course focuses on the recording and editing of each student’s course material using the popular Pro-Tools software.

 

1. Introduction Class:  (1 class – 1 contact hour)  This class introduces the Advanced Performance Sequence and details the purpose and focus of each class in the sequence.

 

2. Producers Rehearsal: (10 class sequence – 20 contact hours)
 This session is used to try out the material that the student has chosen. Students are responsible to rehearse their music under the guidance of the faculty advisor.

 

3. Band Rehearsal: (10 class sequence – 20 contact hours) 
Students are responsible to finish rehearsing their material and prepare for it to be recorded the following day.

 

4. Recording Session: (10 class sequence – 20 contact hours)
 Students are given the opportunity to do a live recording of the material previously presented and rehearsed.

 

5. Mix-down Session: (10 class sequence – 20 contact hours)
 
Students gain experience in practical over-dubbing sessions. In addition, each student meets with the staff engineer and participates in making a reference mix-down of his or her weekly project. Tapes are reviewed and critiqued by their faculty advisor.

 

6. Anchor Private Lesson: (9 class sequence – 9 contact hours)
 
Students meet weekly with their assigned advisor to review previously recorded material and discuss potential new material. A large library of charts is available to students. Material, chosen by the student, for which there is no written chart, will be transcribed – one per semester per student. Students are required to perform on at least one piece of music, which they have either written or arranged themselves personally.

 

7. Public Recital: (1 class – 2 contact hours) 
The final public recital represents the culmination of all the work done in the program. Each student chooses and arranges a number of pieces to perform at the recital and to record in the final recording.

 

Elective Class and Individual Practice Time

 

Elective Class: (9 class sequence – 18 contact hours)
 Students may further personalize their plan of study by choosing from the list of elective classes.

 

Daily Individual Practice Time: 
Students are assigned 2 hours per day during the week, open hours on the weekend, and additional hours available
at off-peak times throughout the week.

 

Advanced Performance Program – 2 (APP-2)

Peter Retzlaff – Program Instructor

Level 5-6

This is the second of two programs that are available to students and are designed to help them transition from being a student to becoming a professional musician. Courses focus on musicianship, performance, and technology. Students will receive a final professional quality audio recording and video, showcasing their unique talents. Each student has the responsibility of choosing the material they want to rehearse, perform, and record.

 

This program includes the following courses:

 

Musicianship: 
(9 class sequence – 13.5 contact hours)
This class is a part of a seven-level sequence, which focuses on music theory, aural skills, and keyboard proficiency.

 

 

Reading Proficiency Program: (9 class sequence – 18 contact hours) 
The Collective Reading Proficiency Program consists of a series of progressive courses on levels from 1 to 7. Students learn sight-reading skills and the ability to interpret music from a wide variety of sources and formats.

 

 

Intro to Music Production: 
 (9 class sequence – 18 contact hours)
Having a deep understanding of current digital music technology is essential for today’s professional musician. This course focuses on the recording and editing of each student’s course material using the popular Pro-Tools software.

 

1. Band Rehearsal: (10 class sequence – 20 contact hours) 
Students are responsible to finish rehearsing their material and prepare for it to be recorded the following day.

Please note the contact hours represents the total class time for all students, each student will meet individually with the instructor and the band, one hour a week for eight weeks.

 

2. Pro Recording Session: (10 class sequence – 20 contact hours)
 Students are given the opportunity to do a live recording of the material previously presented and rehearsed.

 *Please note the contact hours represents the total class time for all students, each student will meet individually with the instructor and the band, four times through the semester with each session one hour and a half in length.* 

 

3. Mix-down Session: (10 class sequence – 20 contact hours)
 
Students gain experience in practical over-dubbing sessions. In addition, each student meets with the staff engineer and participates in making a reference mix-down of his or her weekly project. Tapes are reviewed and critiqued by their faculty advisor.

