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ACADEMIC CALENDAR ��2 CERTIFICATE IN PERFORMANCE Bass ��84 MISSION STATEMENT ��4 Drums ��85 ADMISSIONS Guitar ��85 Bachelor of Music ��5 Keyboard Technology ��86 Associate of Arts in Performance ��7 Vocals ��86 Certificate in Performance ��8 MUSIC INDUSTRY PROGRAMS Non-Certificate Programs ��8 Audio Engineering ��87 Music Industry Certificate Programs ��9 Post-Production Audio ��90 International Student Information ��10 Live Sound Production ��92 Additional Information ��10 Independent Artist Development ��94 FINANCIAL AID �� 11 Music Business ��97 TUITION AND FEES ��16 Music Entrepreneur �� 100 POLICIES ��20 Guitar Craft �� 102 Academic Policies and Definitions ��20 Acoustic Guitar Design �� 104 Student Conduct ��27 1 Student Rights ��29 Music Video, Film and Television �� 105

Housing and STUDENT SERVICES ��31 ALTERNATIVE PROGRAMS �� 107 ARTIST AND CAREER SERVICES ��32 Encore Summer Shot FACILITIES ��33 ALL-MI ELECTIVES �� 108 PROGRAMS at a Glance ��36 LIVE PERFORMANCE WORKSHOPS �� 112 BACHELOR OF MUSIC IN PERFORMANCE ��38 General Studies Requirements ��51 FACULTY BIOS �� 113

ASSOCIATE OF ARTS IN PERFORMANCE ADMINISTRATION �� 140 General Requirements ��52 CAMPUS HOLLYWOOD �� 142 Bass ��54 Drums ��59 Guitar ��65 Keyboard Technology ��72 Vocals ��77 Combined Emphasis ��83 Academic Calendar

2010–11 2011–12 2012-2013

Fall Quarter 2010 2011 2012 Re-Registration August 30–September 10 August 29–September 9 August 27–September 7 New Student Registration September 20–27 September 19–30 September 17–28 New Student Orientation September 30 September 29 September 27 Quarter Begins October 4 October 3 October 1 *Thanksgiving Break November 25–26 November 24–25 November 22–23 Final Exams December 13–17 December 12–16 December 10–14 Quarter Break December 18–January 2 December 17–January 2 December 15–January 6

Winter Quarter 2011 2012 2013 2 Re-Registration November 29–December 10 November 28–December 9 November 26–December 7 New Student Registration December 20–31 December 19–30 December 17–28 New Student Orientation December 30 December 29 January 3 *New Year’s Day January 1 January 1 January 1 Quarter Begins January 3 January 3 January 7 *Martin Luther King Day January 17 January 16 January 21 *Presidents’ Day February 21 N/A N/A Final Exams March 14–18 March 12–16 March 18–22 Graduation March 19 March 17 March 23 Quarter Break March 19–April 3 March 17–April 1 March 23–April 7

*School closed Academic Calendar

Spring Quarter 2011 2012 2013 Re-Registration February 28–March 11 February 27–March 9 March 4–15 New Student Registration March 21–April 1 March 19–30 March 25–April 5 New Student Orientation March 31 March 29 April 4 Quarter Begins April 4 April 2 April 8 *Memorial Day May 30 May 28 May 27 Final Exams June 13–17 June 11–15 June 17–21 Quarter Break June 18–July 4 June 16–July 1 June 22–July 7

Summer Quarter 2011 2012 2013 Re-Registration May 31–June 10 May 29–June 8 June 3–14 New Student Registration June 20–July 1 June 18–29 June 24–July 5 3 New Student Orientation June 30 June 28 July 3 *Independence Day July 4 July 4 July 4 Quarter Begins July 5 July 2 July 8 *Labor Day September 5 September 3 September 2 Final Exams September 12–16 September 10–14 September 16–20 Graduation September 17 September 15 September 21 Quarter Break September 17–October 2 September 15–30 September 21–October 6

*School closed Mission Statement

Musicians Institute provides innovative education that prepares graduates for ■ Certificate creative and professional careers in the contemporary music industry. MI is Certificate in Performance dedicated to providing comprehensive instruction, facilities and other resources Bass, Guitar, Keyboard Technology, Drums, Vocals to support and inspire artistic and professional accomplishment. Independent Artist Development Artist Certificate Musicians Institute offers the following programs of study: Audio Engineering ■ Baccalaureate Certificate in Audio Engineering Bachelor of Music in Performance (Contemporary Styles) Certificate in Audio Engineering (Post-Production Audio) Bass, Guitar, Keyboards, Drums, Vocals Certificate in Audio Engineering (Live Sound Production) Guitar Craft With additional minor studies in: Certificate in Guitar Craft Audio Production Certificate in Guitar Craft (Acoustic Guitar Design) Music Industry Studies Music Business ■ Associate Certificate in Music Business Associate of Arts in Performance Certificate in Music Business (Music Entrepreneur) Bass, Guitar, Keyboard Technology, Drums, Vocals Music Video, Film and Television Certificate in Music Video, Film and Television Production ■ Associate of Arts in Performance with emphasis in: Audio Engineering ■ Non-Certificate Independent Artist Development Encore Program 4 Music Business Bass, Guitar, Keyboards, Drums, Vocals Guitar Craft Summer Shot Music Video, Film and Television Production Bass, Guitar, Keyboards, Drums, Vocals Recording Songwriting Guitar Building

NOTICES No Guarantee of Employment As a prospective student, you are encouraged to review this catalog prior MI offers no guarantee that employment will result from enrolling in, attending, to signing an enrollment agreement. You are also encouraged to review the or completing any MI program. School Performance Fact Sheet, which must be provided to you prior to signing an enrollment agreement. Questions and Complaints Any questions a student may have regarding this catalog that have not been Approval and Accreditation satisfactorily answered by the institution may be directed to the: Musicians Institute is a private institution that is approved to operate in the Bureau for Private Postsecondary Education State of California by the Bureau for Private Postsecondary Education and has P.O. Box 980818 been an accredited institutional member of the National Association of Schools West Sacramento, CA 95798-0818 of Music since 1981. www.bppve.ca.gov Phone: 916-574-7720 toll free: 1-888-370-7589 Accuracy of Information Fax: 916-574-8646 toll free: 1-888-870-7587 Information in this catalog is accurate as of the date of printing. MI reserves the right to revise or cancel the programs, courses, activities, or services described A student or any member of the public may file a complaint about this institu- herein without prior notice. Applicants are advised to confirm their availability tion with the Bureau for Private Postsecondary Education by calling (toll free) prior to enrollment. 1-888-370-7589 or by completing a complaint form, which can be obtained on the bureau’s Internet Web site (www.bppve.ca.gov). Admissions

Bachelor of Music IN PERFORMANCE International Applicants (CONTEMPORARY STYLES) Please send all of the items described above together by mail or e-mail, PLUS: Bass, Drums, Guitar, Keyboards, Vocals 1. The $100.00 USD application fee. (International applicants: the application fee must be submitted as an Interna- Eligibility Requirements tional Money Order, Postal Money Order or Credit Card for U.S. funds) 1. Satisfactory completion of an accredited secondary school program 2. If a student’s principal language is other than English, he or she must (high school) or its equivalent. Students are advised to follow a college present verification of English language proficiency through a Test preparatory curriculum with four years of English, three years of Social of English as a Foreign Language (TOEFL). The minimum TOEFL Sciences and as many music courses as are practical. acceptance score is 500 (or 173 on the computerized TOEFL). 2. At least three years of study on the primary instrument 3. A non-immigrant student F-1 Visa is required for all Degree programs (Bass, Guitar, Keyboards, Drums, or Vocals). (see “International Student Information” for details). 3. Music reading ability in both treble and bass clef. 4. Knowledge of and interest in contemporary styles Admissions Deadlines and Notification 5. Working knowledge of keyboard harmony. The Admissions Department must receive a completed written application, all official documents, required materials, and completed Theory, Ear Training, How to Apply for Admission to the BM Program: and Performance DVD tests by the following dates: The admissions procedure for the BM program consists of three parts: ■ Fall admission: July 31 1. Completed application form with all required documents ■ Spring admission: January 31 2. Written entrance test Fully completed applications will be reviewed with placement priority given 3. Video performance test to applications received prior to the established due dates. Accepted appli- After your written application is received, reviewed and approved, you will cants will be notified by mail and telephone. Applicants who are not accepted 5 receive a written BM entrance test by mail to be completed and returned along will receive notification by mail only, along with the specific reasons for non- with an unedited video recording of yourself performing specific instrumental acceptance. playing requirements (details provided with entrance test). Tuition Deposit (Domestic Students Only) All Bachelor Applicants Upon acceptance to the degree program, students are required to submit a Please send all of the following items together by mail: refundable deposit in the amount of $300.00 USD to secure their placement 1. Completed application form. (see Letter of Acceptance for details). The deposit is applied toward the first 2. High School diploma or equivalent or higher degree (A.A., A.S., B.A., quarter’s tuition and is completely refundable in the event of cancellation of B.S. etc.) from an accredited institution. Please provide an official enrollment. English translation if the original is not in English. 3. $100.00 USD application fee. Registration 4. A 250-word written essay describing why you want to attend Musicians Students are expected to arrive two weeks prior to the start of classes for regis- Institute. tration and orientation. Late registration will be held until Friday of the first week 5. SAT or ACT scores (from within the previous five years); SAT of classes. Registration after the first week of classes is by permission of the minimum: 500 Critical Reading, 500 Mathematics, 500 Writing; ACT Degree Dean only. minimum: 21. Students who need housing/roommate assistance should arrive at least four 6. Two letters of recommendation from instructors or professors you have weeks prior to the start of classes. Daily housing meetings and new student studied with for at least one year, including one recommendation in tours will take place during registration week. music and one recommendation in academic areas. 7. Transfer credit information from prior college or university (if Placement Evaluation applicable). After are accepted by the BM program, you will be given a placement evaluation to determine your experience level in several fundamental musical areas. In some cases, you may receive advanced placement in certain subjects in Admissions

which you may already be proficient. Placement evaluations will take place Musicians Institute Office of Admissions during registration week. Students will not be scheduled for classes until their 6752 Hollywood Boulevard evaluations are complete. Hollywood, California 90028

Orientation Transfer students who enter Musicians Institute with missing official transcripts Attendance at the Orientation Meeting is mandatory for all new students. or classes in progress must meet with the Dean during their first quarter to Unless otherwise stated during registration, Orientation will be held on the confirm the transfer of those credits. The Admissions Office must receive all Thursday prior to the start of classes. During this meeting you will learn about transcripts before the end of the student’s first quarter of enrollment at Musi- school policy and procedures, student services, lab and LPW sign-ups and cians Institute. other school-related topics. Note: see the “Notice Concerning Transferability of Credits and Credentials Earned at Musicians Institute” under “Additional Information” below. General Education Transfer Credits The two main components of the Bachelor of Music Degree are the music Requirements for MI Associate Degree Students Applying to the coursework and the general education requirements. To fulfill the general edu- BM Program cation degree requirements, students must complete 45 quarter units or 30 Applicants who complete an Associate of Arts in Performance degree in Bass, semester units in liberal arts subjects. For this purpose, Musicians Institute has Guitar, Drums, Keyboard Technology or Vocals at Musicians Institute with a entered into a partnership with Los Angeles City College (LACC). All required minimum cumulative GPA of 3.75 and meet all other BM Degree admission general education courses, including a wide selection of subjects in English, requirements will be admitted to the BM program without submitting the video mathematics, natural science, social science and humanities are offered on the performance test. Each admitted student will be given a placement test in nearby LACC campus. MI students may register for appropriate general educa- Music Theory and Ear Training and placed at the appropriate level in those 6 tion classes in consultation with LACC advisors with support and coordination subjects (in some cases, remedial coursework may be required). from Musicians Institute (LACC is accredited by the Western Association of Students who complete an AA degree at MI with a GPA lower than 3.75 or stu- Schools and Colleges (WASC)). See Bachelor of Music degree requirements in dents who complete an AA (combined emphases) will be required to complete this catalog for a summary of required General Education credit distribution. the video performance test as part of the BM application process. Acceptance Students may also transfer up to the maximum number of required general for admission will be subject to meeting minimum test requirements. education units from institutions other than LACC pending review and approval by the Dean. Acceptance of coursework will be based on standards set by the Transfer Credits from MI Associate to BM Program National Association of Schools of Music and Musicians Institute, as well as Applicants who have completed MI’s Associate of Arts in Performance (Bass, comparisons to offerings from LACC. Guitar, Keyboard Technology, Drums, or Vocals) with a minimum GPA of 3.75 may transfer the following credits toward their BM completion requirements: Music Transfer Credits Instrument Study: 12 credits The maximum number of transfer credits that may be applied to satisfy music Reading: 6 credits coursework requirements varies according to the student’s initial placement in the areas of Private Lessons, Ensembles, Theory, Ear Training, and Read- Additional credits that may be transferred based on results of BM entrance ing. In no case may the total number of transfer credits (music and general evaluation include: education combined) exceed the maximum allowed under the Residency Private Lesson: up to 12 credits Requirement (see “Policies”). Ensembles: up to 6 credits Applying for Transfer Credit Electives: up to 9 credits Provide official transcripts and course catalogs of all college study relevant to Transfer credits for students who are admitted to the BM program after the desired transfer credits to the attention of: completing the AA Performance Degree with a GPA below 3.75 or students admitted after completing an AA (Combined Emphasis) Degree will be evaluated on a course-by-course basis. Admissions

ASSOCIATE OF ARTS IN PERFORMANCE 2. A non-immigrant student M-1 Visa is required for the Performance Bass, Drums, Guitar, Keyboard Technology, Vocals Certificate program (see “International Student Information” for The Associate of Arts in Performance is a terminal/occupational degree and details). is not intended to prepare graduates for transfer to baccalaureate programs. 3. TOEFL tests are not required for admission to AA or certificate Policies regarding the transfer of occupational degrees or acceptance of trans- programs; however, all classes are taught in English and students fer course credit vary by institution. MI cannot guarantee the transferability of must have a basic understanding of the English language in both credit except between its own degree programs (see “Transfer Credits from MI spoken and written communication. Associate to BM Program” above). Application Review and Notification Eligibility Requirements Class sizes are limited and placement priority is given to applications in the The admissions procedure is selective and based on factors including: order accepted. Fully completed applications are reviewed for acceptance on 1. Recorded audition or written test (where applicable) an ongoing basis. Accepted applicants will be notified by mail and/or telephone. 2. Written application Applicants who are not accepted will be notified by mail including the reasons 3. Prior experience for non-acceptance. 4. Evidence of desire for career advancement and commitment to an intensive educational program Tuition Deposit (Domestic Students Only) Each applicant is individually reviewed, taking into consideration his or her Upon acceptance to all degree and certificate programs, admitted students experience, achievements, aptitude, attitude, and potential for growth. Prospec- are required to submit a refundable deposit in the amount of $300.00 USD to tive students still enrolled in high school are encouraged to follow a college secure their placement (see Letter of Acceptance for details). The deposit is preparatory curriculum and to take as many music and music-related courses applied toward the first quarter’s tuition and is completely refundable in the as are practical prior to attending MI. event of cancellation of enrollment (students are encouraged to submit the 7 deposit along with the application fee). How to Apply for Admission to the AA-Performance Program Please send all of the following items together by mail (additional items are Registration also required–check below under the specific program to which you are Students are expected to arrive two weeks prior to the start of classes for applying): registration and orientation. Students who fail to register at their assigned reg- 1. Completed application form istration appointment will be assessed a late registration fee of $100.00 USD. 2. $100.00 USD application fee Applicants may register after the first week of classes only with permission from (International applicants: the application fee must be submitted as an Interna- the Department Head. tional Money Order, Postal Money Order or Credit Card for U.S. funds) Students who need housing/roommate assistance should arrive at least four 3. High school diploma or proof of GED equivalent from institution with weeks prior to the start of classes. Daily housing meetings and new student recognized accreditation (please provide an official English translation tours will take place during registration week. if the original is not in English) 4. One letter of recommendation from a music instructor or music Placement Evaluation professional familiar with your personal and musical qualities After you are admitted to the Associate Degree program, you will be given 5. An audio recording of your playing or singing (see application for a placement evaluation. The evaluation will measure your current level of details) knowledge and experience in several fundamental musical areas. Placement evaluations take place during registration week and you will not be scheduled International Applicants for classes until your evaluation is complete. In some cases, a student may In addition to the materials described above: be recommended for advanced placement in classes in which he or she may Student Visas already be proficient. 1. A non-immigrant student F-1 Visa is required for the Associate Degree program (see “International Student Information” for details). Admissions

Orientation CERTIFICATE IN PERFORMANCE Attendance at the Orientation Meeting is mandatory for all new students. Bass, Drums, Guitar, Keyboard Technology, Vocals Unless otherwise stated during registration, Orientation will be held on the All eligibility, application, registration, placement and orientation requirements Thursday prior to the start of classes. During this meeting you will learn about for the four-quarter/60 credit-unit Certificate in Performance are identical to school policy and procedures, student services, lab and LPW sign-ups and those described above for Associate of Arts in Performance. other school-related topics. ENCORE PROGRAM (Non-Certificate Training in Music) Transfer from an AA Degree Program to a Performance Certificate Bass, Drums, Guitar, Keyboards, Vocals Program Currently enrolled students seeking to transfer from an Associate Degree pro- Eligibility gram to a Performance Certificate program with the same instrument major There are no specific academic entrance requirements for the Encore Program. must complete and submit a Petition for Transfer to the Registrar-Academic Each applicant is individually reviewed, taking into consideration his or her Advising office. Students who have withdrawn or been terminated from an experience, past achievements, aptitude and potential for growth. AA degree Program and are seeking to transfer to a Performance Certificate How to Apply to the Encore Program program within the same instrument major must contact the Student Records Please send the following items together by mail or email: office for instructions. For information on transferring to a different instrument 1. Completed application form major, contact the Admissions Office. 2. $100 application fee Note: see the “Notice Concerning Transferability of Credits and Credentials Earned at Musicians Institute” under “Additional Information” below. International Applicants 8 In addition to the materials described above: ASSOCIATE OF ARTS IN PERFORMANCE Student Visas (Combined Emphasis) A non-immigrant student M-1 Visa is required (see “International Student Infor- Musicians Institute offers Associate degrees combining study of one of the mation” for details). five primary instruments with a non-performance emphasis. Emphasis options English Language include: TOEFL tests are not required for admission to the Encore program; however, ■ Audio Engineering all classes are taught in English and students must have a basic understanding ■ Music Business of the English language in both spoken and written communication. ■ Music Video, Film and Television Production ■ Guitar Craft Application Review and Notification ■ Independent Artist Development Class sizes are limited and placement priority is given to applications in the order accepted. Fully completed applications are reviewed for acceptance on Eligibility and Application an ongoing basis. Accepted applicants will be notified by mail or telephone. Students applying for admission to an AA (combined emphasis) program must Applicants who are not accepted will be notified by mail or telephone including meet the eligibility requirements of both the instrument study portion (see AA the reasons for non-acceptance. requirements above) and the additional emphasis portion (see Music Industry Certificates below). Scheduling/Registration/Orientation All other application, registration, placement, and orientation requirements are Encore students are expected to arrive two weeks prior to the start of classes identical to those described above for the Associate of Arts in Performance. for scheduling, Registration, and Orientation. Students who need housing and/ or roommate assistance should arrive at least four weeks prior to the start of classes. Admissions

MUSIC INDUSTRY CERTIFICATE PROGRAMS Program-Specific Requirements Audio Engineering Audio Engineering (all certificates) Certificate in Audio Engineering Application: Certificate in Audio Engineering (Post-Production Audio) In addition to the items listed above under “All Programs” you must pass a writ- Certificate in Audio Engineering (Live Audio Production) ten Scholastic Level Exam (see application form for details). Film Placement: Certificate in Music Video, Film and TV Production If you are admitted into an Audio Engineering Certificate program, you will be Guitar Craft given a placement evaluation as part of the registration process. The evalu- Certificate in Guitar Craft ation will measure your current level of knowledge and experience in several Certificate in Guitar Craft (Acoustic Guitar Design) fundamental areas. Placement evaluations will take place during registration Independent Artist Development week and you will not be scheduled for classes until your evaluation is com- Artist Certificate plete. In some cases, a student may be recommended for advanced placement Music Business in classes in which he or she may already be proficient. Certificate in Music Business Certificate in Music Business (Music Entrepreneur) Students already enrolled in the Certificate in Audio Engineering program may apply for transfer to the Certificate in Audio Engineering (Post-Production Eligibility Audio) or Certificate in Audio Engineering (Live Audio Production) programs. The admission procedure for each program is selective and based on factors The applicant’s academic progress in the current program will also be consid- including: ered as a factor in determining eligibility for transfer. 1. A recorded audition or written test (where applicable). 2. Written application Music Video, Film and Television 9 3. Prior experience In addition to the items listed above under “All Programs” you must pass a writ- 4. Applicant’s desire for career advancement and commitment to an ten Scholastic Level Exam (see application form for details). intensive educational program Each applicant is individually reviewed, taking into consideration his or her Independent Artist experience, achievements, aptitude, attitude, and potential for growth. Pro- In addition to the items listed above under “All Programs”, you must also submit spective students still attending high school are encouraged to follow a college an original recording (see application form for details). preparatory curriculum and to take as many music and music-related courses Guitar Craft (all certificates) as are practical prior to attending MI. In addition to the items listed above under “All Programs”, you must pass a How to Apply for Admission written Scholastic Level Exam and also submit a recorded musical audition and All programs: recording of your speaking voice with a short narrative in English telling us why Send all of the following items together by mail along with any additional items you want to attend Musicians Institute (see application form for details). required by the program to which you are applying (see below): International Applicants 1. Completed application form In addition to the materials described above: 2. $100.00 USD application fee (International applicants: the application fee must be submitted as an Student Visas International Money Order, Postal Money Order or Credit Card for U.S. A non-immigrant student M-1 Visa is required for all programs (see “Interna- funds). tional Student Information” for details). 3. High school diploma or proof of G.E.D. equivalent from an accredited English Language institution (please provide an official English translation if the original is TOEFL tests are not required for admission; however, all classes are taught in not in English). English and students must have a basic understanding of the English language in both spoken and written communication. Admissions

Application Review and Notification the student’s, parent’s or sponsor’s bank certifying that there are enough funds Class sizes are limited and placement priority will be given to approved appli- available for payment of tuition and living expenses during the study period. All cations based on the date of acceptance into the desired program. Fully funds sent to MI must be in U.S. dollars. completed applications are reviewed for acceptance on an ongoing basis. English Documents: All documents must be in English or accompanied by a Accepted applicants will be notified by mail and/or phone. Applicants who are certified English translation of the document. not accepted will receive notification by mail, along with the specific reasons for non-acceptance. Student Visas: A non-immigrant F-1 student visa (for Bachelor and Associate Degree programs) or an M-1 student visa (for Certificate and Encore programs) Tuition Deposit (Domestic Students Only) is required. An I-20 immigration form will be issued to the student upon meeting Upon acceptance to all degree and certificate programs, admitted students all entrance and financial requirements. The student must take the I-20 form to are required to submit a refundable deposit in the amount of $300.00 USD to the U.S. Embassy or Consulate in his or her country of residence to obtain a secure their placement (see Letter of Acceptance for details). The deposit is student visa in order to enter the United States. applied toward the first quarter’s tuition and is completely refundable in the Full-time status: All international students must maintain “full time” status in event of cancellation of enrollment. order to satisfy student visa requirements. Registration ADDITIONAL INFORMATION Students are expected to arrive two weeks prior to the start of classes for regis- Accreditation and Licensure tration and orientation. Students who fail to register at the assigned registration Musicians Institute has been an accredited institutional member of the National appointment will be assessed a late registration fee of $100.00 USD Registra- Association of Schools of Music since 1981 and is licensed to operate in the tion after the first week of classes is by permission of the Department Head only. State of California by the Bureau for Private Postsecondary Education. 10 Students who need housing/roommate assistance should arrive at least four weeks prior to the start of classes. Daily housing meetings and new student Notice Concerning Transferability of Credits and Credentials tours will take place during registration week. Earned at Musicians Institute The transferability of credits you earn at Musicians Institute is at the complete Orientation discretion of an institution to which you may seek to transfer. Acceptance of the Orientation is mandatory for all new students and unless otherwise stated dur- degree or certificate you earn in your program is also at the complete discre- ing registration, will be held on the Thursday prior to the start of classes. The tion of the institution to which you may seek to transfer. If the credits, degree, orientation meeting explains school policy and procedures, student services, or certificate that you earn at this institution are not accepted at the institution lab signups and other school-related topics. to which you seek to transfer, you may be required to repeat some or all of your coursework at that institution. For this reason you should make certain that Note: see the “Notice Concerning Transferability of Credits and Credentials Earned at Musicians Institute” under “Additional Information” below. your attendance at this institution will meet your educational goals. This may include contacting an institution to which you may seek to transfer after attend- INTERNATIONAL STUDENT INFORMATION ing (name of institution) to determine if your credits, degree, or certificate will Musicians Institute is authorized under federal law to enroll nonimmigrant alien transfer. students. Musicians Institute follows a policy of equal opportunity in all of its educational activities, admissions and employment and does not discriminate Accuracy of Information because of race, color, national origin, religion, sex, sexual orientation, age, All information in this catalog is accurate as of the date of printing. MI reserves physical handicap or marital status. the right to revise or cancel the programs, courses, activities, or services described herein without prior notice. Applicants are advised to confirm their MI’s International Student Office assists international students in immigration availability prior to enrollment. and personal matters. A few important regulations applying to all international students include: Disclaimer MI offers no guarantee that employment will result from enrolling in, attending, Sufficient Funds:All international students must submit an official letter from or completing any MI program. Financial Aid

Musicians Institute is approved by a variety of government programs to offer After you have submitted your application for admission, the Financial Aid student financial assistance. The following pages are designed to answer most Office will mail your award notification approximately 3-6 weeks after receipt of of your questions and explain the various types of aid that are available. If you your Student Aid Report (depending on the time of year) If your application is are interested in applying for financial aid, please read this section thoroughly. selected for a process called “verification” you may be contacted by the Finan- For more information, contact the Financial Aid Office at 1-800-255-7529 ext. cial Aid Office to provide additional documents such as student and/or parent 352, (1-323-860-4352), or email [email protected]. tax returns, verification of untaxed income, or other documents required to determine eligibility. Am I eligible for financial aid? Financial aid is available to US citizens and eligible non-citizens. If you qualify, When do I apply for Financial Aid? you may be eligible for one or more types of aid. Each type of aid may have We recommend that you apply for financial aid at least three (3) months before specific eligibility requirements, and it is important for you to know that financial the start of classes if you plan to use financial aid to help cover your tuition aid usually does not cover all of your tuition costs. costs. Please keep in mind that applying for financial aid is a complex process that requires your utmost attention to details and deadlines. Once you apply for Your eligibility for need-based financial aid programs is determined by subtract- financial aid, be sure to respond immediately to any mailings you receive from ing your Effective Family Contribution (or EFC, as determined by your Student the financial aid processor or the Financial Aid Office at Musicians Institute. Aid Report) from the cost of attendance for your course of study. Cost of attendance includes tuition and fees, books and supplies, housing, personal and When do I receive my funds? transportation costs. Charges for tuition and fees can be found in the Tuition In general, financial aid funding is disbursed quarterly, receiving the first dis- & Fees section of this catalog. Other costs are based on a standard expense bursement during the first quarter of attendance and remaining disbursements budget as determined by the California Student Aid Commission (current fig- in subsequent quarters. However, funds from the various financial aid pro- ures are also shown in the Tuition & Fees section of this catalog; these costs grams described below are not all disbursed in the same way or at the same 11 are subject to change). time. Government financial aid funds are sent to the school via electronic funds transfer. You will be notified of disbursements made by federal loans via email What are the general requirements for receiving financial aid? or by U.S. Postal Service. General requirements for any student receiving federal or state financial aid include: Here is a brief summary of the financial aid programs offered at ■ High school diploma or equivalent Musicians Institute: ■ Maintaining satisfactory academic progress while attending MI Federal Pell Grant If you drop below the minimum standards for satisfactory academic progress, The Pell Grant program is intended to help provide eligible students access you will become ineligible for any type of federal or state aid. If you are deter- to the post-secondary institution of their choice. Pell Grants are gifts from the mined to be ineligible for academic reasons, you may appeal the ruling with the Department of Education for undergraduate students that are not repaid. The Registrar’s Office. You will also need to request an appeal with the Financial Department of Education uses the information provided on the Free Application Aid Office in order to regain eligibility. Requests for appeal will be reviewed on for Federal Student Aid (FAFSA) to determine your eligibility. a case-by-case basis by Education and Financial Aid staff. Federal Supplemental Educational Opportunity Grant (SEOG) The SEOG is for undergraduate students with exceptional need and is not How do I apply for financial aid? repaid. This program is funded by the Department of Education and admin- The fastest way to apply for financial aid is by accessing www.fafsa.ed.gov and istered by the school’s financial aid office. Please note that these funds are completing your Free Application for Federal Student Aid (FAFSA) online. limited and awards are offered on a “first come-first serve”basis. Completing the FAFSA online insures that the information is accurate and that it goes directly to the federal processor so you will receive your Student Aid Federal Stafford Loan This is a low-interest, need-based loan designed to provide students with addi- Report sooner. It’s fast, convenient, and user-friendly. However, if you require a tional funds for college. YOU MUST REPAY THIS LOAN. paper application, you may request one from the Department of Education by calling 1-800-4-FED-AID Financial Aid

Dependent students who qualify may borrow up to a maximum of $2,333- California Chafee Grant Program $3,500.00 in a subsidized or unsubsidized loan, depending on the program, for The Chafee Grant Program is available to current or former foster youth. This their first academic year, $4,500 for their second academic year, and $5,500 for program is federally funded and is subject to availability of funds each year. To their third and fourth academic years (for Bachelor students). Dependent stu- qualify, you must: dents are also eligible for an additional unsubsidized loan of up to $2,000. ■ Be eligible, or have been eligible, for foster care between your 16th Independent students, or dependent students whose Parent Loan (PLUS) is and 18th birthday denied, may borrow up to a maximum of $6,334-$9,500.00 in a subsidized or ■ Not have reached your 22nd birthday as of July 1 of the award year. unsubsidized loan, depending on the program, for their first academic year, up For more information on Chafee Grants, or to download an application, please to $10,500 for their second academic year, and up to $12,500 for their third and log on to www.chafee.csac.ca.gov. You may also contact the Financial Aid fourth academic years (for Bachelor students). At least $4,000-$7,000.00 of Office for more information. this amount must be from an unsubsidized Stafford Loan. Repayment of a Stafford Loan begins six (6) months after your last date of Scholarships attendance and the minimum monthly payment is $50.00 per loan. You are Opportunity Scholarship required to repay these loans even if you do not complete your education. Opportunity Scholarships are available to middle-income students enrolling in Degree or Certificate programs who have financial need. Individual awards Effective July 1, 2010, the interest rate on the subsidized portion of a Stafford of up to $1000.00 per quarter ($6000.00 maximum) for non-repeated course- loan is fixed at 4.5% for any disbursements made on or after July 1, 2010 work may be granted to students who maintain a 3.0 grade point average. The through June 30, 2011. The interest rate for the unsubsidized portion of a scholarships are for tuition credit only and are awarded on a first come–first Stafford loan will be fixed at 6.8%. For students who demonstrate a need for serve basis. Only complete applications will be considered. 12 a subsidized Stafford Loan, the government will pay the interest on your loan during the time you are in school and the specified grace period. Students who To be considered for an Opportunity Scholarship, you must meet the following have a calculated need less than the maximum on the Stafford Loan may bor- criteria: row the difference in an Unsubsidized Stafford Loan and will be responsible for ■ Student must apply for Federal Student Aid Programs and have been the entire interest on that portion of the loan. denied for a credit based loan ■ Student and or student’s family must have an Adjusted Gross income Federal Parent Loan for Undergraduate Students (PLUS) greater than $25,000.00 PLUS loans are for qualified parents of dependent students who want to bor- ■ Student must have a High School GPA of 2.0 or higher row to help pay for their son/daughter’s education. Eligible PLUS borrowers may borrow up to the yearly cost of education less other financial aid awarded All of the above information must be verified. You may download an application to the student. PLUS loans are credit-based and require approval by the lend- from our website at www.mi.edu or you may contact the Financial Aid Office for ing institution. YOU MUST REPAY THIS LOAN. Repayment on the PLUS further information at 1-323-860-4352. loan begins within 30-60 days from the final disbursement. The amount of the monthly payment will vary with the amount borrowed, but will never be less Development Scholarship than $50.00 per month. Effective July 1, 2010 the interest rate is fixed at 8.5%. Musicians Institute offers Development Scholarships in order to encourage the educational development of musicians and music industry professionals. Cal Grants (for California residents only) Development Scholarships may be applied to any Musicians Institute Certifi- The State of California offers Cal Grants to eligible undergraduate students. To cate or Degree program. The total scholarship amount will be divided by the qualify, you must be a U.S. citizen or eligible non-citizen, a California resident total number of quarters in the particular program and credited toward each and meet the specific requirements of the grant program. Applications are only quarter’s tuition in equal amounts for as long as the student maintains satisfac- accepted between January 1 and March 2 of each year. For more information, tory academic progress. Scholarships are non-transferable and may not be you may contact the California Student Aid Commission at (888) CA-GRANT, applied to any person, program, or enrollment date other than that for which or log onto their website at www.calgrants.org. they were originally awarded. Financial Aid

To be considered for a Development Scholarship, you must meet the following All completed applications will be reviewed by the Scholarship Committee and criteria: award recipients will be notified two weeks after the final application due date. ■ United States citizen or permanent resident ■ Show demonstrated financial need as well as prior academic Alternative Loans accomplishment (see application for details) If you need additional funding assistance for your education or living expenses, Musicians Institute has information on alternative loans. All students, includ- Submission deadlines for Development Scholarship applications: ing students who are not eligible for US government financial assistance, may apply for these loans with an eligible co-signer. These loans are credit-based For programs beginning: Applications must be received by: and applications are made directly to the lending institution offering the loan. Fall quarter 2010 August 16, 2010 For further information, please contact the Financial Aid Office (international Winter quarter 2011 students contact the Director of International Student Affairs). (Audio Engineering only) November 15, 2010 Spring quarter 2011 February 22, 2011 Borrower Rights and Responsibilities Summer quarter 2011 If you take out a student loan, you have certain rights. Some of those rights are (Audio Engineering only) May 23, 2011 listed below: Fall quarter 2011 August 22, 2010 Winter quarter 2012 ■ If you take out a Stafford Loan, you have the right to a grace period (Audio Engineering only) November 21, 2011 before your repayment period begins. The grace period begins when you leave school, or drop below half-time status as defined by the All completed applications will be reviewed by the Scholarship Committee and school. The exact length of your grace period will be shown on the award recipients will be notified two weeks after the final application due date. promissory note provided to you by your lender. ■ You must be given a repayment schedule that specifies when your first 13 Musicianship Scholarship payment is due as well as the number, frequency and amount of all Musicianship Scholarships are available to students enrolled in Associate of payments. Arts in Performance and Certificate in Performance programs. Up to 20 schol- ■ You must be given a list of deferment and cancellation conditions. arships per year (ten per program start, two per instrument major) are awarded ■ You must be given a repayment schedule that specifies when your first to applicants demonstrating outstanding musicianship. Individual awards will be payment is due as well as the number, frequency and amount of all granted to students who successfully complete each quarter of their enrollment. payments. Musicianship Scholarships are available to both US and non-US citizens. To be considered for a Musicianship Scholarship, you must take the following steps: Before the first loan may be disbursed, you must receive the following information in an entrance interview: ■ Complete a Musicianship Scholarship application for the program to which you are applying (applications are available from MI’s ■ The full amount of the loan, the interest rate and when you must begin Admissions Office) repayment. ■ Submit an essay explaining why you should be considered for the ■ The effect borrowing will have on your eligibility for other types of scholarship financial aid. ■ Submit a video recording of you performing on your major instrument. ■ A complete list of any charges you must pay (loan fees) and Video requirements vary by program (see application for details) information on how those charges are collected. ■ The yearly and total amounts you can borrow, and the minimum and Submission deadlines for Musicianship Scholarship applications: maximum repayment periods. For programs beginning: Submit application by: ■ A current description of loans you owe your school and/or lender, Fall 2010 August 16, 2010 an estimate of what your total debt will be and what your monthly Spring 2011 February 22, 2011 payments will be. Fall 2011 August 22, 2011 ■ An explanation of default and its consequences. ■ An explanation of options for prepaying your loan and for taking advantage of a consolidation loan. Financial Aid

Before you leave school, you must receive the following information about your Satisfactory Academic Progress (SAP) loan in an exit interview: Federal regulations require all institutions that participate in Title IV aid pro- ■ The average monthly repayment amount you can expect. grams to define and monitor satisfactory academic progress (SAP) for all ■ The name of the organization that holds your loan, where to send your financial aid recipients. The standards must meet all federal requirements and payments and where to write if you have questions about your loan. be equal to or more stringent than the SAP standards for non-financial aid ■ The fees you should expect during the repayment period. recipients. See Satisfactory Academic Progress and related topics in the Policy ■ A description of deferment and cancellation provisions. section of this catalog for specific information regarding SAP. ■ A description of repayment options such as prepayment, refinancing and consolidation loans. Failure to Maintain Satisfactory Academic Progress ■ Debt management advice (if requested). Failure to meet minimum standards for SAP may result in academic probation, ■ Notification that you must provide your expected permanent address, loss of financial aid, or termination from a program. Students will receive a writ- the name and address of your expected employer, the address of your ten notice if they do not meet academic progress standards at the end of each next-of-kin, and any corrections to the school’s records concerning enrollment period. The notice will provide information on what steps must be your name, Social Security Number, references and driver license taken to reinstate SAP. number. For any student failing to maintain satisfactory academic progress, financial aid You also have certain responsibilities. Here are a few of them: is suspended until the student: ■ When you sign a promissory note, you are agreeing to repay ■ corrects his or her academic status (e.g. has an incorrect grade according to the terms of the note. This note is a binding legal changed) document. This commitment to repay means that you will have to pay ■ makes up the deficit (e.g. regains a 2.0 GPA) 14 back the loan, even if you don’t complete your education, aren’t able to ■ receives an approval of appeal (see “Appeal Process” below) get a job after you complete the program, or you are dissatisfied with, Reinstating Satisfactory Progress or do not receive the education you paid for. If you do not pay back Students receiving financial aid must provide the Financial Aid Office with veri- your loan on time, or according to the terms in your promissory note, fication of a corrected status or that they have reinstated satisfactory progress. you may go into default, which has very serious consequences. Reinstatement of financial aid will not occur until the student notifies the Finan- ■ You must make payments on your loan even if you do not receive cial Aid Office that their SAP status has been cleared. a bill. Billing statements and coupon books are sent to you as a convenience, but not receiving them does not relieve you of your Grades of “F” obligation to make payments. The Financial Aid Office reviews records for all students who receive grades of ■ Even though you may have applied for a deferment, you still must “F” (0 units completed) to verify student status. continue to make payments until your deferment is processed. If you do not, you may end up in default. You should keep a copy of any Appeal Process deferment request form you may have and you should document all An Academic Progress Appeal Form will be mailed along with the notice of fail- contacts with the organization that holds your loan. ure to meet the requirements. Students may appeal the suspension of their aid ■ You must notify the organization that holds your loan if you graduate, due to failure to maintain Satisfactory Academic Progress if there are special withdraw from school, or drop below half-time status, change your circumstances that contribute to their failure to meet the standards. Special name, address, or Social Security Number, or transfer to another circumstances are generally deemed to be something beyond the student’s school. control such as injury, illness, or a death in the family. ■ Before you receive your first disbursement, you must attend an The steps for filing an appeal are as follows: entrance interview. Before you leave school, you must attend an exit ■ Student must complete the Academic Progress Appeal Form and interview (see above). return it to the Financial Aid Office with all supporting documentation ■ The appeal will be reviewed by the Director of Financial Aid. Financial Aid

Students will be notified within five (5) working days if their appeal is granted or Return of Title IV Provisions denied. All institutions participating in the Student Financial Aid (SFA) Programs are If the appeal is approved, financial aid suspension will be rescinded and aid will required to use a statutory schedule to determine the amount of SFA Program be awarded and/or disbursed to the student’s account. Funds a student has earned when he or she ceases attendance based on the payment period the student was in attendance. A payment period at this institu- If the appeal is denied, financial aid suspension will be continued until the stu- tion is the quarter. dent once again meets the academic requirements outlined above. Return of Title IV Procedures Note to Non-U.S. Citizens The Higher Education Amendments of 1998 generally require that if a recipient Students who are planning to attend Musicians Institute with an M-1 or F-1 of SFA Program assistance withdraws from school during a payment period in Student Visa are ineligible to receive U.S. financial assistance. We recommend which the recipient began attendance, the school must calculate the amount that you contact the Department of Student Financial Assistance in your coun- of SFA Program assistance the student did not earn and those funds must be try for information on financial aid available to you from your own government. returned. Up through the 60% point in each payment period, a pro rata sched- U.S. financial aid programs are only available to U.S. citizens or students who ule is used to determine how much SFA Program funds the student has earned are in one of the following categories: at the time of withdrawal. After the 60% point in the payment period, a student ■ U.S. permanent residents who have an Alien Registration Receipt has earned 100% of the SFA Program funds. Card (I-151 or I-551). The percentage of the payment period completed is the total number of calen- ■ Other eligible non-citizen with a Departure Record (I-94) from the U.S. dar days* in the payment period for which the assistance is awarded divided Immigration and Naturalization Service showing specific designations. into the number of calendar days* completed in that period as of the day the student withdrew. Note to Veterans 15 Veterans of the U.S. Armed Forces applying to this school must make arrange- *Scheduled breaks of at least five consecutive days are excluded from the total ments to pay tuition through means other than Veterans benefits (e.g., cash or number of calendar days in a payment period (numerator) and the number of financial aid). If you qualify, Veterans benefits will be paid to you on a monthly calendar days completed in that period (denominator). Days in which a student basis while you are in attendance. All arrangements for Veterans Benefits are was on an approved leave of absence are also not included in the calendar between the applicant and the Veterans Administration. Musicians Institute will days from the payment period or period of enrollment. assist you, but accepts no responsibility. Number of days completed = Percentage completed Students who wish to receive Veterans Benefits MUST submit a statement of Number of days in period (rounding the third decimal place up if previous training to the school for consideration. After proper evaluation, allow- the fourth decimal place is 5 or more) able transfer credits will be recorded on the enrollment record and the length of the program will be shortened proportionately. In addition, the student and the Return of Unearned SFA Program Funds Department of Veteran Affairs shall be notified. The school must return the lesser of the amount of SFA program funds that the student does not earn or the amount of institutional cost that the student Refund Policy for Financial Aid Students incurred for the payment period, multiplied by the percentage of funds that was Effective on October 7, 2000, changes were added to the Higher Education not earned. Act for the treatment of Federal Title IV funds when a student withdraws from If the institution must return Federal funds received by students who withdrew school. Musicians Institute is required to comply with these Federal regula- prior to completing the 60% of a given payment period, the student may owe tions regarding Return of Title IV Funds in determining the amount of Title IV the school for the portion of funds returned that the institution is otherwise enti- Financial Aid that must be returned on behalf of a student. The institution must tled to, based on the school’s approved and applicable refund policy. also provide the student with consumer information regarding the results of a student’s withdrawal. Musicians Institute will continue to comply with state and Return of Title IV worksheets are available upon request from the Financial Aid institutional refund policies in determining the amount of unearned tuition, as Office. stated in your Enrollment Agreement and in the catalog. TUITION AND FEES

Tuition and fees for all programs are charged on a quarterly basis and are due at the time of registration for each quarter of instruction. Students are not allowed to enter MI facilities or attend classes until required tuition and fees are paid in full.

