PERFORMANCE-BASED EDUCATION IN CONTEMPORARY MUSIC

Musicians Institute’s challenging Bachelor of Music in Performance (Contemporary Styles) is a unique degree program combining contemporary music performance with rigorous education in traditional music disciplines. The intensive program emphasizes the development of stylistic depth, creative maturity and professional competence as part of a comprehensive program preparing students to enter the contemporary music industry. Upon completion of all requirements, students are eligible to receive the Bachelor of Music in Performance in one of five major instruments of study: Guitar, Bass, Drums, Keyboard and Vocals.

Major Area
BACH-PL Private Lesson
BACH-P151-P453 Ensembles
Various Reading
Various Instrument Study (See Below)
BACH-P104-P404 Performance
BACH-P108-P118 Sophomore Jury
BACH-P208-P218 Senior Jury

Supportive Music
BACH-P101-P801 Theory 1-8
BACH-P102-P602 Ear Training 1-6
BACH-P107-P207 Styles Survey 1-2
BACH-P121-P223 Music History 1-4
BACH-P103-P503 Contemporary Arranging 1-5
BACH-P125 Directing and Conducting 2
BACH-P109-209 Studio Recording 1-2
BACH-P124 Music Industry Studies
BACH-P126 Computer Music Applications
BACH-P120 Contemporary Music Instruction
BACH-P113-P313 Keyboard Proficiency (Required for Bass, Guitar, Drums and Voice)
BACH-V107 Diction (Required for Vocal only)

General Education Credits
Various (see “Articulation Agreement” for required credit distribution)

Electives Credits
(Elective requirements vary by instrument)
Various

INSTRUMENT STUDY

Playing Techniques 3
Techniques for performing fundamental styles and grooves, including straight eighth-note rock, straight and swing sixteenth-note funk, standard shuffles, and 4/4-meter swing. One lecture hour plus one lab hour per week for one quarter.

Playing Techniques 4
A continuation of Playing Techniques 3 with concentration on styles and grooves, including 3/4 rock, 3/4 swing, odd-meter grooves, standard Brazilian grooves, sixteenth-note funk and standard Afro-Cuban grooves. One lecture hour plus one lab hour per week for one quarter.

Playing Techniques 5
Course applies both finger and slap-style electric bass techniques to a variety of contemporary grooves, including Latin, jazz, odd-meter, funk, swing, shuffles, hip-hop and others. One lecture hour and one lab hour per week for one quarter.

Playing Techniques 6
Continued application of finger and slap-style electric bass techniques to a variety of contemporary grooves, including Afro-Cuban, jazz ballad, 4/4 swing, blues, cut-time Latin, and funk. One lecture hour and one lab hour per week for one quarter.

Fretboard Basics 3
Expand diatonic harmonic components over a wide range of notes, neck area, fingerings and hand positions, including simple intervals, diatonic triads, seventh chords, and inversions over the entire length of the neck. One lecture hour plus one lab hour per week for one quarter.

Fretboard Basics 4
Expands fingerings taught in Fretboard Basics 3 to cover chromatic harmony. One lecture hour plus one lab hour per week for one quarter.

Fretboard Improvisation 1
Concentrates on the study of modes and modal playing, major II-V-I’s and building a melodic vocabulary through the analysis of solos by Miles Davis, Sonny Rollins and Cannonball Adderly. One lecture hour plus one lab hour per week for one quarter.

Fretboard Improvisation 2
A continuation of Fretboard Improvisation 1, including a concentrated study of minor tonality, soloing over static dominant chords and continued development of a melodic vocabulary through the analysis of solos. One lecture hour plus one lab hour per week for one quarter.

Reading 3
Class covers advanced levels of chart reading through the extensive use of detailed transcriptions in a wide range of styles, including rock, funk, pop and contemporary instrumental. Concentration is on rhythmic accuracy, pitch recognition and song form. One lecture hour plus one lab hour per week for one quarter.

Reading 4
A continuation of Reading 3. One lecture hour plus one lab hour per week for one quarter.

Reading 5
Students learn contemporary chart reading skills through the extensive use of transcriptions and professionally written arrangements. Focus is placed on sight-reading, pitch and rhythm pattern recognition, position playing, and creating a cohesive sound. Class materials correlate with the All-MI Real World Live Performance Workshop. One lecture hour plus one lab hour per week for one quarter.