 *Please note the contact hours represents the total class time for all students, each student will meet individually with the engineer, four times through the semester with each session one hour in length.*  

 

4. Anchor Private Lesson: (8 class sequence – 8 contact hours)
 
Students meet weekly with their assigned advisor to review previously recorded material and discuss potential new material. A large library of charts is available to students. Material, chosen by the student, for which there is no written chart, will be transcribed – one per semester per student. Students are required to perform on at least one piece of music, which they have either written or arranged themselves personally.

 

5. Final Demo
: The goal for each student is to end the semester with a professional quality demo which may be used for non-commercial promotional purposes. The Advanced Performance Program 2 does not include a final public recital.

 

Elective Class and Individual Practice Time

 

Elective Class: (9 class sequence – 18 contact hours)
 Students may further personalize their plan of study by choosing from the list of elective classes.

 

*Please note the App-2 Program DOES NOT include a public recital however students can opt to have the recital in place of the elective class.

 

Daily Individual Practice Time: 
Students are assigned 2 hours per day during the week, open hours on the weekend, and additional hours available
at off-peak times throughout the week.

 

 

 

Elective Class Course Offerings

These courses are offered every semester-contingent upon enrollment. Elective classes are included in every second-year program: PMP, EIP, and APP.
 Students in these programs should make a selection from the list below. 
Students not in one of these programs may add an elective class to their program for an additional tuition fee. *Course offerings and Teachers are subject to change without notice.

 

Courses for All Instruments: 



1.  ADVANCED CONCEPTS CLASS: Kim Plainfield 

This course is designed to explore three crucial areas of drumset study: Technique, Contemporary Styles, and Rhythmic Concepts.  It is through comprehensive exercises and practice procedures that the student learns to develop these areas and include them into their drumset playing abilities.  The technical area focuses on development of single and double strokes, rudiments, hand and foot combinations, and movement. Contemporary styles explore funk, Brazilian, Afro-Cuban, Jazz, and Odd-Time playing. Fundamental qualities of these different styles, is an important focus as well the development of variation and agility. Rhythmic Analysis explores subdivision, cross rhythms, groupings, and polyrhythms. The emphasis is to create vocabulary and to employ development of phrasing.

 

2.  DEVELOPING A POSITIVE PERFORMANCE THOUGHT & FEEL: Kim Plainfield
                          

This course helps a student to understand and overcome the stresses related to music performance. This seminar is aimed at illuminating the various dynamics that provoke anxiety and introduce concepts, which help to develop positive performance thought. This course also aims at supplying tools to develop basic feels and gain an understanding which enables growth into a refined, original, and versatile feel. The main feels that are examined include, Samba, Partido Alto, 3/4 Samba, Baiao, Cascara, Clave, Songo, Mozambique, Afro-Cuban 6/8, Contemporary Funk, 3/4 Funk, and Swing.

 

3.  DRUM SET PERFORMANCE FOR NON-DRUMMERS: Jason Gianni

This course is geared toward those musicians who are interested in learning drums as a secondary instrument.  Students will be exposed to rudimental and technique work on a drum pad as well as the foundational basis of Rock and Jazz study on drum set. Students should be able to display the ability to perform rudimental exercises, in group participation and individual drum set exercises in a classroom setting.

  

4.  FINALE: Fernando Hernandez

Students are introduced to the Finale software package and learn how to manipulate the various tools available through the program, including standard notation of notes, chords, and lyrics. Materials include a series of sequential notation exercises presented by the course instructor for completion and submission.

 

5. INTRODUCTION TO MUSIC PRODUCTION: Maciek Schejbal

Students are introduced to the industry-standard ProTools software techniques, including basics of audio and MIDI recording, editing, mixing, and file handling, with special focus on the computer workstation, and its maintenance, as the tool of modern music production. Students will have an opportunity to prepare their class assignments on supplied ProTools workstations.

 

6.  VOCAL TECHNIQUE FOR MUSICIANS:Susan Didrichsen

This course is designed to help musicians develop basic vocal performance skills. Course work includes proper singing techniques, production of a good vocal sound, and performance on selected repertoire.

Exam requirements: The student is expected to show basic competency in utilizing vocal technique in the application on standard pop vocal material, both as a lead singer and a “backup” singer.