TUITION DEPOSIT All programs, refundable, domestic students only $ 300

Tuition 2010-2011 Per Quarter Quarters Per Credit Total Credits Total Bachelor of Music Music Credits (all students) 6,750* 12 600 135 81,000 With Minor in Music Industry Studies** 6,585 13 567 151 85,600 With Minor in Audio Production** 6,877 13 592 151 89,400 General Education Credits*** (all programs) (varies) (varies) (varies) 45 (varies) Associate of Arts Performance only 7,500 6 500 90 45,000 Combined Emphasis† 6,500-8,400 6 433-560 90 43,000-46,800 16 Certificate Performance 7,500 4 500 60 30,000 Audio Engineering 8,400 2 560 30 16,800 Audio Engineering - Post Production 8,400 3 560 45 25,200 Audio Engineering - Live Sound 8,400 3 560 45 25,200 Independent Artist 7,500 2 500 30 15,000 Music Business 6,500 2 433‡ 30 13,000 Music Business - Entrepreneur 6,500 3 433‡ 45 19,500 Guitar Craft 7,500 2 500 30 15,000 Guitar Craft - Acoustic Design 7,500 3 500 45 22,500 Music Video, Film and Television 7,500 2 500 30 15,000 Non-Certificate Encore Program 7,500 1 500 N/A 7,500 *based on average of 11.25 music units/quarter; GE units average 3.75 per quarter **tuition costs represent total combined average for music and minor area studies; actual charges will vary by quarter ***GE units are offered by arrangement with Los Angeles City College; tuition rates vary. Contact LACC for current information. †Combined Emphasis degree tuition combines Performance Certificate tuition plus Emphasis tuition; actual charges will vary by quarter ‡rounded figure; actual tuition $433.33 per unit TUITION AND FEES

Fees 2010-2011

Application (non-refundable) Equipment* Materials & Software* Arranging Course Total Bachelor of Music All Students 100 1,125 1,225 Vocal Majors 100 120 220 Minor in Audio Production 100 500 150 750 Associate of Arts All Students 100 100 Vocal Majors 100 120 220 Certificate Performance (all students) 100 100 Performance (vocal majors) 100 120 220 Audio Engineering 100 500 150 750 Audio Engineering - Post Production 100 500 150 750 Audio Engineering - Live Sound 100 500 225 825 Guitar Craft (all programs) 100 100 17 Independent Artist 100 1,000-2,600** 400 1,400-3,000 Music Business (all programs) 100 100 Music Video, Film and Television 100 100 Non-Certificate All Students 100 100 Vocal Majors 100 120 220 *Certain equipment/software fees may be waived if student already owns the required equipment and/or current registered versions of required software NOTE: Equipment and Software fees are non-refundable unless student returns materials in brand-new condition in original, unopened packaging. **Costs vary according to manufacturer prices and specific features. TUITION AND FEES

Additional Fees Student living off campus (per month): ■ Late Registration Fee $ 100 Tuition varies by program ■ Rescheduled Test Fee $ 40 per test Books & Supplies $ 180 * ■ Credit by Examination/Test Out Fee $ 40 per course Food & Housing $ 1,220 ■ Lost or Renewed Student ID Card Fee $ 10 Transportation $ 120 ■ Transcript Request Fee $ 10 Personal/Miscellaneous $ 313 Total (not including tuition) $ 1,833 Course-Related Fees Some courses require additional fees for supplies and/or equipment. Course- *Most required books and supplies for MI’s Certificate and Associate Degree related fees must be paid at the time of Registration. Courses with related fees programs are included in tuition. are noted under Course Descriptions. Fees may change without notice; current Students are advised that the tuition and fee information contained in this cata- information will be provided at the time of registration. log is subject to change. Please contact the Admissions Department or refer to catalog addenda to confirm tuition and fee charges in effect at the time of Books and Supplies enrollment. Unless specified, most books and supplies required by AA and Certificate programs are included in the cost of tuition. Additional book and supply lists are State of California Student Tuition Recovery Fund available during the Registration period in the Registration Office. Most books The State of California created the Student Tuition Recovery Fund (STRF) to and supplies not covered by equipment/software fees may be purchased from relieve or mitigate economic losses suffered by California residents who were MI’s Players Supply store. students attending certain schools regulated by the Bureau for Private Postsec- Bachelor Degree Program ondary and Vocational Education. 18 The cost of books and supplies averages approximately $325 per quarter for You may be eligible for STRF if you are a California resident, prepaid tuition, students enrolled in a full-time course of study. Actual costs will vary depending paid the STRF assessment, and suffered an economic loss as a result of any on specific courses and credit loads. of the following: 1. The school closed before the course of instruction was completed. COST OF LIVING 2. The school’s failure to pay refunds or charges on behalf of a student The cost of living while attending MI varies with each student’s personal needs. to a third party for license fees or any other purpose, or to provide Below are the maximum living expense budgets per month for the 2010-11 equipment or materials for which a charge was collected within 180 academic year as prescribed the California Student Aid Commission based on days before the closure of the school. average costs statewide. 3. The school’s failure to pay or reimburse loan proceeds under a To arrive at a total cost for your program, multiply the monthly costs by the federally guaranteed student loan program as required by law or to number of months in that program (for example, AA Degree = 18 months). pay or reimburse proceeds received by the school prior to closure in excess of tuition and other cost. Student living at home with parents (per month): 4. There was a decline in the quality of the course of instruction within 30 Tuition varies by program days before the school closed or, if the decline began earlier than 30 Books & Supplies $ 180 * days prior to closure, the period of decline determined by the Bureau. Food & Housing $ 488 5. An inability to collect on a judgment against the institution for a Transportation $ 107 violation of the Act. Personal/Miscellaneous $ 342 Total (not including tuition) $ 1,117 NOTE: Authority cited: Sections 94803, 94877 and 94923 , Education Code. Reference: Section 94923 , Education Code. TUITION AND FEES

You must pay the state-imposed assessment for the Student Tuition Recovery Fund (STRF) if all of the following applies to you: 1. You are a student, who is a California resident and prepays all or part of your tuition either by cash, guaranteed student loans, or personal loans, and 2. Your total charges are not paid by any third-party payer such as an employer, government program or other payer unless you have a separate agreement to repay the third party. You are not eligible for protection from the STRF and you are not required to pay the STRF assessment, if either of the following applies: 1. You are not a California resident. 2. Your total charges are paid by a third party, such as an employer, government program or other payer, and you have no separate agreement to repay the third party.”

Amount of STRF Assessment (a) Each qualifying institution shall collect an assessment of two dollars and fifty cents ($2.50) per one thousand dollars ($1,000) of institutional charges, rounded to the nearest thousand dollars, from each student. For institutional charges of one thousand dollars ($1,000) or less, the 19 assessment is two dollars and fifty cents ($2.50). (b) Unless a student has a separate agreement to repay the third party, a student whose costs are paid to the institution by third-party payer shall not pay the STRF assessment to the qualifying institution. (c) Except when an institution provides a 100% refund pursuant to section 94919(d) or section 94920(b) of the Code, the assessment is non- refundable. NOTE: Authority cited: Sections 94803, 94877 and 94923, Education Code. Reference: Sections 94923, 94843, and 94911(b), Education Code. Policies

Academic Policies and Definitions Excused Absences Academic Calendar Students are expected to attend every class for which they are registered. All All degree and certificate programs operate on a year-round quarterly aca- requests for excused absences must be submitted to the Registrar’s Office for demic calendar, with each quarter consisting of ten weeks of classes and one review by a panel made up of the Registrar and the Director of Education. The week of testing followed by two weeks of break. panel has sole discretion to grant or deny requests based on consistent treatment of all students. Examples of reasons for excused absences, which must Academic Honesty be documented and are subject to review by the panel, include: All students have an obligation to behave honorably and respect the highest 1. Jury or military duty ethical standards in carrying out their academic assignments. Academic dis- 2. Extenuating circumstances (medical, family emergency etc.) honesty is defined as any form of cheating and/or plagiarism. In cases where academic dishonesty or falsification of academic information is proven to have Excused absence requests must be submitted with accompanying documen- occurred, students will receive a failing grade in the course and are subject to tation within five (5) school days after the student’s return to class. Requests additional disciplinary actions up to and including termination from the program. submitted after five (5) days or after final grades have been submitted by the instructor will not be accepted. The maximum number of excused absences per Academic Probation quarter is five (5). Satisfactory Academic Progress is reviewed quarterly and students showing a cumulative GPA of less than 2.0 are placed on Probationary Warning sta- Audit Status tus. A cumulative GPA of less than 2.0 for two consecutive quarters results in Attendance by students in courses for which they are not registered for credit the student being placed on Official Academic Probation status. A continued is not permitted except under the following circumstances: (1) during the cumulative GPA of less than 2.0 for three consecutive quarters results in loss of drop-add period as described under “Auditing”; (2) students enrolled in spe- 20 Financial Aid funding and termination from the program. cific courses within the Encore Program (non-certificate training in music); or (3) qualified employees of Musicians Institute or authorized affiliates (see Advanced Placement Employee Handbook for qualifications and restrictions). See “Testing Out” Auditing Appeals Auditing (attendance by full or part-time students in classes for which they have A student has the right to appeal any change in status or grades that may not registered and paid tuition) is permitted only during the first two weeks of affect his or her ability to graduate. All appeals must be made in writing (Appeal each quarter for the purpose of determining if a student wants to officially regis- Forms are available in the Registrar’s Office) and submitted to the Education ter. After the second week, auditing is not permitted. Department for review by the Education Department Committee, consisting of the Director of Education, Registrar, relevant Department Heads and faculty. Cancellation of Enrollment Appeals and requests for probation extension will be considered based on the Degree and Certificate Programs extenuating circumstances of the appeal, past student performance and stu- BUYERS RIGHT TO CANCEL: The student has the right to cancel the Student dent commitment and potential. Enrollment Agreement and receive a full tuition refund, less the application fee, by submitting a written notice of cancellation to Musicians Institute’s Student Attendance Requirements Records Office prior to the first day of instruction. The written notice of can- Regular attendance is required and recorded in all classes and lessons and is cellation becomes effective as of the date of the postmark. Written notice of factored into final grades. Students who show poor classroom or private lesson cancellation should be sent to: Musicians Institute, Registrar’s Office, 6752 Hol- attendance will be contacted and counseled by an Academic Advisor. Contin- lywood Boulevard, Hollywood, California 90028. ued absence from a class may result in a failing grade for that class (see the course syllabus for specific information on attendance). Absence from school If a student attends the first day of a course of instruction and withdraws, by for more than three consecutive weeks without an approved Leave of Absence submitting a written notice of cancellation to Musicians Institute’s Registrar will result in termination from the program. before midnight of the first day of instruction, or the seventh day after enrollment, whichever is later, he or she will receive a complete tuition refund within thirty (30) days of cancellation, less the application fee. Policies

Encore Program (Non-Certificate) recorded only as C- (70). Students failing the re-test will be required to take An applicant may cancel his or her enrollment in writing any time before the course again; full tuition will be charged and normal grading standards will midnight of the first day of instruction, or the seventh day after enrollment, apply. A student who has passed a course and earned credit may not re-take whichever is later. Written notice of cancellation should be sent to: Musicians the same course for additional credit unless the catalog course description Institute, Registrar’s Office, 6752 Hollywood Boulevard, Hollywood, California states “may be repeated for credit”. A student may re-take a course for a higher 90028. All money paid to Musicians Institute will be refunded within thirty (30) grade without receiving additional credit. Full tuition will be charged, only the days of cancellation, less the application fee. Remember, an applicant must highest grade will be factored into the GPA, and the units re-taken will be cancel in writing, not by telephoning or by not coming to class. counted toward the total number of units attempted in the program.

Challenging Courses Credit Unit See “Testing Out” A unit of measurement indicating the quarterly academic weight given to a particular course (e.g. Harmony & Theory I = 1.5 credit units). Each quarter-credit Changing Programs hour represents three hours of work in the subject per week for ten weeks (30 Students who wish to change their course of study from one program to hours total) including a combination of contact hours and independent course- another before completing their current program must: work. Credit for a given course is only awarded with the achievement of a 1. Withdraw from their current program at the Registrar’s Office passing grade. 2. Pay a re-application fee 3. Apply to the new program through the Admissions Department Dropping or Adding Courses 4. Audition for the new program (where applicable) Students are allowed to drop or add any class without fees or penalties by sub- 5. If accepted, register for the new program and pay all applicable tuition mitting a Drop-Add form to the Registrar before the third class meeting of the and fees quarter (or the first class meeting of the third week in the case of classes that 21 meet twice per week). Transfer of credits from one program to another will be determined on a case- Drop-Add Period by-case basis during registration. The period of time at the beginning of each quarter during which students may Class Standing drop or add classes without late registration penalties. The drop-add period Class standing is determined by the number of credits completed toward grad- for each course begins on the first day of the quarter and ends before the third uation. Class standing is calculated as follows: class meeting (or fifth class meeting, in the case of classes meeting twice per Freshman 0-45 credits week). Sophomore 46-90 credits Tuition and refunds Junior 91-135 credits 1. Credits added to the schedule will be charged at the applicable tuition Senior 136-180 credits rate. To complete the BM degree within three calendar years or an AA degree within 2. Full tuition will be refunded for credits dropped during the Drop-Add 18 months, students must successfully complete an average of 15 credit units period. Fifty percent (50%) of tuition will be refunded for classes per quarter of continuous enrollment (including General Education credits). dropped after the third-week class meeting but before the fourth week. No tuition will be refunded for classes dropped from the fourth week on. Core Classes Withdrawals and cancellations Courses required for all students attending a given program. All core classes 1. Withdrawals after the end of the Drop-Add period but before the must be passed in order to meet overall degree or certificate requirements. seventh- week class meeting will appear on the student’s transcript as a “W”. Course Repetition 2. Withdrawals after the seventh-week meeting will be assigned a grade A student receiving a final grade below C- (70) in a required course will be based on course requirements met up to that point. allowed to appeal, and upon approval, re-take the final exam one time for a fee 3. Under-enrolled courses are subject to cancellation at any time before (see Appeals). If the student successfully raises the course grade to a pass- the third-week class meeting with full tuition refund to enrolled students. ing level, credit will be awarded. All passing grades on retaken tests will be Policies

Notification of schedule changes grade Score GPA 1. Financial Aid recipients must notify the Financial Aid Office of any A+ 98-100 4.00 schedule changes. A 93-97 3.70 2. International students must notify the International Student Advisor of A- 90-92 3.50 any schedule changes. B+ 87-89 3.30 B 83-86 3.00 Electives B- 80-82 2.70 Courses other than core requirements chosen by the student from an approved C+ 77-79 2.30 course offering. In programs with elective requirements, students must suc- C 73-76 2.00 cessfully complete the total number of required elective credits in order to C- 70-72 1.70 (lowest passing grade) qualify for the degree or certificate. D+ 67-69 1.30 Enrollment Status D 63-66 1.00 Completion of an average of 15 credits per quarter is required to complete all D- 60-62 0.70 programs within the specified time frames. F 0-59 0.00 P Pass Status Credit Units Attempted Per Quarter I Incomplete Full-Time 12 or more W Withdrawal Three-Quarter-Time 9 - 11.5 NC No Credit Half-Time 6 - 8.5 NR No Record Less-Than-Half-Time 5.5 or less 22 Changes in Enrollment Status Grade Point ■ Students wishing to enroll in fewer than twelve (12) units per quarter A number used to measure academic achievement in a credit unit course must complete and submit a “Request to Change Enrollment Status/ (4.0 = A+, 0.0 = F). Grades are calculated based on a combination of factors Course Load” form to the Registrar, which is subject to review and that may include attendance, participation, assignments and tests (see each approval. course syllabus for specific grading standards). All Core and Elective require- ■ Baccalaureate students must maintain full-time status until they have ments must be met with a grade of C- or better (1.7). Tuition will be charged completed 90 credit units, including transfer credits and General for all repeated courses. Education credits. Baccalaureate students in good academic standing after completing 90 credit units may be considered for Three-Quarter Grade Point Average (GPA) or Half-Time Status An average of all grade points awarded for all courses attempted, calculated by ■ AA and Certificate Students may reduce their course load below 12 dividing the number of grade points by the number of units attempted. Students units per quarter only if they need fewer than twelve (12) units to enrolled in all programs are required to have earned a cumulative GPA of at complete their program or by approval of the Director of Education. least 2.0 at the end of the third quarter for BM and AA students; at the end of ■ Less-Than-Half-Time status is only available to students requiring less the second quarter for Certificate in Performance students; and at the end of than six (6) units to complete a program. the first quarter for all 30-unit, two-quarter Certificate program students. Stu- dents failing to achieve minimum GPA requirements will be placed on probation Access to Facilities and must correct the problem within a specified period of time to avoid possible ■ Students with Full- and Three-Quarter-Time status have full access to termination. MI facilities. ■ Students with Half-Time and Less-Than-Half-Time Status have access Grading Standards and Reporting to facilities only during those hours when their scheduled classes are The Grade Point Average (GPA) will be used to measure a student’s satisfac- in session. tory academic progress. This is calculated by dividing the number of grade points by the number of units attempted. A passing grade of C- (70) or better is Grading Policies required to earn credit in all core and elective course work. The following grading standards will be applied to all credit unit requirements: Policies

Graduation Requirements 2. Maintain a minimum 2.0 GPA Bachelor of Music in Performance (Contemporary Styles) 3. Payment of all tuition and fees Bass, Guitar, Keyboards, Drums, Vocals Honors and Vocational Honors Status (AA-Guitar only) 1. Complete 180 required credit units, including 135 Major Area, Associate of Arts (Guitar) students may qualify to graduate with Honors if they Supportive Music and Elective credits and 45 General Education complete program requirements with a minimum cumulative GPA of 3.75. credits Honors candidates must also earn a minimum of 50 live performance credits 2. Maintain minimum 2.0 GPA during the last two quarters of the program. AA-Guitar students may also earn 3. Pay all tuition and fees Vocational Honors by meeting regular honors requirements and passing a spe- Baccalaureate General Education Requirements cial Vocational Jury at the end of the graduating quarter. To apply for Vocational Musicians Institute maintains an articulation agreement with Los Angeles Honors, students must submit a “Vocational Honors Jury Petition” (available in City College (LACC) that provides for BM students to complete their General the Registrar’s Office) by Friday, Week 9 of the graduating quarter. After review, Education requirements at the nearby LACC campus. MI also accepts accred- students who are accepted will be assigned a Jury appointment. ited, college-level Liberal Arts credits from other schools that meet equivalent Incomplete (I) requirements. Students must submit an official academic transcript, which will In special and unusual circumstances, a student may request a grade of be evaluated on a case-by-case basis by the Dean and Registrar. A total of 45 Incomplete designated by the letter “I”. The student must submit an Incomplete GE quarter units or 30 semester units are required for graduation. Courses that Petition form (available in the Registrar’s Office) for review and approval by the are transferred in semester credit units from other institutions will be translated Registrar and Director of Education. A grade of Incomplete will be approved into quarter units by the Registrar’s Office. only if the student is making satisfactory progress in the course and due to Associate of Arts in Performance unforeseen, justifiable, and documented reasons including but not limited to Bass, Guitar, Keyboard Technology, Drums, Vocals a personal emergency, an illness or a documented family emergency, has not 23 1. Complete 90 required credit units been able to complete all necessary course work before grades are estab- 2. Maintain minimum 2.0 GPA lished. All other work must be completed and up to date, with only the final 3. Pay all tuition and fees project or examination remaining incomplete. All incomplete course work must Associate of Arts in Performance (Combined Emphases) be made up before the end of the second week of the following quarter unless 1. Complete 90 required credit units, including: an extension is granted due to verifiable injury or illness. When course work a. 60 instrument-emphasis credit units (Bass, Guitar, Keyboard is completed to the instructor’s satisfaction, a grade will be issued to replace Technology, Drums, or Vocals) the “I” on the student transcript. Failure to complete the course work within the b. 30 music industry-emphasis credit units (Audio Engineering; maximum allotted time will result in a grade of “F” replacing the incomplete. An Guitar Craft; Music Business; Music Video, Film and Television; or incomplete on a prerequisite course must be resolved before the student can Recording Artist) enroll in a class requiring that course as a prerequisite. 1. Maintain minimum 2.0 GPA 2. Pay all tuition and fees Leaves of Absence (LOA) Students who find they have to take a Leave of Absence (LOA) must submit Certificate in Performance a written request to the Registrar. The request must be mailed or personally Bass, Guitar, Keyboard Technology, Drums, Vocals delivered to the Registrar, 6752 Hollywood Boulevard, Hollywood, California, 1. Complete 60 required credit units 90028. The request should contain the student’s expected date of return. 2. Maintain a minimum 2.0 GPA Mid-quarter Leave of Absence 3. Payment of all tuition and fees Students who expect to be absent from school for more than five consecutive Music Industry Certificates days of classes during a quarter must file a mid-quarter Leave ofAbsence. The Audio Engineering; Guitar Craft; Music Business; Music Video, Film and maximum length of a mid-quarter LOA is three weeks. Students must return Television; Independent Artist in time to complete all coursework and take final exams. Students who must 1. Complete 30-45 required credit units (varies by program) leave mid-quarter and cannot return within three weeks must withdraw and Policies

repeat their current quarter from the beginning when they return. Tuition will Minimum Unit Completion Requirements be charged for the portion of the quarter completed before leaving and for the To maintain Satisfactory Academic Progress, all students must complete (i.e. entire repeated quarter upon their return. pass with a grade of C- or above) a minimum number of units within a certain End-of-quarter Leave of Absence period of time depending on their program and enrollment status. Minimum unit The maximum length of an end-of-quarter LOA is 180 calendar days. End- completion requirements for each program and status are listed below. of-quarter LOA is only granted to students who complete the entire quarter Bachelor of Music and Associate of Arts Degrees including final exams and are maintaining satisfactory academic progress The minimum unit completion requirement per academic year (three before beginning the LOA. Students may take only one LOA during the length quarters) for each enrollment status is as follows: of a program. Students on Leave of Absence are not qualified to receive Finan- ■ Full-time (12 or more units per quarter): 30 units cial Aid during the Leave. Any student who has received a Federal Stafford ■ Three-quarter time (9-11 units per quarter): 23 units Loan and takes a six-month leave of absence will enter the grace period and/or ■ Half-time (6-8 units per quarter): 15 units begin repayment on their loan because the six-month leave exceeds the Fed- ■ Less than half time (less than 6 units per quarter):: 3 units eral government’s 120-day maximum for an approved leave of absence. Mixed enrollment: see the Financial Aid office for your minimum unit Students receiving Federal financial aid See also “Satisfactory Academic requirement Progress”. Certificate in Performance The minimum unit completion requirements per two-quarter reporting LPW (Live Playing Workshop) period for each enrollment status is as follows: Workshops where students from different instrument programs perform stylistic ■ Full-time (12 or more units per quarter): 20 units repertoire or original material in an ensemble setting with instructor supervision. ■ Three-quarter time (9-11 units per quarter): 15 units 24 LPWs are a core requirement in some programs. LPW offerings vary somewhat; ■ Half-time (6-8 units per quarter): 10 units see a current course offering for a list of LPWs offered during a given quarter. ■ Less than half time (less than 6 units per quarter): 2 units LPW Credits Mixed enrollment: see the Financial Aid office for your minimum unit Written confirmation from an LPW instructor of a performance in a specific requirement LPW or performance class. All students enrolled in LPWs for credit must 30-unit (two-quarter) Certificate Programs receive at least ten individual, signed LPW Credits per quarter. The minimum unit completion requirement every quarter for each LPW Log enrollment status is as follows: The form for recording LPW Credits. LPW course credit is only earned each ■ Full-time (12 or more units per quarter): 10 units quarter after turning in a Performance Log to the Registrar’s Office with a mini- ■ Three-quarter time (9-11 units per quarter): 7 units mum of ten signed LPW Credits. ■ Half-time (6-8 units per quarter): 4 units ■ Less than half time (less than 6 units per quarter): 1 unit Maximum Allowable Units Mixed enrollment: see the Financial Aid office for your minimum unit Students who fail to complete a program before reaching the maximum allow- requirement able number of units attempted will be terminated from the program. Units counted as units attempted per evaluation period include units transferred 45-unit (three-quarter) Certificate Programs into the program, units completed, courses receiving letter grades of D or F, The minimum unit completion requirement every quarter for each and courses designated on the transcript as I, W, NC, and NR. The maximum enrollment status is as follows: allowable number of units that may be attempted for each program is: ■ Full-time (12 or more units per quarter): 10 units Bachelor of Music: 270 units ■ Three-quarter time (9-11.5 units per quarter): 7 units Associate of Arts: 135 units ■ Half-time (6-8.5 units per quarter): 4 units Certificate in Performance: 90 units ■ Less than half time (less than 6 units per quarter): 1 unit 30-unit (two-quarter) Certificate Programs: 45 units Mixed enrollment: see the Financial Aid office for your minimum unit 45-unit (three-quarter) Certificate Programs: 67.5 units requirement Policies

No Credit (NC) 1. No students will be permitted to register after the close of business on See “Pass/No Credit” Monday of the third week of classes. 2. All tuition and fees are due and payable at registration (see “Tuition No Record (NR) and Fees” for more information about costs and payment options) The letters ‘NR’ on the transcript indicate that there is no record of a final grade 3. Students will not be permitted to enter MI facilities until required tuition on file in the Registrar’s Office. This indication is for administrative purposes and fees have been paid. only and is changed to the appropriate letter grade once the issue has been New Students resolved. Permission to register for classes is granted to new students (and continuing Open Counseling students beginning a new program) only if they have been processed through Weekly, informal, drop-in sessions during which instructors share their exper- the Admissions Office and have completed placement testing where applicable tise, expand on ideas presented in class, and jam or otherwise work with (see Academic Calendar for dates). Instructions and materials for registration individual students or small groups.* Students may take open counseling as a will be made available at the times designated for new student registration. for-credit elective or participate on a voluntary basis. Continuing Students *Certain programs offer Open Counseling to students outside the program major All continuing students are required to register for classes for their next quarter on a limited basis; check the current course offering for up-to-date information. during the ninth week of their current quarter. Continuing students who register after the end of the re-registration period will be assessed a late registration fee Open Counseling Credits (see Tuition & Fees). Failure to officially confirm attendance for the next quarter Written confirmation (on an Open Counseling Log) from an open counseling will result in courses and lessons (where applicable) being dropped from those instructor of a student’s participation in an open counseling session. Open students’ schedules. Counseling Credits are only required for students taking Open Counseling as a 25 for-credit elective with a minimum attendance of ten sessions per quarter. Rescheduled Testing Open Counseling Log Students requesting special testing arrangements outside of the normal testing The form recording open counseling credits for students taking Open Counsel- period must submit a written request to the Registrar in advance and obtain ing as an elective. After attending each session, the student obtains the Open teacher and Department Head approval, which will be considered on a case- Counseling instructor’s signature confirming attendance. At the end of the quar- by-case basis. Following approval, rescheduled testing will be coordinated ter, the student submits the Log to the Student Records office; a minimum of through the Registrar’s Office and a fee will be charged for each test given. ten separate Open Counseling signatures are required to earn course credit. Rhythm Section Workshop Pass (P), No Credit (NC) Instrument-specific ensemble workshop concentrating on the basic elements Some course credits are earned by requirements other than grades (see “Test of rhythm section performance in different styles (required for Bass, Guitar and Out”). The status of these courses is designated on your transcript as either P Percussion AA and Certificate programs only). (Pass: course requirements met and credit earned) or NC (No Credit: course Satisfactory Academic Progress (SAP) requirements not met and credit not earned). These designations do not affect All students are required to meet minimum standards for Satisfactory Academic your GPA, but any required course receiving “No Credit” must be passed in Progress as reviewed in the following areas (refer to the respective headings in order to complete your degree or certificate. this section of the catalog): Probation 1. Grade Point Average (GPA) See “Academic Probation” 2. Minimum Unit Completion Requirements 3. Maximum Allowable Units Registration All students are required to register for classes prior to every quarter of enroll- Academic progress must be measured at the end of each academic year (three ment. All registration procedures are coordinated through the Registrar’s quarters) or halfway through a program, whichever comes first. For BM andAA Office. The following rules apply to all students, whether new or returning: programs, progress is measured after the third quarter; Certificate in Perfor- Policies

mance programs after the second quarter; and 30-unit (two-quarter) Certificate Testing Out Programs after the first quarter. Students may receive credit for certain courses through advanced placement Failure to Maintain Satisfactory Academic Progress or by challenging the requirements of a course for a fee (see Tuition & Fees). Failure to meet minimum standards for SAP may result in academic probation, Students wishing to test out of a course must pass an evaluation of their loss of financial aid, or termination from a program. Students will receive a writ- knowledge of course material with a minimum grade of A- (90%). Advanced ten notice if they do not meet academic progress standards at the end of each placement tests are allowed only before or during the normal Drop/Add period enrollment period. The notice will provide information on what steps must be at the beginning of the program for which the student has enrolled. In the case taken to reinstate SAP. of sequential classes, prerequisite courses may not be skipped over via test- out once the original placement has been determined. Students are not allowed For any student failing to maintain satisfactory academic progress, financial aid to test out of courses previously taken and failed. If a student meets the is suspended until the student: requirements for testing out of a course, a designation of “P” (Pass) is entered 1. corrects his or her academic status (e.g. has an incorrect grade on the transcript and course credit is granted towards graduation requirements. changed) Credits are counted toward units completed but are not factored into the GPA. 2. makes up the deficit (e.g. regains a 2.0 GPA) 3. receives an approval of appeal Withdrawal from a Course (W) The letter “W” on the transcript indicates that a student was permitted to with- Student Forms Deposit draw from a course after the normal drop-add period, but within the first six A deposit slot is provided in the door of the Instructor Lounge on the second weeks of classes. Withdrawals are not factored into the GPA. Students wishing floor of the main MI building (1655 N. McCadden Place, Hollywood, CA 90028) to withdraw from a course after the normal drop/add period must apply in writ- for the deposit of forms, address cards, performance logs etc. during non- ing to the Registrar. Withdrawal from a course after the sixth week of classes 26 business hours. During business hours, all student papers should be brought is not permitted; students who stop attending a class after the sixth week will directly to the Registrar’s Office. receive a grade of “F” for that course, which will be factored into their GPA. The Registrar notifies the Financial Aid Office of late withdrawals. Student Records Student records are kept on the premises for one year after graduation. There- Withdrawal from a Program after, they are stored digitally or at an off-site location. Students may request A student who has completed sixty percent (60%) or less of his or her enroll- copies of their academic transcript by submitting a request to Musicians Insti- ment agreement has the right to withdraw from a program and receive a tute, attention: Registrar, 6752 Hollywood Boulevard, Los Angeles, CA 90028. pro-rated refund (minus the Registration Fee and any charges for unreturned The request must include the student’s full name (maiden name if applicable), equipment or textbooks) by providing written notice to the Registrar. Social Security number, program, date of attendance, and a transcript fee of 1. The last day of refund (completion of 60% of quarterly enrollment) is $10.00 per transcript payable to Musicians Institute (check or money order Friday of the sixth week of instruction for that quarter. only). See “Students’ Right to Know” below for information regarding privacy of 2. Any money owed to Musicians Institute is due and payable on the date student records. of the withdrawal. Termination from a Program 3. A withdrawal is effective on the date it is received by the Registrar, A student may be terminated from a program for reasons including but not lim- whether personally delivered or postmarked (if mailed). No ited to the following: withdrawals will be accepted by telephone. 1. Violation of student conduct policies 4. Any applicable refund will be issued within 30 days after the effective 2. Failure to pay tuition or fees date of withdrawal. 3. Continuous absence from a program for three consecutive weeks 5. Refunds are pro-rated based upon the last recorded date of 4. Three consecutive quarters of non-satisfactory academic progress attendance and calculated based on the length of the completed (see “Satisfactory Academic Progress”) portion of the quarter relative to its total length. No refunds will be issued after more than 60% of the quarter has been completed. Policies

Sample of Refund Calculation: ■ Stalking, whether carried out physically, by telephone, mail, electronic If a student withdraws after Week Two of the Associate of Arts in Performance mail or any other means (Guitar) program, the refund is calculated as shown below: ■ Physical abuse of people or property Total tuition cost $ 7,500 ■ Vandalism Application fee $ 100 ■ Arson Number of weeks completed 2 ■ Sabotage Tuition retained by College $1,500 ($750 per week) ■ Carrying weapons of any kind Application fee retained by College $ 100 ■ Any other act a reasonable person would deem inappropriate Total amount retained by College $ 1,600 Any student who receives a threat of violence by a student, teacher and/or mem- Refund issued to student $ 6,000 ber of staff, and any student who hears, observes, reads or otherwise becomes Student Conduct aware of a threat by any student, teacher and/or staff member on Musicians Rules of Student Conduct Institute campus, whether such a threat is direct or implied, should report the Musicians Institute’s primary responsibility to students is to provide a safe and matter to the Director of Education and/or Director of Human Resources. orderly environment in which they may pursue their educational goals. This Guns, knives and other dangerous weapons are prohibited on Musicians requires that students, teachers and staff foster an atmosphere of respect Institute’s campus and parking facilities as well as at off-campus Musicians toward each other and their surroundings. Institute-sponsored events. This restriction supersedes any and all permits Students are expected to abide by ordinary rules of responsible, courteous obtained from any issuing authority which allows private citizens to possess, behavior. Musicians Institute holds all students, teachers and staff responsible carry or conceal guns or other weapons. for carrying out and monitoring compliance with this commitment. If you become All threats of violence are considered serious matters and will be thoroughly 27 aware of any violation of an ethical or legal obligation, or any unfair or improper investigated. To the greatest extent possible, confidentiality will be maintained. treatment of a fellow student or teacher or staff member, you should report the Musicians Institute may, at its discretion, file criminal charges against a violat- matter immediately to the VP of Education and/or Human Resources so that it ing student or assist another person in filing charges. may be investigated and the appropriate action taken. By making it the responsibility of all members of the MI community, including students, to take an active 2. Alcohol and Illegal Substances role in policing compliance with these ethical standards, we can continue to not Musicians Institute, in compliance with the Federal Drug-Free Schools and only maintain our creative environment, but our reputation in the community. Communities Act Amendment of 1989, prohibits the use, possession, sale or distribution of alcohol, narcotics, dangerous or illegal drugs or other controlled The following conduct is prohibited and will not be tolerated by Musicians Insti- substances as defined by California statutes on school property. Students may tute. This list is illustrative only; other types of conduct that threaten security, obtain information pertaining to the health risks and effects associated with personal safety, staff or student welfare, or the school’s operations also may alcohol and narcotics or other dangerous or illegal drugs from the Student Ser- be prohibited: vices Office. The Student Services Office will also assist in referring students to Violations of Policy recovery and/or treatment programs. Specific school policies prohibit: 1. Intimidation, Threats, or Violent Acts ■ Use, possession, sale, distribution and/or production of alcoholic Musicians Institute strives to maintain a safe environment free from intimida- beverages, acting as an accessory, liaison, or facilitator for any of the tion, threats or violent acts. Students, teachers and staff are prohibited from above except at a time, location and circumstance expressly permitted engaging in violent acts or threats of violence of any sort while on Musicians by MI and government regulations Institute campus or during Musicians Institute-sponsored events. Any violation ■ Public intoxication anywhere on MI’s premises or at functions of this policy will constitute grounds for disciplinary action, up to and including sponsored by or participated in by MI. suspension, expulsion and/or termination of employment. These acts include ■ Illegal substances: Use, possession, sale, distribution, and/or but are not limited to: production of narcotics or other controlled substances, including ■ Intimidating, threatening or hostile behavior related paraphernalia, or acting as an accessory, liaison, or facilitator for any of the above. Policies

Disciplinary action for a violation of this policy can range from oral and writ- 7. Harassment ten warnings up to and including suspension, expulsion and/or termination of Musicians Institute is committed to providing an educational environment free employment, depending on the circumstances. of harassment, which includes but is not limited to slurs, jokes, statements, emails, gestures, pictures, or cartoons based on such factors as race, color, Note: Responsibility is not diminished for acts in violation of MI rules and regu- religion, national origin, ancestry, age, physical disability, medical condition, lations or other laws that are committed under the influence of alcohol or any marital status, sexual orientation, family care leave status, or veteran status as illegal drugs or controlled substances. well as harassment based on gender, pregnancy, childbirth, or related medical 3. Unauthorized Audio/Video Recording conditions. Students and visitors may not make any audio or video recording of any class, Sexual harassment in particular includes all these prohibited actions as well as lesson, performance or other event on MI premises without the explicit permis- other unwelcome conduct such as stalking, requests for sexual favors, conver- sion of instructor(s), student(s) or any other individual whose visual or audio sation containing sexual comments, and unwelcome sexual advances. representation is captured by the recording. Any permission granted extends to personal use only; authorized audio/video recordings may not under any ■ Musicians Institute will not tolerate harassment of students by circumstances be distributed by any means, including free-access internet teachers, staff or other students. postings, without the specific written consent of MI management. Under no ■ Musicians Institute will not tolerate harassment of teachers or staff by circumstances may students make audio/video recordings of visiting artists students. appearing on MI premises. Violation of any part of this policy may result in dis- ■ Musicians Institute will also exercise its best efforts to protect ciplinary action up to and including expulsion. employees and students from harassment by non-employees while on school property. 4. Breach of Peace 28 Conduct that is disorderly, disruptive, lewd, or indecent as defined by laws, MI 8. Health and Safety management or its designees; aiding or abetting such behavior by another per- Conducting oneself in a manner that endangers or threatens the health and son anywhere on MI’s premises or at functions sponsored by or participated in safety of oneself or others within the MI community. by MI. 9. Keys and Unauthorized Entry 5. Computer Violations Unauthorized or improper possession or duplication of keys to MI premises, Theft or other abuse of personal or MI computers including but not limited to: unauthorized or improper entry to or use of MI facilities. ■ Unauthorized entry into a file to use, read, or change the contents or 10. Weapons and Explosives for any other purpose. Possession of any type of firearm, BB or pellet gun, facsimile of a gun, knives, ■ Unauthorized transfer of a file. bows and arrows, explosives, ammunition, dangerous chemicals, martial arts ■ Unauthorized use of another individual’s identification or password. weapons, fireworks or any other weapons banned by law or considered dan- ■ Use of computers to interfere with the work of another student, faculty gerous on MI premises or at events sponsored by or participated in by MI. member, or school official. 11. Property Damage, Vandalism, and Theft ■ Use of computers, computer lines, or computing facilities to send ■ Destruction, damage, misuse and/or defacing of personal or public obscene or illegal messages. property. ■ Use of computing facilities to interfere with normal operation of the ■ Attempted or actual removal of property without the prior permission of computing system (e.g. knowingly transmitting viruses). the owner ■ Unauthorized use of copyrighted material Note: MI is not responsible for reimbursing or requiring others to reimburse 6. Telephone Violations a student for destruction, damage, misuse, or theft of personal property. It is Tapping telephone or cable lines, altering another’s phone message, harassing strongly recommended that students obtain private insurance for their personal by telephone, unauthorized use of MI telephones or theft of telephone service. possessions. Policies

12. Failure to Comply learned that requires legal action, disclosure of this information may be Failure to comply with lawful directions of MI officials, including but not limited required during the process. to security guards, teachers, or administrative personnel acting in performance ■ Musicians Institute management or its designees will review the results of their duties. of the investigation and determine the appropriate action. ■ Results of the investigation will be handled confidentially on a need-to- 13. Failure to Provide Identification know basis. Failure to identify oneself with appropriate identification when requested to do so or providing false identification. Musicians Institute investigator(s) will make a reasonable effort to ensure that the complainant(s) and/or person(s) providing information are not exposed to 14. Violation of Law any threats of violence, intimidation or personal risk. If any such situations are Any violation of federal, state, or local laws on MI property or at events spon- determined to have occurred, Musicians Institute will respond appropriately. sored by or participated in by MI. Based on the investigation, the investigative team must determine whether the 15. Loitering or Squatting allegation(s) were founded, unfounded or inconclusive. This determination shall Use of any MI facilities as a domicile to sleep and/or store personal property or be documented in writing and made part of the investigative report. for anything other than educational purposes. Where a violation is found, the accused will be notified of the finding and the 16. Other Violations specific or corrective remedial actions to be taken. For employees, the supervi- Violation of any other published MI policies, rules, or regulations, including sor of the accused will also receive notification as appropriate. No details about those implemented during the academic year. the nature or extent of disciplinary or corrective actions will be disclosed to the Reporting Prohibited Conduct complainant(s) and/or witness(es) unless there is a compelling reason (e.g., Students, teachers and other Musicians Institute employees are obligated to personal safety). 29 report any incident of prohibited conduct to the Director of Education and/or Resulting disciplinary action can include the following: verbal warning, written Human Resources. warning, temporary loss of specific privileges, permanent loss of specific privi- Every reported complaint of prohibited conduct or harassment will be investi- leges, suspension from access to the campus, expulsion and/or termination of gated thoroughly, promptly, and in a confidential manner. If prohibited conduct employment. is confirmed, Musicians Institute will discipline the offender, whether student, In the event of an incident where Musicians Institute management considers teacher or staff. Disciplinary action for a violation of this policy can range from there to be a significant safety risk to any students, teachers or staff, Musicians oral and written warnings up to and including suspension, expulsion and/or ter- Institute reserves the right to immediately suspend the involved parties until the mination of employment, depending on the circumstances. investigation provides reasonable assurances that students, teachers and staff Musicians Institute prohibits retaliation, including but not limited to making any are not in any danger. threatening communication by verbal, written and/or electronic means, against Musicians Institute will not refund tuition to students for lost privileges or lost any individual who reports and/or provides any information concerning unlaw- access to MI’s campus and facilities or classes, tests, performances, lessons, ful discrimination, harassment and/or other violations of MI policies, rules and appointments, or other activities and events resulting from a disciplinary action standards of conduct. Any student or employee found engaging in retaliation except as required by State or Federal policies. will be subject to disciplinary action up to and including suspension and/or termination of employment. Student Rights Musicians Institute is licensed to operate in the State of California through the The Investigative Process Bureau for Private Post-Secondary Education. If you have any complaints, In the event of a reported violation of this policy: questions, or problems that you cannot resolve directly with the school, please ■ All involved parties will be interviewed by Musicians Institute write or call: management ■ Information obtained from interviews and investigations will be handled confidentially on a need-to-know basis. However, if information is Policies

Bureau for Private Post-Secondary Education Students’ Right to Know Bureau for Private Postsecondary Education MI is committed to providing current and prospective students as well as the P.O. Box 980818 campus community with full disclosure of all consumer information as required West Sacramento, CA 95798-0818 by federal regulations. The laws are intended to allow students the opportunity Phone: (916) 574-7720 to make fully informed choices about the institution they wish to attend. Crime Toll Free: 888-370-7589 Statistics: available on website and at Campus Security Office. Completion Web site: www.bppe.ca.gov Statistics and Transfer Out Rate: shown on School Performance Fact Sheet E-mail: [email protected] available in Registrar’s Office.