Reading 6
A continuation of Reading 5. One lecture hour plus one lab hour per week for one quarter.

The Associate of Arts in Performance (Keyboard) program includes a combination of general and instrument-specific courses designed to produce skilled, knowledgeable, stylistically and technologically versatile contemporary keyboardists. Courses are described below (see course catalog for specific course descriptions and other information). Combined with regular seminars, clinics, and small open counseling sessions with internationally-known musicians, the AA-Keyboard program provides the world's premier contemporary keyboard educational experience.

GENERAL REQUIREMENTS
Degree requirements vary by instrument and include some or all of the following courses. See each emphasis for details on specific requirements.

All course descriptions include course number, title, number of credit units per quarter (multiply by number of required quarters for total credit amount), prerequisites (where applicable), description of content, and contact hours per week.

MAJOR AREA (All Instruments)

Private Lesson
Weekly instrument lesson with an instructor who guides the student in developing technique, musicianship and style in support of core curricular goals. The instructor and student jointly determine a specific course of study depending on student needs, strengths and experience. One private lesson hour per week per quarter.

Live Performance Workshops 1-6
Students perform regularly throughout the program in a variety of styles and settings. Minimum requirement of ten performances per quarter. One ensemble hour per week per quarter.

Blues
Classic Rock
Country Rock
Modern Rock
Hard Rock
Metal
Classic R&B
Punk
Contemporary R&B
Hip-Hop
Fusion
Funk
Reggae
Latin
Billboard Hot 100

*LPW offerings vary by quarter; check current course schedule for availability

MUSICIANSHIP (Requirements vary by instrument)

Harmony and Theory 1
Students perform regularly throughout the program in a variety of styles and settings (see section on Live Playing Workshops for overview of workshop offerings). Minimum requirement of ten performances per quarter. One ensemble hour per week per quarter.

Harmony and Theory 2
A continuation of the study of musical notation and diatonic structures, including rhythmic values, time signatures, natural minor scales and key signatures, harmonized minor scales diatonic seventh chords, and key centers. One lecture hour and one lab hour per week for one quarter.

Harmony and Theory 3
Variations on diatonic structures. Topics include pentatonic scales and blues, inverted, extended and non-standard chord types, chord symbols and modes. One lecture hour and one lab hour per week for one quarter.

Harmony and Theory 4
Non-diatonic melody and harmony. Topics include variations in minor-key harmony and melody, modal interchange, secondary dominants, diatonic substitution and modulation. One lecture hour and one lab hour per week for one quarter.

Ear Training 1
An introduction to Ear Training as it applies to popular music. Areas of focus include matching pitch, major scale melodies, and melodic intervals in the context of examples drawn from contemporary popular music. One lecture hour and one lab hour per week for one quarter.

Ear Training 2
Topics include meter and rhythm, eighth-note phrases, sightsinging, transcribing melody and rhythm on the staff, harmonic intervals, triad qualities, and diatonic major chord progressions. One lecture hour and one lab hour per week for one quarter.

Ear Training 3
Concentrates on the recognition and transcription of diatonic minor-key melodies and chord progressions. One lecture hour and one lab hour per week for one quarter.

Ear Training 4
Sixteenth-note rhythmic phrases plus variations in minor-key melody and harmony. One lecture hour and one lab hour per week for one quarter.

MAJOR AREA

Private Lesson
Twelve credit units required (two per quarter). See “General Requirements” for course descriptions.

Live Performance Workshops 1-6
Six credit units required (one per quarter). See “General Requirements” for course descriptions.

Keyboard Technique 1
Covers exercises for the development of keyboard facility and precision control over melodic components, including scales, patterns, arpeggios, and intervals. One lecture hour per week for one quarter.

Keyboard Technique 2
A continuation of technique development concentrating on hand independence, melodic phrasing, stamina, and contemporary keyboard applications. One lecture hour per week for one quarter.

Keyboard Technique 3
More advanced keyboard technical skills, including five-finger drills, triad and seventh arpeggios, natural minor scales, intervals, trills, modal scales and chord-scale relationships. One lecture hour per week for one quarter.

