Classical I: Students in the first phase of Classical instruction will learn the proper rest stroke and free stroke; how to sight read in open position; chromatic exercises using all fingers with the free stroke and rest stroke; tremolo compositions and harmonic interval exercises. Suliani, Sor, Carcassi etudes.

Ear Training I: Course content is based upon the development of relative pitch and awareness of basic scale and chord structures. A brief course outline includes: Hearing diatonic and non-diatonic intervals (one octave); recognizing major and minor scales; learning interval shapes on the neck; melodic and rhythmic dictation; hearing chord qualities and progressions.

Ear Training Lab: Instructor drills on intervals (one octave); recognizing major and minor scales; diatonic melodic dictation; rhythmic dictation (simple and compound meters); hearing chord qualities (major, minor, augmented, diminished, and dominant).

Harmony I: This course explores the basis of harmony including temperament and tonality, basic notation and scales. It also begins the study of chord progressions and voicing.

Jazz Concepts I: Diatonic harmonization of the major scale with shell voicings; extensions to voicings; diatonic substitutions for reharmonizations and basic chord melody applications.

Jazz Performance I: This is an interdisciplinary ensemble class which focuses on 12 bar blues form in major, minor and dominant keys with 8th-note, 16th-note, shuffle and R&B grooves. The emphasis is on improvisation. This class corresponds with Scales I and Jazz Concepts I.

Master Class I: Provides Open forum for concepts and technology used in Rock Performance.

Music Appreciation: This course is designed to expose students to a broad spectrum of musical ideas, concepts, and genres. Emphasis is placed on studying those musical concepts that hold true for all styles of music (form and structure, counterpoint, melodic and harmonic content). Genres covered include: Middle Ages; Renaissance; Baroque; Classical; Romantic; 20th Century; Jazz; Rock.

Notation I: This course is designed to help students properly notate music. An in-depth view of the basic rules of page set-up, correct use of common symbols, and proper placement of note values will enhance the student's ability to read music as well as help them write and perform it correctly. A brief course outline includes: clefs, bar lines, key signatures, and time signatures; note heads and stems, rests, and accidentals; beaming, slurs and ties, beat spacing; dynamic markings.

Private Lesson: Students receive one half hour of private instruction weekly to address areas of technique or theory for which they require assistance.

Reading I: This course is designed to introduce and develop the skills required for sight reading of chords and single note melodies on the guitar. Beginning in the open position, students will read etudes, duets, and chord charts for each class session. By the end of the quarter, the student should be able to read up to the second position in a variety of styles and rhythmic patterns.

Rock Performance I: This is an interdisciplinary ensemble class which begins with Chuck Berry, Buddy Holly and the 50s, surfs into the 60s with the Ventures and catches fire with Hendrix, finally taking harmony into the 70s with the Allman Brothers.

Scales I: Application of scales and arpeggios, taught within the context of the corresponding Rock and Jazz Performance class selections, with a focus on playing the changes with major and minor dominant blues. Topics covered: major scales with corresponding diatonic chords and arpeggios, major pentatonic, major pentatonic with flat 3, blues scale, natural minor, mixolydian mode.

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Chords & Rhythm I: To introduce the student to rhythm styles and concepts including the ability to spell the notes of any common chord with tensions in all 12 keys and to help the student attain clear knowledge of the fretboard.

Classical II: In this course students will delve into Giuliani's arpeggio studies and Sor studies as well as Segovia scale studies. The student will also study basic slur exercises and how to read five- and six-note chord voicings.

Ear Training II: This course is a continuation of Ear Training I. Emphasis is placed on identifying common chord progressions and syncopated rhythms. A brief course outline includes: cadences; secondary dominants; "odd" meters; hearing chord qualities (major 7th, minor 7th, augmented 7th, half diminished 7th and diminished 7th).

Harmony II: The focus of this class is the construction of melodies and improvised lines. Various approaches to voice-leading are discussed including modal, pentatonic, chord-tone and chromatic lines. Methods for practicing and writing these lines are discussed as well.

Jazz Concepts II: Modal chord scales, quadra chords, chord scales with tension, diatonic harmonizations of harmonic minor and melodic minor with applications to modal jazz.

Jazz Performance II: In this course students will begin learning and performing jazz repertoire, while performing for the class in a jazz quartet. May of the jazz tunes for level II, including "Maiden Voyage", "Impressions", and "Footprints", focus on modal progressions and modal improvisation. Latin styles are also introduced with "Blue Bossa."

Master Class II: Provides Open forum for concepts and technology used in Rock Performance.

Studio Performance II: Students perform together in a recording environment for the purpose of gaining experience as studio musicians. Practice material in the form of charts and recordings is provided. Student recordings will be reviewed by the class.

Notation II: This course is a continuation of Notation I. More advanced concepts are covered including: writing multiple voices/lines on one staff; writing for piano; vocal (solo and ensemble) notation with accompaniment (piano and guitar); ensemble (combo, band, orchestral) notation; popular notation (chord charts, lead sheets).

Performance Counseling II: In this course, students will study jazz styles and apply concepts to the jazz tunes they are studying for Jazz Performance II. Chord voicings, comping rhythms, modal scales, and modal improvisation techniques are explored for each tune. Students will also listen to appropriate jazz recordings in the style.

Reading II: This course is designed to develop the student's ability to read in various positions on the neck. Beginning with the second and third positions, students will read etudes, duets, and chord charts for each class session. By the end of the quarter, students will be required to read single note melodies up to the seventh position and a variety of styles of chord charts.