Non-Discrimination Policy Safety on Campus Musicians Institute is committed to creating and maintaining a community in Campus security information is provided to prospective students via mail in which all persons who participate in MI programs and activities can work together their acceptance package. Currently enrolled students receive email notifica- in an atmosphere free of all forms of harassment, discrimination, exploitation tion in October each year that the updated campus security report is available or intimidation on the basis of race, religion, national origin, sexual orientation, on the MI website. Additional information, including the Crime Statistics Report, disability or sex, including sexual harassment. It is the intention of MI to take may be obtained by a visit or written request to the Student Services Office. whatever action may be needed to prevent, correct and if necessary, discipline behavior that violates this policy. MI prohibits discrimination against members of Graduation Rate Information the MI community by any student, staff, faculty or third-party contractors brought Information on graduation and completion rates is sent to prospective students on campus for the purpose of conducting business with MI. Discrimination of via mail along with their acceptance letters or can be accessed online at http:// any kind is against MI policy and is prohibited under state and federal laws. nces.ed.gov/collegenavigator. Currently enrolled students receive an email 30 notification in July to review the annual completion rates on the college naviga- Any student who believes that he or she has been the victim of sexual harass- tor website. Students may also request a hard copy from the Registrar’s Office. ment or other discrimination should contact the Title IX Coordinator: Drug Free Schools and Community Act Director of Human Resources Drug and Alcohol abuse prevention information is given to all students at the 6752 Hollywood Boulevard time of registration and is also available from the Admissions Department on Hollywood, CA 90028 request. 323.860-1146 Note: a complete statement of the sexual harassment policy and procedure Financial Aid Information as well as an Unlawful Sexual Harassment Complaint Form can be obtained in Information about financial aid that is not already provided in the current the Student Services Office, the Registrar’s Office, or the Office of the Director Course Catalog may be obtained from the Financial Aid Office. of Human Resources. This form can be turned in to the Title IX Coordinator at Family Educational Rights and Privacy Act (FERPA) the address above. A student does not have to fill out the form to receive assis- This act entitles students to specific privacy rights. Directory information tance, but can make verbal complaints directly to the Title IX Coordinator or (including name, address, telephone number and certain school-related infor- other MI personnel. Complaints of illegal sexual harassment must be received mation) is publicly accessible unless the student specifically asks that it be within one year of the date of the last alleged incident. Complaints to the Office blocked. All other student records and information may only be provided to of Civil Rights at the Department of Education must be made within six months the student, a Musicians Institute employee, or representatives of Federal or of the date of the last alleged incident. State agencies, accrediting organizations, auditors, specific parties authorized Liability Disclaimer in writing by the student, or other officials authorized under theAct. FERPA The Musicians Institute is not responsible for loss of, or damage to, personal information is mailed to prospective students with their acceptance packages. property and/or personal injury that may occur while on the Institute’s premises. Currently enrolled students may obtain FERPA information upon request from the Registrar’s Office. Housing and Student Services

Housing STUDENT SERVICES Safe, comfortable, convenient, and affordable housing is an essential part of MI’s Student Services Department provides students with resources and sup- a successful student experience, and MI is dedicated to assuring that all stu- port for academic and personal development as well as general enjoyment of dents have access to housing that meets these requirements. For this purpose, school life. The Hollywood area offers an array of resources including muse- MI has partnered with Collegiate Housing Service (CHS) to offer a range of ums, libraries, recording studios, film studios, theaters, and clubs that combine options for high-quality student accommodations. to create an exciting social, cultural, educational and professional atmosphere. The Student Services staff helps put students in touch with these resources as CHS-operated apartments are conveniently located near the school as well as well as providing assistance in areas such as health and personal issues. Stu- public transportation (for students living in the Hollywood area, MI’s free nightly dent Services include: Shuttle Service offers door-to-door transportation after a late night of classes, practice or rehearsal). Students may reduce housing costs by sharing a bed- Student Activities and Events room or (for extra cost) choose a private bedroom; the rent also includes a For many students, moving to Los Angeles and committing to full-time study standard furniture package and reasonable utility costs (telephone, internet and is a major life decision. Students often travel a long way from home, leaving cable are not included). Each student signs an individual lease and is therefore friends and family behind, and the Student Services Department makes every responsible only for his/her personal rent payments without liability for vacan- effort to create a comfortable social environment for them while they’re here. cies or non-payment by roommates. Studies take a great deal of concentration and effort, but it’s also very important For students seeking private accommodations, CHS also provides free housing for students to maintain a balanced social and emotional life. For this reason, referrals. All housing options comply fully with MI’s policy of non-discrimination. MI offers a variety of interesting extra-curricular activities including concerts, For more information, contact the on-campus CHS representative through MI’s seminars, clinics, movies, field trips, social events, entertainment discounts and Student Services department. other ways to make life at MI fun as well as productive. 31 Personal Counseling MI is committed to providing maximum support to all students as they progress toward their educational, musical and professional goals. If personal issues begin to interfere with a student’s ability to maintain progress in school, the Student Affairs Office offers performance and personal counseling with a professional psychologist for any student who needs it at no cost. ARTIST AND CAREER SERVICES

The mission of the Artist and Career Services Department (ACS) is to keep Hall auditions* include Korn, Ashlee Simpson, Macy Gray, Avril Lavigne, The students informed of the many professional opportunities available in the music Smashing Pumpkins, The Offspring, Gwen Stefani, Lauryn Hill, NIN, Rob industry, to help prepare them to take advantage of these opportunities, and to Thomas, Hilary Duff, Maroon 5, Life House, Hoobastank, Missy Elliot, Billy make the transition from student to working professional as smooth as possible. Howerdel, Finch, Rockstar Supernova, Derek Sherinian, and Liz Phair. In addition to the benefits described below, the office maintains a list of *MI cannot guarantee future auditions for any specific artist. MI has no control recording and rehearsal facilities, local clubs, management and promotional over the outcome of any audition and makes no promise regarding results. agencies, major and independent labels, and other establishments and services that are important to music professionals. Career Preparation Seminars A variety of career-related workshops and seminars are offered by ACS regu- Musicians Referral Service (MRS) larly throughout the year. Students and alumni are encouraged to participate in The Musicians Referral Service, MI’s online talent resource, is an exclusive as many programs as possible in order to enhance their career development. service for current and former students. MRS receives frequent calls from bandleaders, managers, potential music students, producers, booking agents, Resume Service A&R representatives, and studio managers who require the services of trained ACS staff is available to help students and alumni develop and polish their musicians and engineers. resumes, interview skills, cover letters and promotional material. All enrolled MI students are automatically qualified to join, and members Demo Duplication can post profiles including mp3 links, photos and resume to the MRS online ACS provides currently enrolled students with free duplication and artwork for database. Members also gain access to online job boards, an MRS-exclusive their original CDs. search engine and a community forum. Audition Workshops 32 Gig opportunities are posted regularly on MRS job boards on the website and Weekly audition workshops train students in the fundamental techniques nec- in school. Listings range from paying gigs to original bands showcasing for essary for students to gain a competitive edge. Typically, students prepare record labels to signed artists auditioning or replacing band members. material for a mock audition and their performance is critiqued by the instructor. For audio engineers, opportunities range from intern and runner positions to first engineer jobs in both audio and post-production facilities.You may also Band Booking Service receive referrals for teaching and other musical opportunities in the LA area ACS relationships with LA booking agencies provide students with opportunities and beyond. for live performances in a variety of clubs, theaters and performance venues. All students are highly encouraged to join MRS while enrolled, and the con- Career Counseling tacts and networking opportunities remain equally important in the years after Private career counseling sessions are available to all MI students. Students graduation – many of MI’s success stories have come about because former meet one-on-one with top industry professionals who provide personalized students stayed in touch with each other and MI*. Information about registering advice on career options and how to prepare for life as a professional. for MRS is available at www.mrs.mi.edu. Internships *MI offers no guarantee that professional employment will result from regis- The ACS Internship program provides MI students with first-hand experience in tering with the Musicians Referral Service or from enrolling in, attending, or the music industry through positions in music- related companies such as music completing any MI program. MI reserves the right to alter the features of or to publishers, artist managers, record labels, and marketing and promotion firms. interrupt or cancel operation of the Musicians Referral Service at any time without prior notice. *MI provides no guarantee regarding the future availability of internships at specific companies or in specific positions. Placement is subject to availability Hiring Hall and student qualifications. MI’s weekly audition showcase brings signed artists, producers, and management firms seeking talent directly into the school. Audition opportunities Job Fairs are open to all students and are advertised to the student body through the Each year, ACS organizes special events designed to give students a chance Musicians Referral Service. Artists who have previously conducted Hiring to meet face-to-face with prospective music industry employers and participate in on-campus interviews and auditions. FACILITIES

Musicians Institute’s central Hollywood campus includes facilities devoted to a Performance Rooms (140/145/155/160) variety of programs and purposes: Four 1000-square foot performance rooms, each seating up to 50 people, are fully equipped for Live Performance Workshops. Each room contains a Main Complex (Performance, Recording, and Film Classrooms, Lesson/ Practice Rooms and Studios): 1655 N. McCadden Place; one block south of complete Carvin PA system and an assortment of guitar and bass amplifiers, Hollywood Boulevard and one block east of Highland Avenue. The 65,000 keyboards and drum set. square-foot main complex is open 24 hours a day, seven days a week except Passage Performance Center holidays. The Passage is a 125-person capacity live performance/classroom facility Hollywood Passage (Administration, Performance, Recording Lab): 6752 Hol- located adjacent to Hollywood Boulevard. Glass doors may be opened to allow lywood Boulevard, ½ block east of Highland Avenue. listeners to sit either indoors or out. The Passage stage is fully equipped with Carvin PA, guitar and bass amplifiers, keyboards and drum kit. Hawthorn Annex (Administration, Classrooms, Recording Lab): 1621 N. McCadden Place; one block south of Hollywood Boulevard and one block east Green Room of Highland Avenue (opposite the Main Building entrance) The Green Room, located adjacent to the Passage on Hollywood Boulevard, is Highland Annex (Classrooms, Lesson/Practice Rooms): 1622 N. Highland an 80-person capacity public restaurant/live performance venue equipped with Avenue; one block south of Hollywood Boulevard on the corner of Hawthorn backline and Carvin PA. Music Business Annex (Classrooms): 1518 N. Highland Avenue, one-half RECORDING AND PRODUCTION FACILITIES block north of Sunset Boulevard. MI’s extensive recording facilities, ranging from top-of-the-line professional Kodak Annex (Classrooms, Performance): 6801 Hollywood Blvd Suites 219, studios to project studios and recording classrooms, include industry-standard 221, 223 (within the Hollywood & Highland/Kodak Theater complex). recording and mixing systems complimented by an extensive array of profes- 33 sional microphones and outboard gear. Guitar Craft Academy (Classrooms, Workshops, CAD/CAM Classroom): 7070 Santa Monica Blvd at the corner of La Brea. Audio Engineering Studios Guitar Craft Academy Annex (Classrooms, Workshops,): 6920 Santa Monica Studio A: “Tommy Tedesco Studio” Named after the king of LA session musicians, Studio A features a large track- Boulevard, 1 ½ blocks west of Highland Avenue. ing room for live band recording, an SSL 4000G+ Series 36-channel analog MI’s Main Complex entrance is located on the alley between Hawthorn Avenue console and ProTools HD 2 192 interface, 24 I/O digital audio recording system and Hollywood Boulevard, behind the Hollywood Passage. Parking is avail- and Otari MTR 90 2” analog reel-to-reel recorder. able nearby at daily and monthly rates. Metered and street parking are also available. Busses and the Metro Red Line subway stop nearby. MI provides Studio B students with a free evening shuttle service to nearby apartments. RIT students learn the art of audio production in this 5.1 Surround Mixing/Edit- ing Suite outfitted with a Pro Tools HD 2 192 interface, Triton keyboard, MPC LIVE PERFORMANCE FACILITIES 1000, Avalon 747, Manley Stereo Compressor, Vinyls and Turntable, and a NOTE: All performance stages are handicapped-accessible host of high-end plug-ins.

Main Concert Hall Studio C With a capacity of 500 in fixed theater seating and a stage area of 900 square Students track, mix and learn automation on the classic NEVE Vx “Flying feet plus backstage area, the Concert Hall is used for concerts and seminars Faders” 36-channel analog console and Protools HD 2 system with three 96 by visiting artists as well as for student performances and workshops. The interfaces. Concert Hall is also equipped for professional video and audio production with concert lighting, dual large-screen projectors, Digidesign VENUE console, Studio D Carvin PA amplifiers and speaker enclosures, and a variety of top-of-the-line Features a custom-made “Baby SSL” 4000G+ Series 8-channel analog con- drum kits, keyboards, and guitar and bass amplifiers. sole and Protools Digi002 digital audio system for tracking and mixing. FACILITIES

Studio E Digital Audio Lab (CS202) RIT students are introduced to the world of film and television post-production Audio engineering students learn digital recording techniques on Mac worksta- in this world-class THX-Certified dubbing stage equipped with a 48-channel tions with Pro Tools Mbox-2 A/D interfaces, Logic audio software, Reason, MIDI Digidesign ICON D-Control console and Pro Tools HD 3 recording system. controllers, and Line 6 Pod Pro bass and guitar amp modelers.

Independent Artist Studios Recording Techniques Lab (281) Studio 01 This audio engineering lab contains Mac workstations equipped with Pro Tools Multi-purpose studio with isolated tracking and mix rooms equipped with DW Mbox-2 A/D interfaces, Logic audio software, Reason, Oxygen 8 MIDI control- drum kit, Budda guitar amp, Neumann, Royer and AKG microphones as well as lers, and Line 6 Pod Pro bass and guitar amp modelers. outboard gear from Avalon, API, Universal Audio, Chandler Ltd. and Apogee. Pro Tools HD Lab (103) Studio 02 Designed to train students for Digidesign’s Pro Tools 201 and 210M certifica- Multi-purpose studio with Yamaha U3 upright piano, Fender guitar amp, Neu- tion exams, this lab contains Mac workstations equipped with Protools HD mann, Mojave and Shure microphones, Dynaudio monitors and Avalon channel interfaces and C24 control surfaces. strips. Film Editing Lab Studio 03 A film production and digital editing classroom-lab featuring Mac G5/Final Cut Production/mixing studio equipped with Neumann and Shure microphones, Pro workstations and a Final Cut HD online editing system. Dynaudio monitors, Avalon channel strip, Yamaha Motif and Akai MPC Sampler. Keyboard Workstation Labs Keyboard students have access to three rooms containing multiple Mac G5/ 34 Studio 04 Logic Audio-equipped digital audio workstations for class assignments and Production studio equipped with Moog and Waldorf synthesizers, standalone project development. computer loaded with a variety of commercial virtual instruments, Dynaudio monitors and an 88-key weighted midi controller. CLASS AND REHEARSAL FACILITIES MI’s instrument and vocal programs are taught in dual-use facilities that Instrument-Specific Studios function as classrooms during the day and student rehearsal rooms during eve- (Bass, Drums, Guitar, Keyboards, Vocals) nings and weekends. Most are equipped with guitar, bass and keyboard amps, Each of these studios is designed to train students in the art and technique of drum kits, PAs and audio playback systems. In addition to eight general-use studio performance as it relates to their specific instrument. Each is equipped classrooms on the Main Complex third floor, one on the second floor and three with a Mac G5, Protools and/or Logic Audio and related hardware, software in the Highland Annex, some classrooms are customized to fit the needs of and outboard gear. specific programs:

Production Labs Vocals: Kodak Annex Passage Audio Lab One classroom with stage lighting, guitar and bass amps, keyboard and amp, Located in the Hollywood Passage adjacent to Hollywood Boulevard, this digi- drum kit, PA system, and a 7’x 20’ mirror for practicing performing techniques; tal audio lab contains 31 Mac audio workstations, Pro Tools and Logic audio second classroom equipped for dance with hardwood floor and mirrors. software, keyboards and external hardware. Keyboards: CL240, 245 Music Production Lab (102) Keyboard teaching/practice facilities include two main classrooms with 32 stu- This audio engineering recording-teaching-lab facility features Mac worksta- dent keyboard stations, video-assisted instructor stations, and audio systems. tions, each equipped with Pro Tools Digi002R, Logic Audio, Waves Gold Bundles and Reason. The lab also contains six Akai MPC 1000 samplers, Line Drums: CR370, 375, 380 6 Pod Pro bass and guitar amp modelers and KORG Triton Keyboards. Drum-specific class/rehearsal rooms include customized padded tables designed for group drum instruction. FACILITIES

COUNSELING AND PRACTICE FACILITIES Vending Area Guitar, Bass, Keyboards Located on the ground floor of the main building, the Vending Area houses 35 general-purpose counseling/practice labs are equipped with various com- machines supplying soft drinks, light snacks and coffee as well as change binations of guitar and bass amplifiers, keyboards and other specialized machine and microwave. equipment. All counseling labs are used for private or open counseling instruction during scheduled hours and are otherwise available for student practice. ADMINISTRATION Most of MI’s administrative offices are housed in the Hollywood Passage build- Vocals ing, including Student Affairs, Education, Registrar, Academic Counseling, The 15 vocal labs are each equipped with an IMAC computer, offering access Admissions, Financial Aid, Accounting, Human Resources, and Marketing/Pro- to hundreds of backing tracks, as well as a keyboard and mirror. motion. The Artist and Career Services Department is housed in the Hawthorn Annex on Hawthorn Avenue across from the main MI building. Drums Six drum counseling labs each contain two complete drum kits for private and SPECIAL FACILITIES AND SERVICES AVAILABLE TO group counseling during the day and individual practice in the evening. Fifty pri- HANDICAPPED STUDENTS (MAIN BUILDING) vate drum practice labs each contain a drum set (students only need to provide First Floor: their own pedals, cymbals, and clutch) and student lockers. Elevator - one handicapped-equipped elevator providing service to all three floors. LIBRARY Lift- A hydraulic lift providing handicapped access between the main entrance MI’s library provides media and related equipment to support MI’s educational and ground floor (access to upper floors is by elevator) programs. Over 40 Mac workstations offer internet access as well as access to Restrooms - one handicapped stall in the men’s restroom and one handi- videos of visiting artist concerts, seminars, and instructional media. Students capped stall in the woman’s restroom. The men’s restroom is also provided 35 may check out CDs, CD players, sheet music, and instruments, and a self- with one handicapped urinal. Both are provided with handicapped sinks. operated copy machine is available for student use. Drinking Fountain - two handicapped drinking fountains Concert Hall - Handicapped seat stations are provided in the auditorium. Media Lab Access to the concert hall stage is provided by mechanical/electrical lift. Within the Library, 45 individual IMac-based practice stations provide software including Guitar Rig, Garage Band, Sibelius, and Adobe Creative Suite. An Second and Third Floors: additional 23-station practice lab is equipped with flat-panel viewing screens Drinking Fountain – one handicapped-accessible drinking fountain on each and instrument practice gear. floor Restrooms – one male and one female handicapped restroom on each floor ADDITIONAL FACILITIES Player’s Supply Store MI’s own music store, adjacent to the main lobby, offers a wide range of music accessories such as strings, picks, drumsticks, staff paper, gig bags, tuners, instructional books, CDs and videos as well as MI-logo apparel, all at dis- counted prices.

The Green Room Located on Hollywood Boulevard adjacent to the Passage, The Green Room offers light meals and other refreshments as well as a live stage for student performances. PROGRAMS AT A GLANCE

INSTRUMENT PROGRAMS Summary: A terminal/vocational degree* that combines 60 units of instrument Bass, Drums, Guitar, Keyboards, Vocals study (equivalent to the Certificate in Performance) with 30 units of study in MI offers the following programs in the field of contemporary music instru- a music industry career specialty (equivalent to Certificate programs inAudio ment performance. Refer to the Admissions section of this catalog for entrance Engineering, Independent Artist, Music Business, Guitar Craft, or Music Video, requirements and to specific program entries for more detail on program struc- Film and Television described below). tures and course descriptions. *The AA program does not require General Education coursework. See the Admissions / Bachelor Program / Transfer of Credit section of this catalog for BACHELOR OF MUSIC IN PERFORMANCE information on transfer of AA credits into MI’s BM program. (Contemporary Styles) Length: twelve quarters / 180 credit units CERTIFICATE IN PERFORMANCE Summary: A professional degree in contemporary music performance. The Length: four quarters / 60 credit units music curriculum (135 units) combines intensive instrument training and perfor- Summary: Provides intensive training in essential instrumental skills, musi- mance with extensive coursework in theory, arranging, conducting, and music cianship (harmony, ear training, music reading), and extensive performing technology culminating in challenging student-directed jury performances. Gen- experience. Curriculum includes core and elective classes, weekly private les- eral Education requirements (45 units) provide a foundation in critical thinking, sons, Open Counseling sessions, Live Performance Workshops and regular creative problem solving and cultural literacy. visiting artist clinics Bachelor Degree Minor Studies options include: Audio Production: 30 credits of intensive study in studio technology, ENCORE PROGRAM (Non-Certificate Training in Music) audio engineering and production (degree requires the completion of Length: one quarter / repeatable Summary: A non-certificate* program that allows students to create a person- 36 196 total credit units; see program description for details and credit distribution). alized ten-week schedule including private lessons, classes, workshops, and seminars within MI’s unique facilities. All styles and levels; classes starting Music Industry Studies: 30 credits of intensive study in record company every quarter. functions, artist management, publishing, and other music industry-related career skills (degree requires the completion of 196 total credit units; see *as a non-certificate program, Encore is not eligible for US or State government program description for details and credit distribution). financial aid

ASSOCIATE OF ARTS IN PERFORMANCE MUSIC INDUSTRY CERTIFICATE PROGRAMS Length: six quarters / 90 credit units AUDIO ENGINEERING Summary: An all-music terminal/vocational degree* that provides extensive technique development, live performing experience and development of Certificate in Audio Engineering practical musicianship (harmony, ear training, music reading), in the field of Length: two quarters / 30 credit units contemporary popular music performance. Curriculum includes core and elec- Summary: A comprehensive curriculum preparing aspiring audio engineers tive classes, weekly private lessons, unlimited Open Counseling sessions, Live in contemporary recording methods and technology. Students learn to handle Performance Workshops and regular visiting artist clinics every aspect of music production from digital editing to top-of-the-line console *The AA program does not require General Education coursework. See the techniques, including Pro Tools and Logic certification. Admissions / Bachelor Program / Transfer of Credit section of this catalog for information on transfer of AA credits into MI’s BM program. Certificate in Audio Engineering (Post-Production Audio) Length: three quarters / 45 credit units ASSOCIATE OF ARTS IN PERFORMANCE Summary: Includes all coursework leading to the Certificate in Audio Engi- (Combined Emphasis) neering plus an additional 15 units focused on recording and mixing music, Length: six quarters / 90 credit units dialogue, and sound effects for film and television. PROGRAMS AT A GLANCE

Certificate In Audio Engineering (Live Sound Production) MUSIC BUSINESS Length: three quarters / 45 credit units Summary: Includes all coursework leading to the Certificate in Audio Engineer- Certificate in Music Business ing plus an additional 15 units focused on the techniques of live event audio Length: two quarters / 30 credit units production. Summary: Provides knowledge, skills and experience preparing students for entry-level employment in the music business. Students learn the inside INDEPENDENT ARTIST DEVELOPMENT workings of the music industry, including record labels, artist management companies, music publishers and other industry career paths. Artist Certificate Length: two quarters / 30 credit units Certificate in Music Business (Music Entrepreneur) Summary: Develops the technical, artistic and career skills required to develop Length: three quarters / 45 credit units and maintain a career as an independent recording artist. Students write, Summary: Includes all coursework leading to the Certificate in Music Business record and produce original recordings using personal laptop studios and learn plus an additional 15 units focused on developing the skills required to set up how to market and promote their music. and operate an independent music business or manage a career as an independent artist. GUITAR CRAFT FILM AND TELEVISION Certificate in Guitar Craft Length: two quarters / 30 credit units Certificate in Music Video, Film And Television Summary: Trains students in electric guitar and bass fabrication, maintenance Length: two quarters / 30 credit units and repair in preparation for careers as guitar builders and technicians. As the Summary: Trains students in the essential skills of directing and producing culmination of the program, each student designs and builds a personal custom music videos, commercials and film. Students produce and direct their own 37 instrument from scratch. projects on film or HD video and learn cinematography as well as non-linear editing and compositing skills used by industry professionals. Certificate in Guitar Craft (Acoustic Guitar Design) Length: three quarters / 45 credit units Summary: Includes all coursework leading to the Certificate in Guitar Craft plus an additional 15 units focused on the latest methods for designing and fabricating steel-string acoustic guitars. BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES)

BACHELOR OF MUSIC IN PERFORMANCE Supportive Music Credits (Contemporary Styles) BACH-P101-P801 Theory 1-8 16 Performance-based education in contemporary music BACH-P102-P602 Ear Training 1-6 12 Musicians Institute’s challenging Bachelor of Music in Performance (Contem- BACH-P107-P207 Styles Survey 1-2 2 porary Styles) is a unique degree program combining contemporary music BACH-P121-P223 Music History 1-4 8 performance with rigorous education in traditional music disciplines. The BACH-P103-P503 Contemporary Arranging 1-5 10 intensive program emphasizes the development of stylistic depth, creative BACH-P125 Directing and Conducting 2 maturity and professional competence as part of a comprehensive program BACH-P109-209 Studio Recording 1-2 3 preparing students to enter the contemporary music industry. Upon comple- BACH-P124 Music Industry Studies 3 tion of all requirements, students are eligible to receive the Bachelor of Music BACH-P126 Computer Music Applications 3 in Performance in one of five major instruments of study: Guitar, Bass, Drums, BACH-P120 Contemporary Music Instruction 1 1 Keyboard and Vocals. BACH-P113-P313 Keyboard Proficiency 3 BACH-V107 Diction2 1 CREDIT DISTRIBUTION Total Supportive Music Credits 60-64 Total General Education Credits Supportive General Required Various (see Articulation Agreement for required credit distribution) Major Area Music Education Electives Credits Total General Education Credits 45 66 credits 60-64 credits 45 credits 5-9 credits 180 credits 38 Electives Credits Major Area Credits Various BACH-PL Private Lesson 24 Total Elective Credits3 5-9 BACH-P151-P453 Ensembles 12 Various Reading 6 TOTAL CREDITS: 180 Various Instrument Study 12 BACH-P104-P404 Performance 8 1 Required for Bass, Guitar, Drums and Voice BACH-P108-P118 Sophomore Jury 2 2 Required for Voice only BACH-P208-P218 Senior Jury 2 3 Elective requirements vary by instrument as follows: Total Major Area Credits 66 Bass: 6 credits Drums: 6 credits Guitar: 6 credits Keyboards: 9 credits Voice: 5 credits

BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES)

FRESHMAN YEAR SOPHOMORE YEAR quarters: 1 2 3 quarters: 4 5 6 major area major area private lesson 1-3 2 2 2 private lesson 4-6 2 2 2 ensembles 1-3 1 1 1 ensembles 4-6 1 1 1 instrument study1 1-3 3 3 3 instrument study1 4 3 reading 1-3 1.5 1.5 1.5 reading1 4 1.5 supportive music sophomore jury 1 1 harmony & theory 1-3 2 2 2 supportive music ear training 1-3 2 2 2 music theory 4-5 2 2 styles survey 1-2 1 1 2 ear training 4-6 2 2 2 general education2 music history 2 2 2 2 (various) 3 3 3 general education credits per quarter: 15.5 15.5 14.5 (various) 1.5 6 7.5 credits per quarter: 15 16 15.5

Junior YEAR SENIOR YEAR 39 quarters: 7 8 9 quarters: 10 11 12 major area major area private lesson 7-9 2 2 2 private lesson 2 2 2 ensembles 7-9 1 1 1 ensembles 1 1 1 performance 1-3 2 2 2 performance 2 supportive music senior jury 1 1 harmony & theory 7-9 2 2 2 supportive music contemporary arranging 1-3 2 2 2 contemporary arranging 2 2 directing/conducting 2 studio recording 1.5 1.5 2 music history 4 2 music industry studies 3 general education2 multimedia applications 3 (various) 3 3 3 contemporary music instruction 1 2 electives3 general education (various) 1 3 1 (various) 3 3 6 credits per quarter: 15 15 15 electives3 (various) 2 2 credits per quarter: 14.5 15. 13 1 Specific courses and credit requirements vary by instrument 2 Distribution of General Education credits is based on recommended average credit balance per quarter Upon completion of the required 180 credit units, students are eligible to apply for the 3 Number of required electives varies by instrument Bachelor of Music in Performance BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES)

Bachelor of Music in Performance Supportive Music Credits (Contemporary Styles), BACH-P101-P801 Theory 1-8 16 Minor in Audio Production BACH-P102-P602 Ear Training 1-6 12 The Minor in Audio Production provides an opportunity for Performance Majors BACH-P107-P207 Styles Survey 1-2 2 to include concentrated studies in audio recording technology and techniques. BACH-P121-P223 Music History 1-4 8 Minor Area studies replace some Supportive Music requirements and additional BACH-P103-P503 Contemporary Arranging 1-5 10 credits allow for greater depth in the Minor Area while retaining the comprehen- BACH-P124 Music Industry Studies 3 sive scope of the Performance Degree. BACH-P120 Contemporary Music Instruction 1 Major Area and Supportive Music course descriptions are identical to those BACH-P113-P313 Keyboard Proficiency 3 shown in the Bachelor of Music in Performance section of this catalog. Total Supportive Music Credits 55 Except for specific Supportive Music coursework that is replaced by Minor General Education Credits Area coursework, all other Performance Degree requirements apply. See the Certificate in Audio Engineering section of this catalog for Minor Area course Various (see Articulation Agreement for credit distribution requirements) descriptions. Total General Education Credits 45

CREDIT DISTRIBUTION Minor Area Credits Total AUDIO-102-202 Console Operation 1-2 4 Supportive General Minor Required AUDIO-103-203 Pro Tools 1-2 7 Major Area Music Education Area Credits AUDIO-107 Music Pre-Production 1.5 40 AUDIO-106 Musicianship 1.5 66 credits 55 credits 45 credits 30 credits 196 credits AUDIO-104 Music Studio Etiquette 1.5 AUDIO-101 Practical Recording 2 MAjor Area Credits AUDIO-105 Acoustics 1.5 BACH-PL Private Lesson 24 AUDIO-108 Recording Theory 1.5 BACH-P151-P453 Ensembles 12 AUDIO-207 Intro to Post-Production 1.5 Various Reading 6 AUDIO-208 Signal Processing 1.5 Various Instrument Study 12 AUDIO-204 Mixing and Mastering 2 BACH-P104-P404 Performance 8 AUDIO-205 Electronics 1.5 BACH-P108-P118 Sophomore Jury 2 (various) Minor-area electives 3 BACH-P208-P218 Senior Jury 2 Total Minor Area Credits 30 Total Major Area Credits 66 TOTAL CREDITS: 196 BACHELOR OF MUSIC IN PERFORMANCE (CONTEMPORARY STYLES)

Bachelor of Music in Performance Supportive Music Credits (Contemporary Styles), BACH-P101-P801 Theory 1-8 16 Minor in Music Industry Studies BACH-P102-P602 Ear Training 1-6 12 The Minor in Music Industry Studies provides an opportunity for Performance BACH-P107-P207 Styles Survey 1-2 2 Majors to include concentrated studies in record company management and BACH-P121-P223 Music History 1-4 8 independent artist management and promotion. Minor Area studies replace BACH-P103-P503 Contemporary Arranging 1-5 10 some Supportive Music requirements and additional credits allow for greater BACH-P109-P209 Studio Recording 1-2 3 depth in the Minor Area while retaining the comprehensive scope of the Perfor- BACH-P120 Contemporary Music Instruction 1 mance Degree. BACH-P113-P313 Keyboard Proficiency 3 Major Area and Supportive Music course descriptions are identical to those Total Supportive Music Credits 55 shown in the Bachelor of Music in Performance section of this catalog. General Education Credits Except for specific Supportive Music coursework that is replaced by Minor Area coursework, all other Performance Degree requirements apply. See the Various (see Articulation Agreement for credit distribution requirements) Certificate in Music Business section of this catalog for Minor Area course Total General Education Credits 45 descriptions. Minor Area Credits CREDIT DISTRIBUTION MUBUS-104 Your Music Business Career 2 Total MUBUS-206 Networking Strategies 1 Supportive General Minor Required MUBUS-103 The Record Company 2 Major Area Music Education Area Credits MUBUS-107 Music Publishing 2 41 MUBUS-101-201 Music Law 1-2 4 66 credits 55 credits 45 credits 30 credits 196 credits MUBUS-108 Personal Management 2 MUBUS-105 Agents and Attorneys 1 Major Area Credits MUBUS-106 Internet Marketing 2 BACH-PL Private Lesson 24 MUBUS-102 Computers in Business 1 BACH-P151-P453 Ensembles 12 MUBUS-207 Music Licensing and Supervision 2 Various Reading 6 MUBUS-202 Media Relations 2 Various Instrument Study 12 MUBUS-203 Music Distribution 1 BACH-P104-P404 Performance 8 MUBUS-204 Concert and Tour Production 2 BACH-P108-P118 Sophomore Jury 2 MUBUS-205 Music Business Internship 4 BACH-P208-P218 Senior Jury 2 (various) Electives 2 Total Major Area Credits 66 Total Minor Area Credits 30 TOTAL CREDITS: 196 Bachelor of Music in Performance (Contemporary Styles)

COURSE DESCRIPTIONS supervisor and Dean to review arrangements, original compositions, rehearsal MAJOR AREA: ALL INSTRUMENTS progress and related issues plus monitored rehearsals. Three ensemble hours All non-keyboard major degree students must demonstrate keyboard profi- per week for one quarter. ciency by the end of their Freshman year through examination or a passing SUPPORTIVE MUSIC: ALL INSTRUMENTS grade of C- or better in course BACH-P313 Keyboard Proficiency III. BACH-P101 Theory 1 (2) BACH-PL Private Lesson 1-12 (2) An introduction to fundamental concepts including intervals, triads, major mode Weekly private lesson with an instructor applying principles learned in instru- progressions with voice-leading, minor modes and modal scales. Students ment study to the major instrument and preparation for juries and final projects. learn basic techniques for melodic and harmonic analysis. Introduction to four One private lesson hour per week per quarter. part writing techniques. Two lecture hours per week for one quarter. BACH-P151–P453 Ensembles 1-12 (1) BACH-P201 Theory 2 (2) Weekly live performance workshops providing development of ensemble tech- Prerequisite: BACH-P101 Theory 1. Continuation of four-part writing techniques, improvisational skills, and repertoire building in various styles as well niques including first inversion triads, figured bass, melodic function and as preparing students for Sophomore and Senior juries. One ensemble hour structure, further study in melodic analysis, non-harmonic tones and their use. per week per quarter. Two lecture hours per week for one quarter. BACH-P104–P404 Performance 1-4 (2) BACH-P301 Theory 3 (2) An in-depth study of a variety of contemporary and commercial performance- Prerequisite: BACH-P201 Theory 2. Basic harmonization of a melody, formu- related subjects including prototypical characteristics of influential styles, laic four-part writing using second-inversion triads and proper voice leading, repertoire, improvisation and interpretation. Dedicated sections for instrumen- cadences and their function in phrases, harmonic rhythm, supporting melodies, talists and vocalists. Weekly critiqued performances of selected repertoire. Two 42 independent bass movement, analysis of excerpts and contemporary song ensemble hours per week for one quarter. forms. Two lecture hours per week for one quarter. BACH-P118 Sophomore Jury Prep (1) BACH-P401 Theory 4 (2) Individual preparation for score content, format, rehearsals and performance Prerequisite: BACH-P301 Theory 3. Dominant-seventh voicings and their func- under the supervision of the jury supervisor, Dean and private instructor. Three tion, standard resolutions, secondary dominant function and voice-leading, ensemble hours per week for one quarter. modulation techniques, analysis of modulating progressions, harmonic struc- BACH-P108 Sophomore Jury (1) ture of phrases, antecedent-consequent structure, analysis of orchestral Juried performance demonstrating student’s ability to meet lower-division excerpts and contemporary song forms. Two lecture hours per week for one requirements. Includes demonstrations of solo work, transcription skills, stylistic quarter. ensemble repertoire and sightreading. Preparation includes weekly meetings BACH-P501 Theory 5 (2) with the jury supervisor and Dean to review arrangements, rehearsal progress Prerequisite: BACH-P401 Theory 4. Musical textures, irregular resolutions, use and related issues plus monitored rehearsals. Three ensemble hours per week of melodic and harmonic sequences and diminished seventh chords. Focus on for one quarter. four part writing, figured bass and harmonization. Two lecture hours per week BACH-P218 Senior Jury Prep (1) for one quarter. Individual preparation for score content, format, rehearsals and performance BACH-P601 Theory 6 (2) under the supervision of the jury supervisor, Dean and private instructor. Three Prerequisite: BACH-P501 Theory 5. Analysis and application of the incom- ensemble hours per week for one quarter. plete major ninth chord, seventh chords in non-dominant harmonic function, BACH—P208 Senior Jury (1) neighbor-chord harmony, ninth, eleventh, thirteenth, and appoggiatura chords. Juried performance demonstrating student’s ability to meet final graduation Focus on four part writing, figured bass and harmonization. Two lecture hours requirements. Focuses on the student as leader and interpreter with empha- per week for one quarter. sis on individuality, advanced technical skill, stylistic clarity, horn arranging and overall musicianship. Preparation includes weekly meetings with the jury Bachelor of Music in Performance (Contemporary Styles)

BACH-P701 Theory 7 (2) BACH-P602 Ear Training 6 (2) Prerequisite: BACH-P601 Theory 6. Analysis and application of chromatic Prerequisite: BACH-P502 Ear Training 5. Study of Locrian T9 and Altered altered chords including the +II7 and +VI7, Neapolitan chords, augmented sixth scales with emphasis on hearing chromaticism, altered chords, and related chords and chords with lowered and raised fifths. Focus on four part writing, progressions. Continued melodic, rhythmic and harmonic dictation, with figured bass and harmonization Two lecture hours per week for one quarter. applications including bass line transcription and lead sheet preparation. Two lecture hours per week for one quarter. BACH-P801 Theory 8 (2) Prerequisite: BACH-P701 Theory 7. Analysis of late 19th and early 20th cen- BACH-P121 Roots of Rock and Roll (2) tury scores. Discussion includes pandiatonicism, serial writing, polytonality, A survey of Rock’s roots, including Rhythm & Blues, Rockabilly, New Orleans, parallel harmony and use of symmetrical scales. Two lecture hours per week vocal groups, doo-wop, and early 60’s pop, including an examination of the for one quarter. major artists and regional influences. Weekly discussion, analysis and listening examples related to each topic. Two lecture hours per week for one quarter. BACH-P102 Ear Training 1 (2) Introduction to the “Movable Do” system including basic solfeggio syllables BACH-P122 World Music (2) applied to single notes, melodic fragments, diatonic triads and intervals in all A study of music in the context of selected cultures and regions around the major keys. Students learn basic rhythms and four-beat conducting patterns. world. The many ways in which music and lyrics function in reflecting these Dictation of major-key melodies and basic triads. Two lecture hours per week cultures are explored through listening, analysis and transcriptions. Two lecture for one quarter. hours per week for one quarter. BACH-P202 Ear Training 2 (2) BACH-P123 Western Art Music: 600-1820 (2) Prerequisite: BACH-P102 Ear Training 1. Application of solfeggio to minor keys A survey of Western art music from the Middle Ages through the beginning of including single notes, melodic fragments, diatonic triads and intervals in natu- the 19th century. The course will include discussion of major styles and forms 43 ral minor, melodic minor and harmonic minor key centers. Students learn more in historical context, supplemented by representative listening and score analy- advanced rhythms and two-, three- and four-beat conducting patterns. Dicta- sis. Two lecture hours per week for one quarter. tion of minor-key melodies including note groups and patterns and all types of BACH-P222 Western Art Music: 1820-21st Century (2) triads. Two lecture hours per week for one quarter. Prerequisite: BACH-P123 Western Art Music: Middle Ages to Classical. The BACH-P302 Ear Training 3 (2) history of musical styles from the Romantic period to the present including Prerequisite: BACH-P202 Ear Training 2. Dorian and Mixolydian key centers cultural contexts and social meaning. Composers and musical developments including single notes, melodic fragments, diatonic triads and intervals as well in European and American Art Music, orchestral, choral, band, chamber music as two, three, four, five and six beat conducting patterns. Dictation of more and solo repertoire are combined with the influences of music from other world advanced rhythms, Dorian and Mixolydian melodic examples including note cultures. Compositional techniques, style characteristics, and relationships groups and patterns, and seventh chords. Two lecture hours per week for one are emphasized. In addition to a midterm and final examination, the course quarter. requires one critical concert report, workbook assignments, and presentation. Two lecture hours per week for one quarter. BACH-P402 Ear Training 4 (2) Prerequisite: BACH-P302 Ear Training 3. Phrygian and Lydian key centers BACH-P103 Contemporary Arranging 1 (2) including Advanced use of note groups and patterns in melodic dictation, rhyth- Prerequisite: BACH-P501 Theory 5. Introduction to instrumentation, arrang- mic phrases, and all types of seventh chords. Two lecture hours per week for ing techniques, and notation practices for live rhythm section. Emphasis is on one quarter. score and parts preparation and notation in selected contemporary styles. As a final project, each student completes a studio recording of an arrangement BACH-P502 Ear Training 5 (2) for piano, guitar, bass and drums. Two lecture hours per week for one quarter. Prerequisite: BACH-P402 Ear Training 4. Locrian and Lydian Dominant scales. Required lab fee: $225.00. Introduction of multiple parts, four-part homophony, diatonic seventh chords and non-chord tones. Two lecture hours per week for one quarter. Bachelor of Music in Performance (Contemporary Styles)

BACH-P203 Contemporary Arranging 2 (2) righting songs, music publishing and the roles of personal managers, booking Prerequisite: BACH-P103 Contemporary Arranging 1. A continuation of rhythm agents, business managers and music business attorneys. Current music busi- section arranging with the addition of brass instruments (trumpet and trom- ness news is discussed with regard to its effect on the students as independent bone). Discussion will include transposition, range and idiomatic usage of these artists. Three lecture hours per week for one quarter. instruments in popular styles. The objective is to study the brass family with BACH-P109 Studio Recording 1 (1.5) emphasis on two-part and guide-tone writing. As a final project, each student An overall introduction to digital audio techniques using Digidesign Pro Tools completes a studio recording of an arrangement for trumpet, trombone, piano, with primary focus on applications to arranging and composing. Handling of bass and drums. Two lecture hours per week for one quarter. Required lab fee: tracks, importing audio, recording of play lists, equalization, and effects will be $225.00. incorporated into the final project. One and one-half lecture hours per week for BACH-P303 Contemporary Arranging 3 (2) one quarter. Prerequisite: BACH P-203 Contemporary Arranging 2. Arranging techniques BACH-P209 Studio Recording 2 (1.5) for ensembles including woodwind instruments (saxophone, flute and clarinet). Prerequisite: BACH-P109 Studio Recording 1. A continuation of Pro Tools Discussion includes transposition, range and idiomatic usage of these instru- recording techniques using Virtual Instruments, Midi Recording, Sequencing, ments in popular styles. The objective is to study the woodwind family with Trimming, Fading, Tempo, Meter Maps, Time Stretching, Plug-in automation emphasis on four-part harmonization. As a final project, each student com- culminating in the mixing of a fully arranged song applying all of the studied pletes a studio recording of an arrangement for trumpet, alto or clarinet, tenor techniques. One and one-half lecture hours per week for one quarter. or flute, trombone, guitar, bass and drums. Two lecture hours per week for one quarter. Required lab fee: $225.00. BACH-P126 Computer Music Applications (3) An introductory course in setting up personal business templates using Micro- BACH-P403 Contemporary Arranging 4 (2) soft Office; creating songs, demo, and practice tracks using GarageBand; 44 Prerequisite: BACH-P303 Contemporary Arranging 3. Course focuses on string music computer notation from lead sheets and master rhythm scores to three- section writing as it applies to contemporary production, with an emphasis on horn charts using Sibelius software. Students will create projects using each re-harmonization. As a final project, each student completes a studio recording application. Three lecture hours per week for one quarter of an arrangement for string quintet and drums. Two lecture hours per week for one quarter. Required lab fee: $225.00. BACH-P107 Styles Survey 1 (1) Provides students with an analytical overview of styles, chart reading and criti- BACH-P503 Contemporary Arranging 5 (2) cal listening as they relate to repertoire requirements. Styles covered include Prerequisite: BACH-P403 Contemporary Arranging 4. Course focuses on Rock, Rhythm & Blues, Jazz and Latin. One lecture hour per week for one combined rhythm section, woodwind, brass and string writing as it applies to quarter. contemporary productions. As a secondary objective students learn to analyze scores of contemporary arrangements that include all instruments. As a BACH-P207 Styles Survey 2 (1) final project, each student completes a studio recording of an arrangement for Prerequisite: BACH-P107 Styles Survey 1. Continues an overview of more rhythm section, woodwinds, brass and strings including overdubs. Two lecture advanced styles as they relate to required repertoire, including Latin, Jazz, hours per week for one quarter. Required lab fee: $225.00. Rhythm & Blues and Rock & Roll. One lecture hour per week for one quarter. BACH-P125 Directing and Conducting (2) BACH-P120 Contemporary Music Instruction (1) Fundamentals of conducting including beat patterns, posture, arm and hand The skill and art of teaching contemporary music in a variety of settings includ- position, articulations, dynamics, left hand functions, incomplete beats and ing rehearsals, coaching, and group and private lessons. One lecture hour per fermatas will be covered, as well as basic score reading and application of week for one quarter. skills to contemporary music. Students will be videotaped for study. Two lecture BACH-V107 Diction for Vocalists (1) hours per week for one quarter. Degree-specific requirement for Voice majors. Students improve their articula- BACH-P124 Music Industry Studies (3) tion and enunciation through the use of drills, exercises, and feedback, and An overview of the contemporary music industry with special concentration on learn to apply these skills to the performance of contemporary music. Specific how record companies work, how A&R reps find and sign new talent, copy- Bachelor of Music in Performance (Contemporary Styles) issues including accent and dialect reduction and enhancement will also be BACH-B305 Fretboard Basics 3 (1.5) addressed. One lecture hour per week for one quarter. Expand diatonic harmonic components over a wide range of notes, neck area, fingerings and hand positions, including simple intervals, diatonic triads, sev- BACH-P113 Keyboard Proficiency 1 (1) enth chords, and inversions over the entire length of the neck. One lecture hour Degree-specific requirement for non-keyboard majors. Covers basic motor plus one lab hour per week for one quarter. skills involved in playing the keyboard through diatonic scales, arpeggios, and selected repertoire. One hour per week for one quarter. BACH-B405 Fretboard Basics 4 (1.5) Prerequisite: BACH-B305 Fretboard Basics 3. Expands fingerings taught in BACH-P213 Keyboard Proficiency 2 (1) Fretboard Basics 3 to cover chromatic harmony. One lecture hour plus one lab Prerequisite BACH-P113 Keyboard Proficiency 1. Degree-specific requirement hour per week for one quarter. for non-keyboard majors. Prerequisite: BACH-P113. More advanced application addressing harmonic shapes on the keyboard including chord families, BACH-B505 Fretboard Improvisation 1 (1.5) voice leading, and basic keyboard harmony with selected chord repertoire. One Prerequisite: BACH-B405 Fretboard Basics 4. Concentrates on the study of hour per week for one quarter. 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 BACH-P313 Keyboard Proficiency 3 (1) Adderly. One lecture hour plus one lab hour per week for one quarter. Prerequisite: BACH-P213 Keyboard Proficiency 2. Degree-specific requirement for non-keyboard majors. Emphasizes using the keyboard as an arranging tool, BACH-B605 Fretboard Improvisation 2 (1.5) lead sheet interpretation, basic score reading and outlining an arrangement. Prerequisite: BACH-B505 Fretboard Improvisation 1. A continuation of Fret- One lecture hour per week for one quarter. board Improvisation 1, including a concentrated study of minor tonality, soloing over static dominant chords and continued development of a melodic vocabu- INSTRUMENT STUDY lary through the analysis of solos. One lecture hour plus one lab hour per week 45 BASS for one quarter. BACH-B302 Playing Techniques 3 (1.5) BACH-B303 Reading 3 (1.5) Techniques for performing fundamental styles and grooves including straight Class covers advanced levels of chart reading through the extensive use of eighth-note rock, straight and swing sixteenth-note funk, standard shuffles, and detailed transcriptions in a wide range of styles including rock, funk, pop and 4/4-meter swing. One lecture hour plus one lab hour per week for one quarter. contemporary instrumental. Concentration is on rhythmic accuracy, pitch rec- BACH-B402 Playing Techniques 4 (1.5) ognition and song form. One lecture hour plus one lab hour per week for one Prerequisite: BACH-B302 Playing Techniques 3. A continuation of Playing quarter. Techniques 3 with concentration on styles and grooves including 3/4 rock, 3/4 BACH-B403 Reading 4 (1.5) th swing, odd-meter grooves, standard Brazilian grooves, 16 -note funk and stan- Prerequisite: BACH-B303 Reading 3. A continuation of Reading 3. One lecture dard Afro-Cuban grooves. One lecture hour plus one lab hour per week for one hour plus one lab hour per week for one quarter. quarter. BACH-B503 Reading 5 (1.5) BACH-B502 Playing Techniques 5 (1.5) Prerequisite: BACH-B403 Reading 4. Students learn contemporary chart read- Prerequisite: BACH-B402 Playing Techniques 4. Course applies both finger ing skills through the extensive use of transcriptions and professionally written and slap-style electric bass techniques to a variety of contemporary grooves arrangements. Focus is placed on sight-reading, pitch and rhythm pattern including Latin, jazz, odd-meter, funk, swing, shuffles, hip-hop and others. One recognition, position playing and creating a cohesive sound. Class materials lecture hour and one lab hour per week for one quarter. correlate with the All-MI Real World Live Performance Workshop. One lecture BACH-B602 Playing Techniques 6 (1.5) hour plus one lab hour per week for one quarter. Prerequisite: BACH-B502 Playing Techniques 5. Continued application of finger BACH-B603 Reading 6 (1.5) and slap-style electric bass techniques to a variety of contemporary grooves Prerequisite: BACH-B503 Reading 5. A continuation of Reading 5. One lecture including Afro-Cuban, jazz ballad, 4/4 swing, blues, cut-time Latin, and funk. hour plus one lab hour per week for one quarter. One lecture hour and one lab hour per week for one quarter. Bachelor of Music in Performance (Contemporary Styles)