Keyboard Technique 4
Technical development with emphasis on five-finger drills, diminished arpeggios, harmonic minor scales, intervals, trills, modal scales and chord-scale relationships. One lecture hour per week for one quarter.

Keyboard Voicings 1
Fundamentals of chord construction, symbol recognition, and voice leading, including triads, slash chords, inversions, added-note chords, and diatonic harmony. Weekly sight-reading exercises are used to reinforce performance. One lecture hour per week for one quarter.

Keyboard Voicings 2
Continued study of chord construction, symbol recognition, and voice leading, including major and minor triads, slash chords, inversions, added-note chords, and diatonic harmony. Weekly sight-reading exercises are used to reinforce performance. One lecture hour per week for one quarter.

Keyboard Voicings 3
Introduction of seventh chords, four-part chord construction, and interpretation of chord symbols with an emphasis on rootless voicings, including exercises in both diatonic and chromatic chord movement and left-hand accompaniment patterns. One lecture hour per week for one quarter.

Keyboard Voicings 4
Emphasis on voice-leading concepts used in performance and composition, including shell voicings with extensions as applied to a variety of chord progressions. One lecture hour per week for one quarter.

Keyboard Voicings 5
Application of concepts of chord-scale harmony to voicings and chord progressions. Students explore the techniques of “tension substitution” and use it to create voicings while composing and performing their own progressions. One lecture hour per week for one quarter.

Keyboard Voicings 6
A continuation of chord construction based on chord-scale harmony. Students learn how to create their own voicings and make effective musical choices. One lecture hour per week for one quarter.

Keyboard Improvisation 1
Introduction to blues tonality, seventh chord arpeggios, and variations on the key center approach to improvising over major and minor tonalities, including basic blues and jazz progressions. One ensemble hour per week for one quarter.

Keyboard Improvisation 2
Concepts and techniques for analyzing chord progressions and creating improvised melodies using both key-center and chord-scale approaches with an emphasis on practical applications. One ensemble hour per week for one quarter.

Groove 1
Learn the basic role of the keyboard player in an ensemble with an emphasis on time, tempo, and rhythmic feel in performance. Drills focus on rhythmic awareness and consistency, playing against a steady pulse, and basic hand independence. Two lecture/ensemble hours per week for one quarter.

Groove 2
Concentrates on eighth-note syncopation, playing with a drummer, swing and straight feels. Two lecture/ensemble hours per week for one quarter.

Groove 3
Accompaniment patterns for various chord progressions and styles using techniques, including bass lines, top-note voicings and two-hand syncopation. Rhythm reading is emphasized. One lecture hour per week for one quarter.

Groove 4
Emphasis on developing more intricate and nuanced right-hand rhythm patterns, including further exploration of topnote voicings and adding fills to rhythm patterns. More syncopated styles will be explored. One lecture hour per week for one quarter.

Groove 5
An introduction to sixteenth-note syncopation and its application to contemporary musical styles, with emphasis on bass lines, comping and hand-against-hand rhythmic performance. Two lecture/ensemble hours per week for one quarter.

Groove 6
Concentrates on stylistic rhythms, halfand double-time feels, and two-keyboard performance as well as synth bass lines, brass parts and organ & clarinet playing styles. Two lecture/ensemble hours per week for one quarter.

Musical Director Workshop 1
An introduction to the role of bandleader. Beginning with an overview of chart writing and basic arranging skills, students learn how to rehearse and conduct a rhythm section from the keyboard with an emphasis on articulating styles and feels, directing tempo changes and rubato, creating intros and endings, and working with singers and horn players. Two lecture hours per week for one quarter.

Musical Director Workshop 2
After a review of conducting skills, the emphasis shifts to horn arranging and writing for other auxiliary instruments, including full score arrangements. Two lecture hours per week for one quarter.

Reading 1
An introduction to reading popular music at the keyboard, with emphasis on learning symbols used for notating melody, rhythm, and harmony, including clefs, grand staff, ledger lines, song form, and basic rhythmic expressions. Practical examples are used in class and as homework. One lecture hour per week for one quarter.

Reading 2
Continuing the development of keyboard reading skills, students perform introductory grand staff etudes in all twelve keys, triads with inversions and sixteenth-note rhythms. One lecture hour per week for one quarter.