Rock Performance II: This class begins where Level I ends, dealing with dynamics, feel, and use of two guitars. Students will perform songs by Beck, Clapton, Santana, and others.

Scales II: Annotated example solos are used to demonstrate the application of scales and arpeggios which are taught within the context of corresponding Rock and Jazz Performance class selections with a focus on modal jazz. Topics covered include: Modes of major scale (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian), melodic minor scale with corresponding diatonic chords and arpeggios.

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Chords & Rhythm II: To introduce the student to more advanced rhythm styles and concepts including Voice leading, Substitution and Re-Harmonization, Quartal Harmony, Polychords, Implied Harmony, Walking Bass with Chords and Chord Melody; to reinforce chord reading skills.

Classical II: In this course students will delve into Giuliani's arpeggio studies and Sor studies as well as Segovia scale studies. The student will also study basic slur exercises and how to read five- and six-note chord voicings.

Harmony III: This class explores the extension of the diatonic system of harmony. Borrowed chords, secondary harmony and other methods of reharmonization are discussed. Advanced progressions utilizing parallelism, pedal point, harmonic sequence and other forms of chromaticism are also covered.

Jazz Concepts III: Advanced chord melody reharmonization techniques. Minor third substitution, back cycling, tri-tone substitution, ascending and descending bass harmony, contrary motion, walking bass lines with application to jazz standards.

Jazz Performance III: In this course, students continue learning and performing jazz repertoire in a jazz quartet. The pieces studied in level III (including "Flintstones", "Blue Bossa", "Autumn Leaves", "All the Things You Are", and "Billie's Bounce") focus on major and minor ii V7 progressions.

Master Class III: Provides open forum for concepts and techniques used in Rock Performance.

Performance Counseling III: In this course, students will study jazz styles and apply concepts to the jazz tunes they are studying for Jazz Performance III. Chord voicings, comping rhythms, melodic embellishment, and guide tone improvisation are introduced for each tune. Students will also listen to jazz recordings in the style.

Reading III: Building on the techniques learned in previous reading classes, this course is designed to further develop the student's ability to read different rhythmic groups in all positions of the neck. Along with introducing real world situations (including jazz band charts and transcribed solos), students will focus on developing the ability to read in a variety of formats with little or no preparation time.

Studio Performance III: Students perform together in a recording environment for the purpose of gaining experience as studio musicians. Practice material in the form of charts and recordings is provided. Student recordings will be reviewed by the class.

Rock Performance III: Moving into more advanced material, Quarter III students will perform songs by Van Halen, Randy Rhoads, Satriani and others. Level III & IV performance classes are geared toward practical applications outside the school and on the gig. The class will try to achieve a "live" feel and develop confidence and stage presence.

Rock Styles III: Class will focus on learning and analyzing solos of some of today's hottest rock players (Johnson, Morse, Satriani, etc.). Tone, equipment, and overall sound will also be discussed.

Scales III: Annotated example solos are used to demonstrate the application of scales and arpeggios which are taught within the context of corresponding Rock and Jazz Performance class selections with a focus on jazz standards. Topics covered include: harmonic minor scales, diatonic harmonization with chords, arpeggios and modes, modes of melodic minor, the four superimpositions of melodic minor over dominant chords.

Transcription I: This course includes in-depth discussion of rhythm and meter, rhythmic notation and chart-writing. It also includes techniques for transcribing difficult passages accurately.

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Arranging: This class discusses a variety of subjects relating to musical style, with emphasis on writing for various instruments. Rhythm section, brass and wind charts are discussed.

Classical IV: Here students will learn pieces from the Baroque and Romantic periods, usage of harmonics and altered tunings, and will continue with Sor and Carcassi studies.

Composition: Form, harmonic goals, and thematic development are among the advanced ideas discussed in this class, with emphasis on solving common compositional problems. Students will be given exercises and projects to improve their writing.

Jazz Concepts IV: Class covers improvisational concepts for contemporary jazz, latin, funk and jazz fusion genres.

Jazz Performance IV: In this class students will perform contemporary jazz pieces with latin, funk and rock influences. Improvisation is stressed, along with accurate performance.

Music Business: Presenting concepts and practices that cover several areas of the constantly changing music industry, students will learn about such things as booking, agency contacts, performing rights organizations, copyright and trademark, record label anatomy, artist management agreements, tax information, resume and self-promotion.

Master Class IV: Provides open forum for concepts and techniques used in Rock Performance IV.

Popular Styles Performance: The Popular Styles Performance Class introduces students to four different styles of songs that they are very likely to encounter when doing gigs and going to jam sessions. The styles covered are reggae, samba, funk, and odd meter. This is a level four class with some fun and challenging songs.

Reading IV: Students in Reading IV will be exposed to real world sight reading situations. Along with studying syncopated rhythms, the course introduces a variety of chart styles including big band charts, studio session charts, guitar ensemble charts, and fake book style charts.

Studio Performance IV: Students perform together in a recording environment for the purpose of gaining experience as studio musicians. Practice material in the form of charts and recordings is provided. Student recordings will be reviewed by the class.

Rock Performance IV: Students will now perform advanced compositions by Steve Vai, Eric Johnson, and original material. Levels III & IV performance classes are geared toward practical applications outside the school and on the gig. The class will try to achieve a "live" feel and develop confidence and stage presence.

Scales IV: Annotated example solos are used to demonstrate the application of scales and arpeggios, which are taught within the context of corresponding Rock and Jazz Performance class selections. Students will analyze the styles of various guitarists, including Django Reinhardt, Joe Pass, Pat Martino, Steve Vai, Eric Johnson, Steve Morse, Mike Stern and Pat Metheny.

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