DRUMS BACH-D604 Ensemble Techniques 2 (1.5) Prerequisite: BACH-D504 Ensemble Techniques 1. Continued development BACH-D302 Playing Techniques 3 (1.5) of performance techniques with emphasis on execution of written rhythmic Concentrates on effective timekeeping, development of speed and dexterity, phrases in jazz, rock, funk, Latin and odd-meter styles including section and economy of motion, body balance and eliminating bad habits as well as the ensemble figures, chart terminology and form, phrasing and stylistic interpreta- application of drum set rudiments. One lecture hour plus one lab hour per week tion, soloing concepts and solo fills. One lecture hour plus one lab hour per for one quarter. week for one quarter. BACH-D402 Playing Techniques 4 (1.5) BACH-D303 Reading 3 (1.5) Prerequisite: BACH-D302 Playing Techniques 3. Emphasizes interpretation The emphasis is on time signature reading studies, counting and subdivision and performance of snare drum solos and development of four-way indepen- exercises and applications as well as note value relationships. Also included dence. One lecture hour plus one lab hour per week for one quarter. is interpretation of rhythms in different styles, independence studies and chart BACH-D502 Playing Techniques 5 (1.5) reading. One lecture hour and one lab hour per week for one quarter. Prerequisite: BACH-D402 Playing Techniques 4. Class focuses on more BACH-D403 Reading 4 (1.5) advanced rudiments and their application to the drum set in a variety of musical Prerequisite: BACH-D303 Reading 3. Reading compound time signatures, styles as well as advanced snare drum solos and drum set solo transcriptions. changing meters, value indicators and abnormal groupings. One lecture hour One lecture hour plus one lab hour per week for one quarter. and one lab hour per week for one quarter. BACH-D602 Playing Techniques 6 (1.5) BACH-D503 Reading 5 (1.5) Prerequisite: BACH-D502 Playing Techniques 5. Concepts and techniques Prerequisite: BACH-D403 Reading 4. Interpretation of sixteenth-note figures, learned in Playing Techniques 1-5 culminate in student performances of origi- snare drum reading and etudes in changing meters in preparation for studio 46 nal snare etudes and drum set etudes. One lecture hour plus one lab hour per recording. One lecture hour and one lab hour per week for one quarter. week for one quarter. BACH-D603 Reading 6 (1.5) BACH-D307 Jazz Drums 1 (1.5) Prerequisite: BACH-D503 Reading 5. Advanced reading skills include orches- This class explores and demonstrates the basic elements of jazz drumming. tral snare drum etudes, reading drum set charts with style and meter changes, Techniques include ride patterns and left-hand comping, basic independence and multi-tom reading in preparation for studio recording. One lecture hour and and coordination, and ensemble interaction. One lecture hour plus one lab hour one lab hour per week for one quarter. per week for one quarter. BACH-D407 Jazz Drums 2 (1.5) GUITAR Prerequisite: BACH-D307 Jazz Drums 1. Explores the historical, stylistic and BACH-G305 Single String Improvisation 3 (1.5) technical evolution of jazz from Dixieland to Bebop and beyond, with focus on An exploration of blues tonality, blues progressions, and improvisational tech- group interaction, jazz soloing on various song forms, up-tempo swing con- niques including the application of blues, Dorian, and Mixolydian scales over cepts, cymbal turnarounds, 3/4 time, advanced independence and four-way dominant seventh harmonies. Additional studies include diatonic seventh jazz coordination. One lecture hour plus one lab hour per week for one quarter. arpeggios and their applications. One lecture hour plus one lab hour per week BACH-D504 Ensemble Techniques 1 (1.5) for one quarter. Prerequisite: BACH-D402 Playing Techniques 4, BACH-D403 Reading 4. BACH-G405 Single String Improvisation 4 (1.5) Course deals with common techniques used by drummers in small and large- Prerequisite: BACH-G305 Single String Improvisation 3. Scale applications in group performance. The focus is on reading and executing written rhythmic major and minor tonalities, including key-center improvisation using Dorian, phrases in jazz and rock styles including section and ensemble figures. One natural and harmonic minor scale patterns. Melodic sequencing and various lecture hour plus one lab hour per week for one quarter. approaches to harmonic analysis are also explored. One lecture hour plus one lab hour per week for one quarter. Bachelor of Music in Performance (Contemporary Styles)

BACH-G505 Single String Improvisation 5 (1.5) BACH-G403 Reading 4 (1.5) Prerequisite: BACH-G405 Single String Improvisation 4. Expanding improvisa- Prerequisite: BACH-G303 Reading 3. Chromatic studies in the fifth position, tional techniques and concepts to include double-stops, “chord/scale” soloing, concert-pitch transposition, and chart reading with emphasis on ensemble modal interchange and secondary dominants. Other topics include improvisa- reading performance. Learn to read and count “cut time”, 3/4 meter, multiple- tion over non-root-position chords and applications of the melodic minor scale. position examples, and syncopated rhythms. One lecture hour plus one lab One lecture hour plus one lab hour per week for one quarter. hour per week for one quarter. BACH-G605 Single String Improvisation 6 (1.5) BACH-G503 Reading 5 (1.5) Prerequisite: BACH-G505 Single String Improvisation 5. Chromatic variations Prerequisite: BACH-G403 Reading 4. Students learn to count and read in odd on key-center improvisation are explored, including symmetrical scales (chro- and changing meters, across string sets, and with expanded emphasis on matic, diminished, whole-tone), “slash chords” and advanced approaches to multi-position melodies. One lecture hour plus one lab hour per week for one improvisation. The final exam includes a performance at an established local quarter. music venue. One lecture hour plus one lab hour per week for one quarter. BACH-G603 Reading 6 (1.5) BACH-G307 Rhythm Guitar 3 (1.5) Prerequisite: BACH-G503 Reading 5. Advanced score interpretation and sight- Development of chord construction skills based on the five major-scale fin- reading techniques are developed using iconic musical excerpts. Emphasis on gering patterns as well as harmonized major scales and modulating chord applying reading techniques to real-world sight-reading challenges. One lecture progressions. Applications include funk rhythm patterns. One lecture hour plus hour plus one lab hour per week for one quarter. one lab hour per week for one quarter. KEYBOARD BACH-G407 Rhythm Guitar 4 (1.5) BACH-K302 Keyboard Technique 3 (1) Prerequisite: BACH-G307 Rhythm Guitar 3. Topics include harmonized scales 47 applied to multiple string sets, II-V-I progressions, triplet rhythm studies, dou- Co-requisite: BACH-K302L Keyboard Technique 3 Lab. More advanced key- ble-stop applications, rhythmic control exercises, and accompaniment textures board technical skills, including five-finger drills, triad and seventh arpeggios, ranging from full chords to single-note lines. Additional focus on the art of chart- natural minor scales, intervals, trills, modal scales and chord-scale relation- writing. One lecture hour plus one lab hour per week for one quarter. ships. One lecture hour per week for one quarter. BACH-G507 Rhythm Guitar 5 (1.5) BACH-K302L Keyboard Technique 3 Lab (.5) Prerequisite: BACH-G407 Rhythm Guitar 4. The focus is on writing and per- Co-requisite: BACH-K302 Keyboard Technique 3. Supervised application of forming rhythm guitar parts in a variety of styles. Concepts include voice techniques and concepts. One lab hour per week for one quarter. leading on the fretboard, seventh-chord inversions, and the use of sixteenth- BACH-K402 Keyboard Technique 4 (1) note and triplet syncopation. Moderate-to-difficult chord transposition is also Prerequisite: BACH-K302 Keyboard Technique 3; co-requisite: BACH-K402L covered. One lecture hour plus one lab hour per week for one quarter. Keyboard Technique 4 Lab. Technical development with emphasis on five- BACH-G607 Rhythm Guitar 6 (1.5) finger drills, diminished arpeggios, harmonic minor scales, intervals, trills, Prerequisite: BACH-G507 Rhythm Guitar 5. Emphasizes improvising and modal scales and chord-scale relationships. One lecture hour per week for one applying stylistically-appropriate rhythm parts through regular performance as quarter. well as analysis of iconic recorded examples of rhythm guitar. One lecture hour BACH-K402L Keyboard Technique 4 Lab (.5) plus one lab hour per week for one quarter. Co-requisite: BACH-K402 Keyboard Technique 4. Supervised application of BACH-G303 Reading 3 (1.5) techniques and concepts. One lab hour per week for one quarter. Reading studies in all regions of the neck, including chromatic, intervallic, and BACH-K310 Keyboard Voicings 3 (1) leading-tone studies and ensemble reading. One lecture hour plus one lab hour Co-requisite: BACH-K310L Keyboard Voicings 3 Lab. Introduction of seventh per week for one quarter. chords, four-part chord construction, and interpretation of chord symbols with an emphasis on rootless voicings including exercises in both diatonic and chro- Bachelor of Music in Performance (Contemporary Styles)

matic chord movement and left-hand accompaniment patterns. One lecture BACH-K303 Reading 3 (1) hour per week for one quarter. Co-requisite: BACHK303L Keyboard Reading 3 Lab. Reading left-hand chord voicings, combinations of duple and triple rhythms, and more complex melody BACH-K410 Keyboard Voicings 4 (1) lines with exercises drawn from contemporary styles including two-staff Prerequisite: BACH-K310 Keyboard Voicings 3; co-requisite: BACH-K410L arrangements with complex rhythms and harmony. One lecture hour per week Keyboard Voicings 4 Lab. Emphasis on voice-leading concepts used in perfor- for one quarter. mance and composition, including shell voicings with extensions as applied to a variety of chord progressions. One lecture hour per week for one quarter. BACH-K303L Reading 3 Lab (.5) Co-requisite: BACH-K303 Keyboard Reading 3. Supervised application of tech- BACH-K410L Keyboard Voicings 4 Lab (.5) niques and concepts. One lab hour per week for one quarter. Co-requisite: BACH-K410 Keyboard Voicings 4. Supervised application of techniques and concepts. One lab hour per week for one quarter. BACH-K403 Reading 4 (1) Prerequisite: BACH-K303 Reading 3; co-requisite: BACHK403L Keyboard BACH-K510 Keyboard Voicings 5 (1) Reading 4 Lab. Focus on real-world contemporary reading applications Prerequisite: BACH-K410 Keyboard Voicings 4; co-requisite: BACH-K510L including stylistic embellishments. Students learn how to practice, sight read, Keyboard Voicings 5 Lab. Application of concepts of chord-scale harmony to transpose and perform written music in a variety of styles. One lecture hour per voicings and chord progressions. Students explore the techniques of “tension week for one quarter. substitution” and use it to create voicings while composing and performing their own progressions. One lecture hour per week for one quarter. BACH-K403L Reading 4 Lab (.5) Co-requisite: BACH-K403 Keyboard Reading 4. Supervised application of tech- BACH-K510L Keyboard Voicings 5 Lab (.5) niques and concepts. One lab hour per week for one quarter. Co-requisite: BACH-K510 Keyboard Voicings 5. Supervised application of tech- 48 niques and concepts. One lab hour per week for one quarter. BACH-K503 Reading 5 (1.5) Focuses on reading difficult charts with lead lines and chord symbols. Rhythmic BACH-K610 Keyboard Voicings 6 (1) syncopation and fully extended chords are explored. Students play complex Prerequisite: BACH-K510 Keyboard Voicings 5; co-requisite: BACH-K610L charts drawn from contemporary arrangements in a lab/ensemble setting. One Keyboard Voicings 6 Lab. A continuation of chord construction based on chord- lecture hour plus one lab hour per week for two quarters. scale harmony. Students learn how to create their own voicings and make effective musical choices. One lecture hour per week for one quarter. BACH-K603 Reading 6 (1.5) Prerequisite: BACH-K503 Reading 5. Continuation of advanced reading tech- BACH-K610L Keyboard Voicings 6 Lab (.5) niques. One lecture hour plus one lab hour per week for one quarter. Co-requisite: BACH-K610 Keyboard Voicings 6. Supervised application of techniques and concepts. One lab hour per week for one quarter. VOCALS BACH-K502 Keyboard Improvisation 1 (1) BACH-V102 Vocal Technique 1 (1) Introduction to blues tonality, seventh chord arpeggios, and variations on the An introduction to the anatomy and physiology of the voice. Topics include: key center approach to improvising over major and minor tonalities, includ- vocal physiological terminologies, breathing (and how it affects the act of singing basic blues and jazz progressions. One ensemble hour per week for one ing), effective practice habits, and voice-protection techniques. One lecture quarter. hour per week for one quarter. BACH-K602 Keyboard Improvisation 2 (1) BACH-V202 Vocal Technique 2 (1.5) Prerequisite: BACH-K502 Keyboard Improvisation 1. Concepts and techniques Prerequisite: BACH-V102 Vocal Technique 1. Focuses on understanding the for analyzing chord progressions and creating improvised melodies using both nature of human voice production. Topics include learning to recognize differ- key-center and chord-scale approaches with an emphasis on practical applica- ent vocal functions through analysis and review. One lecture hour plus one lab tions. One ensemble hour per week for one quarter. hour per week for one quarter. Bachelor of Music in Performance (Contemporary Styles)

BACH-V302 Vocal Technique 3 (1.5) BACH-V303 Sightsinging 3 (1.5) Prerequisite: BACH-V202 Vocal Technique 2. Focuses on “bridging” the voice Expands sightsinging skills to include more complex major and minor diatonic into a continuous register without breaks. Vocal exercises to strengthen the melodies and harmonies and the introduction of mixed rhythms. Topics include: voice and allow singing at full power are discussed and practiced. One lecture intervals, inversions, major and minor thirds, major melodies, triads, arpeggios, hour plus one lab hour per week for one quarter. and quarter note triplets. One lecture hour plus one lab hour per week for one quarter. BACH-V402 Vocal Technique 4 (1) Prerequisite: BACH-V302 Vocal Technique 3. The final Vocal Technique BACH-V403 Sightsinging 4 (1.5) course addresses the formation of vowels and consonants, techniques for Prerequisite: BACH-V303 Sightsinging 3. Continued exploration of major and connecting with the lyrics and associated emotions of songs, the application minor melodies and mixed rhythms. Topics include: an introduction to minor of vocal technique to assist in learning songs, and the analysis and imitation scales, seventh chords, and changing meters. One lecture hour plus one lab of contemporary artists’ voices as a means to develop a deeper awareness hour per week for one quarter. and understanding of the vocal instrument. One combined lecture-lab hour per BACH-V503 Sightsinging 5 (1.5) week for one quarter. Prerequisite: BACH-V403 Sightsinging 4. Class covers singing in diatonic BACH-V304 Vocal Performance 3 (2) major and minor keys as well as odd meters and mixed rhythms. One lecture An introduction to ensemble singing, including duets and backing vocals. Top- hour plus one lab hour per week for two quarters. ics include song choice, assigning parts (such as trading verses), harmonies, BACH-V603 Sightsinging 6 (1.5) and backing vocals (including roles as both lead voice and part of the backing Prerequisite: BACH-V503 Sightsinging 5. Continuation of advanced sightsing- blend). Two lab-ensemble hours per week for one quarter. ing techniques. One lecture hour plus one lab hour per week for two quarters. BACH-V404 Vocal Performance 4 (2) 49 Prerequisite: BACH-V304 Vocal Performance 3. Continuing with the develop- BM-SPECIFIC ELECTIVE CLASSES ment of individual vocal performance, emphasis is placed on song form, genre Baccalaureate elective requirements may be fulfilled through any combination variations, transposing songs to match students’ vocal ranges, and effective of the courses listed below as well as General Electives and Instrument-Spe- communication with the accompanying musicians (e.g. “talking down” a lead cific electives listed under Associate Degree programs. sheet or chart). Classes are video-recorded to allow students to review their BACH-P018E Jazz History (2) own performances. Two lab-ensemble hours per week for one quarter. A survey of the chronological development of Jazz with emphasis on socio- BACH-V504 Vocal Performance 5 (2) economic influences. Includes an examination of the influential players and Prerequisite: BACH-V404 Vocal Performance 4. Emphasis is placed on taking composers through analysis of style and form. Two lecture hours per week for a leadership role within the group along with all aspects of being a polished one quarter. professional performer, such as phrasing, stylistic interpretation, use of props, BACH-P015E Special Topics in Jazz (2) stage presence, image, communication with the band, and creation and expla- Topics vary and may focus on a theme, genre, a historical period, composers nation of quality charts. Two lab-ensemble hours per week for one quarter. or an influential group. Consult with course instructor or program Dean for infor- BACH-V604 Vocal Performance 6 (2) mation. Two lecture hours per week for one quarter. Repeatable for credit. Prerequisite: BACH-V504 Vocal Performance 5. Students prepare themselves BACH-P010E Independent Study (2) for their final vocal performance, to be filmed in a two-camera HD-shoot.Topics Prerequisites: minimum GPA of 3.25 or above in core courses and permission include song choice, set-list order, rehearsal techniques, and a continuation of of Dean. Provides students with an opportunity to explore a specific subject prior themes such as band communication, charts, props, stage presence, and area in depth through independent course work with faculty supervision. A stylistic interpretation. Classes are video-recorded to allow students to review maximum of six credits may be applied toward BM requirements. An additional their own performances. Two lab-ensemble hours per week for one quarter. fee of $100.00 applies to each Independent Study undertaken. Weekly hours vary. Bachelor of Music in Performance (Contemporary Styles)

BACH-P020E Professional Reading Ensemble (1) Prerequisite: BACH-B603, -D603, -G603 Reading 6. A performance class simulating the challenges of professional jobs requiring advanced sightreading skills. One ensemble hour per week for one quarter. May be repeated for credit. BACH-P022E Composition Seminar (2) Prerequisite: completion of Sophomore year. A study of composition techniques through analysis and demonstration with primary focus on clear melodic and harmonic development and definition. Student work is performed in class.Two lecture hours per week for one quarter. May be repeated for credit. BACH-P013E Sightsing Like the Pros (1) Prerequisite: BACH-V603 Sightsinging 6. Practical application of sightsinging for the professional singer. Provides experience in reading harmonically challenging melodies in varying musical styles with piano accompaniment as well as vocal/choral harmonies. One lecture hour per week for one quarter. BACH-P016E Special Topics in Music (2) Prerequisite: BACH-P121 Music History: Roots of Rock & Roll. Analysis and comparison within focused topic areas such as an historical period, a particular artist’s work or a world music topic. Two lecture hours per week for one quarter. 50 May be repeated for credit. BACH-P021E Formal Analysis (2) Prerequisite: BACH-P801 Theory 8. Develop skills necessary to recognize traditional forms as well as score reading and orchestration techniques. Two lecture hours per week for one quarter. Bachelor of Music in Performance (Contemporary Styles)

GENERAL STUDIES REQUIREMENTS Bachelor of Music degree requirements include completion of thirty (30) semester units or forty-five (45) quarter units of coursework in General Studies. For general reference, the required distribution of units is shown below along with representative areas of coursework. Please refer to the “Reverse Articula- tion Agreement between Los Angeles City College and Musicians Institute” for specific course titles and numbers that meet the requirements. Units completed at other institutions will be evaluated to determine their equivalency; see Admissions>Transfer of Credit for more information. Language and Rationality: minimum of 12 semester units or 18 quarter units in: 1. Written Composition: at least 3 semester units or 4.5 quarter units 2. Communication and Analytical Thinking: at least 9 semester units or 13.5 quarter units with no more than one course from each section: a. Speech b. Philosophy c. English d. Mathematics Natural Sciences: minimum of 3 semester units or 4.5 quarter units in: 1. Physical Universe ( Astronomy, Chemistry, Earth Science, Environmental Science, Geography, Geology, Meteorology, 51 Mineralogy, Oceanography, Physical Science, Physics) 2. Life Forms (Anatomy, Anthropology, Biology, Microbiology, Physiology) Humanities: minimum of 6 semester units or 9 quarter units* in: 1. The Arts (Architecture, Cinema, Photography, Theater) 2. The Humanities (Foreign Language, Humanities, Linguistics, Speech, Literature, Philosophy) *Students with a concentration in Voice are required to complete three semester hours/4.5 quarter hours of language courses in French, German, or Italian as part of minimum Humanities course requirements. Social and Behavioral Sciences: minimum of 9 semester units or 13.5 quarter units, including: 1. Minimum of 3 semester units or 4.5 quarter units in American Institutions and Government 2. Minimum of 6 semester units or 9 quarter units in: a. Social and Behavioral Sciences (Anthropology, Family & Consumer Studies, Geography, History, Linguistics, Psychology, Sociology) b. Economics and Politics (Business, Economics, Journalism, Law, Political Science) ASSOCIATE OF ARTS IN PERFORMANCE

ASSOCIATE OF ARTS IN PERFORMANCE ALLMI-103-603 Live Performance Workshops 1-6 (1) MI’s Associate of Arts in Performance Degree (six quarters/90 credit units) Students perform regularly throughout the program in a variety of styles and provides technical skills, musical knowledge and performing experience that settings (see section on Live Playing Workshops for overview of workshop prepares students for a wide range of professional and creative opportunities offerings). Minimum requirement of ten performances per quarter. One ensem- as performing musicians. This vocationally-oriented* degree is designed for ble hour per week per quarter. students who wish to develop contemporary music performance skills for: MUSICIANSHIP (Requirements vary by instrument) Bass Drums ALLMI-101 Harmony and Theory 1 (1.5) Guitar An introduction to harmony and theory as it applies to popular music. Includes Keyboard Technology the development of fundamental music notation skills for pitch and rhythm, Vocals major scales and key signatures, intervals and triads, and major scale harmonies. One lecture hour and one lab hour per week for one quarter. Students may also earn Associate degrees by combining performance with music industry emphases including: ALLMI-201 Harmony and Theory 2 (1.5) Audio Engineering Prerequisite: ALLMI-101 Harmony and Theory 1. A continuation of the study Independent Artist Development of musical notation and diatonic structures, including rhythmic values, time Music Business signatures, natural minor scales and key signatures, harmonized minor scales, Guitar Craft diatonic seventh chords, and key centers. One lecture hour and one lab hour Music Video, Film and Television Production per week for one quarter. *Associate programs are vocational and do not include General Educa- ALLMI-301 Harmony and Theory 3 (1.5) 52 tion requirements or specific preparation for study at the Baccalaureate Prerequisite: ALLMI-201 Harmony and Theory 2. Variations on diatonic struc- level. For information on requirements for students wishing to transfer from tures. Topics include pentatonic scales and blues, inverted, extended and an AA program to MI’s Bachelor of Music Degree program, please see non-standard chord types, chord symbols and modes. One lecture hour and Admissions>Transfer of Credit in this catalog. one lab hour per week for one quarter.

GENERAL REQUIREMENTS ALLMI-401 Harmony and Theory 4 (1.5) Associate of Arts in Performance Degree requirements vary by instrument and Prerequisite: ALLMI-301 Harmony and Theory 3. Non-diatonic melody and include some or all of the following courses. See each emphasis for details on harmony. Topics include variations in minor-key harmony and melody, modal specific requirements. interchange, secondary dominants, diatonic substitution and modulation. One lecture hour and one lab hour per week for one quarter. All course descriptions include course number, title, number of credit units per quarter (multiply by number of required quarters for total credit amount), ALLMI-501 Harmony & Theory 5 (1.5) prerequisites (where applicable), description of content, and contact hours per Prerequisite: ALLMI-401 Harmony and Theory 4. A study of advanced con- week. cepts in harmony including altered scales and chords, symmetrical scales and chromatic harmony. Students learn to analyze scale/chord relationships and Major Area (All Instruments) understand non-diatonic progressions from the perspective of both the player and writer. One lecture hour and one lab hour per week for one quarter. (Instrument)-PL Private Lesson (2) Weekly instrument lesson with an instructor who guides the student in develop- ALLMI-102 Ear Training 1 (1.5) ing technique, musicianship and style in support of core curricular goals. The An introduction to Ear Training as it applies to popular music. Areas of focus instructor and student jointly determine a specific course of study depending include matching pitch, major scale melodies, and melodic intervals in the con- on student needs, strengths and experience. One private lesson hour per week text of examples drawn from contemporary popular music. One lecture hour per quarter. and one lab hour per week for one quarter. ASSOCIATE OF ARTS IN PERFORMANCE

ALLMI-202 Ear Training 2 (1.5) Prerequisite: ALLMI-102 Ear Training 1.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. ALLMI-302 Ear Training 3 (1.5) Prerequisite: ALLMI-202 Ear Training 2. 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. ALLMI-402 Ear Training 4 (1.5) Prerequisite: ALLMI-302 Ear Training 3. Sixteenth-note rhythmic phrases plus variations in minor-key melody and harmony. One lecture hour and one lab hour per week for one quarter. ALLMI-502 Ear Training 5 (1.5) Prerequisite: ALLMI-402 Ear Training 4. Triplet rhythms, blues harmony and melody, seventh chords, secondary dominants, non-diatonic root movement and quality, inversions. One lecture hour and one lab hour per week for one quarter. ALLMI-602 Ear Training 6 (1.5) 53 Prerequisite: ALLMI-502 Ear Training 5. Applied transcription skills, including chart notation, rhythm charts, lead sheets. One lecture hour and one lab hour per week for one quarter. ASSOCIATE OF ARTS IN PERFORMANCE (bass)

ASSOCIATE OF ARTS IN PERFORMANCE (BASS) BASS-102 Playing Techniques 1 (1.5) Covers techniques for finger style bass playing, including correct posture, DEGREE REQUIREMENTS hand positioning, finger independence, picking, and muting. All techniques are The following course requirements must all be satisfactorily completed in order trained through extensive exercises. One lecture hour plus one lab hour per to qualify for the Associate of Arts in Performance (Bass). week for one quarter. All course descriptions include course number, title, number of credits per quar- BASS-202 Playing Techniques 2 (1.5) ter, prerequisites (where applicable), description of content, and contact hours Prerequisite: BASS-102 Playing Techniques I. Covers techniques for slap-style per week. bass playing including thumb/pluck technique, muting, articulation and rhythmic variations and embellishment. All techniques are trained through extensive ASSOCIATE OF ARTS IN PERFORMANCE (BASS) exercises. One lecture hour plus one lab hour per week for one quarter. six quarters: 1 2 3 4 5 6 BASS-302 Playing Techniques 3 (1.5) Prerequisite: BASS-202 Playing Techniques 2. Class applies the techniques major area developed in Playing Techniques 1-2 to fundamental styles and grooves includ- private lesson 1-6 2 2 2 2 2 2 ing straight eighth-note rock, straight and swing sixteenth-note funk, standard live performance workshops 1-6 1 1 1 1 1 1 shuffles, and 4/4-meter swing. One lecture hour plus one lab hour per week for playing techniques 1-6 1.5 1.5 1.5 1.5 1.5 1.5 one quarter. reading 1-6 1.5 1.5 1.5 1.5 1.5 1.5 BASS-402 Playing Techniques 4 (1.5) fretboard basics 1-4 1.5 1.5 1.5 1.5 Prerequisite: BASS-302 Playing Techniques 3. A continuation of Playing Techniques 3 with concentration on styles and grooves including 3/4 rock, 3/4 54 rhythm section workshop 1-4 1.5 1.5 1.5 1.5 swing, odd-meter grooves, standard Brazilian grooves, 16th-note funk and fretboard improvisation 1-2 1.5 1.5 standard Afro-Cuban grooves. One lecture hour plus one lab hour per week for bass studio recording 1-2 2 2 one quarter.

musicianship BASS-502 Playing Techniques 5 (1.5) Prerequisite: BASS-402 Playing Techniques 4. Course applies both finger harmony & theory 1-4 1.5 1.5 1.5 1.5 and slap-style electric bass techniques to a variety of contemporary grooves ear training 1-6 1.5 1.5 1.5 1.5 1.5 1.5 including Latin, jazz, odd-meter, funk, swing, shuffles, hip-hop and others. One lecture hour and one lab hour per week for one quarter. electives (various) 3 3 3 3 4 4 BASS-602 Playing Techniques 6 (1.5) Prerequisite: BASS-502 Playing Techniques 5. Continued application of finger 90 credits: 15 15 15 15 15 15 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. Major Area (55 credits) One lecture hour and one lab hour per week for one quarter. BASS-PL Private Lesson (2) BASS-105 Fretboard Basics 1 (1.5) Twelve credit units required (two per quarter). See General Requirements for Trains students to break the diatonic scale into smaller components (modal course descriptions. patterns, intervals and triads) and directly relate this information to the electric ALLMI-103-603 Live Performance Workshops 1-6 (1) bass fretboard. One lecture hour plus one lab hour per week for one quarter. Six credit units required (one per quarter). See General Requirements for BASS-205 Fretboard Basics 2 (1.5) course descriptions. Prerequisite: BASS-105 Fretboard Basics 1. Trains students to break the harmonized major, minor, harmonic minor and melodic minor scales into their fundamental components including triads and diatonic seventh chords and ASSOCIATE OF ARTS IN PERFORMANCE (bass) directly relate this information to the electric bass fretboard. One lecture hour BASS-403 Reading 4 (1.5) plus one lab hour per week for one quarter. Prerequisite: BASS-303 Reading 3. A continuation of Reading 3. One lecture hour plus one lab hour per week for one quarter. BASS-305 Fretboard Basics 3 (1.5) Prerequisite: BASS-205 Fretboard Basics 2. Course expands diatonic har- BASS-503 Reading 5 (1.5) monic components to a wider range of notes, neck area, fingerings and hand Prerequisite: BASS-403 Reading 4. Students learn contemporary chart read- positions, including simple intervals, diatonic triads and seventh chords including skills through the extensive use of transcriptions and professionally written ing inversions over the entire length of the neck. One lecture hour plus one lab arrangements. Focus is placed on sight-reading, pitch and rhythm pattern hour per week for one quarter. recognition, position playing and creating a cohesive sound. Class materials correlate with the All-MI Real World Live Performance Workshop. One lecture BASS-405 Fretboard Basics 4 (1.5) hour plus one lab hour per week for one quarter. Prerequisite: BASS-305 Fretboard Basics 3. Expands fingerings taught in Fret- board Basics 3 to cover chromatic harmony. One lecture hour plus one lab hour BASS-603 Reading 6 (1.5) per week for one quarter. Prerequisite: BASS-503 Reading 5. A continuation of Reading 5. One lecture hour plus one lab hour per week for one quarter. BASS-505 Fretboard Improvisation 1 (1.5) Prerequisite: BASS-405 Fretboard Basics 4. Concentrates on the study of BASS-104 Rhythm Section Workshop 1 (1.5) modes and modal playing, major II-V-I’s and building a melodic vocabulary An introduction to ensemble performance with concentration on listening, through the analysis of solos by Miles Davis, Sonny Rollins and Cannonball dynamics, awareness of song form, and basic chart reading as well as practi- Adderly. One lecture hour plus one lab hour per week for one quarter. cal performing techniques such as giving and following cues, instrument setup, sound, and stage presence. Students perform each week and develop funda- BASS-605 Fretboard Improvisation 2 (1.5) mental technical approaches to a variety of popular styles while gaining live Prerequisite: BASS-505 Fretboard Improvisation 1. A continuation of Fretboard 55 experience. Two lecture-ensemble hours per week for one quarter. Improvisation 1, including a concentrated study of minor tonality, soloing over static dominant chords and continued development of a melodic vocabulary BASS-204 Rhythm Section Workshop 2 (1.5) through the analysis of solos. One lecture hour plus one lab hour per week for Prerequisite: BASS-104 RSW 1. A continuation of Rhythm Section Workshop one quarter. 1, with a concentration on learning practical performing techniques in a variety of grooves and styles including shuffles, sixteenth-note grooves, ballads and BASS-103 Reading 1 (1.5) walking basslines. Two lecture-ensemble hours per week for one quarter. Introduces the novice reader to the basic elements of music reading in bass clef including rhythmic subdivisions, pitch identification, position playing on all BASS-304 Rhythm Section Workshop 3 (1.5) four strings and scale forms. Students perform in solo and ensemble settings. Prerequisite: BASS-204 RSW 2. Emphasizes the fundamental rhythm sec- One lecture hour plus one lab hour per week for one quarter. tion textures of various popular styles and the skills necessary for playing them. Concentration on handling variations in typical song form, improving BASS-203 Reading 2 (1.5) chart-reading skills, and taking a leadership role within the group. Two lecture- Prerequisite: BASS-103 Reading 1. A continuation of Reading 1. Introduces ensemble hours per week for one quarter. the bassist to more advanced elements of music reading including triplet subdivisions, flat-key pitch identification, ties, dynamic markings, chord symbols BASS-404 Rhythm Section Workshop 4 (1.5) and basic chart reading. One lecture hour plus one lab hour per week for one Prerequisite: BASS-304 RSW 3. A continuation of Rhythm Section Workshop 3, quarter. with concentration on performing ballads, half-time-feel grooves, double-time- feel grooves, bass intros and changing meters. Two lecture-ensemble hours BASS-303 Reading 3 (1.5) per week for one quarter. Prerequisite: BASS-203 Reading 2. Class covers advanced levels of chart reading through the extensive use of detailed transcriptions in a wide range of BASS-506 Bass Studio Recording 1 (2) styles including rock, funk, pop and contemporary instrumental. Concentration Prerequisite: BASS-402 Playing Techniques 4. Development of the bassist as a is on rhythmic accuracy, pitch recognition and song form. One lecture hour plus studio musician in the digital recording environment. Students create, perform one lab hour per week for one quarter. and record bass lines for prerecorded curriculum-related tracks under the direc- ASSOCIATE OF ARTS IN PERFORMANCE (bass)

tion of a bass instructor-producer. As a final project, students compile a CD of BASS-059E Music Minus One for Bass (1) their recorded performances to use as a demo of their playing abilities. One A unique performance class based on reading charts and playing along with private recording session hour per week for one quarter. professional MIDI sequences in a variety of styles including rock, funk, blues and country. One lecture-ensemble hour per week for one quarter. Repeatable BASS-606 Bass Studio Recording 2 (2) for credit. Prerequisite: BASS-506 Bass Studio Recording 1. Continuation of Bass Recording 1. One private recording session hour per week for one quarter. BASS-061E Blues Bass (1) Class focuses on standard blues progressions, rhythmic interpretation and MUSICIANSHIP (15 credits) pentatonic scale construction. Specific topics include 12-bar and 8-bar form, ALLMI-101-401 Harmony and Theory 1-4 (1.5) minor blues, straight and swing eighth note interpretation, and application of Six credit units required (one and one-half per quarter). See General Require- major and minor pentatonic scales as well as standard blues bass patterns, ments for course description. improvised basslines and fills. One hour per week for one quarter. ALLMI-102-602 Ear Training 1-6 (1.5) BASS-066E Progressive Rock Bass (1) Nine credit units required (one and one-half per quarter). See General Require- A detailed study of the Progressive Rock style including techniques, scale ments for course description. patterns, time signatures, and basslines. Includes analysis of prog-rock sub- genres and bands. One lecture hour per week for one quarter. ELECTIVES (20 credits) BASS-067E R&B/Funk Bass (1) Bass students may fulfill their elective credit requirements by choosing from Class is designed to expose bassists to classic R&B and funk styles through program-specific electives, All-MI electives, or entry-level electives offered by the extensive use of detailed transcriptions including Stax, Motown, Earth, other programs; see course offerings for options. 56 Wind and Fire, Tower Of Power and other influential songs, players and styles. ENTRY-LEVEL ELECTIVES One lecture hour per week for one quarter. BASS-050E 20th Century Jazz Bass I (1) BASS-070E Beatles Basslines (1) Traces the evolution of the jazz rhythm section, in particular the evolution of Class explores the bass lines of Paul McCartney in the context of Beatles rep- basslines, from the time of Louis Armstrong through Bill Evans and Brad Mehl- ertoire through transcriptions, analysis and performance. One lecture hour per dau. One lecture hour per week for one quarter. week for one quarter. BASS-150E 20th Century Jazz Bass II (1) BASS-071E Classic Metal Basslines (1) A continuation of BASS-050E (the courses may be taken in any order). One An examination of the history and evolution of heavy metal basslines. Specific lecture hour per week for one quarter. techniques and styles are studied through extensive transcriptions and written examples. One lecture hour per week for one quarter. BASS-053E Melodic Duets for Electric Bass (1) An in-depth reading class for bassists which focuses on performing melodic BASS-072E Contemporary Metal Basslines (1) lines in the context of classical and jazz duets. One lecture/lab hour per week Concentrates on specific metal bass techniques including two-handed tap- for one quarter. ping and three-finger picking. Includes extensive transcriptions and written examples from such contemporary Metal bands as Cynic, Lamb Of God and BASS-055E Rhythm Reading Workout (1) artists such as Billy Sheehan and Stuart Hamm. One lecture hour per week for Taught by a drum instructor, this course trains bassists in the same methods of one quarter. counting and subdividing meter and rhythm used by professional drummers. Topics include time signatures, beat subdivision, note value relationships, cut- BASS-073E Jaco Pastorius Basslines (1) time meter, swing interpretation and more. One lecture hour per week for one This elective focuses on the structural, theoretical, technical and harmonic quarter. aspects of classic recordings and basslines from one of the most influential bass guitarists in the history of contemporary music. The in-depth analysis of Jaco’s work will include examples from his original compositions as well as his ASSOCIATE OF ARTS IN PERFORMANCE (bass) work with Weather Report, Joni Mitchell, Pat Metheny and others. One lecture BASS-064E Jazz Bass (1) hour per week for one quarter. An introduction to the fundamentals of walking basslines including 4/4 and 3/4 meter, ballads and variations on standard patterns. One lecture/lab hour per BASS-075E Les Claypool Basslines (1) week for one quarter. Class explores the basslines of Les Claypool in the context of Primus repertoire through transcriptions, analysis and performance. One lecture hour per week BASS-068E Slap Bass (1) for one quarter. This hands-on workshop is designed to enhance slap technique and groove. Songs, exercises and grooves in a variety of musical styles are used to BASS-076E Red Hot Chili Peppers Basslines (1) develop thumb strength, slap syncopation, rhythm, phrasing, ad-lib and funk Class explores the basslines of Flea in the context of Red Hot Chili Peppers licks, soloing, and shuffle, swing and funk grooves. Performances are followed repertoire through transcriptions, analysis and performance. One lecture hour by critique and discussion. One lecture hour per week for one quarter. per week for one quarter. BASS-077E Walking Basslines (1) ADVANCED ELECTIVES Designed to help the bassist construct and connect walking bass lines through (see course descriptions for prerequisites) various chord changes and forms. One lecture hour per week for one quarter. BASS-054E Advanced Bass RSW 1 (1) Prerequisite: BASS-203 Reading 2, BASS-202 Playing Techniques 2. For the BASS-SPECIFIC ELECTIVES (available only to bass majors) advanced bassist, this workshop uses original compositions to explore the BASS-051E Bass and Drum Workshop (1) intricate technical possibilities of the instrument in a group setting with a con- Performance workshop for bassists and drummers that takes an in-depth look centration on the groove. One hour per week for one quarter. Repeatable for at the musical dependency between the two instruments and the effect that it credit. has on the groove. Particular attention is given to the intertwining of bass and 57 drum parts and solidifying the groove. Two workshop hours per week for one BASS-154E Advanced Bass RSW 2 (1) Prerequisites: BASS-203 Reading 2, BASS-202 Playing Techniques 2. Addi- quarter; repeatable for credit. tional studies in advanced rhythm section performance (BASS-O54E and BASS-052E James Brown Rhythm Section (1) BASS-154E may be taken in any order). One lecture hour per week for one Performance workshop for bassists and drummers utilizing detailed transcrip- quarter. tions from the book, “The Funkmasters: the Great James Brown Rhythm Sections 1960-1973”. Students will perform the bass lines and grooves in class BASS-065E Motown Bass I (1) Prerequisites: BASS-203 Reading 2. Class studies the work of legendary with drummers. One lecture hour per week for one quarter. bassist James Jamerson using transcriptions taken from the book Standing in BASS-060E Afro-Cuban Bass (1) the Shadows of Motown. Students perform examples in class with play-along Explores different styles of Afro-Cuban music including Bolero, Cha-Cha, tracks. One lecture hour per week for one quarter. Mambo, Songo, Naningo and Merengue. Students apply rhythms to standard Latin tunes during class performances. One lecture hour per week for one BASS-165E Motown Bass 2 (1) Prerequisite: BASS-203 Music Reading 2. Additional studies in Motown bass quarter. style (BASS 065E and BASS-165E may be taken in any order). One lecture BASS-062E Brazilian Bass (1) hour per week for one quarter. Explores different styles of Brazilian music including Bossa Nova, Samba, Partido Alto and Bahia. Students apply rhythms to standard Latin tunes during BASS-152E Contemporary Improvisation (1) Prerequisite: BASS-205 Fretboard Basics 2. An in-depth analysis of Diatonic class performances. One lecture hour per week for one quarter. and chromatic passing notes used to create basslines and solos over standard BASS-063E Fretless Bass (1) chord progressions. Class will learn to create linear basslines and solos utiliz- Concepts such as intonation and vibrato are discussed along with analysis of ing these concepts over Diatonic and non-Diatonic chord progressions with transcriptions of fretless bass masters including Jaco Pastorius, Pino Palladino applications to 4, 5 and 6-string electric bass. One lecture hour per week for and Mick Karn. One lecture hour per week for one quarter. one quarter. ASSOCIATE OF ARTS IN PERFORMANCE (bass)

BASS-153E Modal Improvisation (1) Prerequisite: BASS-205 Fretboard Basics 2. Students learn to analyze scale choices for eight standard chord types and play smoothly through various types of chord progressions. One lecture hour per week for one quarter. BASS-171E Private Upright Lessons (1) Weekly private lessons on the upright bass. One half-hour per week for one quarter. Repeatable for credit. BASS-174E Led Zeppelin Basslines (1) Prerequisite: BASS-203 Reading 2. Class explores the bass lines of John Paul Jones in the context of the Led Zeppelin repertoire, including extensive and detailed transcriptions, performance and analysis. One hour per week for one quarter.