Reading 3
Reading left-hand chord voicings, combinations of duple and triple rhythms, and more complex melody lines with exercises drawn from contemporary styles, including two-staff arrangements with complex rhythms and harmony. One lecture hour per week for one quarter.

Reading 4
Focus on real-world contemporary reading applications, including stylistic embellishments. Students learn how to practice, sight-read, transpose and perform written music in a variety of styles. One lecture hour per week for one quarter.

Digital Music 1
An introduction to digital audio technology as an essential tool for the creation of keyboard-based recordings. Students learn intuitive setup procedures and use of keyboards as digital audio triggers using Logic software. One lecture hour and one lab hour per week for one quarter.

Digital Music 2
Practical applications of plug-ins and virtual instruments, MIDI integration and component compatibility to songwriting projects. One lecture hour and one lab hour per week for one quarter.

Digital Music 3
Sequencing, sound banks and digital effects within Logic are applied to practical, deadline-oriented projects. One lecture hour and one lab hour per week for one quarter.

Digital Music 4
An introduction to orchestration techniques, sample libraries, and sample creation. Also includes the use of modulation plug-ins, such as phasers, flangers and tremolo plus sound balancing and panning. One lecture hour and one lab hour per week for one quarter.

Digital Music 5
Students apply advanced digital recording and production techniques using Logic and Avid Pro Tools© digital audio software. Topics covered include composition, demo production, basic and advanced mixing techniques, editing, and mastering. Two lecture hours per week for one quarter.

Digital Music 6
More advanced mixing, editing and mastering techniques using Logic and Avid Pro Tools©. Two lecture hours per week for one quarter.

Synthesis 1
An introduction to the structure of analog and digital synthesizers, including essential concepts of subtractive synthesis and synthesized sound production as well as components from wave forms to filters and amplifiers using both hardware synths and computer-based synth modules. One lecture hour per week for one quarter.

Synthesis 2
Focus on more nuanced sound creation and sound design with emphasis on real-world applications. One lecture hour per week for one quarter.

Virtual Instruments 1
Using the vast catalog of virtual instruments included with Logic Audio and Native Instruments Komplete, students learn how to trigger and sequence sounds using their own keyboard and groove skills. Includes advanced sequencing, editing and programming of various instrument and effects combinations in a variety of practical applications. One lecture hour per week for one quarter.

Virtual Instruments 2
Continued development of techniques and practical applications of virtual instruments as a compositional tool. One lecture hour per week for one quarter.

Video Scoring 1
How to compose musical background scores to enhance the emotional qualities of video images. Includes both creative and technical aspects of scoring commercials, TV and film using Apple Logic Pro digital recording software. Two lecture hours per week for one quarter.

Video Scoring 2
Focus on “scoring to picture” and learning techniques for matching the emotional qualities of music and visual images. Two lecture hours per week for one quarter.

MUSICIANSHIP

Harmony and Theory 1-4
Six credit units required (one and one-half per quarter). See “General Requirements” for course descriptions.

Ear Training 1-4
Six credit units required (one and one-half per quarter). See “General Requirements” for course descriptions.

ELECTIVES

Roland Gaia Synth Programming
Accompany Thyself
Blues Keyboards
Funk Keyboards
Hip-Hop Keyboards
R&B/Soul Keyboards
Rock Keyboards
Roland Fantom Workstation Workshop
Ableton Live Workshop
Electronic Styles
Contemporary Music Notation
Keyboard Arranging
Logic Fastrack
Production Tips & Tricks
Rhythm Programming
Jazz Keyboards 1
Jazz Keyboards 2
Keyboard Kontrol
Afro-Cuban Keyboards
Brazilian Keyboards
Chop Shop 1
Chop Shop 2
Composition for Keyboards
Keyboard Accompaniment Styles
Keyboard Mastery

Associate of Arts students in instrument performance programs (Bass, Drums, Guitar, Keyboard Technology, Vocals) may opt for a combined course of study which is a combination of the performance program and a music industry program (Audio Engineering, Film, Guitar Craft, Music Business, Independent Artist).

Enrollment in such programs is dependent upon admission approval and space availability.

*Associate programs are vocational and do not include General Education requirements or specific preparation for study at the Baccalaureate level.