 

Courses for Drummers

1.  DRUMMERS SOLOING/IMPROVISATION: Peter Retzlaff

In this course students learn the common vocabulary in drum solos and taught to improvise on solo ideas and trade drum solos with other musicians in both a jazz and groove oriented music setting. Students will also be presented the chronological evolution of drum solos through the 40’s, 50’s, 60’s, and modern music. Notable drum solos (Tony Williams, Steve Gadd, etc.) will be analyzed in class.

1-Basic Vocabulary patterns (8th note triplets on snare and bass drum)

2-Advanced patterns (16th note triplets and combinations)

3-Combining different ideas and composing original ideas

 

2. ODD METERS: Marko Djordjevic

The aim of this class is to familiarize the student with a broad scope off odd metered music performed in today’s contemporary music. Part survey and part hands on, the class takes students through some of the most relevant examples of odd metered music which the students are required to assimilate to the best of their ability. Ways of staying in the form of a given meter are discussed, as well as different possibilities which concern over the bar phrasing. Vocalizing as a primary tool for internalizing different types of odd metered phrasing is stressed above all other techniques (counting, reliance on specific sticking)

 

3. POLYRHYTHMS: Jason Gianni

This course will cover a wide of array of multi-limb independence and time exercises based around poly-metric, polyrhythmic and metrically modulated topics.  Using rhythmic melodies from some of drumming’s most popular books, student will learn how to read and/or create patterns using various simultaneous meters.  In addition, students will gain more experience in a wide array of time signature study as well as over the bar soloing concepts. Assignments vary weekly and are performed and monitored closely in each class.

 

4. BRUSHES: Peter Retzlaff

This course prepares the student to be able to play most common and important brush patterns in 4/4, 3/4. Students Learns correct hand motions to play a tempo range of 60 to 300 BPM.

Outline:

1-Simple jazz patterns at various tempos

2-Adding the Bass drum

3-Adding the Hi-hat

4-Combining all the elements

 

5. Moeller Technique: Peter Retzlaff

The Moeller technique dates back to the 1800’s, and it’s used to play the drums with more ease, Power, Speed and control. This is a technique that was discovered by the legendary teacher Sanford Moeller and was popularized by another teaching legend, Jim Chapin. The Collective instructor Peter Retzlaff, a longtime student of Jim Chapin, teaches Moeller fundamentals and their application to playing both the snare drum and the drumset. Step by step instruction is given on learning initial Moeller strokes on the snare drum. In later classes, students learn to move strokes around the drumset and play grooves utilizing Moeller technique. Finally, modern advancements such as push/pull technique are discovered as addition to Moeller strokes.

 

 

Audition Requirements for The Advanced Performance Programs 1 & 2

DRUMS:

To be performed solo, with or without a metronome.

1. Technique: Single stroke roll, double stroke roll, paradiddles – start each slowly and evenly and increase speed to fastest point.

2. Styles:
 Maximum of one minute for each example: rock – funk – swing – shuffle – calypso – reggae – Soca – second line – samba – 6/8 bembe – mambo – mozambique – afrobeat – hip-hop – drum n bass – 5/4 – 7/8.

3. Reading: 
Rate yourself on a level of 0-10. (Note: you will be placed in our integrated reading program based on a day-one evaluation be a faculty member.)

 

GUITAR, BASS, AND KEYBOARD:

To be performed solo, with or without a metronome. Remember that evenness is more important than speed.

1. Technique:

-Play all major scales, two octaves, any sequence of keys.

-Play the three whole step-half step diminished scales, two octaves, any sequence.

-Play all Maj7th, Dom7th, Min7th, Min7th(-5), Dim7th and Augmented triad, two octaves, any sequence.

2. Styles: 
Play each of the following styles for a minimum of two choruses (any chord progression); one chorus playing the melody, and one improvising. Play at a comfortable tempo: rock – funk – swing – shuffle – calypso – reggae  – samba – 6/8 bembe – mambo – mozambique –  hip-hop –  5/4 – 7/8.

3. Reading: 
Please rate your reading on the application form on a scale of 1-10. A minimum of Intermediate level reading skill is a required for this program.