58 ASSOCIATE OF ARTS IN PERFORMANCE (drums)

ASSOCIATE OF ARTS IN PERFORMANCE (DRUMS) MAJOR AREA (73 credits) DEGREE REQUIREMENTS DRUM-PL Private Lesson (2) Twelve credit units required (two per quarter). See General Requirements for The following course requirements must all be satisfactorily completed in order course descriptions. to qualify for the Associate of Arts in Performance (Drums). ALLMI-103-603 Live Performance Workshops 1-6 (1) All course descriptions include course number, title, number of credits per quar- Six credit units required (one per quarter). See General Requirements for ter, prerequisites (where applicable), description of content, and contact hours course descriptions. per week. DRUM-102 Playing Techniques 1 (1.5) Introduction to hand technique and essential rudiments. One lecture hour plus ASSOCIATE OF ARTS IN PERFORMANCE (DRUMS) one lab hour per week for one quarter. six quarters: 1 2 3 4 5 6 DRUM-202 Playing Techniques 2 (1.5) major area Prerequisite: DRUM-102 Playing Techniques 1. Continuation of Playing Tech- private lesson 1-6 2 2 2 2 2 2 niques 1 with an emphasis on developing dynamic control. One lecture hour plus one lab hour per week for one quarter. live performance workshops 1-6 1 1 1 1 1 1 playing techniques 1-6 1.5 1.5 1.5 1.5 1.5 1.5 DRUM-302 Playing Techniques 3 (1.5) Prerequisite: DRUM-202 Playing Techniques 2. Concentrates on effective reading 1-2 2 2 timekeeping, development of speed and dexterity, economy of motion, body rhythm section workshop 1-4 2 2 2 2 balance and eliminating bad habits as well as the application of drum set rudi- 59 developing your groove 1-2 1 1 ments. One lecture hour plus one lab hour per week for one quarter. music minus one 1-2 1 1 DRUM-402 Playing Techniques 4 (1.5) digital drumming 1-2 2.5 2.5 Prerequisite: DRUM-302 Playing Techniques 3. Emphasizes interpretation and performance of snare drum solos and development of four-way independence. contemporary drum concepts 1-2 1.5 1.5 One lecture hour plus one lab hour per week for one quarter. advanced drumming 1-4 1.5 1.5 1.5 1.5 DRUM-502 Playing Techniques 5 (1.5) ensemble techniques 1-2 1.5 1.5 Prerequisite: DRUM-402 Playing Techniques 4. Class focuses on more odd meter 1-2 1.5 1.5 advanced rudiments and their application to the drum set in a variety of musical studio drumming 1-2 2 2 styles as well as advanced snare drum solos and drum set solo transcriptions. One lecture hour plus one lab hour per week for one quarter. musicianship DRUM-602 Playing Techniques 6 (1.5) keyboard lab 1-2 1 1 Prerequisite: DRUM-502 Playing Techniques 5. Concepts and techniques harmony & theory 1-2 1.5 1.5 learned in Playing Techniques 1-5 culminate in student performances of origi- ear training 1-2 1.5 1.5 nal snare etudes and drum set etudes. One lecture hour plus one lab hour per week for one quarter. electives DRUM-104 Rhythm Section Workshop 1 (2) (various) 1 1 1 1 2.5 2.5 Students develop fundamental technical approaches to a variety of popular 90 credits: 15 15 15 15 15 15 styles through weekly live performance. Concentration is placed on listening, dynamics, awareness of song form, basic chart reading, instrument setup, and sound. Two lecture-ensemble hours per week for one quarter. ASSOCIATE OF ARTS IN PERFORMANCE (drums)

DRUM-204 Rhythm Section Workshop 2 (2) as soloing. Includes intermediate-level chart reading. One ensemble hour per Prerequisite: DRUM-104 RSW 1. Continuation of ensemble performing experi- week for one quarter. ence, including intermediate-level chart reading as well as further development DRUM-109 Digital Drumming 1 (2.5) of practical performing techniques such as giving and following cues, instru- This comprehensive course is designed to equip drummers to utilize contempo- ment setup, sound, and stage presence. Two lecture-ensemble hours per week rary technology by providing a working knowledge of MIDI sequencing, digital for one quarter. audio recording software, drum loop creation and application, and custom DRUM-304 Rhythm Section Workshop 3 (2) sample creation. Students also learn to perform with loops and backing tracks. Prerequisite: DRUM-204 RSW 2. Ensemble performance emphasizing stylistic Two lecture hours and one lab hour per week for one quarter. rhythm section textures and applied techniques. Emphasis is placed on han- DRUM-209 Digital Drumming 2 (2.5) dling variations in typical song form, improving chart-reading skills, and taking a Prerequisite: DRUM-109 Digital Drumming 1. Further training in MIDI sequenc- leadership role within the group. Two lecture/ensemble hours per week for one ing, digital audio recording, and sample creation as well as drum triggering, and quarter. designing, creating, and wiring an electronic rig for live use. Students perform DRUM-404 Rhythm Section Workshop 4 (2) with loops and backing tracks while learning how to complement tracks with Prerequisite: DRUM-304 RSW 3. Ensemble performance emphasizing applied their playing and adjust their time feel in order to “lock in”. Two lecture hours techniques and advanced concepts such as odd meters and metric modulation. and one lab hour per week for one quarter. Emphasis is also placed on handling variations in typical song form, improving DRUM-307 Advanced Drumming 1: Jazz (1.5) chart reading skills and developing time feel. Two lecture/ensemble hours per Prerequisite: DRUM-204 RSW 2. This class explores and demonstrates week for one quarter. the basic elements of jazz drumming. Techniques include ride patterns and 60 DRUM-504 Ensemble Techniques 1 (1.5) left-hand comping, basic independence and coordination, and ensemble inter- Prerequisite: DRUM-402 Playing Techniques 4, DRUM-403 Reading 4, DRUM- action. One lecture hour plus one lab hour per week for one quarter. 404 Rhythm Section Workshop 4. Course deals with common techniques used DRUM-407 Advanced Drumming 2: Jazz (1.5) by drummers in small and large-group performance. The focus is on reading Prerequisite: DRUM-307 Advanced Drumming 1: Jazz. Explores the historical, and executing written rhythmic phrases in jazz and rock styles including section stylistic and technical evolution of jazz from Dixieland to Bebop and beyond, and ensemble figures. One lecture hour plus one lab hour per week for one with focus on group interaction, jazz soloing on various song forms, up-tempo quarter. swing concepts, cymbal turnarounds, 3/4 time, advanced independence and DRUM-604 Ensemble Techniques 2 (1.5) four-way jazz coordination. One lecture hour plus one lab hour per week for Prerequisite: DRUM-504 Ensemble Techniques 1. Continued development one quarter. of performance techniques with emphasis on execution of written rhythmic DRUM-507 Advanced Drumming 3: Latin (1.5) phrases in jazz, rock, funk, Latin and odd-meter styles including section and Prerequisites: DRUM-403 Reading 4, DRUM-402 Playing Techniques 4, ensemble figures, chart terminology and form, phrasing and stylistic interpreta- DRUM-404 Rhythm Section Workshop 4. Class develops authentic stylistic tion, soloing concepts and solo fills. One lecture hour plus one lab hour per hand and foot techniques through listening, demonstration and classroom week for one quarter. practice, with emphasis on popular Brazilian styles including Bossa Nova and DRUM-108 Music Minus One Performance 1 (1) Samba. One lecture hour plus one lab hour per week for one quarter. Drummers play to sequenced tracks of popular songs minus drums. The DRUM-607 Advanced Drumming 4: Latin (1.5) emphasis is on “locking in” with the track; includes beginning-level chart read- Prerequisite: DRUM-507 Advanced Drumming 3: Latin. Continuation of Latin ing. One ensemble hour per week for one quarter. drumming techniques with emphasis on Afro-Cuban styles including Cha Cha, DRUM-208 Music Minus One Performance 2 (1) Mambo, Mozambique and others. One lecture hour plus one lab hour per week Prerequisite: DRUM-108 Music Minus One Performance 1. Stylistic perfor- for one quarter. mance expands from pop and jazz to include Latin and reggae styles as well ASSOCIATE OF ARTS IN PERFORMANCE (drums)

DRUM-107 Developing Your Groove 1 (1) sightreading charts, performing with backing tracks, overdubbing and punch- The goal of this course is to help drummers apply fundamental rhythms to the ing in, and learning to lock in with loops and tracks. Studio etiquette and sound drum set in order to improve time, feel, independence and sound. Coordination development are also covered. Each student receives an HD video of their final drills in rock and jazz styles are introduced and performed in class. One lec- performances. Two lecture hours per week for one quarter. ture/ensemble hour per week for one quarter. DRUM-611 Studio Drumming 2 (2) DRUM-207 Developing Your Groove 2 (1) Prerequisite: DRUM-511 Studio Drumming 1. A continuation of studio drum- Prerequisite: DRUM-107 Developing Your Groove 1. Further groove devel- ming techniques and experiences including advanced styles such as odd-meter opment with increasing difficulty of rhythms and four-way independence. performance and soloing. Each student receives an HD video of their final per- Coordination drills applying to all styles of music including rock, funk, jazz and formance.. Two lecture hours per week for one quarter. Latin dramatically improve time, feel, independence and sound. One lecture/ DRUM-103 Reading 1 (2) ensemble hour per week for one quarter. Fundamentals of single-line and drum set reading. Students learn basic rhyth- DRUM-306 Contemporary Drum Concepts 1 (1.5) mic theory, develop sight-reading skills, and interpret essential rhythmic figures. Prerequisite: DRUM-204 RSW 2. Learn the attitude and technique of rock Two lecture hours per week for one quarter. drumming through listening examples and transcriptions that expose students DRUM-203 Reading 2 (2) to drummers who have made important contributions to the style. Techniques Prerequisite: DRUM-103 Reading 1. Introduction of time signature studies, include warm-ups, motion exercises and single and double bass drum studies. note-value relationships, counting, and subdivision exercises. Also includes One lecture hour plus one lab hour per week for one quarter. interpreting rhythms in different styles at the drum set, independence studies DRUM-406 Contemporary Drum Concepts 2 (1.5) and chart reading. Two lecture hours per week for one quarter. Prerequisite: DRUM-306 Contemporary Drum Concepts 1. Focuses on the DRUM-303 Reading 3 (1.5) 61 continued development of performance skills including groove development, Prerequisite: DRUM-203 Reading 2. The emphasis is on time signature reading soloing concepts, more advanced single and double bass drum application and studies, counting and subdivision exercises and applications as well as note sound production. One lecture hour plus one lab hour per week for one quarter. value relationships. Also included is interpretation of rhythms in different styles, DRUM-510 Odd Meter 1 (1.5) independence studies and chart reading. One lecture hour and one lab hour Prerequisites: DRUM-403 Reading 4, DRUM-402 Playing Techniques 4, per week for one quarter. DRUM-404 Rhythm Section Workshop 4. Students develop facility with DRUM-403 Reading 4 (1.5) odd-meter rhythmic phrases applied to both the drum set and hand drums. Prerequisite: DRUM-303 Reading 3. Reading compound time signatures, Rhythmic phrasing drills develop composite meter performance and technique. changing meters, value indicators and abnormal groupings. One lecture hour One lecture hour plus one lab per week for one quarter. and one lab hour per week for one quarter. DRUM-610 Odd Meter 2 (1.5) DRUM-503 Reading 5 (1.5) Prerequisite: DRUM-510 Odd Meter 1. Advanced odd-meter rhythmic phras- Prerequisite: DRUM-403 Reading 4. Interpretation of sixteenth-note figures, ing, including techniques for analyzing and applying rhythms in any rhythmic snare drum reading and etudes in changing meters in preparation for studio subdivision or meter. Topics also include technique, time/feel, song form, and recording. One lecture hour and one lab hour per week for one quarter. phrasing. One lecture hour plus one lab per week for one quarter. DRUM-603 Reading 6 (1.5) DRUM-511 Studio Drumming 1 (2) Prerequisite: DRUM-503 Reading 5. Advanced reading skills include orchestral Prerequisites: DRUM-403 Reading 4, DRUM-402 Playing Techniques 4, snare drum etudes, reading drum set charts with style and meter changes, and DRUM-404 Rhythm Section Workshop 4. DRUM-406 Contemporary Drum multi-tom reading in preparation for studio recording. One lecture hour and one Concepts 2. This “real world” approach to recording covers all facets of the lab hour per week for one quarter. recording experience for drummers whether they work in original bands or as independent studio musicians. In a 24-track Pro Tools HD studio, students perform in a variety of musical situations including developing drum parts, ASSOCIATE OF ARTS IN PERFORMANCE (drums)

MUSICIANSHIP (8 credits) DRUM-064E Early Studio Drumming Masters (1) Session drummers like Earl Palmer, Hal Blaine, Steve Gadd, Jeff Porcaro, DRUM-105 Keyboard Lab 1 (1) Carlos Vega, John “J.R.” Robinson and Vinnie Colaiuta have inspired many Prerequisite: must be currently enrolled drum student. An introduction to the young drummers to replace rock star aspirations for the life of a session musi- keyboard especially designed for the drummer. Covers note recognition, cian. Their drumming brought a fresh approach to rock and pop music as they scales, intervals and chord construction at the keyboard as a visual and aural defined the session drumming profession. This class analyzes their recordings aid for required Theory and Ear Training classes. One hour per week for one for an in-depth look at each drummer’s groove, touch, tone, fill vocabulary and quarter. time feel. One lecture hour per week for one quarter. DRUM-205 Keyboard Lab 2 (1) DRUM-065E Inside Studio Drumming (1) Prerequisite: DRUM-105 Keyboard Lab 1. Chords, chord progressions and Rock-influenced drummers like Josh Freese, Kenny Aronoff, Matt Chamberlain, basic keyboard performance. One hour per week for two quarters. Shawn Pelton, Abe Laboriel Jr. and Steve Jordan are part of a new generation ALLMI-101-201 Harmony and Theory 1–2 (1.5) of session drummers who have injected fresh versatility and musicality into the Three credit units required (one and one-half per quarter). See General role of studio musician. This class analyzes recordings and takes an in-depth Requirements for course descriptions. look at each drummer’s groove, touch, tone, fill vocabulary and time feel. One ALLMI-102-202 Ear Training 1–2 (1.5) lecture hour per week for one quarter. Three credit units required (one and one-half per quarter). See General DRUM-072E Double Bass Drum Workout (1) Requirements for course descriptions. Class covers use of double bass drum as a means of furthering skills and broadening independence. Lectures, demonstrations and exercises emphasize ELECTIVES (9 credits) speed, technique and control. One lecture hour per week for one quarter. 62 Drum students may fulfill their elective credit requirements by choosing from program-specific electives, ALL-MI electives, or entry-level electives offered by DRUM-074E Fill Fest (1) other programs; see course offerings for options. Course shows how to develop a vocabulary of fills on the drum set. Each week, the student is introduced to a new fill concept that can be applied to a variety of DRUM-SPECIFIC ELECTIVES (available only to Drum majors) musical situations. Class includes written and audio examples of top contemporary rock drummers. Students write out and demonstrate their own fills and DRUM-051E Basic Caribbean Drumset (1) Students learn how to perform basic Afro-Cuban and Brazilian styles on the concepts throughout the class. One lecture hour per week for one quarter. drumset. Emphasis is on gaining the ability to effectively handle any Latin per- DRUM-075E How to Practice (1) forming situation. One lecture hour per week for one quarter. Teaches the structure and discipline of efficient, productive practicing on the drum set. Students develop individual practice routines and apply them to DRUM-053E Latin Percussion - Afro-Cuban (1) Develops basic hand techniques enabling students to perform Afro-Cuban material covered in core classes. Also includes performance preparation (priori- styles including Cha Cha, Mambo, Mozambique and others. Listening, dem- tizing, overcoming anxiety etc.). One lecture hour per week for one quarter. onstration and classroom practice focus on authenticity as well as applications DRUM-076E Timekeeping (1) to other forms of popular music. One lecture/ensemble hour per week for one Students learn how to develop good timekeeping skills through counting drills, quarter. understanding note duration and spacing, working with metronomes and drum machines, and the importance of upbeats. Students also learn basic set-up fills DRUM-054E Latin Percussion - Brazilian (1) Develops basic hand techniques enabling students to perform Brazilian styles and how to play fills in tempo. One lecture hour per week for one quarter. more authentically. Listening, demonstration and classroom practice focus on ADVANCED ELECTIVES popular Brazilian rhythms including Bossa Nova and Samba as well as appli- (see course descriptions for prerequisites) cations to other forms of popular music. One lecture hour per week for one quarter. DRUM-152E Funk Drums - Classic (1) Prerequisites: DRUM-203 Percussion Reading 2, DRUM-202 Playing Tech 2, BASS-204 RSW 2. Studies the evolution of funk drumming from James Brown ASSOCIATE OF ARTS IN PERFORMANCE (drums) to the early 1980’s through listening and analysis of each groove supported by DRUM-165E Drum Solo Analysis, Concepts and Performance (1) transcriptions. Includes discussion of how to practice the techniques covered. Prerequisites: DRUM-204 RSW 2, DRUM-203 Reading 2, DRUM-202 Playing One lecture hour per week for one quarter. Techniques 2. This class analyzes famous drum solos past and present from such pioneers as Max Roach and Art Blakey to the innovations of Steve Gadd, DRUM-252E Funk Drums - Modern (1) Tony Williams and Terry Bozzio, topped off with the grooving showmanship and Prerequisites: DRUM-203 Percussion Reading 2, DRUM-202 Playing Tech technical talents of John Blackwell and others. Each week, students analyze 2, BASS-204 RSW 2. Studies the evolution of funk drumming from the early and perform specific concepts and techniques and add them to their own solo- 1980s to the present day, including R&B and jazz influence on funk music and ing efforts. One lecture hour per week for one quarter. the relationship between acid jazz, hip-hop, R&B and earlier funk music. One lecture hour per week for one quarter. DRUM-170E Bridging the Gaps (1) Prerequisites: DRUM-203 Reading 2, DRUM-202 Playing Techniques 2, DRUM-153E Latin/Funk Connection (1) DRUM-204 Rhythm Section Workshop 2. Application of essential drum rudi- Prerequisites: DRUM-203 Reading 2, ALLMI-203 Live Performance Workshop ments including single strokes, double strokes, triplets, flams, ruffs, 5-strokes, 2 and DRUM-204 Rhythm Section Workshop 2. This class concentrates on the 6-strokes, 7-strokes, single paradiddle, double paradiddle, and triple paradiddle relationship between rhythms in Funk and Afro-Caribbean music and shows to grooves and fills utilizing the entire drum set. One lecture hour per week for how to mix them in soulful and musical grooves. Concentration is on perfor- one quarter. mance and listening. One hour per week for one quarter. DRUM-171E Chop Busters 1 (1) DRUM-156E Bebop and Beyond (1) Prerequisite: DRUM-202 Playing Techniques 2. This class uncovers weak- Prerequisites: DRUM-403 Reading 4, DRUM-402 Playing Technique 4, DRUM- nesses in basic hand technique and takes players beyond what they learn in 404 Rhythm Section Workshop 4. Class focuses on a modern approach to fundamental technique classes. Explores technique exercises and warm-up playing jazz with a strong emphasis on bebop vocabulary and developing a patterns that develop finger, wrist, and forearm coordination, sticking accuracy, 63 musical flow of ideas. Topics discussed include advanced comping and ride dynamics and rhythmic recognition. One lecture hour per week for one quarter. cymbal approach, advanced hi-hat techniques, development of motifs over standard song forms, polyrhythmic overlap and metric modulation. One lecture DRUM-173E Duets (1) hour per week for one quarter. Prerequisites: DRUM-203 Reading 2, DRUM-202 Playing Techniques 2, DRUM-204 Rhythm Section Workshop 2. This class focuses on duet mate- DRUM-162E Analysis of Great Grooves (1) rial that helps students develop ensemble ability, challenge their reading and Prerequisites: DRUM-203 Reading 2, DRUM-204 RSW 2, DRUM-202 Playing technical abilities and develop a degree of healthy performance competition. Techniques 2. Through analysis of influential recordings, this class examines Progressive duets are analyzed and performed weekly with an emphasis on the techniques used by innovative drummers including John Bonham, Vinnie sensitive phrasing, shadings, clear articulation, tone production, and touch. Colaiuta, Danny Carey, David Garibaldi and others to create interesting and Students are encouraged to experiment with various drums to obtain an assort- eclectic grooves. One lecture hour per week for one quarter. ment of timbres. Includes solo, multi-student and all-class performances. One DRUM-163E Drum Transcription and Ear Training (1) lecture hour per week for one quarter. Prerequisites: DRUM-203 Reading 2; DRUM-204 RSW 2. Many of today’s DRUM-271E Chop Busters 2 (1) drummers can learn and play any piece of written music that is put in front of Prerequisite: DRUM-171E Chop Busters 1. Continues the exploration of tech- them, but not many can listen to a recording and transcribe what another drum- nique exercises and warm-up patterns to develop finger coordination, wrist and mer is playing note-for-note. This course trains this skill through the study of forearm motion, sticking accuracy, dynamics, rhythmic recognition and confi- exciting transcriptions from the likes of Dennis Chambers, Steve Gadd, Billy dence in performance. One lecture hour per week for one quarter. Martin, Buddy Rich, Max Roach, Art Blakey and others. Solos, grooves and musical forms are analyzed and transcribed. One lecture hour per week for one DRUM-506E Advanced Drum Concepts 1 (1) quarter. Prerequisites: DRUM-403 Reading 4, DRUM-402 Playing Techniques 4, DRUM-404 RSW 4. This class offers a more advanced and very specific look at hand technique and execution as applied to the practice pad and the drum set, including alternate playing techniques that greatly enhance the student’s ASSOCIATE OF ARTS IN PERFORMANCE (drums)

ability to get around the drum set quickly and comfortably. One hour per week for one quarter. DRUM-606E Advanced Drum Concepts 2 (1) Prerequisite: DRUM-506E Advanced Drum Concepts I. This class goes beyond technique into the world of groupings and advanced exploration of the drum set. Concepts taught include hand technique, drum set movement, developing sound through technique and advanced fill concepts. A must for drummers who want to learn to play blowing licks on the kit. One hour per week for one quarter.

64 ASSOCIATE OF ARTS IN PERFORMANCE (Guitar)

ASSOCIATE OF ARTS IN PERFORMANCE (GUITAR) concept is applied to major and minor diatonic scales and triad arpeggios in various keys. One lecture hour plus one lab hour per week for one quarter. DEGREE REQUIREMENTS GUIT-205 Single String Improvisation 2 (1.5) The following course requirements must all be satisfactorily completed in order Prerequisite: GUIT-105 Single String Improvisation 1. Continued development to qualify for the Associate of Arts in Performance (Guitar). of fretboard organization and performance techniques including major and All course descriptions include course number, title, number of credits per quar- minor pentatonic scale patterns, arpeggios, three-note-per-string scale pat- ter, prerequisites (where applicable), description of content, and contact hours terns, and economy picking. One lecture hour plus one lab hour per week for per week. one quarter. GUIT-305 Single String Improvisation 3 (1.5) ASSOCIATE OF ARTS IN PERFORMANCE (GUITAR) Prerequisite: GUIT-205 Single String Improvisation 2. An exploration of blues six quarters: 1 2 3 4 5 6 tonality, blues progressions, and improvisational techniques including the application of blues, Dorian, and Mixolydian scales over dominant seventh major area harmonies. Additional studies include diatonic seventh arpeggios and their private lesson 1-6 2 2 2 2 2 2 applications. One lecture hour plus one lab hour per week for one quarter. live performance workshops 1-6 1 1 1 1 1 1 GUIT-405 Single String Improvisation 4 (1.5) single string improvisation 1-6 1.5 1.5 1.5 1.5 1.5 1.5 Prerequisite: GUIT-305 Single String Improvisation 3. Scale applications in rhythm guitar 1-6 1.5 1.5 1.5 1.5 1.5 1.5 major and minor tonalities, including key-center improvisation using Dorian, rhythm section workshop 1-4 1.5 1.5 1.5 1.5 1.5 1.5 natural and harmonic minor scale patterns. Melodic sequencing and various approaches to harmonic analysis are also explored. One lecture hour plus one reading 1-6 1.5 1.5 1.5 1.5 1.5 1.5 65 lab hour per week for one quarter. guitar studio recording 1.5 GUIT-505 Single String Improvisation 5 (1.5) musicianship Prerequisite: GUIT-405 Single String Improvisation 4. Expanding improvisa- harmony & theory 1-5 1.5 1.5 1.5 1.5 1.5 tional techniques and concepts to include double-stops, “chord/scale” soloing, modal interchange and secondary dominants. Other topics include improvisa- ear training 1-6 1.5 1.5 1.5 1.5 1.5 1.5 tion over non-root-position chords and applications of the melodic minor scale. electives One lecture hour plus one lab hour per week for one quarter. (various) 3 3 3 3 3 3 GUIT-605 Single String Improvisation 6 (1.5) 90 credits: 15 15 15 15 15 15 Prerequisite: GUIT-505 Single String Improvisation 5. Chromatic variations on key-center improvisation are explored, including symmetrical scales (chromatic, Major Area (55.5 credits) diminished, whole-tone), “slash chords” and advanced approaches to improvisation. The final exam includes a performance at an established local music GUIT-PL Private Lesson (2) venue. One lecture hour plus one lab hour per week for one quarter. Twelve credit units required (two per quarter). See General Requirements for course descriptions. GUIT-107 Rhythm Guitar 1 (1.5) An introduction to harmony as it is applied to the guitar fingerboard. Students ALLMI-103-603 Live Performance Workshops 1-6 (1) learn to organize the neck into patterns and develop the ability to construct Six credit units required (one per quarter). See General Requirements for chords on the spot. Major, minor, and seventh chords are taught in both open course descriptions. and movable shapes and applied to standard rhythms and chord progressions GUIT-105 Single String Improvisation 1 (1.5) with typical accompaniment styles. One lecture hour plus one lab hour per An introduction to the fundamentals of guitar playing, including picking styles, week for one quarter performance techniques, and fretboard organization. The five-pattern scale ASSOCIATE OF ARTS IN PERFORMANCE (Guitar)

GUIT-207 Rhythm Guitar 2 (1.5) dents write original charts and perform them with rhythm section. Two lecture/ Prerequisite: GUIT-107 Rhythm Guitar 1. A continuation of applied fingerboard ensemble hours per week for one quarter. harmony including harmonized major scales, analysis of Roman-numeral- GUIT-304 Rhythm Section Workshop 3 (1.5) based chord progressions, and extended chords. Emphasis is on chart reading Prerequisite: GUIT-204 Rhythm Section Workshop 2. Emphasis is on the and the development of both pick and finger-style techniques. One lecture hour development of tone and dynamics, navigating 12-bar blues progressions plus one lab hour per week for one quarter. (including minor blues progressions), advanced chart reading and ensemble GUIT-307 Rhythm Guitar 3 (1.5) leadership in a live performance setting. Two lecture/ensemble hours per week Prerequisite: GUIT-207 Rhythm Guitar 2. Continued development of chord for one quarter. construction skills based on the five major-scale fingering patterns as well as GUIT-404 Rhythm Section Workshop 4 (1.5) harmonized major scales and modulating chord progressions. Applications Prerequisite: GUIT-304 Rhythm Section Workshop 3. Ensemble performance include funk rhythm patterns. One lecture hour plus one lab hour per week for continues with an emphasis on the fundamental rhythm section textures of vari- one quarter. ous popular styles, including funk, hard rock, Motown, country, Latin, and more. GUIT-407 Rhythm Guitar 4 (1.5) Odd-meter grooves are also explored. Two lecture/ensemble hours per week Prerequisite: GUIT-307 Rhythm Guitar 3. Topics include harmonized scales for one quarter. applied to multiple string sets, II-V-I progressions, triplet rhythm studies, dou- GUIT-504 Rhythm Section Workshop 5 (1.5) ble-stop applications, rhythmic control exercises, and accompaniment textures Prerequisite: GUIT-404 Rhythm Section Workshop 4. Continued emphasis on ranging from full chords to single-note lines. Additional focus on the art of chart- learning popular song styles, with students playing composed melodies over writing. One lecture hour plus one lab hour per week for one quarter. a variety of charts including both diatonic harmonies and chromatic varia- 66 GUIT-507 Rhythm Guitar 5 (1.5) tions. One lecture/ensemble hour per week for one quarter plus final project/ Prerequisite: GUIT-407 Rhythm Guitar 4. The focus is on writing and perform- performance. ing rhythm guitar parts in a variety of styles. Concepts include voice leading on GUIT-604 Rhythm Section Workshop 6 (1.5) the fretboard, seventh-chord inversions, and the use of sixteenth-note and trip- Prerequisite: GUIT-504 Rhythm Section Workshop 5. The development of sty- let syncopation. Moderate-to-difficult chord transposition is also covered. One listic ensemble performance techniques culminates in a final public concert in lecture hour plus one lab hour per week for one quarter. conjunction with GUIT-605 Single String Improvisation 6. One lecture/ensemble GUIT-607 Rhythm Guitar 6 (1.5) hour per week for one quarter plus final project/performance. Prerequisite: GUIT-507 Rhythm Guitar 5. Emphasizes improvising and apply- GUIT-103 Reading 1 (1.5) ing stylistically-appropriate rhythm parts through regular performance as well Develops the fundamentals of music reading in open position and the middle of as analysis of iconic recorded examples of rhythm guitar. One lecture hour plus the fretboard. Includes counting and reading basic rhythmic figures and rests in one lab hour per week for one quarter. duple and triple meters as well as chart-reading symbols and terminology. One GUIT-104 Rhythm Section Workshop 1 (1.5) lecture hour plus one lab hour per week for one quarter. An introduction to ensemble performance. Emphasis is placed on listening, GUIT-203 Reading 2 (1.5) dynamics, awareness of song form, and basic chart reading, as well as prac- Prerequisite: GUIT-103 Reading 1. Introduces sharp and flat key signatures tical performing techniques such as giving and following cues, gear setup, and non-diatonic notes in reading examples arranged up to twelfth position. sound, and stage presence. Students perform each week and develop funda- One lecture hour plus one lab hour per week for one quarter. mental technical approaches to a variety of popular styles while gaining live experience. Two lecture/ensemble hours per week for one quarter. GUIT-303 Reading 3 (1.5) Prerequisite: GUIT-203 Reading 2. Additional reading studies in all regions of GUIT-204 Rhythm Section Workshop 2 (1.5) the neck, including chromatic, intervallic, and leading-tone studies and ensem- Prerequisite: GUIT-104 Rhythm Section Workshop 1. Ensemble performance ble reading. One lecture hour plus one lab hour per week for one quarter. continues with an emphasis on chart and score reading; swing, shuffle, and straight eighth-note rhythm patterns; ballads; and dual-guitar approaches. Stu- ASSOCIATE OF ARTS IN PERFORMANCE (Guitar)

GUIT-403 Reading 4 (1.5) ENTRY-LEVEL ELECTIVES Prerequisite: GUIT-303 Reading 3. Chromatic studies in the fifth position, con- GUIT-050E Guitar Maintenance and Repair (1) cert-pitch transposition, and chart reading with emphasis on ensemble reading Learn techniques of guitar setup including truss-rod, action, and intonation performance. Learn to read and count “cut time”, 3/4 meter, multiple-position adjustment. Also covered are basic guitar electronics as well as finish mainte- examples, and syncopated rhythms. One lecture hour plus one lab hour per nance and various other instrument needs. One hour lecture per week for one week for one quarter. quarter. GUIT-503 Reading 5 (1.5) GUIT-061E Classical Guitar (1) Prerequisite: GUIT-403 Reading 4. Students learn to count and read in odd and Learn the fundamental right hand classical guitar techniques for arpeggios, changing meters, across string sets, and with expanded emphasis on multi- scales, tremolo, harmonics, and rasquedo and apply them to classical guitar position melodies. One lecture hour plus one lab hour per week for one quarter. literature. One lecture hour per week for one quarter. GUIT-603 Reading 6 (1.5) GUIT-082E Blues Listening (1) Prerequisite: GUIT-503 Reading 5. Advanced score interpretation and sight- Nearly every current electric guitar style has its roots in blues, and this course reading techniques are developed using iconic musical excerpts. Emphasis on is designed to expose guitarists to the most influential players in the develop- applying reading techniques to real-world sight-reading challenges. One lecture ment of modern electric styles and techniques. Recordings by such icons as hour plus one lab hour per week for one quarter. T-Bone Walker and the “Three Kings” (BB, Albert, and Freddie), among others, GUIT-506 Guitar Studio Skills (1.5) will be analyzed and their influence traced through later generations of players. Prerequisites: GUIT-405 Single String Improvisation 4. Course provides individ- One lecture hour per week for one quarter. ualized recording session experience in a professional project studio. Students GUIT-086E Jazz Listening (1) learn crucial, guitar-specific studio skills such as recording direct vs. using A survey of jazz styles spanning classic through contemporary jazz. The works 67 room mics, using pre- vs. post-input effects, dialing-in amp simulation plug-ins, of Charlie Parker, Wes Montgomery, John Coltrane, and other jazz legends stacking overdubs, doubling parts, and harmonizing melodies. Students also are explored using video and audio excerpts to demonstrate how they have master must-know engineering tasks such as advanced punch in/out, cut-and- influenced the playing of modern jazz guitar icons such as John Scofield, Pat paste, cross-fading, and sending of guitar tracks to clients via the Internet. One Metheny, Allan Holdsworth, and Adam Rogers.. One lecture hour per week for session hour per week for one quarter. one quarter. MUSICIANSHIP (16.5 credits) GUITAR-SPECIFIC ELECTIVES (available only to guitar majors) ALLMI 101-501 Harmony and Theory 1-5 (1.5) GUIT-045E Guitar Heroes of the ’60s and ’70s (1.5) Seven and one-half credit units required (one and one-half per quarter). See Analysis of the classic rock solos of Chuck Berry, Jimi Hendrix, Jimmy Page, General Requirements for course descriptions. Eric Clapton, Jeff Beck, David Gilmore, Carlos Santana, Joe Walsh, Don ALLMI 102-602 Ear Training 1-6 (1.5) Felder, and Billy Gibbons. Expand your vocabulary by understanding how the Nine credit units required (one and one-half per quarter). See General Require- great solos were created and performed and how they have influenced today’s ments for course descriptions. rock guitarists. One lecture hour per week plus one lab hour for one quarter.

ELECTIVES (18 credits) GUIT-046E Alternative Guitar Heroes (1.5) Guitar students may fulfill their elective credit requirements by choosing from Analysis and performance of contemporary rock guitar solos, including those program-specific electives, All-MI electives, or entry-level electives offered by of Kurt Cobain, Jerry Cantrell, Tom Morello, Billy Corgan, Kim Thayil, John other programs. See current course offering for options. Frusciante, Dave Navarro, the Edge, and Lenny Kravitz. One lecture hour and one lab hour per week for one quarter. GUIT-052E Guitar/Vocal Accompaniment (1) Learn to accompany your own vocals on guitar with practical techniques, rhythm patterns and exercises based on song excerpts common to styles ASSOCIATE OF ARTS IN PERFORMANCE (Guitar)

including pop, rock, folk, country, and alternative. One lecture hour per week for GUIT-077E Reading Boot Camp (Slow Lane) (1) one quarter. Prerequisite: GUIT-203 Reading 2. A weekly reading workout based on the first three quarters of Guitar Reading curriculum. Ideal both for review and GUIT-060E Acoustic Guitar (1) reinforcement of prior reading curriculum as well as for sharpening the skills Class covers the basic techniques and guitar gear used in popular steel-string of more advanced sight-readers. Emphasis is placed on reading and counting acoustic performance from flatpicking to fingerpicking, strumming to plucking. rhythms, learning the notes on the fretboard and reading melodies in different One lecture hour per week for one quarter. positions on the neck. One lecture hour per week for one quarter. GUIT-062E Metal Guitar (1.5) GUIT-088E Acid Jazz Guitar 1 (1) This class analyzes and examines the role of the guitar in metal’s heaviest Study the instrumental funk style of Maceo Parker, Ronny Jordan, Gray Boy and most successful bands throughout the ‘80s & ‘90s, including Metallica, All Stars, Herbie Hancock and others. Particular emphasis is placed on rhythm Slayer, Pantera and Megadeth. The curriculum will break down each riff and guitar playing, rhythmic soloing and chart reading. Some weekly preparation solo, laying the groundwork for proper rock/metal technique while also provid- work is required. Two workshop hours per week for one quarter. ing historical perspective. One lecture hour and one lab hour per week for one quarter; each student is required to perform in class three times. GUIT-170E Recording Guitar (1) Uniting the art of guitar playing with the skills of engineering, this class is a GUIT-063E Rumba Workout (1) must for guitarists who wish to learn the ins-and-outs of a full-size studio fea- This course focuses on the strumming-hand rhythms of the Rumba and other turing a professional mixing console. Topics include signal flow, microphone Latin guitar grooves to generate a rhythm guitar-intensive workout experience. selection and placement, EQ, dynamic processing and effects. Learn tech- Recommended for any guitar student who wants to gain refreshing, new rhyth- niques used to capture and define the tone of some of the world’s greatest mic vocabulary and break out of the alternating up/down strum approach that guitar players. One lecture hour per week for one quarter. 68 dominates mainstream guitar music One lecture hour per week for one quarter. GUIT-173E Guitar Workout (1) GUIT-064E Slide Guitar (1) This class offers a one-hour weekly “training session” that exposes guitarists to Learn the fundamentals of slide guitar and its application to various styles. exercises, licks and concepts that can be adapted and added to their personal Topics include achieving proper touch and good tone, essential rock and blues practice routines. One lecture/workshop hour per week for one quarter. vocabulary, open tunings and more. One lecture hour for one quarter. GUIT-174E Playing Techniques for Guitar (1) GUIT-065E Surf/Spy Guitar (1) Students learn ideas and techniques from classical guitar tradition and apply Explore classic guitar instrumentals in the “surf/spy” genre. Students learn them to the electric guitar. One lecture hour per week for one quarter. timeless songs and riffs from artists including the Ventures, Duane Eddy and Dick Dale and perform them with a rhythm section. One half-hour lecture and GUIT-175E Guitar EFX (1) one-and-one-half hour lab per week for one quarter. An overview of the most popular guitar effect devices. Gain and tone shaping, modulation, delay and reverb are covered through audio examples and GUIT-066E Blues Guitar (1.5) live demonstrations. Additional topics include building your own pedalboard, Covers the fundamentals of the blues style, including rhythm techniques for guitar synthesizers and using effects loops. One lecture hour per week for one shuffles, slow blues, jump blues and other blues-related rhythms as well as quarter. such soloing concepts as chord/scale relationships and stylistic phrasing. One hour lecture plus one lab hour per week for one quarter. ADVANCED ELECTIVES GUIT-070E Applied Metal Guitar (1.5) (see course descriptions for prerequisites) An examination of influential metal bands and iconic metal guitar styles with an GUIT-051E Chord Melody 1 (1) emphasis on harmonic analysis and applied metal techniques. Students learn Prerequisite: GUIT-407 Rhythm Guitar 4. An introduction to the art of inter- solos riff-by-riff as they develop skills that are essential to the genre. Each stu- weaving melody, chords and bass lines into compelling song arrangements for dent is required to perform three (3) times during the quarter. One lecture hour solo guitar. Lead sheet interpretation and jazz improvisation techniques are and one lab hour per week for one quarter. also covered. One lecture hour per week for one quarter. ASSOCIATE OF ARTS IN PERFORMANCE (Guitar)

GUIT-151E Chord Melody 2 (1) performance skills mandatory for the modern session guitarist. Techniques Prerequisite GUIT-051E Chord Melody 1. The application of chord melody range from dialing-in appropriate tones, effective vibrato and bends, and play- techniques taught in Chord Melody 1. Emphasis is on incorporating techniques ing “in-the-pocket” to using capos, slides, EBows, timed delays, pre- and and expanding repertoire. One lecture hour per week for one quarter. post-input effects, open tunings, and other creative devices and applications. Students complete a multi-song demo recording under the guidance of a guitar GUIT-067E Jazz Guitar 1 (1.5) instructor-producer, creating and recording rhythm patterns, fills, melodies, and Prerequisite: GUIT-405 Single String Improvisation 4, GUIT-407 Rhythm Guitar solos over prerecorded rhythm tracks. One private session hour per week for 4. Class covers the vocabulary used in jazz improvisation of all eras from swing one quarter. and bebop to the present, including the use of scales, modes, idioms, and typical bebop phrases. One lecture hour and one lab hour per week for one GUIT-153E Jimi Hendrix Rhythm Guitar (1) quarter. Prerequisite: GUIT-207 Rhythm Guitar 2. Learn how to improvise rhythm parts in the style of “Little Wing,” “Bold as Love,” and “Castles Made of Sand.” GUIT-167E Jazz Guitar 2 (1.5) Develop major and minor pentatonic double-stop vocabulary and learn to adapt Prerequisite: GUIT-067E Jazz Guitar 1. Class explores inside and outside play- Hendrix-style rhythm fills to fit popular progressions or original songs.Tech - ing, symmetrical scales, polychords, and pentatonics as tools for jazz guitar niques include thumb-fretting, the “Hendrix Chord,” chord ornamentation, and improvisation. One lecture hour and lab one hour per week for one quarter. funk-rock rhythms. One lecture hour per week for one quarter. GUIT-068E Slap, Pop, and Beyond (1.5) GUIT-154E Beatles for Solo Guitar (1) Prerequisite: GUIT-205 Single String Improvisation 2. Course explores and Prerequisite: GUIT-205 Single String Improvisation 2. The Beatles are the most details a variety of modern full-contact funk and rock approaches, with spe- successful pop songwriters of all time and their music remains popular with cial emphasis on “bass-style” guitar slapping and popping. Also explored are every new generation. Learning solo guitar chord-melody arrangements of slapped harmonics, tapped harmonics, and various two-hands-on-the-neck Beatle songs provides a deeper understanding of effective songwriting as well 69 rhythm and lead techniques. Playing approaches from Van Halen, Jeff Beck, as an introduction to chord-melody technique. One lecture hour per week for Marcus Miller, and Michael Hedges to Rage Against the Machine, Primus, and one quarter. Bumblefoot are analyzed along with the use of guitar effects that complement full-contact styles. One lecture hour and one lab hour per week for one quarter. GUIT-155E Developing the Art of Two-Line Improvisation (1) Prerequisite: GUIT-405 Single String Improvisation 4. Developed by contrapun- GUIT-085E Jazz Workshop 1 (1) tal jazz pioneer and longtime MI instructor Jimmy Wyble, this course provides Prerequisite: ALLMI-201 Harmony and Theory 2, GUIT-205 Single String step-by-step development of the harmonic awareness, right- and left-hand Improvisation 2, GUIT-207 Rhythm Guitar 2. Class designed for the guitar- techniques and intervallic designs necessary for contrapuntal improvisation. ist with little or no jazz experience or the guitarist who would like to fill in the Emphasis is placed on development of intervals, chord structures, vocabulary holes in his or her jazz playing. Topics include playing through chord changes and phrases that exemplify two-line artistry. Two lecture hours per week for one and developing a vocabulary for standard jazz progressions. Also covers duo quarter. accompaniment techniques such as walking bass lines with chords and bossa- nova bass/chord comping styles. One lecture hour per week for one quarter. GUIT-156E Melodic Soloing (1) Prerequisite: GUIT-205 Single String Improvisation 2. Students solo over basic- GUIT-145E Guitar Heroes of the ’80s (1.5) to-complex chord progressions with emphasis on the elements of melodic Prerequisite: GUIT-205 Single String Improvisation 2. Analyze and perform playing, including chord tones, phrasing, sound and technique. Includes rhythm the solos of modern rock players such as Eddie Van Halen, Steve Vai, Randy section accompaniment and critiqued performances. One lecture/workshop Rhoads, Nuno Bettencourt, John Petrucci, Marty Friedman, and Yngwie Malm- hour per week for one quarter. steen as a way of improving rock soloing skills. One lecture hour and one lab hour per week for one quarter. GUIT-157E Fusion Masters (1.5) Prerequisites: GUIT-305 Single String Improvisation 3, GUIT-307 Rhythm Gui- GUIT-150E Guitar Tracking Tactics (1.5) tar 3, GUIT-303 Reading 3. Class covers intermediate-to-advanced topics in Prerequisite: GUIT-405 Single String Improvisation 4. In weekly one-on-one fusion performance and their application to the guitar including chord voicings, recording sessions with a professional guitarist/instructor, students gain studio ASSOCIATE OF ARTS IN PERFORMANCE (Guitar)

re-harmonization, transcription, and improvising over changes. One lecture GUIT-164E Funk Guitar (1.5) hour and one lab hour per week for one quarter. Prerequisite: GUIT-207 Rhythm Guitar 2, GUIT-205 Single String Improvisation 2. Master the art of the groove! Learn the essential techniques of funk rhythm GUIT-158E Advanced Electric Guitar Styles (1.5) guitar from fundamental to advanced as well as tools to improve your overall Prerequisite: GUIT-405 Single String Improvisation 4. Learn how to make the rhythm skills. The curriculum is based on traditional and contemporary funk, leap into becoming a professional guitarist through a comprehensive study of inspired by artists such as James Brown, Earth, Wind & Fire, Prince, the Red the interplay between the picking and strumming hands as it pertains to great Hot Chili Peppers, Michael Jackson, Maroon 5 and beyond. One lecture plus tone, sterling melodic execution, accurate string muting, and punchy rhythm one lab hour per week for one quarter. playing. Also covers three-octave major and minor scales, chord-tone and approach-note improvisation, and use of pentatonic, “synthetic,” and other GUIT-165E Shred Guitar (1) scales. Practical ear training is also explored and students perform with a Prerequisite: GUIT-405 Single String Technique 4. Class focuses on improvisa- rhythm section every week. Two lecture/lab hours per week for one quarter. tion with advanced shred concepts and techniques including speed picking, sweep picking, tapping, string skipping, as well as applying three- and four- GUIT-159E Advanced Groove Concepts (1.5) note-per-string scale patterns. One lecture hour per week for one quarter. Prerequisite: GUIT-207 Rhythm Guitar 2, GUIT-205 Single String Improvisation 2. This course covers both technical and practical approaches to groove-based GUIT-166E Blues Guitar 2 (1.5) styles. Techniques of time discipline, odd-meter studies and playing over shifts Prerequisites: GUIT-305 Single String Improvisation 3, GUIT-O66E Blues Gui- in feel and meter will be explored. Stylistic studies include early R&B, Motown, tar. This course explores expanded jazz-blues harmony, soloing techniques, Reggae, contemporary African styles and New Orleans grooves. One lecture and the relationship between blues and other musical styles including jazz, hour and one lab hour per week for one quarter. rock and roll and R&B. Students gain a deeper understanding and appreciation of the blues tradition and related technical skills. One lecture hour and one lab GUIT-160E Afro-Cuban Guitar (1) 70 hour per week for one quarter. Prerequisite: GUIT-207 Rhythm Guitar 2. An introduction to the role of the guitar in the Afro-Cuban rhythm section, including how to create authentic- GUIT-168E Rock Rhythm Guitar (1.5) sounding parts. One lecture hour per week for one quarter. Prerequisite: GUIT-207 Rhythm Guitar 2. Learn the application of chord and riff techniques integral to contemporary rock styles. Includes specific contem- GUIT-161E Brazilian Guitar (1) porary examples from various rock sub-genres. One lecture hour and one lab Prerequisite: GUIT-207 Rhythm Guitar 2. An introduction to the role of the gui- hour per week for one quarter. tar in the Brazilian rhythm section, including Bossa Nova and Samba, with a focus on creating authentic-sounding parts. One lecture hour per week for one GUIT-169E Rock Lead Guitar (1) quarter. Prerequisite: GUIT-205 Single String Improvisation 2. Class covers the melodic application of techniques and concepts taught in core classes to rock guitar GUIT-162E Country Guitar (1.5) styles. Includes hammer-ons, pull-offs, string bending, two-handed fretting Prerequisite: GUIT-205 Single String Improvisation 2, GUIT-207 Rhythm Guitar techniques and other stylistic nuances of rock soloing. One lecture hour per 2. Learn typical progressions involving rhythm guitar and soloing techniques week for one quarter. applicable to contemporary country music. Begins with the essentials and moves into specialized techniques, including banjo rolls, open-string licks GUIT-171E Applied Rock Improvisation (1) and pedal steel effects. One lecture hour and one lab hour per week for one Prerequisite: GUIT-405 Single String Improvisation 4. Designed to help the quarter. student become a better rock soloist by applying improvising techniques over different rhythm tracks. This is a workshop class where students discuss each GUIT-163E Eclectic Electric Guitar (1.5) other’s solos as well as receiving instructor critique. One lecture/ensemble hour Prerequisite: GUIT-205 Single String Improvisation 2. Learn to play lines and per week for one quarter. May be repeated for credit. solos in the style of Larry Carlton, Robben Ford, Lee Ritenour and others. One lecture hour and one lab hour per week for one quarter. GUIT-172E Applied Technique (1) Prerequisite: GUIT-205 Single String Improvisation 2. Guitar course designed to increase playing speed through chord changes over the entire fretboard and ASSOCIATE OF ARTS IN PERFORMANCE (Guitar) combine all the techniques learned in Single String Improvisation classes. One Students refine and enhance all aspects of their Musicianship in the context of lecture hour per week for one quarter. May be repeated for credit rehearsal and performance. Some sightreading involved. One ensemble hour per week for one quarter. GUIT-177E Reading Boot Camp (Fast Lane) (1) Prerequisite: BASS-403 Music Reading 4. A weekly reading workout based on GUIT-188E Acid Jazz Guitar 2 (1) the last three quarters of Guitar Reading curriculum. Develops reading skills Prerequisites: GUIT-088E Acid Jazz Guitar 1 or GUIT-205 Single String Impro- beyond required Reading standards and is ideal for review and reinforcement visation 2. Continuation of Acid Jazz Guitar 1. Some weekly preparation work as well as for attaining professional-level reading skills. One lecture hour per required. (Students will be given charts and CD to prepare for the class) Two week for one quarter. workshop hours per week for one quarter. GUIT-180E Pop Guitar Reading Ensemble (1) Prerequisite: GUIT-203 Reading 2. Provides in-depth development of small (4- and 5-part) electric guitar ensemble reading skills based on pop music repertoire. Students refine and enhance all aspects of their Musicianship in the context of rehearsal and performance. Some sightreading involved. One ensemble hour per week for one quarter. GUIT-181E Classical Guitar Reading Ensemble (1) Prerequisite: GUIT-203 Reading 2. In-depth development of small (four- and five-part) electric guitar ensemble performance skills based on guitar reading curriculum. Students refine and enhance all aspects of their Musicianship in the context of guitar ensemble rehearsal and performance. Some sightreading 71 involved. One lecture-ensemble hour per week for one quarter. GUIT-182E Odd-Meter Workout (1) Prerequisite: GUIT-205 Single String Improvisation 2. Incorporating many genres of contemporary music, this weekly workout class focuses on counting, playing, riffing, soloing, grooving, and playing over changes in odd meters - all skills that are crucial for anyone interested in metal, jazz, fusion, prog, or shred. One lecture hour per week for one quarter. GUIT-184E Funk Guitar Reading Ensemble (1) Prerequisite: GUIT-203 Reading 2. Provides in-depth development of small (4- and 5-part) electric guitar ensemble reading skills based on funk repertoire. Students refine and enhance all aspects of their Musicianship in the context of rehearsal and performance. Some sightreading involved. One ensemble hour per week for one quarter. GUIT-185E Jazz Workshop 2 (1) Prerequisite GUIT-O85E Jazz Workshop 1. An in-depth study of the modes of melodic minor and their application in jazz improvisation. Emphasis on developing lines for standard jazz progressions. Also covered are practice techniques for jazz development. One lecture hour per week for one quarter. GUIT-187E Jazz Guitar Reading Ensemble (1) Prerequisite: GUIT-203 Reading 2. Provides in-depth development of small (4- and 5-part) electric guitar ensemble reading skills based on jazz repertoire. ASSOCIATE OF ARTS IN PERFORMANCe (KEYBOARD TECHNOLOGY)