The four-quarter, 60 credit-unit Certificate in Performance (Keyboard) applies MI’s unique style of contemporary music education to an instrument that is both traditional and leading-edge. The Keyboard Technology program combines keyboard skills, live performance and innovative technology to prepare a foundation for careers on the concert stage and in the recording studio. Develop stylistic vocabulary and live playing skills under the guidance of some of LA’s best professional keyboard players, then learn to create your own arrangements and productions using digital audio and virtual instrument applications. MI’s unique environment extends beyond the classroom with concerts, seminars, and opportunities for creative collaboration and networking.

GENERAL REQUIREMENTS
Degree requirements vary by instrument and include some or all of the following courses. See each emphasis for details on specific requirements.

All course descriptions include course number, title, number of credit units per quarter (multiply by number of required quarters for total credit amount), prerequisites (where applicable), description of content, and contact hours per week.

MAJOR AREA (All Instruments)

Private Lesson
Weekly instrument lesson with an instructor who guides the student in developing technique, musicianship and style in support of core curricular goals. The instructor and student jointly determine a specific course of study depending on student needs, strengths and experience. One private lesson hour per week per quarter.

Live Performance Workshops 1-4
Students perform regularly throughout the program in a variety of styles and settings. Minimum requirement of ten performances per quarter. One ensemble hour per week per quarter.

Blues
Classic Rock
Country Rock
Modern Rock
Hard Rock
Metal
Classic R&B
Punk
Contemporary R&B
Hip-Hop
Fusion
Funk
Reggae
Latin
Billboard Hot 100

*LPW offerings vary by quarter; check current course schedule for availability

MUSICIANSHIP (Requirements vary by instrument)

Harmony and Theory 1
Students perform regularly throughout the program in a variety of styles and settings (see section on Live Playing Workshops for overview of workshop offerings). Minimum requirement of ten performances per quarter. One ensemble hour per week per quarter.

Harmony and Theory 2
A continuation of the study of musical notation and diatonic structures, including rhythmic values, time signatures, natural minor scales and key signatures, harmonized minor scales diatonic seventh chords, and key centers. One lecture hour and one lab hour per week for one quarter.

Harmony and Theory 3
Variations on diatonic structures. Topics include pentatonic scales and blues, inverted, extended and non-standard chord types, chord symbols and modes. One lecture hour and one lab hour per week for one quarter.

Harmony and Theory 4
Non-diatonic melody and harmony. Topics include variations in minor-key harmony and melody, modal interchange, secondary dominants, diatonic substitution and modulation. One lecture hour and one lab hour per week for one quarter.

Ear Training 1
An introduction to Ear Training as it applies to popular music. Areas of focus include matching pitch, major scale melodies, and melodic intervals in the context of examples drawn from contemporary popular music. One lecture hour and one lab hour per week for one quarter.

Ear Training 2
Topics include meter and rhythm, eighth-note phrases, sightsinging, transcribing melody and rhythm on the staff, harmonic intervals, triad qualities, and diatonic major chord progressions. One lecture hour and one lab hour per week for one quarter.

Ear Training 3
Concentrates on the recognition and transcription of diatonic minor-key melodies and chord progressions. One lecture hour and one lab hour per week for one quarter.

Ear Training 4
Sixteenth-note rhythmic phrases plus variations in minor-key melody and harmony. One lecture hour and one lab hour per week for one quarter.

MAJOR AREA

Private Lesson
Twelve credit units required (two per quarter). See “General Requirements” for course descriptions.

Live Performance Workshops 1-4
Six credit units required (one per quarter). See “General Requirements” for course descriptions.

Keyboard Technique 1
Covers exercises for the development of keyboard facility and precision control over melodic components, including scales, patterns, arpeggios, and intervals. One lecture hour per week for one quarter.

Keyboard Technique 2
A continuation of technique development concentrating on hand independence, melodic phrasing, stamina, and contemporary keyboard applications. One lecture hour per week for one quarter.

Keyboard Technique 3
More advanced keyboard technical skills, including five-finger drills, triad and seventh arpeggios, natural minor scales, intervals, trills, modal scales and chord-scale relationships. One lecture hour per week for one quarter.

Keyboard Technique 4
Technical development with emphasis on five-finger drills, diminished arpeggios, harmonic minor scales, intervals, trills, modal scales and chord-scale relationships. One lecture hour per week for one quarter.