ASSOCIATE OF ARTS IN PERFORMANCE MAJOR AREA (65 credits) (KEYBOARD TECHNOLOGY) KEYBD-PL Private Lesson (2) Twelve credit units required (two per quarter). See General Requirements for DEGREE REQUIREMENTS course descriptions. The following course requirements must all be satisfactorily completed in order to qualify for the Associate of Arts in Performance (Keyboard Technology). ALLMI-103-603 Live Performance Workshops 1-6 (1) Six credit units required (one per quarter). See General Requirements for All course descriptions include course number, title, number of credits per quar- course descriptions. ter, prerequisites (where applicable), description of content, and contact hours per week. KEYBD-102 Keyboard Technique 1 (1) Covers exercises for the development of keyboard facility and precision control ASSOCIATE OF ARTS IN PERFORMANCE over melodic components including scales, patterns, arpeggios, and intervals. (KEYBOARD TECHNOLOGY) One lecture hour per week for one quarter. six quarters: 1 2 3 4 5 6 KEYBD-202 Keyboard Technique 2 (1) Prerequisite: KEYBD-102 Keyboard Technique 1. A continuation of technique major area development concentrating on hand independence, melodic phrasing, stamina, private lesson 1-6 2 2 2 2 2 2 and contemporary keyboard applications. One lecture hour per week for one live performance workshops 1-6 1 1 1 1 1 1 quarter. groove 1-6 1.5 1.5 1 1 1.5 1.5 KEYBD-302 Keyboard Technique 3 (1) 72 keyboard voicings 1-6 1 1 1 1 1 1 Prerequisite: KEYBD-202 Keyboard Technique 2. More advanced keyboard technical skills, including five-finger drills, triad and seventh arpeggios, natural digital music 1-6 1.5 1.5 1.5 1.5 2 2 minor scales, intervals, trills, modal scales and chord-scale relationships. One keyboard programming 1-6 1 1 1 1 2 2 lecture hour per week for one quarter. keyboard technique 1-4 1 1 1 1 KEYBD-402 Keyboard Technique 4 (1) reading 1-4 1 1 1 1 Prerequisite: KEYBD-302 Keyboard Technique 3. Technical development with keyboard improvisation 1-2 1 1 emphasis on five-finger drills, diminished arpeggios, harmonic minor scales, intervals, trills, modal scales and chord-scale relationships. One lecture hour musical director workshop 1-2 2 2 per week for one quarter. musicianship KEYBD-110 Keyboard Voicings 1 (1) harmony & theory 1-4 1.5 1.5 1.5 1.5 Fundamentals of chord construction, symbol recognition, and voice leading, ear training 1-4 1.5 1.5 1.5 1.5 including triads, slash chords, inversions, added-note chords, and diatonic harmony. Weekly sightreading exercises are used to reinforce performance. One electives lecture hour per week for one quarter. (various) 2 2 2.5 2.5 2.5 2.5 KEYBD-210 Keyboard Voicings 2 (1) 90 credits: 15 15 15 15 15 15 Prerequisite: KEYBD-110 Keyboard Voicings 1. 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 sightreading exercises are used to reinforce performance. One lecture hour per week for one quarter. ASSOCIATE OF ARTS IN PERFORMANCe (KEYBOARD TECHNOLOGY)

KEYBD-310 Keyboard Voicings 3 (1) KEYBD-207 groove 2 (1.5) Prerequisite: KEYBD-202 Keyboard Voicings 2. Introduction of seventh chords, Prerequisite: KEYBD-107 Groove 1. Concentrates on eighth note syncopation, four-part chord construction, and interpretation of chord symbols with an playing with a drummer, swing and straight feels. Two lecture/ensemble hours emphasis on rootless voicings including exercises in both diatonic and chro- per week for one quarter. matic chord movement and left-hand accompaniment patterns. One lecture KEYBD-307 groove 3 (1) hour per week for one quarter. Prerequisite: KEYBD-207 Groove 2. Accompaniment patterns for various chord KEYBD-410 Keyboard Voicings 4 (1) progressions and styles using techniques including bass lines, top-note voic- Prerequisite: KEYBD-310 Keyboard Voicings 3. Emphasis on voice-leading ings and two-hand syncopation. Rhythm reading is emphasized. One lecture concepts used in performance and composition, including shell voicings with hour per week for one quarter. extensions as applied to a variety of chord progressions. One lecture hour per KEYBD-407 groove 4 (1) week for one quarter. Prerequisite: KEYBD-307 Groove 3. Emphasis on developing more intricate KEYBD-510 Keyboard Voicings 5 (1) and nuanced right-hand rhythm patterns, including further exploration of top- Prerequisite: KEYBD-410 Keyboard Voicings 4. Application of concepts of note voicings and adding fills to rhythm patterns. More syncopated styles will chord-scale harmony to voicings and chord progressions. Students explore the be explored. One lecture hour per week for one quarter. techniques of “tension substitution” and use it to create voicings while compos- KEYBD-507 groove 5 (1.5) ing and performing their own progressions. One lecture hour per week for one Prerequisite: KEYBD-407 Groove 4. An introduction to sixteenth-note syncopa- quarter. tion and its application to contemporary musical styles, with emphasis on bass KEYBD-610 Keyboard Voicings 6 (1) lines, comping and hand-against-hand rhythmic performance. Two lecture/ Prerequisite: KEYBD-510 Keyboard Voicings 5. A continuation of chord con- ensemble hours per week for one quarter. 73 struction based on chord-scale harmony. Students learn how to create their KEYBD-607 groove 6 (1.5) own voicings and make effective musical choices. One lecture hour per week Prerequisite: KEYBD-507 Groove 5. Concentrates on stylistic rhythms, half- for one quarter. and double-time feels, and two-keyboard performance as well as synth bass KEYBD-502 Keyboard Improvisation 1 (1) lines, brass parts and organ & clavinet playing styles. Two lecture/ensemble Introduction to blues tonality, seventh chord arpeggios, and variations on the hours per week for one quarter. key center approach to improvising over major and minor tonalities, includ- KEYBD-508 Musical Director Workshop 1 (2) ing basic blues and jazz progressions. One ensemble hour per week for one An introduction to the role of bandleader. Beginning with an overview of chart quarter. writing and basic arranging skills, students learn how to rehearse and conduct KEYBD-602 Keyboard Improvisation 2 (1) a rhythm section from the keyboard with an emphasis on articulating styles Prerequisite: KEYBD-502 Keyboard Improvisation 1. Concepts and techniques and feels, directing tempo changes and rubato, creating intros and endings, for analyzing chord progressions and creating improvised melodies using both and working with singers and horn players. Two lecture hours per week for one key-center and chord-scale approaches with an emphasis on practical applica- quarter. tions. One ensemble hour per week for one quarter. KEYBD-608 Musical Director Workshop 2 (2) KEYBD-107 groove 1 (1.5) Prerequisite: KEYBD-508 Musical Director Workshop 1. After a review of Learn the basic role of the keyboard player in an ensemble with an emphasis conducting skills, the emphasis shifts to horn arranging and writing for other on time, tempo, and rhythmic feel in performance. Drills focus on rhythmic auxiliary instruments including full score arrangements. Two lecture hours per awareness and consistency, playing against a steady pulse, and basic hand week for one quarter. independence. Two lecture/ensemble hours per week for one quarter. KEYBD-103 Reading 1 (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. ASSOCIATE OF ARTS IN PERFORMANCe (KEYBOARD TECHNOLOGY)

Practical examples are used in class and as homework. One lecture hour per advanced mixing techniques, editing, and mastering. Two lecture hours per week for one quarter. week for one quarter. KEYBD-203 Reading 2 (1) KEYBD-609 Digital Music 6 (2) Prerequisite: KEYBD-103 Reading 1. Continuing the development of keyboard Prerequisite: KEYBD-509 Digital Music 5. More advanced mixing, editing and reading skills, students perform introductory grand staff etudes in all twelve mastering techniques using Logic and Pro Tools. Two lecture hours per week keys, triads with inversions and sixteenth-note rhythms. One lecture hour per for one quarter. week for one quarter. KEYBD-106 Synthesis 1 (1) KEYBD-303 Reading 3 (1) An introduction to the structure of analog and digital synthesizers, including Prerequisite: KEYBD-203 Reading 2. Reading left-hand chord voicings, com- essential concepts of subtractive synthesis and synthesized sound production binations of duple and triple rhythms, and more complex melody lines with as well as components from wave forms to filters and amplifiers using both exercises drawn from contemporary styles including two-staff arrangements hardware synths and computer-based synth modules. One lecture hour per with complex rhythms and harmony. One lecture hour per week for one quarter. week for one quarter. KEYBD-403 Reading 4 (1) KEYBD-206 Synthesis 2 (1) Prerequisite: KEYBD-303 Reading 3. Focus on real-world contemporary read- Prerequisite: KEYBD-106 Synthesis 1. Focus on more nuanced sound creation ing applications including stylistic embellishments. Students learn how to and sound design with emphasis on real-world applications. One lecture hour practice, sight read, transpose and perform written music in a variety of styles. per week for one quarter. One lecture hour per week for one quarter. KEYBD-306 Virtual Instruments 1 (1) KEYBD-109 Digital Music 1 (1.5) Prerequisite: KEYBD-206 Synthesis 2. Using the vast catalog of virtual instru- 74 An introduction to digital audio technology as an essential tool for the creation ments included with Logic Audio and Native Instruments Komplete, students of keyboard-based recordings. Students learn intuitive setup procedures and learn how to trigger and sequence sounds using their own keyboard and use of keyboards as digital audio triggers using Logic software. One lecture groove skills. Includes advanced sequencing, editing and programming of vari- hour and one lab hour per week for one quarter. ous instrument and effects combinations in a variety of practical applications. One lecture hour per week for one quarter. KEYBD-209 Digital Music 2 (1.5) Prerequisite: KEYBD-109 Digital Music 1. Practical applications of plug-ins and KEYBD-406 Virtual Instruments 2 (1) virtual instruments, MIDI integration and component compatibility to songwriting Prerequisite: KEYBD-306 Virtual Instruments 1. Continued development of projects. One lecture hour and one lab hour per week for one quarter. techniques and practical applications of virtual instruments as a compositional tool. One lecture hour per week for one quarter. KEYBD-309 Digital Music 3 (1.5) Prerequisite: KEYBD-209 Digital Music 2. Sequencing, sound banks and digital KEYBD-506 Video Scoring 1 (2) effects within Logic are applied to practical, deadline-oriented projects. One Prerequisite: KEYBD-406 Virtual Instruments 2. How to compose musical back- lecture hour and one lab hour per week for one quarter. ground scores to enhance the emotional qualities of video images. Includes both creative and technical aspects of scoring commercials, TV and film using KEYBD-409 Digital Music 4 (1.5) Apple Logic Pro digital recording software. Two lecture hours per week for one Prerequisite: KEYBD-309 Digital Music 3. An introduction to orchestration quarter. techniques, sample libraries, and sample creation. Also includes the use of modulation plug-ins such as phasers, flangers and tremolo plus sound balanc- KEYBD-606 Video Scoring 2 (2) ing and panning. One lecture hour and one lab hour per week for one quarter. Prerequisite: KEYBD-506 Video Scoring 1. Focus on “scoring to picture” and learning techniques for matching the emotional qualities of music and visual KEYBD-509 Digital Music 5 (2) images. Two lecture hours per week for one quarter. Prerequisite: KEYBD-409 Digital Music 4. Students apply advanced digital recording and production techniques using Logic and Pro Tools digital audio software. Topics covered include composition, demo production, basic and ASSOCIATE OF ARTS IN PERFORMANCe (KEYBOARD TECHNOLOGY)

MUSICIANSHIP (12 credits) KEYBD-077E R&B/Soul Keyboards (1) Develop grooves, rhythms, and harmonic structure of R&B/Soul keyboard ALLMI 101-401 Harmony and Theory 1-4 (1.5) arrangements from the “classic” era of the ‘60s and ‘70s. Also covers chord Six credit units required (one and one-half per quarter). See General Require- voicings, techniques, independence drills, and sounds associated with the ments for course descriptions. styles of masters such as Richard Tee, Billy Preston, Earl Van Dyke etc. One ALLMI 102-402 Ear Training 1-4 (1.5) lecture hour per week for one quarter. Six credit units required (one and one-half per quarter). See General Require- KEYBD-078E Rock Keyboards (1) ments for course descriptions. Learn classic and modern rock keyboard techniques as applied to performance ELECTIVES (13 credits) repertoire. One lecture hour per week for one quarter. Keyboard students may fulfill their elective credit requirements by choosing KEYBD-079E Roland Fantom Workstation Workshop (1) from program-specific electives, All-MI electives, or entry-level electives offered This class covers advanced instruction on Roland’s Fantom workstations by other programs; see course offerings for options. including sequencing, sampling, recording, and live performance functionality. One lecture hour per week for one quarter. ENTRY-LEVEL ELECTIVES (available to non-keyboard majors) KEYBD-150E Ableton Live Workshop (1) KEYBD-061E Roland Gaia Synth Programming (1) Prerequisite: KEYBD-109 Digital Music 1 or Department Head approval. Learn Learn programming techniques for Roland Gaia synthesizers, including oscil- to use Ableton Live software as a tool for creating, producing and perform- lators, waveforms, envelopes, filters, effects, real-time parameter changes and ing music. Skills include creating a live set, recording and manipulating audio, more. One lecture hour per week for one quarter. editing and recording MIDI, using softsynths and plug-ins, and incorporating KEYBD-070E Accompany Thyself (1) it all into spontaneous live performances. One lecture hour per week for one 75 This class is designed for singer/keyboard players who want to learn perform- quarter. ing skills and keyboard arranging techniques in order to improve the quality of KEYBD-153E Electronic Styles (1) their self-accompaniment. One lecture hour per week for one quarter. Prerequisites: KEYBD-109 Digital Music 1 or Department Head approval. Learn KEYBD-071E Blues Keyboards (1) the stylistic embellishments and defining elements of electronic-based music Focuses on technique, groove, scales, and progressions used in authentic and its sub-genres such as acid, house, techno, drum and bass, hip hop, chill blues and R&B playing. The class will trace the evolution of the blues through and more. Concepts are reinforced through assigned projects and hands-on recordings and transcribed solos. One lecture hour per week for one quarter. instruction. One lecture hour per week for one quarter. KEYBD-073E Funk Keyboards (1) KEYBD-157E Contemporary Music Notation (1) Analysis of contemporary funk players with an emphasis on understanding the Prerequisite: ALLMI-201 Harmony and Theory 2. This class focuses on subtle differences in their approach to groove playing. Teaches the keyboardist developing the skills needed to create accurate, professional music charts by two-handed rhythm parts common to most funk music. One lecture hour per combining ear-training skills with standardized music notation rules. Concepts week for one quarter. include road map rules, chart layout, drum and rhythm grooves, chord symbol variations and transcribing rhythms. One lecture hour per week for one quarter. KEYBD-074E Hip-Hop Keyboards (1) A technical, stylistic and historic look at Hip-Hop from the keyboard per- KEYBD-159E Keyboard Arranging (1) spective. Students analyze influential artists and styles, learn to compose Prerequisite: KEYBD-202 Keyboard Voicings 2 or Department Head approval. genre-specific grooves and melodic phrases, and use synthesizers and A comprehensive look at songwriting from a keyboardist’s perspective. Stu- samplers to create classic and contemporary sounds. In-depth, hands-on dents learn about song form, intros, endings, breakdowns, comping and rhythm instruction provides students with a genuine Hip-Hop experience. One lecture patterns, adding dynamics, creating definitive chord progressions and more, hour per week for one quarter. with the objective of creating three new performance-ready songs. One lecture hour per quarter for one quarter. ASSOCIATE OF ARTS IN PERFORMANCe (KEYBOARD TECHNOLOGY)

KEYBD-162E Logic Fastrack (1.5) KEYBD-152E Brazilian Keyboards (1) Prerequisite: KEYBD-209 Digital Music 2 or Department Head approval. Prerequisite: KEYBD-402 Keyboard Technique 4. Learn the techniques and Designed for intermediate-to-advanced Logic users, this course focuses on repertoire used in Brazilian music with an emphasis on stylistic rhythms and fine-tuning song projects to a professional level. One lecture hour and one lab melodic patterns. One lecture hour per week for one quarter. hour per week for one quarter. May be repeated for credit. KEYBD-155E Chop Shop 1 (1) KEYBD-163E Production Tips & Tricks (1) Prerequisite: KEYBD-402 Keyboard Technique 4. An advanced keyboard tech- Prerequisite: KEYBD-209 Digital Music 2 or Department Head approval. This nique course focused on improving finger speed and control. One lecture hour course explores production tips and tricks that can be applied to demo and live per week for one quarter. Repeatable for credit. recordings to create professional-sounding results that provide a competitive KEYBD-255E Chop Shop 2 (1) edge. One lecture hour per week for one quarter. Prerequisite: KEYBD-155E Chop Shop 1. A continuation of advanced keyboard KEYBD-164E Rhythm Programming (1) technique focusing on improving finger speed and control. One lecture hour per Prerequisite: KEYBD-109 Digital Music 1 or Department Head approval. week for one quarter. Learn to create, record and produce beats using the techniques, concepts KEYBD-156E Composition for Keyboards (1) and equipment used by the pros. Course covers emulative vs. non-emulative Prerequisite: KEYBD-202 Keyboard Voicings 2. Compose melodies based on programming, real-time and step programming, sampling, “groove-boxes,” simple chord progressions in a variety of styles. Learn through analysis of Top and various rhythm production techniques. One lecture hour per week for one 40 tunes and widely used Diatonic chord progressions. One lecture hour per quarter. week for one quarter. KEYBOARD-SPECIFIC ELECTIVES KEYBD-158E Keyboard Accompaniment Styles (1) 76 (available only to Keyboard majors) Prerequisite: KEYBD-202 Keyboard Voicings 2. Students develop a compre- KEYBD-054E Jazz Keyboards 1 (1) hensive approach to accompanying singers and instrumentalists in all styles. Prerequisite: KEYBD-202 Keyboard Voicings 2. Development of professional Topics covered include comping rhythms, bass lines, fills, intros and endings, concepts and techniques for jazz improvisation, including handling rapid chord transposition tricks, style interpretation, cueing, conducting and more. One lec- and key changes, analyzing chord/scale relationships, and developing stylistic ture hour per week for one quarter. rhythm patterns and phrasing. Includes analysis of major jazz artists and their KEYBD-160E Keyboard Mastery (1) approaches. One lecture hour per week for one quarter. Prerequisite: Department Head approval. Advanced keyboard techniques KEYBD-154E Jazz Keyboards 2 (1) and concepts from world-renowned jazz-fusion artist Russ Ferrante. Students Prerequisite: KEYBD-054E Jazz Keyboards 1. Advanced study of jazz impro- work closely with Mr. Ferrante on a range of topics from voicings to improvisa- visation, chord and key changes, chord-scale relationships, rhythmic patterns tion to applying the latest technology and receive critiques on performance and phrasing. One lecture hour per week for one quarter. of assigned repertoire. Five lesson hours per quarter for one quarter. May be repeated for credit. KEYBD-076E Keyboard Kontrol (1) Learn to add dynamics and style to bass lines, horn parts, synth leads and string arrangements through the use of pitch bends, mod wheels, volume pedals and other real-time keyboard controller techniques. One lecture hour per week for one quarter. KEYBD-151E Afro-Cuban Keyboards (1) Prerequisite: KEYBD-402 Keyboard Technique 4. Learn techniques and repertoire used in Afro-Cuban music with an emphasis on stylistic rhythms and melodic patterns. One lecture hour per week for one quarter. ASSOCIATE OF ARTS IN PERFORMANCE (VOCALS)

ASSOCIATE OF ARTS IN PERFORMANCE (VOCALS) MAJOR AREA (57 credits) DEGREE REQUIREMENTS VOCAL-PL Private Lesson (2) Twelve credit units required (two per quarter). See General Requirements for The following course requirements must all be satisfactorily completed in order course description. to qualify for the Associate of Arts in Performance (Vocals). ALLMI-103-603 Live Performance Workshops 1-6 (1) All course descriptions include course number, title, number of credits per quar- Six credit units required (one per quarter). See General Requirements for ter, prerequisites (where applicable), description of content, and contact hours course description. per week. VOCAL-104 Vocal Performance 1 (2) ASSOCIATE OF ARTS IN PERFORMANCE (VOCALS) An introduction to live performance and the live environment. Topics include six quarters: 1 2 3 4 5 6 analysis of established artists’ performances, stage terminologies, microphone technique, industry-standard equipment, the live support team, the basics of major area performing with a band (counting-off, giving/following cues, etc.), audience private lesson 1-6 2 2 2 2 2 2 interaction, and stage presence. In practice, students develop the fundamentals of live vocal performance through weekly performance in a number of live performance workshops 1-6 1 1 1 1 1 1 popular genres. Two lab-ensemble hours per week for one quarter. vocal performance 1-6 2 2 2 2 2 2 VOCAL-204 Vocal Performance 2 (2) vocal technique 1-4 1 1.5 1.5 1 Prerequisite: VOCAL-104 Vocal Performance 1. Improvisational techniques sightsinging 1-4 1.5 1.5 1.5 1.5 and lyric writing are introduced to the accompanying material from Vocal Per- music technology 1-4 1.5 1.5 1 1.5 formance 1 to assist students in developing their understanding of song form 77 studio recording 1-2 2 2 and the interplay of lyrics, vocals, and the accompanying instrumentation. Classes are video-recorded to allow students to review their own perfor- image & artist development 1-2 1.5 2 mances. Two lab-ensemble hours per week for one quarter. digital notation and arranging 1-2 1.5 1.5 VOCAL-304 Vocal Performance 3 (2) professional development Prerequisite: VOCAL-204 Vocal Performance 2. An introduction to ensemble entertainment business 1-2 1 1 singing, including duets and backing vocals. Topics include song choice, assigning parts (such as trading verses), harmonies, and backing vocals visual media & marketing 1-2 1.5 1.5 (including roles as both lead voice and part of the backing blend). Two lab- musicianship ensemble hours per week for one quarter. songwriting & analysis 1-2 1.5 1.5 VOCAL-404 Vocal Performance 4 (2) keyboards for vocalists 1-2 1.5 1.5 Prerequisite: VOCAL-304 Vocal Performance 3. Continuing with the development of individual vocal performance, emphasis is placed on song form, genre harmony & theory 1-2 1.5 1.5 variations, transposing songs to match students’ vocal ranges, and effective ear training 1-2 1.5 1.5 communication with the accompanying musicians (e.g. “talking down” a lead sheet or chart). Classes are video-recorded to allow students to review their electives own performances. Two lab-ensemble hours per week for one quarter. (various) 3 2.5 2 2 3.5 3 VOCAL-504 Vocal Performance 5 (2) 90 credits: 15 15 15 15 15 15 Prerequisite: VOCAL-404 Vocal Performance 4. Emphasis is placed on taking a leadership role within the group along with all aspects of being a polished professional performer, such as phrasing, stylistic interpretation, use of props, ASSOCIATE OF ARTS IN PERFORMANCE (VOCALS)

stage presence, image, communication with the band, and creation and expla- VOCAL-203 Sightsinging 2 (1.5) nation of leadsheets. Two lab-ensemble hours per week for one quarter. Prerequisite: VOCAL-103 Sightsinging 1. Continued development of sightsinging skills with emphasis on combining notes and values, an introduction to the VOCAL-604 Vocal Performance 6 (2) bass clef, triplet rhythms, and different time signatures such as cut-time and Prerequisite: VOCAL-504 Vocal Performance 5. Students prepare themselves 6/8. One lecture hour plus one lab hour per week for one quarter. for their final vocal performance, to be filmed in a two-camera HD-shoot.Topics include song choice, set-list order, rehearsal techniques, and a continuation of VOCAL-303 Sightsinging 3 (1.5) prior themes such as band communication, charts, props, stage presence, and Prerequisite: VOCAL-203 Sightsinging 2. Expands sightsinging skills to include stylistic interpretation. Classes are video-recorded to allow students to review more complex major and minor diatonic melodies and harmonies and the intro- their own performances. Two lab-ensemble hours per week for one quarter. duction of mixed rhythms. Topics include: intervals, inversions, major and minor thirds, major melodies, triads, arpeggios, and quarter note triplets. One lecture VOCAL-102 Vocal Technique 1 (1) hour plus one lab hour per week for one quarter. An introduction to the anatomy and physiology of the voice. Topics include: vocal physiological terminologies, breathing (and how it affects the act of sing- VOCAL-403 Sightsinging 4 (1.5) ing), effective practice habits, and voice-protection techniques. One lecture Prerequisite: VOCAL-303 Sightsinging 3. Continued exploration of major and hour per week for one quarter. minor melodies and mixed rhythms. Topics include: an introduction to minor scales, seventh chords, and changing meters. One lecture hour plus one lab VOCAL-202 Vocal Technique 2 (1.5) hour per week for one quarter. Prerequisite: VOCAL-102 Vocal Technique 1. Focuses on understanding the nature of human voice production. Topics include learning to recognize differ- VOCAL-113 Music Technology 1 (1.5) ent vocal functions through analysis and review. One lecture hour plus one lab An introduction to music technology for the vocalist. Students learn how music 78 hour per week for one quarter. technology can best assist them in capturing performances or writing their own music. Topics include project/home studio set-up, demystifying recording equip- VOCAL-302 Vocal Technique 3 (1.5) ment such as microphones and amplifiers, and an overview of essentials such Prerequisite: VOCAL-202 Vocal Technique 2. Focuses on “bridging” the voice as signal flow, digital audio workstation (DAW) workflow, terminologies, and into a continuous register without breaks. Vocal exercises to strengthen the essential audio formats. One lecture hour and one lab hour per week for one voice and allow singing at full power are discussed and practiced. One lecture quarter. hour plus one lab hour per week for one quarter. VOCAL-213 Music Technology 2 (1.5) VOCAL-402 Vocal Technique 4 (1) Prerequisite: VOCAL-113 Music Technology 1. An introduction to Apple Prerequisite: VOCAL-302 Vocal Technique 3. The final Vocal Technique recording and sequencing software GarageBand©. Students apply knowledge course addresses the formation of vowels and consonants, techniques for acquired in Music Technology 1 to recording and editing their own and others’ connecting with the lyrics and associated emotions of songs, the application vocal performances. Skills learned in this course provide the foundation for of vocal technique to assist in learning songs, and the analysis and imitation using more advanced recording and sequencing platforms. One lecture hour of contemporary artists’ voices as a means to develop a deeper awareness and one lab hour per week for one quarter. and understanding of the vocal instrument. One combined lecture-lab hour per week for one quarter. VOCAL-313 Music Technology 3 (1) Prerequisite: VOCAL-213 Music Technology 2. Building on the basic principles VOCAL-103 Sightsinging 1 (1.5) covered in Music Technology 2, this course introduces Apple Logic© recording Introduction to sightreading and sightsinging for the vocalist. Topics include an and sequencing software—a versatile and powerful tool for the modern vocal overview of music notation, the basic elements of written music, major scales, artist, performer, or songwriter. Students learn to apply basic functions such as ties, dotted notes, warm-ups, and simple diatonic melodies with whole, half, recording, editing, and effects to capturing their own vocal performances. One quarter, eighth, and sixteenth-note rhythmic patterns. One lecture hour plus lecture/lab hour per week for one quarter. one lab hour per week for one quarter. ASSOCIATE OF ARTS IN PERFORMANCE (VOCALS)

VOCAL-413 Music Technology 4 (1.5) VOCAL-112 Digital Notation & Arranging 1 (1.5) Prerequisite: VOCAL-313 Music Technology 3. More advanced functions of Prerequisites: VOCAL-402 Vocal Technique 4, VOCAL-404 Vocal Performance Logic© as a tool for the vocalist, including in-depth exploration of comping, 4, and VOCAL-413 Music Technology 4. For the professional vocalist, the plug-ins, MIDI and virtual instruments, basic drum programming and loop- ability to create easy-to-understand and easy-to-edit charts and leadsheets is ing, automation, bouncing, and basic mastering techniques. As a final project, invaluable. This course introduces the popular music notation software Sibel- each student records and edits their own vocal performances using techniques ius© as a digital means for creating charts and leadsheets, along with some learned during the course. One lecture hour and one lab hour per week for one basic arranging exercises. One lecture hour and one lab hour per week for one quarter. quarter. VOCAL-508 Studio Recording 1 (2) VOCAL-212 Digital Notation & Arranging 2 (1.5) Prerequisites: VOCAL-402 Vocal Technique 4, VOCAL-404 Vocal Performance Prerequisite: VOCAL-112 Digital Notation & Arranging 1. Combining notation 4, and VOCAL-413 Music Technology 4. Learn the art and practical skills of skills with knowledge gained in musicianship, songwriting, and technology creating your own professional-quality three-song vocal reel in the recording classes, students create, edit, and arrange charts for use in their own record- studio using industry-standard audio equipment. Topics include pre-production, ings and performances. As a final project, students stage a live performance microphone techniques, equipment choice, essential recording studio ter- with band or backing-track accompaniment based on their own arrangements minology, pre-amplification, EQ and effects for lead vocals, as well as other and charts. One lecture hour and one lab hour per week for one quarter. equipment and techniques essential to creating and capturing the best vocal performance. Two lecture-lab-ensemble hours per week for one quarter. PROFESSIONAL DEVELOPMENT (5 credits) VOCAL-608 Studio Recording 2 (2) VOCAL-108 Entertainment Business 1 (1) Prerequisites: VOCAL-508 Studio Recording 1. Building on the knowledge Prerequisites: VOCAL-202 Vocal Technique 2, VOCAL-204 Vocal Performance and techniques learned in Studio Recording 1, students complete their three- 2, and VOCAL-213 Music Technology 2. This course provides the student with 79 song reel in the recording studio, including overdubs, backing vocals, final EQ an understanding of the entertainment industry as it exists today — essential and effects. Students also take turns engineering for each other as a means knowledge for anyone looking to sustain a career as a vocalist in the post-dig- to understand the needs of the recording staff and the best way to maximize ital era. Topics covered include an overview of: record companies, distributors, studio vocal performances. Two lecture-lab-ensemble hours per week for one representation, contracts, publishing, copyright, viable industry positions, and quarter. more. One lecture hour per week for one quarter. VOCAL-110 Image & Artist Development 1 (1.5) VOCAL-208 Entertainment Business 2 (1) Prerequisites: VOCAL-402 Vocal Technique 4, VOCAL-404 Vocal Performance Prerequisites: VOCAL-108 Entertainment Business 1. Further exploration of 4, and VOCAL-208 Entertainment Business 2. This course focuses on image the entertainment business with a focus on the independent artist sector of the development for the vocalist. Students learn how to identify their target audi- industry and how vocalists can best exploit these aspects to their career advan- ence, develop a visual image and stage persona suited to this demographic, tage. Topics include starting your own record company, indie distribution deals; effective interview techniques (including on-camera image and question-lead- agents, managers, and lawyers; starting your own publishing company, entre- ing), and how to integrate all of these elements into a seamless image. One preneurship, fan base management, networking, alternate revenue streams, lecture hour and one lab hour per week for one quarter. and more. One lecture hour per week for one quarter. VOCAL-210 Image & Artist Development 2 (2) VOCAL-109 Visual Media & Marketing 1 (1.5) Prerequisites: VOCAL-110 Image & Artist Development 1. Building on acquired Prerequisites: VOCAL-402 Vocal Technique 4, VOCAL-404 Vocal Performance knowledge and techniques, the focus turns to artist development. Each student 4, and VOCAL-413 Music Technology 4, VOCAL-208 Entertainment Business works with an assigned instructor to take original songs or arrangements of 2. This course focuses on understanding the self-marketing and promotional existing material from initial concepts to finished arrangements, in the process techniques needed for the modern vocalist to spread his/her audio/visual learning to solidify their unique stylistic identity. One private lesson-rehearsal materials across the marketplace. Topics include creating a presence on online © © hour per week for one quarter. music portals (such as iTunes and Rhapsody ); DIY marketing strategies and techniques; identifying the target demographic, live show booking, and an over- ASSOCIATE OF ARTS IN PERFORMANCE (VOCALS)

view of currently available online tools such as BandZoogle© and Songcast©. VOCAL-112 Digital Notation & Arranging 1 (1.5) One lecture hour and one lab hour per week for one quarter. Prerequisites: VOCAL-413 Music Technology 4, VOCAL-402 Vocal Technique 4, VOCAL-404 Vocal Performance 4, VOCAL-211 Songwriting & Analysis 2. VOCAL-209 Visual Media & Marketing 2 (1.5) For the professional vocalist, the ability to create and edit easy-to-understand Prerequisite VOCAL-109 Visual Media & Marketing 1. Vocalists learn to gener- charts and leadsheets is invaluable. This course introduces the popular music ate the necessary audio/visual materials necessary to promote themselves as notation software Sibelius© as a digital means for creating charts and lead- artists, performers, or songwriters. These include professional photographs, sheets, along with some basic arranging exercises. One lecture hour and one websites, electronic press kits (EPKs), CD covers (using Photoshop©), biog- lab hour per week for one quarter. raphies, and the creation of an effective presence on social networking sites (such as Facebook© and MySpace©). One lecture hour and one lab hour per VOCAL-212 Digital Notation & Arranging 2 (1.5) week for one quarter. Prerequisite: VOCAL-112 Digital Notation & Arranging 1. Combining notation skills with knowledge gained in musicianship, songwriting, and technology MUSICIANSHIP (12 credits) classes, students create, edit, and arrange charts for use in their own record- ALLMI-101-201 Harmony and Theory 1–2 (1.5) ings and performances. One lecture hour and one lab hour per week for one Three credit units required (one and one-half per quarter). See General quarter. Requirements for course descriptions. ELECTIVES (16 credits) ALLMI 102-202 Ear Training 1-2 (1.5) Voice students may fulfill their elective credit requirements by choosing from Three credit units required (one and one-half per quarter). See General program-specific electives, general electives, or entry-level electives offered by Requirements for course descriptions. other programs; see course offerings for options. VOCAL-105 Keyboards for Vocalists 1 (1.5) 80 ENTRY-LEVEL ELECTIVES This course uses the keyboard as a visual and aural aid to developing musicianship for the vocalist. Topics include: basic reading (including grand staff, VOCAL-016E Live Background Vocals (1) treble and bass clefs, and identifying notes), fingering technique, major scales, Ensemble class designed to teach entry-level vocal students the essentials of intervals, major triads, diminished and augmented triads, and simple melodies. backing vocals with an emphasis on blending during live performance. Top- One lecture hour plus one lab hour per week for one quarter. ics include: harmonizing and holding parts in a large or small ensemble. Two ensemble hours per week for one quarter. May be repeated for credit. VOCAL-205 Keyboards for Vocalists 2 (1.5) Prerequisite VOCAL-105 Keyboards for Vocalists 1. Additional topics include VOCAL-018E Accent Reduction (1.5) natural, harmonic, and melodic minor scales; diatonic major and minor harmo- This course enables non-native English speaking students to develop an nies; inversions; seventh chords; and the use of inverted triads in basic chord American English accent for effective English-language vocals. Students learn progressions. One lecture hour and one lab hour per week for one quarter. to break words into their phonetic elements and identify and concentrate on specific problem sounds. One lecture hour and one lab hour per week for one VOCAL-111 Songwriting & Analysis 1 (1.5) quarter. As preparation for further studies in music theory and songwriting, this course focuses on understanding the fundamentals of contemporary music creation, VOCAL-024E Stage Movement 1 (1) including song structure, tempo, lyrics, melody, harmony, rhythmic elements Introduction to effective body movement in live performance. Techniques and subjective emotional qualities. One lecture hour and one lab hour per week include small, full, and stadium stage movement, mime, and mirror imaging. for one quarter. One ensemble hour per week for one quarter. VOCAL-211 Songwriting & Analysis 2 (1.5) VOCAL-025E Stagecraft (1) Prerequisite: VOCAL-111 Songwriting & Analysis 1. Students apply previously- Students learn techniques for becoming natural and effective live performers. learned concepts to creating original material (both in writing teams and While performing original projects or improvisations, students are coached on working alone) based on varying topics and genres provided by the instructor. stage presence, etiquette, believability, and audience communication. One Includes critique and discussion. One lecture hour and one lab hour per week workshop hour per week for one quarter. May be repeated for credit. for one quarter. ASSOCIATE OF ARTS IN PERFORMANCE (VOCALS)

VOCAL-SPECIFIC ELECTIVES (available only to Vocal majors) VOCAL-027E Vocal Interpretation (1) Develop a personal vocal style and approach through exercises designed to VOCAL-011E Blues Vocals (1) unlock the music within. Topics include vocal improvisation, applying different A study of blues vocalists and the blues genre, providing students with an grooves to familiar songs, adding emotion to performances, and finding one’s insight into blues phrasing and emotional delivery in order to create more own distinct musical voice. Two performance hours per week for one quarter. authentic and convincing blues performances. One lecture hour per week for May be repeated for credit. one quarter. VOCAL-028E No Musicians Needed (1) VOCAL-012E Extreme Vocals 1 (1) Develop and enhance improvisational styles and expand vocal capabilities dur- Vocalists performing in an extreme style who maintain long careers do so ing weekly acapella vocal jam sessions. One hour per week for one quarter. because they apply effective vocal techniques that prevent damage to their May be repeated for credit. voices. Techniques taught include “The Gravel” (James Hetfield/Metallica), “The Bobcat” (Phil Anselmo/Pantera), “The Drill Sergeant” (Slayer, Godsmack) VOCAL-029E Voiceover Workshop (1) and “The White Scream” (Roger Daltrey/The Who). Note: due to the nature of Learn techniques essential for success in the voiceover industry. Topics include the techniques taught, students enrolling in this class must sign an “Extreme preparing for auditions, developing characters, vocal command and consis- Vocal Release Form.” Two ensemble hours per week for one quarter. May be tency in reading, and changing tone, volume, pitch, type, tempo, and emphasis. repeated for credit. One lecture hour per week for one quarter. VOCAL-013E gospel Vocals (1) VOCAL-106E The Art of Success 1 (1.5) An ensemble class in which students perform traditional and contemporary This course offers real-world advice about how to define success for yourself, Gospel songs. Students rotate lead vocal performances with the class acting how to realistically create the next step in your evolution as a performer, and as choir/background. Topics include constructing lead vocals, learning and how to keep moving up the industry ladder. Two workshop hours per week for 81 arranging harmonies by ear, and group vocal blending and dynamics. Two one quarter. ensemble hours per week for one quarter. May be repeated for credit. ADVANCED ELECTIVES VOCAL-014E Jazz Vocals (1) (see course descriptions for prerequisites) Learn to communicate with a band and work in a jazz ensemble. Emphasis is placed on learning the standard repertoire and developing a personal stylistic VOCAL-030E Songwriters in the Round (1.5) interpretation. One lecture hour per week for one quarter. May be repeated for Prerequisite: VOCAL-211 Songwriting & Analysis 2. Students refine songwrit- credit. ing and performance skills with a focus on melody, lyrics, song structure, and style. Regular writing assignments culminate in a final self-accompanied perfor- VOCAL-015E Rock Vocals (1) mance. One lecture hour plus one lab hour per week for one quarter. May be Learn the unique styles of influential classic and modern rock vocalists through repeated for credit. listening, analysis, demonstrations of technique, and class discussion. One lecture hour per week for one quarter. May be repeated for credit. VOCAL-040E Vocal Teacher Training 1 (1) Prerequisite: VOCAL-402 Vocal Technique 4. An introduction to vocal train- VOCAL-017E Studio Background Vocals 1 (1.5) ing techniques, including techniques for evaluating the throat, establishing a Learn how to use harmony and vocal texturing in the studio to create a backing viable starting-point for the student, correcting interferences, increasing range, vocal array – useful knowledge for the artist, performer, and/or songwriter. One applying scale exercises, and effective communication of the science of vocal ensemble hour and one workshop hour per week. May be repeated for credit. technique. One lecture hour per week for one quarter. VOCAL-021E Hip-Hop Dance 1 (1.5) VOCAL-140E Vocal Teacher Training 2 (1) An introduction to the Hip-Hop dance style featured in choreographed Hip-Hop Prerequisite: V0CAL-040E Vocal Teacher Training 1. Continued development and Pop performances and videos. Course consists of warm-ups, stretching, of vocal training techniques. Topics include recovery from vocal abuse, bridging combinations, and groove movements. Four workshop hours per week for one and strengthening the middle register, vocal effects, and techniques for break- quarter. ing down and practicing songs. One lecture hour per week for one quarter. ASSOCIATE OF ARTS IN PERFORMANCE (VOCALS)