Keyboard Voicings 1
Fundamentals of chord construction, symbol recognition, and voice leading, including triads, slash chords, inversions, added-note chords, and diatonic harmony. Weekly sight-reading exercises are used to reinforce performance. One lecture hour per week for one quarter.

Keyboard Voicings 2
Continued study of chord construction, symbol recognition, and voice leading, including major and minor triads, slash chords, inversions, added-note chords, and diatonic harmony. Weekly sight-reading exercises are used to reinforce performance. One lecture hour per week for one quarter.

Keyboard Voicings 3
Introduction of seventh chords, four-part chord construction, and interpretation of chord symbols with an emphasis on rootless voicings, including exercises in both diatonic and chromatic chord movement and left-hand accompaniment patterns. One lecture hour per week for one quarter.

Keyboard Voicings 4
Emphasis on voice-leading concepts used in performance and composition, including shell voicings with extensions as applied to a variety of chord progressions. One lecture hour per week for one quarter.

Keyboard Improvisation 1
Introduction to blues tonality, seventh chord arpeggios, and variations on the key center approach to improvising over major and minor tonalities, including basic blues and jazz progressions. One ensemble hour per week for one quarter.

Keyboard Improvisation 2
Concepts and techniques for analyzing chord progressions and creating improvised melodies using both key-center and chord-scale approaches with an emphasis on practical applications. One ensemble hour per week for one quarter.

Groove 1
Learn the basic role of the keyboard player in an ensemble with an emphasis on time, tempo, and rhythmic feel in performance. Drills focus on rhythmic awareness and consistency, playing against a steady pulse, and basic hand independence. Two lecture/ensemble hours per week for one quarter.

Groove 2
Concentrates on eighth-note syncopation, playing with a drummer, swing and straight feels. Two lecture/ensemble hours per week for one quarter.

Groove 3
Accompaniment patterns for various chord progressions and styles using techniques, including bass lines, top-note voicings and two-hand syncopation. Rhythm reading is emphasized. One lecture hour per week for one quarter.

Groove 4
Emphasis on developing more intricate and nuanced right-hand rhythm patterns, including further exploration of topnote voicings and adding fills to rhythm patterns. More syncopated styles will be explored. One lecture hour per week for one quarter.

Musical Director Workshop 1
An introduction to the role of bandleader. Beginning with an overview of chart writing and basic arranging skills, students learn how to rehearse and conduct a rhythm section from the keyboard with an emphasis on articulating styles and feels, directing tempo changes and rubato, creating intros and endings, and working with singers and horn players. Two lecture hours per week for one quarter.

Musical Director Workshop 2
After a review of conducting skills, the emphasis shifts to horn arranging and writing for other auxiliary instruments, including full score arrangements. Two lecture hours per week for one quarter.

Reading 1
An introduction to reading popular music at the keyboard, with emphasis on learning symbols used for notating melody, rhythm, and harmony, including clefs, grand staff, ledger lines, song form, and basic rhythmic expressions. Practical examples are used in class and as homework. One lecture hour per week for one quarter.

Reading 2
Continuing the development of keyboard reading skills, students perform introductory grand staff etudes in all twelve keys, triads with inversions and sixteenth-note rhythms. One lecture hour per week for one quarter.

Reading 3
Reading left-hand chord voicings, combinations of duple and triple rhythms, and more complex melody lines with exercises drawn from contemporary styles, including two-staff arrangements with complex rhythms and harmony. One lecture hour per week for one quarter.

Reading 4
Focus on real-world contemporary reading applications, including stylistic embellishments. Students learn how to practice, sight-read, transpose and perform written music in a variety of styles. One lecture hour per week for one quarter.

Digital Music 1
An introduction to digital audio technology as an essential tool for the creation of keyboard-based recordings. Students learn intuitive setup procedures and use of keyboards as digital audio triggers using Logic software. One lecture hour and one lab hour per week for one quarter.

Digital Music 2
Practical applications of plug-ins and virtual instruments, MIDI integration and component compatibility to songwriting projects. One lecture hour and one lab hour per week for one quarter.

Digital Music 3
Sequencing, sound banks and digital effects within Logic are applied to practical, deadline-oriented projects. One lecture hour and one lab hour per week for one quarter.