VOCAL-112E Extreme Vocals 2 (1) VOCAL-206E The Art of Success 2 (1.5) Prerequisite: VOCAL-012E Extreme Vocals 1. A review of various extreme Prerequisite: VOCAL-106E The Art of Success 1. Students expand their per- vocal styles followed by extreme-style-specific vocal exercises. Each student ception of the entertainment industry—and their definitions of success within is required to prepare a number of different performances, including a final per- it—while engaging in activities designed to hone the skills necessary to be pro- formance, for class critique and instructor evaluation. Two ensemble hours per fessional musicians and artists. Two workshop hours per week for one quarter. week for one quarter. VOCAL-503E Sightsinging 5 (1.5) VOCAL-117E Studio Background Vocals 2 (1.5) Prerequisite: VOCAL-403 Sightsinging 4. Building on the skills developed Prerequisite: VOCAL-017E Studio Background Vocals 1. An advanced in Sightsinging 4, this course introduces two-part singing and covers more approach to vocal production in the recording studio. Learn how to add emo- complex diatonic major and minor keys, odd meters, and mixed rhythms. One tional textures to your original music with backing vocals. Students record lecture hour plus one lab hour per week for one quarter. background vocal arrangements for either their own projects or pre-recorded VOCAL-603E Sightsinging 6 (1.5) tracks in a real-world vocal-session environment. One lab hour and one Prerequisite: VOCAL-503 Sightsinging 5. A continuation of Sightsinging 5, ensemble hour per week for one quarter. May be repeated for credit. this course introduces more complex two-part major and minor melodies and VOCAL-121E Hip-Hop Dance 2 (1.5) rhythms, the blues scale, and modes. One lecture hour plus one lab hour per Prerequisite: VOCAL-021E Hip-Hop Dance 1. A continuation of Hip-Hop Dance week for one quarter. 1, exploring more complex choreography and movement. Four workshop hours VOCAL-305 Keyboards for Vocalists 3 (1.5) per week for one quarter. Prerequisite VOCAL-205 Keyboards for Vocalists 2. An introduction to practical VOCAL-122E Hip-Hop Dance Performance (1.5) keyboard performance skills for the vocalist. Topics include basic fingerings for 82 Prerequisite: VOCAL-121E Hip-Hop Dance 2. During this course, students scales and chords, transposition, and techniques for self-accompaniment. One learn specific choreographed routines to be showcased in a final filmed class lecture hour and one lab hour per week for one quarter. performance. Four workshop hours per week for one quarter. VOCAL-124E Stage Movement 2 (1) Prerequisite: VOCAL-024E Stage Movement 1. Focuses on developing stage movement techniques for various tempos and styles including R&B, rock, jazz and more. One ensemble hour per week for one quarter. VOCAL-141E Advanced Acapella Ensemble (1) Prerequisite: VOCAL-202 Vocal Technique 2. A three-to-five-part acapella group performing arrangements of contemporary material with a dynamic, contemporary sound. Two workshop hours per week for one quarter. May be repeated for credit. VOCAL-130E Songwriting 1 (1.5) Prerequisite: VOCAL-211 Songwriting & Analysis 2. Students learn to write in a variety of genres by studying the historical development of contemporary songwriting from the 1950s through to the present day. One lecture hour plus one lab hour per week for one quarter. VOCAL-230E Songwriting 2 (1.5) PPrerequisite: VOCAL-130E Songwriting 1. Students learn the skill of writing on commission, including writing for television, film, and commercials.Topics include techniques for writing quickly to meet special conditions. One lecture hour and one lab hour per week for one quarter. ASSOCIATE OF ARTS IN PERFORMANCE (COMBINED EMPHASIS)

ASSOCIATE OF ARTS IN PERFORMANCE (COMBINED EMPHASIS) MI’s six-quarter, 90-credit-unit Associate of Arts in Performance (Combined Emphasis) is an occupational1 degree designed for students who wish to combine studies in contemporary music performance with an emphasis in a specialized area of the music industry. To earn an AA (Combined Emphasis), students may combine an instrument major (Bass, Drums, Guitar, Keyboard Technology, or Vocals) with studies in:

Audio Engineering Professional audio recording and music production, post-production audio, live sound production

Independent Artist Development Original songwriting, recording, production, and career development

Music Business Music industry business career preparation, music entrepreneur training

Guitar Craft Electric and acoustic guitar and bass design, fabrication, and maintenance2 83 Music Video, Film and Television Production Music-driven film and video creation Degree course and credit requirements are identical to the combined requirements of the two Certificate programs. For specific information about courses and credit requirements, refer to the catalog entry describing the appropriate Certificate in Performance (Bass, Drums, Guitar, Keyboard Technology, Vocals) and the section describing the appropriate music industry emphasis (Certificate in Audio Engineering etc.). 1Associate programs are vocational and do not include General Education requirements or direct preparation for study at the Baccalaureate level. For information on requirements for students wishing to transfer from an AA program to MI’s Bachelor of Music Degree program, please see the Bachelor Degree Admissions section of this catalog. 2The Guitar Craft emphasis is only available in combination with instrument studies in Guitar or Bass. CERTIFICATE IN PERFORMANCE

CERTIFICATE IN PERFORMANCE CERTIFICATE IN PERFORMANCE (BASS) MI’s 60-credit-unit, four-quarter Certificate in Performance program provides students with a broad foundation of musical knowledge, technique and practical CERTIFICATE REQUIREMENTS experience that prepares them for virtually any style of contemporary popular The following course requirements must be satisfactorily completed in order music performance. to qualify for the Certificate in Performance (Bass). Certificate requirements are listed here in outline form. Certificate courses and requirements match the Core and elective classes, private lessons, Live Performance Workshops, first four quarters of the Associate of Arts in Performance (Bass); for full course Open Counseling sessions, and regular visiting artist concerts and seminars descriptions of core classes and electives, refer to that section of the catalog. combine to create an intensive educational environment designed to encourage rapid development of performance skills. CERTIFICATE IN PERFORMANCE (BASS) Certificate in Performance requirements for each instrument are equivalent to four quarters: 1 2 3 4 the first four quarters of the respective Associate of Arts in Performance. Pro- gram requirements are listed on the following pages in outline form; for course major area descriptions, refer to Associate of Arts Degree requirements. private lesson 1-4 2 2 2 2 Certificates in Performance are offered for: live performance workshops 1-4 1 1 1 1 Bass playing techniques 1-4 1.5 1.5 1.5 1.5 Drums reading 1-4 1.5 1.5 1.5 1.5 Guitar Keyboard Technology fretboard basics 1-4 1.5 1.5 1.5 1.5 84 Vocals rhythm section workshop 1-4 1.5 1.5 1.5 1.5 musicianship harmony & theory 1-4 1.5 1.5 1.5 1.5 ear training 1-6 1.5 1.5 1.5 1.5

electives (various) 3 3 3 3 60 credits: 15 15 15 15 CERTIFICATE IN PERFORMANCE

CERTIFICATE IN PERFORMANCE (DRUMS) CERTIFICATE IN PERFORMANCE (GUITAR) CERTIFICATE REQUIREMENTS CERTIFICATE REQUIREMENTS The following course requirements must be satisfactorily completed in order to The following course requirements must be satisfactorily completed in order to qualify for the Certificate in Performance (Percussion). Certificate requirements qualify for the Certificate in Performance (Guitar). Certificate requirements are are listed here in outline form. Certificate courses and requirements match the listed here in outline form. Certificate courses and requirements match the first first four quarters of the Associate of Arts in Performance (Percussion); for full four quarters of the Associate of Arts in Performance (Guitar); for full course course descriptions of core classes and electives, refer to that section of the descriptions of core classes and electives, refer to that section of the catalog. catalog. CERTIFICATE IN PERFORMANCE (GUITAR) CERTIFICATE IN PERFORMANCE (DRUMS) four quarters: 1 2 3 4 four quarters: 1 2 3 4 major area major area private lesson 1-4 2 2 2 2 private lesson 1-4 2 2 2 2 live performance workshops 1-4 1 1 1 1 live performance workshops 1-4 1 1 1 1 single string improvisation 1-4 1.5 1.5 1.5 1.5 playing techniques 1-4 1.5 1.5 1.5 1.5 rhythm guitar 1-4 1.5 1.5 1.5 1.5 reading 1-4 2 2 1.5 1.5 rhythm section workshop 1-4 1.5 1.5 1.5 1.5 rhythm section workshop 1-4 2 2 2 2 reading 1-4 1.5 1.5 1.5 1.5 85 developing your groove 1-2 1 1 musicianship music minus one 1-2 1 1 harmony & theory 1-4 1.5 1.5 1.5 1.5 digital drumming 1-2 2.5 2.5 ear training 1-4 1.5 1.5 1.5 1.5 contemporary drum concepts 1-2 1.5 1.5 advanced drumming 1-2 1.5 1.5 electives (various) 3 3 3 3 musicianship 60 credits: 15 15 15 15 keyboard lab 1-2 1 1 harmony & theory 1-2 1.5 1.5 ear training 1-2 1.5 1.5

electives (various) 1 1 1 1 60 credits: 15 15 15 15 CERTIFICATE IN PERFORMANCE

CERTIFICATE IN PERFORMANCE CERTIFICATE IN PERFORMANCE (VOCALS) (KEYBOARD TECHNOLOGY) CERTIFICATE REQUIREMENTS CERTIFICATE REQUIREMENTS The following course requirements must be satisfactorily completed in order to The following course requirements must be satisfactorily completed in order qualify for the Certificate in Performance (Voice). Certificate requirements are to qualify for the Certificate in Performance (Keyboard Technology). Certificate listed here in outline form. Certificate courses and requirements match the first requirements are listed here in outline form. Certificate courses and require- four quarters of the Associate of Arts in Performance (Voice); for full course ments match the first four quarters of the Associate of Arts in Performance descriptions of core classes and electives, refer to that section of the catalog. (Keyboard Technology); for full course descriptions of core classes and electives, refer to that section of the catalog. CERTIFICATE IN PERFORMANCE (VOCALS) four quarters: 1 2 3 4 CERTIFICATE IN PERFORMANCE (KEYBOARD TECHNOLOGY) four quarters: 1 2 3 4 major area private lesson 1-4 2 2 2 2 major area live performance workshops 1-4 1 1 1 1 private lesson 1-4 2 2 2 2 vocal performance 1-4 2 2 2 2 live performance workshops 1-4 1 1 1 1 vocal technique 1-4 1 1.5 1.5 1 groove 1-4 1.5 1.5 1 1 sightsinging 1-4 1.5 1.5 1.5 1.5 keyboard voicings 1-4 1 1 1 1 86 music technology 1-4 1.5 1.5 1 1.5 digital music 1-4 1.5 1.5 1.5 1.5 keyboard programming 1-4 1 1 1 1 professional development entertainment business 1-2 1 1 keyboard technique 1-4 1 1 1 1 reading 1-4 1 1 1 1 musicianship songwriting & analysis 1-2 1.5 1.5 musicianship keyboards for vocalists 1-2 1.5 1.5 harmony & theory 1-4 1.5 1.5 1.5 1.5 harmony & theory 1-2 1.5 1.5 ear training 1-4 1.5 1.5 1.5 1.5 ear training 1-2 1.5 1.5 electives (various) 2 2 2.5 2.5 electives (various) 3 2.5 2 2 60 credits: 15 15 15 15 60 credits: 15 15 15 15 Audio Engineering

Certificate in Audio Engineering Major Area The two-quarter/30 credit-unit Certificate in Audio Engineering provides an AUDIO-101 Practical Recording (2) intensive, hands-on curriculum designed to prepare aspiring engineers for Class focuses on recording drums, bass, different types of guitars, vocals, the demands of the professional recording studio. Completion of all program piano etc. Learn how to overdub single instruments and build a complete, multi- requirements qualifies students to earn the Certificate in Audio Engineering. track arrangement and production using the SSL studio and ProTools HD. One 90-minute lecture and one 90-minute workshop per week for one quarter. CERTIFICATE IN AUDIO ENGINEERING two quarters: 1 2 AUDIO-102 Console Operation 1: SSL (2) Students learn signal flow as it applies directly to high-end professional SSL major area consoles, including how to route signals for tracking, overdubbing, and mixing. console operation 1-2 2 2 One 90-minute lecture and one 90-minute workshop per week for one quarter. pro tools 1-2 3.5 3.5 AUDIO-202 Console Operation 2: Neve (2) music pre-production 1.5 Prerequisite: AUDIO-102 Console Operation 1: SSL. Students learn signal flow as it applies directly to the high-end professional Neve consoles, including how musicianship 1.5 to route signals for tracking, overdubbing, and mixing. One 90-minute lecture music studio etiquette 1.5 and one 90-minute workshop per week for one quarter. practical recording 2 AUDIO-103 Pro Tools 1 (3.5) acoustics 1.5 Learn the basic concepts and theory involved in using a digital audio worksta- recording theory 1.5 tion. Students will learn how to set up a Pro Tools session for recording, import audio, edit and record MIDI, back up data, work with firewire drives, and more. 87 post-production 1.5 Completion of the course prepares students to take Digidesign-authorized Pro signal processing 1.5 Tools 101 and 110 exams. One 3-hour lecture and one 90-minute lab per week mixing and mastering 2 for one quarter. electronics 1.5 AUDIO-203 Pro Tools 2 (3.5) Prerequisite: AUDIO-103 Pro Tools 1. This class explores powerful Pro Tools electives editing and processing functions including plug-ins, automation, synchroniza- various* 3 tion, quantization, mastering and more. Completion of the course prepares 30 credits: 15 15 students for the Digidesign-authorized Pro Tools 201 and 210M certification *elective requirement must be met from program-specific electives exams; students who pass both exams qualify as Digidesign Certified Opera- tors and are included in Digidesign’s official listing. One 3-hour lecture and one COURSE DESCRIPTIONS 90-minute lab per week for one quarter. All course descriptions include course number, title, number of credit units AUDIO-104 Music Studio Etiquette (1.5) per quarter (multiply by number of required quarters for total credit amount), A comprehensive look at what goes on before, during and after sessions. Learn prerequisites (where applicable), description of content, and contact hours per the do’s and don’ts of how to work in a professional recording studio environ- week. ment. One 90-minute lecture per week for one quarter. AUDIO-105 Acoustics (1.5) Fundamentals of musical phenomena and perception. Learn to recognize fre- quencies by ear and how different microphone techniques affect the recording of sound waves, critical elements in creating a professional recording and mix. Also introduces the student to soundproofing and acoustic treatments of studios. One 90-minute lecture per week for one quarter. Audio Engineering

AUDIO-106 Musicianship (1.5) ELECTIVES Note: successful completion of this course or equivalency exam is a prerequi- Note: Audio Engineering students must complete their elective requirements site for all electives. This class provides a basic understanding of terms used from the following program-specific electives only. by musicians, engineers and producers as well as the information necessary to bridge the gap separating these three different roles. Learn how to contribute Entry-Level Electives to the songwriting process in a studio environment. One 90 minute lecture per Note: successful completion of AUDIO-106 Musicianship or equivalency exam week for one quarter. is a prerequisite for all electives. AUDIO-107 Music Pre-Production (1.5) AUDIO-010E Introduction to Live Sound (1.5) Students gain basic production skills while working with project-studio equip- Class focuses on live sound engineering. Students participate in “front of ment. Students record right away, learning how demos are made and why they house” mixing, monitor mixing and set-up/tear down procedures in a working, are so crucial to having a great session. One 90-minute lecture per week for 500-seat concert hall environment. World-class musicians in a variety of styles one quarter. provide the music. One three-hour lecture per week for one quarter. AUDIO-108 Recording Theory (1.5) AUDIO-011E Music Production (1.5) Fundamentals of analog recording theory and practice, including an overview Students learn the “ins and outs” of both the business and creative sides of of studio components, EQ and filters, dynamic processors, microphones, aux- album production. Classes are hands-on, intensive and real-world, covering iliary routing and effects processors. One 90-minute lecture per week for one concepts such as budgeting, choosing studios and musicians, working with quarter. engineers and management, and finessing the best performance out of artists. One 90-minute lecture per week for one quarter. AUDIO-204 Mixing and Mastering (2) Advanced Electives (see course descriptions for pre-requisites) 88 Learn professional mixing and mastering techniques including fader balance and automation, lifting instruments with EQ and corrective EQ blueprints, AUDIO-150E Audio Internship (1.5) editing and gating techniques, compressor and limiter settings, imaging, and Prerequisites: AUDIO-108 Analog Recording Theory, 3.5 minimum GPA. See time-based processors. During a weekly Project Advisor meeting, students RIT Administrator for additional requirements. Students gain practical profes- discuss progress and receive advice and critique on their mandatory Final sional experience in working recording studios as engineering assistants. Recording Project. One 90-minute lecture and one 90-minute group Project Hours and schedules vary according to the specific position obtained; minimum Advisor meeting per week for one quarter. of five hours per week for one quarter. AUDIO-205 Electronics (1.5) AUDIO-151E Electronics Workshop (1.5) Builds a firm understanding of soldering techniques, DC and AC circuits, and Prerequisite: AUDIO-105 Acoustics. Students who are interested in becoming various technical components used in studios. One 90-minute lecture per week studio technicians or learning how to do repairs on their own studio gear gain for one quarter. practical hands-on experience in studio maintenance and repair. Three workshop hours per week for one quarter. AUDIO-207 Intro to Post-Production (1.5) Fundamentals of audio post-production concepts and techniques, including AUDIO-152E Intro to Logic (1.5) sound effects editing, dialogue editing, Foley, and 5.1 Surround mixing for Prerequisite: AUDIO-103 Pro Tools 1. This course introduces songwriters, film and television. Weekly hands-on projects culminate in a final project. One composers, audio producers and sound engineers to the primary features and 90-minute lecture per week for one quarter. basic user interface of Logic Pro. Students learn the process of creating an actual song, from recording, editing, and arranging MIDI sequences to digital AUDIO-208 Signal Processing (1.5) effects processing, mixing, automation and scoring to picture using Logic Pro’s Learn how to operate professional signal processing gear including traditional comprehensive array of software instruments, Apple Loops and DSP effects. in-line processors (compressor, gate, EQ), effects processors (reverb, delay, The course covers the requirements needed to become an Apple Certified chorus, pitch shift), and both Pro Tools and third party plug-ins. One 90-minute Pro – Level One in Logic Pro 9. One three-hour lecture per week for one class per week for one quarter. quarter. Audio Engineering

AUDIO-153E Studio Design (1.5) Prerequisite: AUDIO-105 Acoustics. This course is designed to focus on creating an acoustically viable space in the home or project studio environment. Students will learn the various methods of controlling sound in a less than ideal space. Devices for sound proofing and sound controlling will be studied and used in the creation of an actual studio. You will get your hands dirty in this one. One 90-minute lecture/workshop per week for one quarter. AUDIO-154E Track Programming (1.5) Prerequisite: AUDIO-101 Practical Recording. This course introduces students to the art of sequencing tracks using MIDI, samplers, loops, and the latest computer software. This elective is ideal for students interested in producing beats for popular music styles such as Hip Hop, R & B, pop/rock, dance, electronica, etc. One 90-minute lecture per week for one quarter. AUDIO-155E Video Game Audio (1.5) Prerequisite: AUDIO-103 Pro Tools 1. This course is designed to teach core elements, workflow and concepts involved in creating audio for video games or multimedia. Students learn to design sounds and ambience for video games. One 90-minute lecture per week for one quarter. 89 Post-Production Audio

Certificate in Audio Engineering CERTIFICATE IN AUDIO ENGINEERING (Post-Production Audio) (POST-PRODUCTION AUDIO) The three-quarter/45 credit-unit Certificate in Audio Engineering with an three quarters: 1 2 3 emphasis in Post-Production Audio prepares graduates for a wide range of creative and professional opportunities in the fields of music, film and televi- major area sion audio. Through hands-on courses taught on industry-standard equipment console operation 1-2 2 2 by experienced professionals, students learn to manage the entire audio production process from pre-production and tracking through editing, mixing, pro tools 1-2 3.5 3.5 conforming and mastering. Concepts and technical skills are presented from a music pre-production 1.5 practical perspective with an emphasis on musical and creative applications. musicianship 1.5 music studio etiquette 1.5 practical recording 2 acoustics 1.5 recording theory 1.5 intro to post-production 1.5 signal processing 1.5 mixing and mastering 2 90 electronics 1.5 emphasis ADR 1.5 background and sound effects 3 foley recording and editing 1.5 field recording 1.5 mixing and conforming 3 music editing 1.5 post-production essentials 1.5 dialogue editing 1.5

electives various 3 45 credits: 15 15 15 *elective requirement must be met from program-specific electives

AUDIO ENGINEERING COURSE REQUIREMENTS All audio engineering course requirements for the 45-unit Certificate inAudio Engineering (Post-Production Audio) are identical to those for the 30-unit Cer- tificate in Audio Engineering; see that program description in this catalog for Post-Production Audio details. Courses specific to the Post-Production Audio emphasis are described resources, editing techniques and elements of film scoring. One three-hour lec- below. ture per week for one quarter.

COURSE DESCRIPTIONS AUDIO-307 Post-Production Essentials (1.5) All course descriptions include course number, title, number of credits, prereq- Students receive a comprehensive overview of all the essential concepts, uisites (where applicable), description of content, and contact hours per week. equipment, formats, workflow and scheduling of a Post-Production facility and project. One three-hour lecture per week for one quarter. POST-PRODUCTION AUDIO COURSE REQUIREMENTS AUDIO-308 Dialogue Editing (1.5) NOTE: successful completion of AUDIO-204 Mixing and Mastering is a pre- Learn to hand-sync dialog, ADR and auto-assemble production sound dailies requisite for all courses in the Post-Production Audio emphasis. to video using the picture editor-supplied CMX edit decision list (EDL) output AUDIO-301 ADR (1.5) from both Avid and Final Cut Pro picture editing systems. Additional techniques Learn the ins and outs of ADR (Automated Dialog Replacement). Students include preparing dialog for dubbing, back-filling with ambiance forADR, and learn to accurately replace dialog for television and film while working on a time compression and expansion of ADR using Pro Tools. Topics include time professional project in a pro environment. This class is very dynamic and code formats, frame rates, time-base references, and proper track layout hands-on and provides real-life experience in professional post-production edit- for both dialog and ADR edit sessions in preparation for the dub stage. One ing. One 90-minute lecture per week for one quarter. 90-minute lecture per week for one quarter. AUDIO-302 Background and Sound Effects (3) Using professional sound libraries and movie scene analysis, students learn how to edit and synchronize background and sound effects. This class also emphasizes the delivery requirements for the dubbing stage. One three-hour 91 lecture per week for one quarter. AUDIO-303 Foley Recording and Editing (1.5) This class demonstrates the recording and editing techniques for footsteps and props. Students will learn how to spot and configure the editing environment in preparation for a Foley session. One 90-minute lecture per week for one quarter. AUDIO-304 Field Recording (1.5) Students learn theory and practical use of microphones, field recorders and mixers in order to capture audio in outdoor and TV/Movie set environments. This course also focuses on the organization and editing of field recorder media inside Pro Tools. One 90-minute lecture per week for one quarter. AUDIO-305 Mixing and Conforming (3) Using the Digidesign Icon system in MI’s THX certified stage, students learn the complex and creative process of mixing sound and music in surround sound. This class introduces critical elements of dubbing session preparation, organization and conforming to reflect changes in the picture editing process. One three-hour lecture per week for one quarter. AUDIO-306 Music Editing (1.5) Music is an essential element in visual storytelling and emotional development. This course introduces students to concepts of music aesthetics, music LIVE SOUND PRODUCTION

Certificate in Audio Engineering CERTIFICATE IN AUDIO ENGINEERING (Live Sound Production) (LIVE SOUND PRODUCTION) The three-quarter/45 credit-unit Certificate in Audio Engineering with an three quarters: 1 2 3 emphasis in Live Sound Production prepares graduates for a wide range of creative and professional opportunities in the fields of music recording and major area production. Through hands-on courses taught on industry-standard equipment console operation 1-2 2 2 by professionally accomplished instructors, students learn to manage the audio production process from the studio to the live stage, including pre-production, pro tools 1-2 3.5 3.5 recording, editing, and mixing both studio recordings and live musical events. music pre-production 1.5 Concepts and technical skills are presented from a practical perspective with musicianship 1.5 an emphasis on musical and creative applications. music studio etiquette 1.5 practical recording 2 acoustics 1.5 recording theory 1.5 intro to post-production 1.5 signal processing 1.5 mixing and mastering 2 92 electronics 1.5 emphasis sound reinforcement essentials 3 console operation 3 1.5 monitor setup and operation 1.5 live recording and mixing 3 lighting and video production 1.5 stage and tour management 1.5 live sound applications 3

electives various 3 45 credits: 15 15 15 *elective requirement must be met from program-specific electives

AUDIO ENGINEERING COURSE REQUIREMENTS All audio engineering course requirements for the 45-unit Certificate inAudio Engineering (Live Sound Production) are identical to those for the 30-unit Certificate in Audio Engineering; see the program description in this catalog for details. Courses specific to the Live Sound Production emphasis are described below. LIVE SOUND PRODUCTION

LIVE SOUND PRODUCTION COURSE REQUIREMENTS sound checks, troubleshooting, etc.). One 90-minute lecture plus 4-6 hours of NOTE: successful completion of AUDIO-204 Mixing and Mastering is a pre- applied live event production per week for ten weeks. requisite for all courses in the Live Sound Production emphasis. AUDIO-401 Monitor Setup and Operation (1.5) Proper monitoring is essential to successful live music performance. Covers the fundamentals and practical applications of stage monitoring including contemporary in-ear monitoring systems. One 90-minute lecture per week for 10 weeks. AUDIO-402 Console Operation 3: Venue© (1.5) Prerequisite: AUDIO-202 Console Theory 2: Neve©. Students learn to operate Digidesign’s state-of-the-art Venue © live sound production system from setup and configuration to mixing tips and tricks including automation/snapshot capabilities and Pro Tools © integration for live recording. This course prepares students for the official Digidesign 110V certification exam. One 90-minute lecture per week for 10 weeks. AUDIO-403 Lighting and Video Production (1.5) Introduction to stage lighting and live video recording and directing. Students learn industry-standard lighting and video production systems, moving lights and lighting design software, as well as programmable fixtures and lighting cues. One 90-minute lecture per week for 10 weeks. 93 AUDIO-404 Live Recording and Mixing (3) Prerequisite: AUDIO-204 Mixing and Mastering. Students learn how to set up, record, and mix live music with focus on advanced concepts (fader balance, automation, EQ, compression and limiting, editing and gating, basic mastering, etc.) as they apply to live event recording and mixing. One 90-minute lecture and one 90-minute lab per week for 10 weeks. AUDIO-405 Sound Reinforcement Essentials (3) Prerequisite: AUDIO-204 Mixing and Mastering. A comprehensive overview of all the essential concepts, equipment, formats, workflow and scheduling of live music productions. Topics include installation, acoustics, microphones and microphone placement, power amplifiers, loudspeakers, cabling, and standard nomenclature and practices of the live sound profession. One three-hour lecture/lab per week for ten weeks. AUDIO-406 Stage and Tour Management (1.5) Introduction to live concert and event management including an overview of contract riders, backline, scheduling, logistics, media and accounting. One 90-minute lecture once a week for ten weeks. AUDIO-407 Live Sound Applications (3) In this hands-on class, students learn to manage the daily duties of sound reinforcement engineers (assembling sound systems, stage set-up and tear-down, INDEPENDENT ARTIST DEVELOPMENT

Artist Certificate ARTST-201 Independent Artist Project 2 (3) MI’s two-quarter, 30 credit-unit Independent Artist Program, leading to the Art- Prerequisite: ARTST-101 Independent Artist Project 1. Complete and submit ist Certificate, is designed to equip creative musicians with the skills required all elements of the final project, including final mixes, press kit, artwork, and to write, record and market their original music. As the centerpiece of the pro- career plan, to the faculty panel for review and evaluation. One one-hour gram, each student applies skills learned in core classes to produce recordings private Project Advising meeting per week plus assigned studio time for one of their original songs, create a website, develop a marketing and career plan, quarter. and design promotional media. ARTST-102 Recording Techniques 1 (2) Learn to produce professional recordings in a project-studio environment. This ARTIST CERTIFICATE portion of this course focuses on recording fundamentals and the process of two quarters: 1 2 tracking and overdubbing. Students learn how to record their original songs using the school’s studios as well as their own home setups. Specific topics major area include project-studio terminology, mic choice and placement, EQ, compres- independent artist project 1-2 3 3 sion and vocal production techniques. Two lecture hours per week for one recording techniques 1-2 2 2 quarter. apple logic 1-2 2 2 ARTST-202 Recording Techniques 2 (2) visual media 1-2 2 2 Prerequisite: ARTST-102 Recording Techniques 1. Building on the foundation of Recording Techniques 1, this course focuses on the mixing and mastering the business 2 process. Students learn how to turn basic tracks into dynamic and professional your career plan 2 finished products. Topics include effects, mixing, mastering, buying equipment 94 and home-studio setup. Two lecture hours per week for one quarter. electives (various)* 4 4 ARTST-103 Apple Logic 1 (2) Apple’s Logic Studio is a powerful music production package designed for 30 credits: 15 15 music creators and producers. This Apple-Certified course, when combined *at least 6 credits must be program-specific electives with Apple Logic 2, is equivalent to Apple’s own Logic 101 course. Topics covered include working with midi and audio, virtual instruments, effects, drum COURSE DESCRIPTIONS programming, time stretching and working with loops. Two lecture hours per All course descriptions include course number, title, number of credit units week for one quarter. per quarter (multiply by number of required quarters for total credit amount), ARTST-203 Apple Logic 2 (2) prerequisites (where applicable), description of content, and contact hours per Prerequisite: ARTST-103 Apple Logic 1. The second level of this Apple- week. Certified course focuses on using Logic as a mixing and mastering tool. Major Area Topics include effects, automation, scoring to picture, third-party plugins, and mastering using Logic’s companion program, Waveburner. Upon successful ARTST-101 Independent Artist Project 1 (3) completion, students are eligible to take Apple’s Logic Pro Certification Exam. Begin planning and creating your final Independent Artist project, which when Two lecture hours per week for one quarter. completed includes two or more original songs, CD artwork, a website, a press kit and a marketing/career plan. Apply all of the knowledge and skills devel- ARTST-105 The Business (2) oped during the program with assistance from Project Advisors who are expert The music business is in a rapid state of change. This course explains how in areas including songwriting, music production, audio recording, and graphic the business has traditionally been structured and discusses where it may be design. Initial assignments include producing rough song demos and creating a headed. Topics include the roles of attorneys, managers, agents and produc- production schedule. One one-hour private Project Advising meeting per week ers, music publishing, copyrights and how to create effective press kits and plus assigned studio time for one quarter. press releases. Two lecture hours per week for one quarter. INDEPENDENT ARTIST DEVELOPMENT

ARTST-206 Your Career Plan (2) ARTST-012E Songwriting Techniques 1 (2) Independent musicians now have more opportunities to control their own An introduction to songwriting through the study of the elements of contempo- careers than at any time in the history of the business. To be both self-sufficient rary song structure. Students develop their songwriting skills by presenting and and successful, artists must be highly motivated and organized in their busi- evaluating original song ideas. Class time will be split between instructor pre- ness approach. This course shows how to develop a brand identity, release sentation of weekly subject matter and student presentation of original songs and market your music, promote yourself on the internet and find ways of for feedback and discussion. Two lecture/workshop hours per week for one making money in the music business. All students are required to develop and quarter. submit a detailed marketing & career plan. Three lecture hours per week for ARTST-112E Songwriting Techniques 2 (2) one quarter. Prerequisite: AR11 Songwriting Techniques 1. Students learn advanced song- ARTST-104 Visual Media 1 (2) writing skills for developing a personal artistic vision as well as commercial Learn to design CD artwork, flyers, posters, promotional merchandise, and writing strategies. Class time will be split between instructor presentation of internet banners using Adobe Photoshop. Emphasis is on creating exciting and weekly subject matter and student presentation of original songs for feedback expressive designs that directly support music marketing campaigns. Detailed and discussion. Two lecture/workshop hours per week for one quarter. topics covered include Photoshop basics, image manipulation, color theory, ARTST-013E Intro to Music Publishing (1) photo retouching, filters and elements of effective design in promotional materi- An overview of music publishing from the artist’s perspective. Topics include als and packaging. Two lecture hours per week for one quarter. copyright basics, how co-writers divide percentages in a composition, when ARTST-204 Visual Media 2 (2) the producer gets credit, protecting your compositions (PA and SR forms), Prerequisite: ARTST-104 Visual Media 1. The internet has opened up an enor- what publishing companies can do for your career (song-plugging, advances, mous opportunity for musicians to promote themselves directly to music fans. administration, marketing funds), and more. Two lecture hours per week for This class focuses on the technical skills needed to promote music online. Top- one quarter. 95 ics include creating banner ads, building a website using Apple iWeb, electronic ARTST-101E IAP Private Lesson (2) press kits, creating and spreading playlists, podcasting, blogging, video editing Weekly one-hour private instrument lesson on bass, drums, guitar, keyboards, basics and customizing social networking sites. Two lecture hours per week for or vocals. One private lesson hour per week for one quarter; repeatable for two quarters. credit. ELECTIVES ARTST-102E Second IAP Private Lesson (2) Note: Independent Artist Program students must complete at least six (6) of An extra weekly lesson on bass, drums, guitar, keyboards, or vocals. One pri- their eight (8) required elective units from the following list: vate lesson hour per week for one quarter; repeatable for credit. ARTST-011E Synthesis and Sampling 1 (1) ALLMI-050E The Touring Musician (1) This course covers the history of synthesizers, fundamentals of subtrac- An introduction to what to expect as a touring musician. Includes finding and tive synthesis, sampling techniques and their application using Apple Logic negotiating live gigs, negotiating performance contracts, planning a budget, software. Includes practical application of theory using the ES-1, ES-2 and and covering the ‘real’ costs of traveling. Students learn to make and follow Sculpture synthesizers as well as the EXS-24 sampler and Apple Loops utility. through on an actual tour plan from first phone call to final costs. One lecture Two lecture hours per week for one quarter. hour per week for one quarter. ARTST-111E Synthesis and Sampling 2 (1) ALLMI-060E Music Internship (1) Prerequisite: ARTST-011E Synthesis and Sampling 1. More advanced ele- Prerequisite: completion of one quarter of study in residence. Gain first-hand ments of subtractive synthesis as well as an introduction to FM and granular experience within the music industry by interning for a music-related company. synthesis. Students also learn to work with hardware synths and samplers such Positions vary according to availability, but typically include music publishing, as the Waldorf Q and Akai MPC. One lecture hour per week for one quarter. management, record label, promotion, or marketing. Specific responsibilities and working hours vary by position; minimum of ten weeks/three hours per week. Course enrollment is contingent on placement in a position. The INDEPENDENT ARTIST DEVELOPMENT

MI Internship Coordinator will assist in placing students but cannot guarantee KEYBD-150E Ableton Live (1) placement during a given quarter. May be repeated for credit. Prerequisite: KEYBD-109 Digital Music 1 or Department Head approval. Learn to use Ableton Live software as a tool for creating, producing and performing ALLMI-083E Scoring for Film & Television 1 (2) music. Students learn to create a live set, record and manipulate audio, edit An overview of the TV & Film industries as lucrative outlets for original music. and record MIDI, use softsynths and plug-ins, and how to incorporate it all into Class covers the creative process of seeing a video and creating an audio track spontaneous live performances. One lecture hour per week for one quarter. from scratch, including such factors as the equipment needed to get started, how to create tension and emotion in your music, considerations of time and space in a visual medium, and time code & sync tracks. Also covers the business side of how to create industry interest in your music, developing your reel, royalties, contracts, points, credits, and dealing with music supervisors. Two lecture hours per week for one quarter. ALLMI-183E Scoring for Film & Television 2 (2) Prerequisite: ALLMI-083E Scoring for Film & Television 1. In this writing-intensive course, students learn to score a variety of scenes from comedy to drama to documentary with an emphasis on composition and revision. A guest director will provide students with experience in integrating the composer’s individual voice with the director’s objectives for his/her film. Two lecture/lab hours per week for one quarter. 96 ALLMI-091E Introduction to Pro Tools (1.5) An introduction to the primary features and basic user interface of a Digital Audio Workstation. Using the latest version of industry-standard Pro Tools software, students learn how to use a computer for digital recording, editing and mixing by creating an actual song using Pro Tools software for recording, editing MIDI sequences, mixing, and mastering. Topics also include software instruments, DSP effects, and working with Rex Files. One lecture hour and one lab hour per week for one quarter. ALLMI-160E Artist Development: The Songs (2) Prerequisite: ALLMI-010E Intro to Songwriting or ARTST-012E Songwriting Techniques 1, or permission of Artist Development Coordinator. During intensive one-on-one sessions, instructor and student work on developing original songs from ideas to finished arrangements. One private lesson-rehearsal hour per week for ten weeks plus final presentation. May be repeated for credit. ALLMI-161E Artist Development: The Show (2) Prerequisite: ALLMI-160E Artist Development: The Songs and permission of Artist Development Coordinator. Instructor and student develop live performances of original material written during “The Songs” with concentration on stage presence, movement, audience rapport, image, song sequence and entertainment value. At the conclusion, students present their best live material for evaluation and screening by a jury of guest experts. Selected students qualify for an additional video-recorded Industry showcase. One private lesson- rehearsal hour per week for ten weeks plus jury. May be repeated for credit. Music Business

Certificate in Music Business Course Descriptions The Certificate in Music Business program (two quarters/30 credits) provides All course descriptions include course number, title, number of credit units intensive, hands-on preparation for a business career in the music industry. per quarter (multiply by number of required quarters for total credit amount), Students gain the knowledge and practical skills needed to apply for entry-level prerequisites (where applicable), description of content, and contact hours per employment in record companies or music industry firms specializing in public week. relations, artist management, artist booking, music publishing, music supervision, A&R, artist marketing & promotion, copyright, radio/record promotion and Major area more. The program emphasizes practical experience, including guaranteed MUBUS-101 Music Law 1: The Fundamentals (2) industry internships and workshop-style classes and projects taught by active An overview of the various areas of music law and basic legal concepts that music industry professionals, and MI’s location in the heart of Hollywood pro- play a significant role in music industry transactions, including Property Law; vides the ideal setting in which to study all aspects of the contemporary music Intellectual Property; Personality & Publicity Rights; Name & Likeness; Equi- business. table Principles & Remedies (Injunctions & Declaratory Relief; Indemnification); Common Law & Statutory Enactments; Contract Law; and Constitutional Prin- CERTIFICATE IN MUSIC BUSINESS ciples (Fair Use exceptions, free speech, commercial speech, etc.). Two lecture two quarters: 1 2 hours per week for one quarter. MUBUS-102 Computers in Music Business (1) major area Overview of essential software in the music business workplace, including music law I-II 2 2 Word, Excel and PowerPoint. Hands-on projects include preparing visual pre- the record company 2 sentations, business letters and spreadsheets. One lecture hour per week for internet marketing 2 one quarter. 97 music publishing 2 MUBUS-103 The Record Company (2) personal management 2 An inside look at record companies, including an analysis of the various departments within a record company and how they interact with each other music business career 2 to build an artist’s career. Students analyze the similarities and differences in agents and attorneys 1 company structure and artist deals between major and indie labels. As a final computers in business 1 project, each student seeks out an independent artist CD and writes a full A&R report including demographics, genre of music, radio airplay, marketing ideas, licensing/supervision 2 suggested record producer, etc. with guidance from professional A&R repre- media relations 2 sentatives. Two lecture hours per week for one quarter. networking strategies 1 MUBUS-104 Your Music Business Career (2) music distribution 1 An overview of the varied career opportunities available in the music business, concert/tour production 2 including job descriptions ranging from on-air radio personality to production internship 4 manager to music-related teaching. Students receive individual career planning advice from the Music Business Program Director and guest speakers provide electives professional insights. Two lecture hours per week for one quarter. various* 1 1 MUBUS-105 Agents and Attorneys (1) 30 credits: 15 15 Booking Agents and Music Business Attorneys are important industry job titles as well as essential members of an artist’s management team. This course discusses their responsibilities, how they interact with artists, how they are paid and how artists can choose among agents and attorneys. Guest lectures by attorneys and agents as available. One lecture hour per week for one quarter. Music Business

MUBUS-106 Internet Marketing (2) and much more. Guests include booking agents and club owners. Two lecture The Internet has forever changed the music industry. This course covers all hours per week for one quarter. aspects of how the Internet has impacted music industry distribution, promo- MUBUS-205 Music Industry Internship (4) tion, marketing, and retail practices. Topics include blogging, podcasts, widgets Students gain first-hand experience within the music industry by working as and online retail. Students engage in real-time research. Two lecture hours per interns for music-related companies. Specific firms, positions and duties vary week for one quarter. according to availability. Average of twelve internship hours per week for one MUBUS-107 Music Publishing (2) quarter. Publishing remains one of the most lucrative segments of the music industry. MUBUS-206 Networking Strategies (1) Topics covered include how to copyright songs and recorded works using the Success in a changing music industry is determined by the strength and online form CO, how royalties are paid to writers and publishers, and the func- longevity of personal contacts: who you know, what you know, and most impor- tions and responsibilities of the Performing Rights Organizations—ASCAP, BMI tant, who knows you. In this practical, application-oriented course, students and SESAC. Two lecture hours per week for one quarter. analyze and practice different types of communication, social techniques, and MUBUS-108 Personal Management (2) presentation skills important to making personal contacts in all strata of the An overview of the responsibilities of personal managers and the nature of the music business and building a professional support network. One lecture hour relationships they maintain with their artists. Topics include developing the art- per week for one quarter. ist and preparing a career plan, contractual agreements between the artist and MUBUS-207 Music Licensing and Supervision (2) manager, the steps a manager takes to fulfill those obligations, and manage- Prerequisite: MB-103 Music Publishing. Artists can open up significant addi- ment responsibilities with regard to negotiating and concluding recording and tional revenue streams by licensing their recordings to international record publishing contracts. Two lecture hours per week for one quarter. 98 labels, TV, film and video games. This course explains how to submit your MUBUS-201 Music Law 2: Contracts (2) music to labels and music supervisors and how deals are typically structured. Prerequisite: MUBUS-101 Music Law 1: The Fundamentals. This course pro- Two lecture hours per week for one quarter. vides students with hands-on experience in analyzing, drafting, and negotiating common music industry agreements. Practical exercises include supervised ELECTIVES mock negotiations of music contracts, licenses, releases, and other common Note: Music Business students must complete their elective requirements by transactions. Two lecture hours per week for one quarter. choosing among the following courses only: MUBUS-202 Media Relations (2) MUBUS-010E A&R (2) Learn the difference between publicity and public relations and how to write art- An examination of the role of the Artist and Repertoire department in the pro- ist bios, press releases, news releases and eye-catching news headlines. Skills cess of signing new artists. Included are discussions about the A&R hierarchy apply to independent artists as well as those aspiring to work in the industry. at labels, day-to-day A&R responsibilities, what “talent ingredients” they look Two lecture hours per week for one quarter. for in new artists, how they manage the recording process and how to establish a relationship with the A&R community. Two lecture hours per week for one MUBUS-203 Music Distribution (1) quarter. Effective distribution is one of the most important elements in a successful career. This course focuses on traditional and innovative means of distribut- MUBUS-011E How They Made It (1) ing music including radio, retail, TV, Internet, and infomercials, as well as how Trace the careers of a diverse cross-section of top-selling recording artists and sales results are tallied through SoundScan, Mediabase and BDS. One lecture examine their trajectories by comparing their backgrounds, when they made an hour per week for one quarter. impact, and the events that led to signing major label record deals. Artists analyzed include Black Eyed Peas, Beck, Death Cab for Cutie, Nickelback, Alicia MUBUS-204 Concert and Tour Production (2) Keys and others. One lecture hour per week for one quarter. Learn how to produce a live concert, musical event, festival or tour. Topics include security, drug laws, capacity, security deposits, all-age shows, fire laws, MUBUS-012E Beatles Business History (1) exit laws, booking venues, minimizing risks, ticket sales, selling merchandise Using original marketing materials, contract details, tour receipts and other insider info, take a comprehensive look at the Beatles’ long and winding career Music Business and how they virtually invented the rock business model. A business analysis MUBUS-019E Sponsorships and Endorsements (1) of the Beatles, including both what they did right and what they did wrong, pro- Sponsorships and endorsements provide a variety of resources that can vides students valuable perspective on how to handle their own careers. One advance an artist’s career. In this course, students learn strategies for lecture hour per week for one quarter. approaching companies and presenting successful proposals. One lecture hour per week for one quarter. MUBUS-013E Music in America 1: 1950-1975 (1) The history of American popular music reveals rich cross-cultural roots and MUBUS-020E The Global Music Marketplace (1) worldwide impact. In this course students will explore and analyze popular A region-by-region overview of the global music marketplace. The Internet car- music from the period 1950-75 with a focus on defining genres, how the music ries music to every corner of the world – learn how payment and distribution evolved stylistically, and how it impacts the music of today. One lecture hour differs in various territories, the varying influence of radio, and the impact of per week for one quarter. online music distribution. One lecture hour per week for one quarter. MUBUS-014E Music in America 2: 1975-Now (1) MUBUS-021E News and Industry Trends (1) As pop music diversified in the Seventies, it became increasingly niche-driven. Students and instructor review and discuss all of the latest music business In this course, students analyze and examine music from 1975 to the present news as reported in Billboard, trade websites and newspapers and general with a focus on defining the predominant genres, examining the stylistic points media. Discussions center on how the news impacts the industry and students’ of reference and understanding how this music impacts the music of today. own careers. One lecture hour per week for one quarter. One lecture hour per week for one quarter. MUBUS-022E Intro to Music Journalism (1) MUBUS-015E Business Writing (1) Learn the tools needed to pursue a career as a music journalist. Topics include Learn how to use words as a productive business tool to establish a profes- writing headlines, conducting interviews, writing album and live performance sional image. This course prepares students to communicate clearly and reviews, and conducting artist research. Guest journalists lecture in class when 99 efficiently in written communication, including business letters, email, press available. One lecture hour per week for one quarter. releases and website content. Two lecture/workshop hours per week for one MUBUS-023E Leadership (1) quarter. Learn methods for developing the leadership qualities that enable music busi- MUBUS-016E getting Gigs (1) ness professionals to set an example for employees and motivate them in the Learn the most efficient ways for artists and bands to book live shows and workplace. One lecture hour per week for one quarter. tours. Subjects include where to play, checking out the venue, personal MUBUS-301E Legal Issues (2) appearance contracts, getting paid, and putting together your own tours. Guest Prerequisite: MUBUS-201 Music Law 2. Practical application of music industry- speakers (as available) include club owners, promoters, booking agents and related legal doctrines and fundamentals. Includes research and analysis of touring artists. One lecture hour per week for one quarter. historical disputes in the industry followed by lectures and discussions aimed MUBUS-017E The Touring Musician (1) at determining how they could have been avoided or minimized through nego- Learn how to plan tours, including planning the itinerary, creating a budget tiation or appropriate contract provisions. Students conduct a mock trial of a checklist, and establishing anchor dates, plus how to make the most of sales, breach-of-contract case between artist and record company. Two lecture hours concessions and press. As the culmination, students plan a ten-day tour. One per week for one quarter. lecture hour per week for one quarter. MUBUS-018E Music Psych (1) An in-depth look at how people react to music. Why does some music soothe and some agitate? Why are certain songs loved while others turn people off? Learn how and why music influences consumer choices and how this information is used by music programmers, DJs, music supervisors, ad producers, venue programmers (stores, restaurants, spas, hotels, airlines, etc.) and marketing experts. One lecture hour per week for one quarter. MUSIC ENTREPRENEUR