Digital Music 4
An introduction to orchestration techniques, sample libraries, and sample creation. Also includes the use of modulation plug-ins, such as phasers, flangers and tremolo plus sound balancing and panning. One lecture hour and one lab hour per week for one quarter.

Synthesis 1
An introduction to the structure of analog and digital synthesizers, including essential concepts of subtractive synthesis and synthesized sound production as well as components from wave forms to filters and amplifiers using both hardware synths and computer-based synth modules. One lecture hour per week for one quarter.

Synthesis 2
Focus on more nuanced sound creation and sound design with emphasis on real-world applications. One lecture hour per week for one quarter.

Virtual Instruments 1
Using the vast catalog of virtual instruments included with Logic Audio and Native Instruments Komplete, students learn how to trigger and sequence sounds using their own keyboard and groove skills. Includes advanced sequencing, editing and programming of various instrument and effects combinations in a variety of practical applications. One lecture hour per week for one quarter.

Virtual Instruments 2
Continued development of techniques and practical applications of virtual instruments as a compositional tool. One lecture hour per week for one quarter.

Video Scoring 1
How to compose musical background scores to enhance the emotional qualities of video images. Includes both creative and technical aspects of scoring commercials, TV and film using Apple Logic Pro digital recording software. Two lecture hours per week for one quarter.

Video Scoring 2
Focus on “scoring to picture” and learning techniques for matching the emotional qualities of music and visual images. Two lecture hours per week for one quarter.

MUSICIANSHIP

Harmony and Theory 1-4
Six credit units required (one and one-half per quarter). See “General Requirements” for course descriptions.

Ear Training 1-4
Six credit units required (one and one-half per quarter). See “General Requirements” for course descriptions.

ELECTIVES

Roland Gaia Synth Programming
Accompany Thyself
Blues Keyboards
Funk Keyboards
Hip-Hop Keyboards
R&B/Soul Keyboards
Rock Keyboards
Roland Fantom Workstation Workshop
Ableton Live Workshop
Electronic Styles
Contemporary Music Notation
Keyboard Arranging
Logic Fastrack
Production Tips & Tricks
Rhythm Programming
Jazz Keyboards 1
Jazz Keyboards 2
Keyboard Kontrol
Afro-Cuban Keyboards
Brazilian Keyboards
Chop Shop 1
Chop Shop 2
Composition for Keyboards
Keyboard Accompaniment Styles
Keyboard Mastery

ENCORE

The Encore Program (Non-Certificate Training in Music Performance) is designed to allow students to create a full-time, ten-week program by choosing from available lessons, classes, performance workshops and other activities. Enrollment is available at the beginning of any quarter and may be repeated for additional quarters.

THE ENCORE PROGRAM INCLUDES:

Schedule
Based on an initial evaluation, the Encore Coordinator provides each student with a list of available courses that are appropriate to the student’s level of knowledge and skill. From that list, the student creates a class schedule equal to a full-time credit load of fifteen units.

Note: Course offerings vary by quarter and some courses and programs are not available for Encore enrollment. A list of available courses will be provided to each student by the Encore Coordinator prior to registration. To confirm the availability of specific courses, please consult with the Encore Coordinator prior to enrollment.

Private Lessons
Every instrument Encore session includes weekly, one-hour private lessons on the student’s primary instrument. Instructor and student jointly develop a lesson plan based on the student’s particular interests and the instructor provides general guidance throughout the program.

Note: Requests for private lessons with a specific instructor are subject to instructor availability.

Access
Encore enrollment includes 24-hour access to MI’s facilities for practice and rehearsal, access to extra-curricular activities and the library, and admission to clinics and seminars offered during the student’s period of enrollment.

IMPORTANT ADDITIONAL INFORMATION:

• Financial Aid – Encore is not eligible for State or Federal financial aid.
• January and July enrollments – Most Core classes available to entering Encore students in performance programs during January and July quarters are at intermediate-to-advanced levels. January or July enrollment is not advised for beginning-level Encore students.
• Materials – Encore students are entitled to receive curriculum and other materials applicable to courses included in their official course schedule only.
• Fees – Encore students are responsible for all applicable fees; see “Tuition and Fees” for specific information.
• Course Credit – Courses taken during an Encore session do not earn course credit. Attendance or completion of any course does not guarantee subsequent advanced placement in a Certificate or Degree program.