Certificate in Music Business CERTIFICATE IN MUSIC BUSINESS (MUSIC ENTREPRENEUR) (Music Entrepreneur) three quarters: 1 2 3 The three-quarter/45 credit-unit Certificate in Music Business (Music Entre- preneur) program combines comprehensive training in music business major area fundamentals with an emphasis on developing independent music entrepreneur music law I-II 2 2 skills. In addition to preparing students for entry-level employment in fields such as public relations, artist management, booking, music publishing, music supervi- the record company 2 sion, A&R, and marketing & promotion, students also develop the business, legal internet marketing 2 and management tools to establish and operate independent music-related busi- music publishing 2 nesses or to manage their own careers as independent artists. personal management 2 music business career 2 agents and attorneys 1 computers in business 1 licensing/supervision 2 media relations 2 networking strategies 1 music distribution 1 100 concert/tour production 2 internship 4

emphasis start/run record label 2 operating a music business 2 independent artist marketing 2 social networking/fan management 1 preparing your business plan 2 broadcast strategies 2 showcase promotion 2

electives various 1 1 2 45 credits: 15 15 15

MUSIC BUSINESS COURSE REQUIREMENTS All Music Business course requirements for the 45-unit Certificate in Music Business (Music Entrepreneur) are identical to those for the 30-unit Certifi- cate in Music Business; see the program description in this catalog for details. Courses specific to the Music Entrepreneur emphasis are described below. MUSIC ENTREPRENEUR

COURSE DESCRIPTIONS report on marketing results. This is the real thing! Two lecture hours per week All course descriptions include course number, title, number of credits, prereq- for one quarter. uisites (where applicable), description of content, and contact hours per week. MUBUS-308 Operating A Music Business (2) MUSIC ENTREPRENEUR COURSE REQUIREMENTS Learn the legal aspects of starting a business, including trademark searches and clearances, DBAs, licenses, setting up the tax structure and obtaining busi- MUBUS-302 Preparing Your Business Plan (2) ness loans and grants. Topics also include managing daily business operations Learn how to develop and write a professional plan for starting and growing such as hiring employees, taking inventory, basic business accounting and your business. Topics include market and industry analysis, management and more. Two lecture hours per week for one quarter. organizational structure, financial projections, estimating start-up costs, and more. As a final project, each student presents a complete plan for his or her own music-related business. Two lecture hour per week for one quarter. MUBUS-303 Start Your Own Record Label (2) This course details what is needed to start your own label from the creative perspective. Topics discussed include defining the label’s genre, finding and signing artists, setting recording budgets, selecting producers and studios, and choosing a distributor. Two lecture hours per week for one quarter. MUBUS-304 Social Networking and Fan Management (1) Learn to use social networking tools to build a fan base, attract attention, build a reliable network of listeners, and harness the energy of fans for marketing, promotion, and outreach. One lecture hour per week for one quarter. 101 MUBUS-305 Showcase Promotion (2) Students evaluate and select five Los Angeles-area independent artists from the Independent Artist Marketing class, then promote and produce a live industry showcase concert at a local venue. Students carry out all aspects of promotion, marketing and publicity under instructor supervision. Two lecture hour per week for one quarter. MUBUS-306 Broadcast Strategies (2) Learn how to use radio to promote independent music. Topics include techniques for securing radio airplay from college and commercial radio, approaching music and program directors, and broadcast formats including mix shows, specialty shows, satellite radio and internet radio. Two lecture hour per week for one quarter. MUBUS-307 Independent Artist Marketing (2) Learn do-it-yourself grass-roots marketing strategies designed for limited budgets. Each student guides an independent artist CD through the entire marketing process, including defining an image, brand, position, and format; identifying the target audience; creating practical plans for booking live shows; gaining access to radio; internet, press, and video promotion; advertising and sponsorships; sales and distribution; film and TV licensing; and development and distribution of press kits. As the final project, students track, compile and GUITAR CRAFT

Certificate in Guitar Craft after-market electronics. Ten lecture hours and ten supervised lab hours plus The two-quarter/30 credit-unit Certificate program in guitar design, fabrica- projects for one quarter. tion and maintenance provides comprehensive preparation for the instrument GCRFT-201 Electronics 2 (1) manufacturing and repair professions. Courses are held in a custom-designed Prerequisite: GCRFT-101 Electronics 1. A continuation of GC04a; students facility containing all of the tools, fixtures and accessories required to build learn electronic troubleshooting and wiring modifications, coil taps, phase high-quality instruments. During the program, every student designs and builds switching and other more advanced electronics applications. Ten lecture hours a custom electric guitar or bass for their personal use. Each student also and twelve supervised lab hours plus projects for one quarter. receives weekly private instruction in stylistic instrument performance techniques. Completion of all program requirements qualifies the student to earn GCRFT-102 Fretwork & Setup 1 (2) the Certificate in Guitar Craft. Learn essential guitar maintenance techniques used by professional technicians. String height and truss rod adjustment, intonation, fret dressing, fret CERTIFICATE IN GUITAR CRAFT replacement and intonation are covered along with effective methods for trouble-shooting related problems. Students learn principles of temperament and two quarters: 1 2 harmonics as well as how to adjust the instrument for proper musical “feel”. major area Eight lecture hours and 24 supervised lab hours plus projects for one quarter. instrument design 1-2 2 1 GCRFT-202 Fretwork & Setup 2 (2) instrument fabrication 1-2 6 6 Prerequisite: GC03a Fretwork & Setup 1. Continuation of GC03a with emphasis on final preparation for demands of professional setup. Four lecture hours fretwork & setup 1-2 2 2 and 30 supervised lab hours plus projects for one quarter. electronics 1-2 1 1 102 GCRFT-103 Instrument Design 1 (2) finish work 3 Every detail of an instrument’s design affects its musicality and playability. This instrument repair 2 course covers principles of neck, headstock, and body design including the weight and musical properties of various types of tone woods as well as pick- performance guard and control cover fabrication and design, selecting instrument hardware, instrument performance 1-2 2 2 musical qualities of hardware materials, overview of instrument fabrication his- 30 credits: 15 15 tory and template design. Eight lecture hours and 14 supervised lab hours plus independent research assignments and design projects for one quarter. COURSE DESCRIPTIONS GCRFT-203 Instrument Design 2 (1) All course descriptions include course number, title, number of credits, prereq- Prerequisite: GCRFT-103 Instrument Design 1. Continuation of GCRFT-103; uisites (where applicable), description of content, and contact hours per week. students design a tilt-back neck and body and research the design and fabrica- Lab hours shown are approximate. Total hours vary from week to week during tion of classic instrument designs including the Fender Stratocaster and Gibson each quarter. All courses include required projects and/or research. Les Paul. Four lecture hours and six supervised lab hours plus independent research assignments and design projects for one quarter. Major area GCRFT-104 Instrument Fabrication 1 (6) GCRFT-101 Electronics 1 (1) Building outstanding instruments starts with understanding the tonal properties An introduction to guitar and bass electronics. Topics include understanding of wood and shaping it to produce the most musical results. This course is an magnetic, piezo, and active pickups; proper shielding techniques; switching introduction to the use of woodworking tools and techniques including routing, options; and proper soldering technique as well as trouble-shooting and repair. jointing, milling, and shaping along with the use of large industrial and hand- Students will also learn how to make their own magnetic pickups, balancing held tools. Six lecture hours and 33 supervised lab hours plus independent output and tone to arrive at optimal tonal properties for different instruments fabrication projects for one quarter. and stylistic applications. Students are required to research a wide range of GUITAR CRAFT

GCRFT-204 Instrument Fabrication 2 (6) Prerequisite: GCRFT-103 Instrument Design 1, GCRFT-104 Instrument Fabrication 1. The ultimate proof of a luthier’s knowledge and skill is in the instrument itself. As the centerpiece of the program, each student designs and fabricates a personal electric guitar or bass from raw materials, including instrument bodies, necks and pickups as well as painting and buffing. Four lecture hours and 35 supervised lab hours plus independent fabrication project for one quarter. GCRFT-105 Instrument Repair (2) Course covers the methodology and organization of materials and procedures for basic guitar repair and modification. Includes building the relationship between musician-client and technician and communicating in musical and technical language. Twelve lecture hours plus projects for one quarter. GCRFT-106 Finish Work (3) An instrument’s finish is not only cosmetic, but can have a profound effect on its musical properties. Class covers procedures and techniques for finishing and repairing musical instruments, including preparation, painting and buffing. Twelve lecture hours and 24 supervised lab hours plus projects for one quarter. GCRFT-107 Instrument Performance 1 (2) 103 Private instrument instruction on electric guitar or bass with a focus on understanding the relationship between musical style, technique, sound and instrument design. One private lesson hour per week for one quarter. GCRFT-207 Instrument Performance 2 (2) Prerequisite: GCRFT-207 Instrument Performance 1. Continuation of private instrument instruction on electric guitar or bass with a focus on understanding the relationship between musical style, sound and instrument design. One private lesson hour per week for one quarter. Acoustic Guitar Design

Certificate in Guitar Craft hours vary from week to week during each quarter. All courses include required (Acoustic Guitar Design) research and/or design and fabrication projects. The three quarter/45 credit-unit Certificate in Guitar Craft (Acoustic Guitar GUITAR CRAFT COURSE REQUIREMENTS Design) provides guitarists with comprehensive practical training in the field Course requirements for the 45-unit Certificate in Guitar Craft (Acoustic Guitar of guitar design, fabrication and maintenance with additional emphasis on Design) include 30 units that are identical to those for the Certificate in Guitar acoustic guitar design. Classes are held within a professionally-equipped Craft (see the program description in this catalog for details). Courses specific facility containing all of the tools, fixtures and accessories required to build to the emphasis in Acoustic Guitar Design are described below. high-quality instruments. Practical application-oriented courses culminate in a design project during which each student designs and builds a custom electric ACOUSTIC GUITAR DESIGN COURSE REQUIREMENTS guitar or bass as well as an acoustic guitar. Each student receives weekly private instrument performance instruction throughout the program. Completion of GCRFT-303 Acoustic Guitar Design (2) all program requirements qualifies the student for the Certificate in Guitar Craft Prerequisite: GCRFT-203 Instrument Design 2. Every detail of an instrument’s (Acoustic Guitar Design). design affects ergonomics, function, sound and playability. This course covers principals of acoustic guitar neck, headstock and body design, including selec- CERTIFICATE IN GUITAR CRAFT (ACOUSTIC GUITAR DESIGN) tion of hardware and template design. Eight lecture hours, fourteen supervised lab hours, research assignments and design projects. three quarters: 1 2 3 GCRFT-304 Acoustic Guitar Fabrication (5) major area Prerequisite: GCRFT-204 Instrument Fabrication 2. Each student builds a com- instrument design 1-2 2 1 plete acoustic guitar from raw materials. Includes wood selection, sizing stock 104 instrument fabrication 1-2 6 6 and surfacing, bracing, neck and body construction, scaling, marquetry, inlay work, and setup. 20 lecture hours and 39 supervised lab hours plus projects. fretwork & setup 1-2 2 2 GCRFT-305 Acoustic Guitar Fixtures (4) electronics 1-2 1 1 Prerequisite: GCRFT-203 Instrument Design 2. Design and manufacture of all instrument repair 2 necessary fixtures for the construction of an acoustic guitar. Includes molds, finish work 3 clamping fixtures, and layout templates. Six lecture hours and 28 supervised lab hours. emphasis acoustic guitar design 2 GCRFT-306 Acoustic Guitar Finishing (2) Prerequisite: GCRFT-106 Finish Work. Techniques for finishing acoustic gui- acoustic guitar fabrication 5 tars, including wood preparation, filling, masking, sealing, top coating, sanding, acoustic guitar fixtures 4 color sanding and buffing. Eight lecture hours and fourteen supervised lab acoustic guitar finishing 2 hours. GCRFT-307 Instrument Performance 3 (2) performance Prerequisite: GCRFT-207 Instrument Performance 2. Private instrument instrument performance 1-3 2 2 2 instruction on acoustic guitar with focus on understanding the relationship 45 credits: 15 15 15 between musical style, technique, sound and acoustic guitar design. One private lesson hour per week for one quarter. COURSE DESCRIPTIONS All course descriptions include course number, title, number of credits, prerequisites (where applicable), description of content, contact hours and supervised assignment requirements per quarter. Lab hours shown are approximate. Total Music Video, Film, and Television Production

Certificate in Music Video, Film, and FILM-201 Directing 2 (1) Television Production Prerequisite: FILM-101 Directing 1. Students decide on visual elements and MI’s innovative two-quarter/30 credit-unit certificate program in film and televi- direct actors. The class also focuses on the business side of directing, includ- sion production lays the foundation for a career in professional filmmaking. ing getting an agent, working with composers, musical artists and production Learn the art and science of creating professional visual media under the guid- companies, and dealing with advertising agencies and record labels. One lec- ance of award-winning filmmaker-instructors. The total-immersion, hands-on ture hour per week for one quarter. curriculum takes you through every step in the professional filmmaking pro- FILM-102 Producing 1 (3) cess from screenplay development and storyboarding to set design, lighting, An introduction to the complete music video/film production process.Topics cinematography, directing, editing, and VFX creation as you direct your own include understanding key production departments, the role of each member production and bring you personal vision to life. of the production team, selecting and renting equipment, creating budgets, specification sheets, contracts, riders, and obtaining permits. One and one-half CERTIFICATE IN MUSIC VIDEO, lecture hours per week plus class projects for one quarter. FILM AND TELEVISION PRODUCTION FILM-202 Producing 2 (1) two quarters: 1 2 Prerequisite: FILM-102 Producing 1. Learn the more complex aspects of pro- major area duction including managing location and sound-stage productions, dealing with film commissions, international productions, and managing the post-production music and sound for visual media 1-2 2 2 process. One lecture hour per week plus class projects for one quarter. directing 1-2 3 1 FILM-103 Editing 1 (3) producing 1-2 3 1 An introduction to the short-form, music-driven editing process. Technique and 105 editing 1-2 3 2 concepts include compression and mastering formats, time code, file manage- cinematography 1-2 3 2 ment, and workflow with P2 and Red cameras using industry-standard editing program Final Cut 7.0. Students carry out exercises in montage, synchroni- compositing and motion graphics 1-2 1 1 zation and story development. Two lecture hours per week plus lab for one industry career strategies 1 quarter. final project 5 FILM-203 Editing 2 (2) 30 credits: 15 15 Prerequisite: FILM-103 Editing 1. An exploration of advanced editing techniques including multi-cam, color correction, format conversions, and mastering COURSE DESCRIPTIONS of various HD formats. One lecture hour per week plus lab for one quarter. All course descriptions include course number, title, number of credits per quar- FILM-104 Cinematography 1 (3) ter, description of content, and contact hours per week. Successful completion The fundamentals of cinematography, including aspect ratios; film stock; digital of all core classes is required in order to be eligible for the Certificate in Music compression; essential lighting skills for people, objects, and sets; film and HD Video, Film and Television Production. camera operation including P2 and Red cameras; and exposing film. Students Major area complete class projects and exercises plus field trips. Two lecture hours per week plus lab for one quarter. FILM-101 Directing 1 (3) An introduction to the art of music selection, script writing and directing, includ- FILM-204 Cinematography 2 (2) ing how to write and pitch music-based scripts and treatments, create shot lists Prerequisite: FILM-104 Cinematography 1. Explore more advanced aspects and storyboards, and develop communication techniques necessary for proof cinematography including beauty, mood and effect lighting and filtering, and ductive creative relationships with composers, arrangers and artists, producers, camera support as well as shooting and lighting techniques for green screen. directors of photography and art directors. One and one-half lecture hours per Field trips to Panavision and Riot color. One lecture hour per week plus lab for week plus class projects for one quarter. one quarter. Music Video, Film, and Television Production

FILM-105 Motion Graphics 1 (1) Introduction to compositing using After Effects, including title manipulation, layering and third-party plug-ins. Introduction to DVD authoring using industry standard software DVD Studio Pro. One lecture hour per week plus lab for one quarter. FILM-205 Motion Graphics 2 (1) Prerequisite: FILM-105 Motion Graphics 1. More advanced techniques including photorealistic compositing and CGI, animating to music with motion math, matting & rotoscoping, motion tracking, and working with programs including Magic Bullet and Ultimatte AdvantEdge. One lecture hour per week plus lab for one quarter. FILM-106 Music for Visual Media 1 (2) Essential elements of song form, meter and rhythm; the relationship between musical structures, emotion and imagery; music editing and processing as fundamental skills in the production of music-based film and video. One and one-half lecture hours per week for one quarter. FILM-206 Music for Visual Media 2 (2) Prerequisite: FILM-106 Music for Visual Media 1. Course focuses on sound 106 design and soundscape creation; music and location recording; mixing and synchronization of music and image; post-production sound mixing and ADR; location sound recording and music playback. One and one-half lecture hours per week for one quarter. FILM-207 Industry Career Strategies (1) Essential skills for building and maintaining a career in the music video- film-television industry. Topics include building and presenting show reels, developing a career timeline, setting up your own production company, and bid- ding for music videos and commercials. One lecture hour per week plus class projects for one quarter. FILM-208 Final Project (5) Students write, plan, produce, shoot and edit a complete music-driven video, short film, or commercial. Applied skills include selecting, composing or super- vising the development of musical elements, developing a script or a treatment, storyboarding, planning a budget, assembling a crew, securing location permits and insurance, directing, shooting, editing, compositing and mastering. Final projects are shown in class for review, critique and grade. Two lecture hours per week plus lab and independent study for one quarter. Alternative Programs

Encore ■ Fees Encore students are responsible for all applicable fees; see The Encore Program (Non-Certificate Training in Music) is designed to allow “Tuition and Fees” for specific information. students to create a personalized, full-time, ten-week program by choosing ■ Course Credit Courses taken during an Encore session do not from available lessons, classes, performance workshops and other activities earn course credit. Attendance or completion of any course does not in various areas of emphasis. There are no required courses and grading is guarantee subsequent advanced placement in a Certificate or Degree optional. Enrollment is available at the beginning of any quarter and may be program. repeated for additional quarters. Summer Shot The Encore Program includes: MI’s annual summer program offers an intensive, one-week contemporary Personalized Schedule popular music education experience for students age 14 and up. Based on an initial evaluation, the Encore Coordinator provides each student Summer Shot programs scheduled as of the Course Catalog printing are with a list of available courses that are appropriate to the student’s level of shown below; current information about programs, program dates, course offer- knowledge and skill. From that list, the student creates a class schedule equal ings etc. is provided on MI’s website (www.mi.edu). to a full-time credit load of fifteen units. Performance NOTE: Course offerings vary by quarter and some courses and programs are (Bass, Drums, Guitar, Keyboards, Vocals) not available for Encore enrollment. A list of available courses will be provided The schedule includes classes in technique and general musicianship, group to each student by the Encore Coordinator prior to registration. To confirm the performance workshops, private and group lessons, visiting instructor semi- availability of specific courses, please consult with the Encore Coordinator prior nars, visiting artist concert, and live student performances on the professional to enrollment. concert stage. 107 Private Lessons Recording Every instrument Encore session includes weekly, one-hour private lessons on Students learn basic computer-based recording and music production tech- the student’s primary instrument. Instructor and student jointly develop a lesson niques and participate in recording sessions in MI’s state-of-the-art studios. plan based on the student’s particular interests and the instructor provides gen- Each student produces an original recording applying techniques taught during eral guidance throughout the program. the program. NOTE: Private lessons are not provided in non-performance areas of emphasis. Requests for private lessons with a specific instructor are subject to Songwriting instructor availability. An introduction to the art and craft of songwriting, including song structure, melody, lyric writing, and the business of publishing and licensing. Hands-on Access workshops, intimate showcases and industry panels culminate in a final original Encore enrollment includes 24-hour access to MI’s facilities for practice and performance on MI’s main stage. rehearsal, access to extra-curricular activities and the library, and admission to clinics and seminars offered during the student’s period of enrollment. Guitar Building Learn the craft of building and maintaining guitars by creating your own solid- IMPORTANT ADDITIONAL INFORMATION: body electric instrument (yours to keep when the program is over) in MI’s ■ Financial Aid Encore is not eligible for State or Federal financial aid. state-of-the-art custom shop under the guidance of renowned master guitar ■ January and July enrollments Most core classes available to makers. 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. ALL-MI ELECTIVES

ALL-MI ELECTIVES ALLMI-103 Live Performance Workshops (1) Except where students are required to choose electives from a program- (NOTE: LPWs are required for all AA and Certificate in Performance programs). specific list, students may also fulfill their elective requirements with the “All-MI Students gain performing experience in a wide range of contemporary styles. Electives” listed here. See program descriptions for specific elective credit See catalog section on Live Performance Workshops for general descriptions; requirements and program-specific elective offerings. refer to current course offering for specific LPWs available at time of registration. Minimum of ten performances per quarter, repeatable for credit NOTE: Most electives are not offered every quarter and electives may be added or cancelled without prior notice. Refer to the current course offering for Creative Development specific courses available at time of registration. ALLMI-160E Artist Development: The Songs (2) General Interest Prerequisite: ALLMI-010E Intro to Songwriting or ARTST-012E Songwriting Techniques 1, or permission of Artist Development Coordinator. During inten- ALLMI-027E The Art of Preparation (1.5) sive one-on-one sessions, instructor and student work on developing original Based on the book The Unconscious Actor: Out of Control, in Full Command songs from ideas to finished arrangements. One private lesson-rehearsal hour by Darryl Hickman, this course provides step-by-step techniques and exercises per week for ten weeks plus final presentation. May be repeated for credit. that prepare singers mentally and physically for skillful and artistic live performances. One lecture hour and one lab hour per week for one quarter. ALLMI-161E Artist Development: The Show (2) Prerequisite: ALLMI-160E Artist Development: The Songs and permission of ALLMI-031E Open Counseling (1) Artist Development Coordinator. Instructor and student develop live perfor- Instructors in various programs offer informal coaching, critique and insight into mances of original material written during ‘The Songs” with concentration on technique, musicianship and style during weekly scheduled sessions. Student stage presence, movement, audience rapport, image, song sequence and must attend a minimum of ten one-hour sessions per quarter; may be repeated 108 entertainment value. At the conclusion, students present their best live mate- for credit. rial for evaluation and screening by a jury of guest experts. Selected students ALLMI-033E Accelerated Learning (1) qualify for an additional video-recorded industry showcase. One private lesson- Build speed learning and recall skills to make the most efficient use of prac- rehearsal hour per week for ten weeks plus jury. May be repeated for credit. tice and study hours through visualization, time frame practice and isolation ALLMI-163E Creativity Workshop (1) of material. One hour per week for one quarter. Course may be repeated for Based on the book The Artist’s Way, this workshop is intended to help students credit. tap into a deeper sense of creativity in both music and life. The goal is to create ALLMI-034E Audition Workshop (1) more dialogue among students, developing a community of artists who learn Prerequisite: (GUIT, BASS, DRUM)-204 Rhythm Section Workshop 2; KEYBD- to open up and relate to each other while exchanging ideas about the creative 207 Groove 2, or VOCAL-204 Vocal Performance 2. Learn what it takes to process. Two workshop hours per week for one quarter. May be repeated for build and sustain a career as a working musician, including practical advice credit. and proven steps for getting and passing auditions, preparing and promoting yourself and obtaining work from clubs and casuals to sessions and tours. Songwriting Students experience mock sessions and auditions under the direction of a pro- ALLMI-010E Intro to Songwriting (1.5) fessional talent coordinator. Two workshop hours per week for one quarter. Prerequisite: ALLMI-101 Harmony & Theory 1. This class develops the basic ALLMI-035E Lifemanship (1) techniques and skills used by effective songwriters. Topics include song form, Students learn techniques that develop their ability to be confident in front of hooks, melody, lyrics, rhyme and harmony. One lecture hour and one workshop an audience including stage presence and communication skills. One hour per hour per week for one quarter. week for one quarter. Course may be repeated for credit. ALLMI-011E Songwriters Lab (1) ALLMI-036E Latin Listening (1) Class designed to foster open discussion, idea sharing, performance, and Students gain an understanding of Latin styles through intense listening and relationship-building for songwriters. Student songwriters perform their songs discussion. One lecture hour per week for one quarter. and share the writing process followed by open discussion of alternative writing ALL-MI ELECTIVES techniques and the creative process. Two workshop hours per week for one Music Business quarter. May be repeated for credit. ALLMI-049E Beatles Business History (1) ALLMI-015E Original Lyric Writing (2) A nuts & bolts overview of the Beatles’ business career. Topics include their Prerequisite: ALLMI-018E Fundamentals of Lyric Writing. Application of lyric failed audition for Decca Records, how Capitol almost lost the band, Brian writing fundamentals to students’ original work, including extensive writing Epstein’s poor merchandising deal, songs they gave away, John Lennon’s assignments and evaluation of material with a focus on lyrical content. Two lec- copyright infringement case and more. One lecture hour per week for one ture/workshop hours per week for one quarter. quarter. ALLMI-017E Original Song Workshop (1.5) ALLMI-050E Music Business Basics (1) Prerequisite: ALLMI-010E Intro to Songwriting. Students develop songwriting A survey of essential elements of the music business as they pertain to musi- skills by presenting and evaluating their original songs through critiques of lyr- cians and songwriters. Topics include publishing, copyrights, management, ics, melodies, grooves and chord progressions. Weekly writing assignments A&R and getting gigs. One lecture hour per week for one quarter. culminate in a complete, professionally presented song. One lecture hour and ALLMI-051E Doing Business as a Band (1) one workshop hour per week for one quarter. An in-depth discussion of the creative and business aspects of operating a ALLMI-018E Fundamentals of Lyric Writing (2) band. Topics include: auditioning band members, protecting your band’s name, Lyrics are the language of music, and often have as much or more to do with delegating responsibility, partnership papers, rehearsal tips, putting together a the success of a song than the music. This class focuses on developing a killer live set, and promoting your band’s image and music. One lecture hour basic knowledge of lyric writing, including discussion and analysis of the form, per week for one quarter. structure and content of popular hit songs. Two lecture hours a week for one ALLMI-052E From the Streets to Success (1) quarter. This class reveals how to deal effectively with obstacles encountered by art- 109 ALLMI-019E Writing TV Themes (2) ists as they move to a professional career status. Topics include rehearsal tips, Prerequisite: ALLMI-201 Harmony and Theory 2, ALLMI-010E Intro to Song- press packages, dealing with the press, getting gigs and creating a buzz. One writing. Sometimes it’s the TV theme song that hooks us into watching the lecture hour per week for one quarter. show. Students learn how to write memorable TV themes to cartoon shows, ALLMI-053E Do-It-Yourself Promotion (1) crime shows, or shows about super heroes. Two lecture hours per week for Learn to put together a promotion and publicity campaign to market and sell one quarter. original music. One lecture hour per week for one quarter. ALLMI-150E Original Song Pre-Production (2) ALLMI-054E Business of Working Musicians (1) Grammy-nominated record producer Richie Zito (Cher, Poison, Janet Jack- Learn to manage a career as a working musician. Topics include managing son, Cheap Trick, The Cult) works with students on getting their original songs life on the road, negotiating an employment contract, calculating per diems, ready for recording. Song arrangements and key studio production tips are key-man clauses, equipment endorsements, working with unions (AFM and discussed. Two lecture hours per week for one quarter. May be repeated for AFTRA), band membership agreements and more. One lecture hour per week credit. for one quarter. ALLMI-110E Professional Songwriting (2) ALLMI-055E The Touring Musician (1) Prerequisite: ALLMI-010E Intro to Songwriting. The popular music industry An introduction to what to expect as a touring musician. Includes finding and is built on songs, and thousands of musicians earn the bulk of their musical negotiating live gigs, negotiating performance contracts, planning a budget, income from songwriting. This course is a hands-on writing course teaching and covering the ‘real’ costs of traveling. Students learn to make and follow students how to create songs on demand in various popular music styles. through on an actual tour plan from first phone call to final costs. One lecture Students develop their craft by learning the structural and stylistic elements hour per week for one quarter. of various genres including pop, rock, country and adult contemporary with assignments that include creating verses, choruses and bridges in each style. Two lecture hours per week for one quarter. ALL-MI ELECTIVES

ALLMI-056E The Record Producers (1) MUBUS-020E The Global Music Marketplace (1) Each week, a different guest producer brings demo and final master recordings A region-by-region overview of the global music marketplace. The Internet car- of artists’ songs for analysis and comparison, critiques students’ original song ries music to every corner of the world – learn how payment and distribution productions, and discusses record producers’ career preparation, develop- differs in various territories, the varying influence of radio, and the impact of ment and responsibilities. Two lecture hours per week for one quarter. May be online music distribution. One lecture hour per week for one quarter. repeated for credit. Advanced Musicianship ALLMI-057E New Music Markets (1) Students explore ways of making money in new and different music markets, ALLMI-070E Fusion Ensemble (1) including getting endorsements, applying for showcases, grants, festival gigs, Prerequisite: permission of instructor. Advanced ensemble performs com- college shows and sponsorships. One lecture hour per week for one quarter. plex jazz/fusion arrangements during weekly rehearsals. The emphasis is on ensemble playing, listening and improvisation. One ensemble hour per week ALLMI-059E The Songwriters (1) for one quarter. May be repeated for credit. Seminar series featuring a different successful guest songwriter each week playing demos of songs recorded by major artists as well as discussing how ALLMI-170E Advanced Ensemble Skills (1) to break into the business of songwriting and maintain a career. Each class Prerequisite: BASS-402, DRUM-402, GUIT-405, or KEYBD-402 (depending includes a Q&A session with students. Two lecture hours per week for one on major instrument). How to function as a professional-level rhythm sec- quarter. Repeatable for credit. tion. Instructor acts as a musical director for a funk, fusion, jazz-rock-oriented rehearsal band. Emphasis is placed on groove, timing, and feel. Bass, drum ALLMI-060E Music Internship (1) and keyboard chairs will be open to a maximum of three students; the guitar Prerequisite: completion of one quarter of study in residence. Gain first-hand chair a maximum of four. Improvisation, lead sheet, and notation skills will be 110 experience within the music industry by interning for a music-related company. required. Two ensemble hours per week for one quarter. Positions vary according to availability, but typically include music publishing, management, record label, promotion, or marketing. Specific responsibili- Non-instrument Skills ties and working hours vary by position; minimum of ten weeks/three hours ALLMI-080E Computer Notation (2) per week. Course enrollment is contingent on placement in a position. The An important, practical and contemporary survey of computer notational tech- MI Internship Coordinator will assist in placing students but cannot guarantee niques using Sibelius notation software. Recommended for all students, this placement during a given quarter. May be repeated for credit. course has wide application for theory, arranging, songwriting and other assign- MUBUS-011E How They Made It (1) ments requiring notation. Two hours per week for one quarter. Trace the careers of a diverse cross-section of top-selling recording artists and ALLMI-081E Introduction to Final Cut Pro (2) examine their trajectories by comparing their backgrounds, when they made an This hands-on course introduces students to the interface and primary feature impact, and the events that led to signing major label record deals. Artists ana- set of Final Cut Pro, the powerful industry-standard film-video editing program. lyzed include Black Eyed Peas, Beck, Death Cab for Cutie, Nickelback, Alicia Topics include navigating the interface, basic editing techniques, adjusting and Keys and others. One lecture hour per week for one quarter. customizing settings, capturing HD video and audio, trimming, audio editing, MUBUS-018E Music Psych (1) finishing, and final output to various formats and compressions. One lecture An in-depth look at how people react to music. Why does some music soothe hour and two lab hours per week for one quarter. and some agitate? Why are certain songs loved while others turn people off? ALLMI-082E Computers in Music (1.5) Learn how and why music influences consumer choices and how this informa- Students become familiar with music-oriented software applications ranging tion is used by music programmers, DJs, music supervisors, ad producers, from ear training, practice and songwriting aids, sequencing and digital editing. venue programmers (stores, restaurants, spas, hotels, airlines, etc.) and mar- Each program is covered in an introductory fashion geared toward combining keting experts. One lecture hour per week for one quarter. computer and musical understanding. One lecture hour and one lab hour per week for one quarter. ALL-MI ELECTIVES

ALLMI-083E Scoring for Film & Television 1 (2) ALLMI-025E Introduction to Bass (1) An introduction to the lucrative field of composing original music for visual Non-bass majors learn how to play appropriate basslines using correct play- media. Experience the process of creating an original score for a video from ing techniques and understanding the role of the bassist in a band. Covers all scratch, including using the appropriate equipment, creating tension and emo- essentials of the bass for the non-bassist. One hour per week for one quarter. tion through music, managing considerations of time and space in a visual ALLMI-026E Hand Percussion (1) medium, and understanding time code & sync tracks. Also covers how to An introduction to percussion techniques including hand coordination and create industry interest, develop a reel, work with music supervisors, and rhythm as they relate to various types of Latin hand percussion instruments understand royalties, contracts, points, and credits. Two lecture hours per week with application to Latin and pop music. One hour per week for one quarter. for one quarter. ALLMI-183E Scoring for Film & Television 2 (2) Prerequisite: ALLMI-083E Scoring for Film & Television 1. In this writing-intensive course, students learn to score a variety of scenes from comedy to drama to documentary with an emphasis on composition and revision. A guest director will provide students with experience in integrating the composer’s individual voice with the director’s objectives for his/her film. Two lecture/lab hours per week for one quarter. ALLMI-091E Introduction to Pro Tools (1.5) An introduction to the primary features and basic user interface of a Digital Audio Workstation. Using the latest version of industry-standard Pro Tools software, students learn how to use a computer for digital recording, editing 111 and mixing by creating an actual song using Pro Tools software for recording, editing MIDI sequences, mixing, and mastering. Topics also include software instruments, DSP effects, and working with Rex Files. One lecture hour and one lab hour per week for one quarter.

Non-Major Instrument Study See instrument program course offerings for additional entry-level instrument electives. ALLMI-021E Introduction to Guitar (1) Non-guitar majors learn simple note reading, fingerings and accompaniment patterns. Great tool for singer-songwriters. One hour per week for one quarter. ALLMI-023E Introduction to Voice (1) Non-vocal majors learn to develop techniques for proper breathing, pitch accuracy, and improving range while protecting their vocal instrument with application to popular styles in both lead and backup vocal roles. One lecture hour per week for one quarter. ALLMI-024E Introduction to Keyboards (1) Covers basic chord voicings, scales and fingerings for non-keyboard majors. The keyboard is the basic reference instrument for the study of every style of music and the basic tool of songwriters. All musicians can benefit from knowledge of basic keyboard technique. One hour per week for one quarter. LIVE PERFORMANCE WOrkshops

Live Performance Workshops (LPWs) and Ensembles provide students with a wide range of opportunities to gain valuable performing experience as well as meet their performance requirements by concentrating in one area or sampling a variety of styles and settings according to their needs. Live performance courses are offered in three general categories:

STYLE & REPERTOIRE LPWs Staffed by experienced instructor-performers, these LPWs use a “tune of the week” format. Students prepare parts in advance, perform on stage with other students, and receive coaching and critique on their musical and performing skills. These LPWs are also a great way for students to meet each other, learn about different styles, and develop their repertoire. Regularly scheduled* Style & Repertoire LPWs include: Blues Classic Rock Country Rock Modern Rock Hard Rock Metal Classic R&B Punk Contemporary R&B Hip Hop Fusion Funk Reggae Latin 112 Billboard Hot 100 * LPW offerings vary by quarter; check current course schedule for availability.

MUSICIANSHIP ENSEMBLES In these ensembles, students confront musical and professional challenges that expand their stylistic range while teaching them to think on their feet. Musi- cianship ensembles include: Real World: performing contemporary styles while reading charts and following a musical director Schroeder Ensemble: developing stylistic range and improvisational skills under the guidance of popular MI instructor Carl Schroeder. Traditional Jazz Ensemble: performing jazz styles while reading charts and following a musical director

ARTIST DEVELOPMENT WORKSHOPS Designed to help students form original bands, showcase original material, and gain experience as performing artists in solo or group settings, these performance workshops emphasize creativity, stagecraft and professionalism. Artist Development LPWs include: Coffeehouse: solo performance Playback: solo performance with backing tracks created by students Pro Performance: rehearsed original groups Faculty Bios

Akimoto, Takeshi Guitar Anderson, Michael Multi-Program Guitarist Takeshi Akimoto maintains a very busy schedule between live tours Michael Anderson is a songwriter, artist, producer, and author who has writ- with such artists as Ziggy Marley, The Marley Brothers, and Raya Yarbrough ten songs for John Fogerty, Juice Newton, Pam Tillis, Phil Seymour, Rebecca and sessions including soundtracks for the recent motion pictures 50 First St. James, and others in rock, pop, country, and CCM. He has been a staff Dates and Christmas with the Kranks, as well as ABC-TV’s Jimmy Kimmel Writer for EMI and BMG Publishing in Nashville, as well as MCA /Universal and Live. At MI, Takeshi teaches private lessons and open counseling. CMIerion Music in Los Angeles. He wrote the #1 country single, “Maybe It Was Memphis”, several #1 CCM singles, and won a Dove Award for “Hard Rock Akutsu, Keita Drums Song of the Year.” As a solo artist he has released six albums, including two on Keita Akutsu is a native of Yokohama, Japan, and is an honors graduate of A&M Records, two on EMI / Forefront, and two independent releases. Michael MI, where he earned the Most Improved Student of the Year Award. Keita also is also an author of screenplays and books including Michael Anderson’s Little graduated from the California Institute of the Arts with BFA in music where he Black Book of Songwriting and works as a music business career and song studied under the guidance of Joe LaBarbera. He regularly performs at various consultant. At MI, he teaches Professional Songwriting and Artist Development. major venues in the LA area including Catalina Bar & Grill. He has performed with such artists as Larry Koonse, Bob Shepard, Nate Morgan and Darek Oles Anton, Dana Independent Artist among others. At MI, Keita teaches private lessons and Traditional Jazz LPW. Dana is the president and owner of State Of Mind Entertainment. As a voice coach, professional session singer, vocal producer and record producer/ Allen, Brian Bass arranger in Los Angeles and Seattle, Dana has worked with artists including Since graduating in 1999 from the Bachelors Program at Musicians Institute Alice n Chains, Candlebox, Blind Melon, Slipknot, Heart, Lo Ball, Snoop Dogg, with the MI Outstanding Student Award, Brian has maintained a busy schedule and many more. She is a prolific, published songwriter in genres ranging from of live performances and sessions in Los Angeles, performing on both electric rock and pop to inspirational, alternative, country, blues, and children’s music and upright bass in styles ranging from jazz to heavy alternative. Currently, he and is a signed recording artist, producer and arranger representing the award- is playing with Greg Adams, the legendary trumpeter/ arranger for Tower Of 113 winning “Celeste Sings” series for Romantic Realist Records. As a performer, Power, and works as a clinician for Zon basses, SWR amps and Lightwave Dana has opened for James Taylor, the Dave Matthews Band, Bob Dylan, optical pickups. At MI, Brian teaches private lessons, open counseling, and the Joni Mitchell, the Allman Brothers and many more. At MI, Dana teaches Vocal Hip-Hop LPW. Private Lessons and is a Project Advisor for the Independent Artist program. Alonzo, Lance Guitar Craft Aponte, Bryan Audio Engineering Lance Alonzo graduated from the Guitar Craft Academy program in March Bryan Aponte received his Bachelor of Arts degree cum laude from Long Island 2001 and soon joined the staff as a teaching assistant by then-Program University’s School of Broadcasting and graduated from New York’s Institute of Director John Carruthers. His teaching assignments expanded over the next Audio Research. After completing his studies in audio engineering, he turned few years and from 2005–08 he served as the program’s Department Head professionally to post-production for television and film, first at BET and sub- before returning to teaching full-time. Aside from his teaching duties, Lance sequently as an engineer/mixer for ABC, CBS, E! Network, Fox TV, Mad TV also repairs and builds custom guitars and basses for local musicians. and more, receiving two Emmy Award nominations for his work in sound. For Amicone, Michael Music Business MI’s Audio Engineering/Post-Production Audio program, Bryan teaches ADR/ Michael Amicone has been a respected music journalist and editor for over two Dialogue Editing and Foley Recording and Editing. decades. He has served as managing editor of the award-winning daily music Avery, Justin Keyboards news source Billboard Bulletin, editor-in-chief of the innovative Universal Music Justin Avery is a versatile performer whose original arrangements have been Group TV show/website Farmclub and senior editor of Music Connection mag- performed from his hometown of Traverse City, Michigan all the way to South azine. He has also interviewed scores of top artists and executives, including Africa. He grew up in a musical family, performing at his father’s nightclub David Bowie, Quincy Jones, Tony Bennett and Ringo Starr, been a guest com- before entering Western Michigan University as a Jazz Studies major. His mentator on TV and radio shows, and worked on CD reissue projects for Elton arrangements and original compositions were featured in the school’s Gold John and Nilsson. At MI, Michael teaches Music Business News, Business Company performances around the world. Justin won a 2004 Downbeat History of the Beatles and Public Relations. Student Music Award for best Blues, Pop, Rock Band as well as best Blues, Pop, Rock soloist with his all-original Justin Avery Band. He has also created Faculty Bios

Icons, a multi-media showcase performance of his original music that can business matters, particularly contracts. At MI, Jon is a Project Advisor for the be viewed at www.justinaverymusic.com. As a performer, Justin works as a Independent Artist Program. Find out more at mellowdrone.com or myspace. keyboardist with the Emotions and as lead vocalist for his original rock band, com/mellowdrone. Population Game, named in Music Connection Magazine’s 15th Annual “Hot Baur, Bernard Music Business 100 Unsigned Artists”. For MI, Justin conducts ensembles and teaches arrang- Bernard Baur is an artist crusader and award-winning journalist. For many art- ing as well as keyboard private lessons. ists he’s the connection between the streets and the suites. Credited with over Avveduti, Peter Independent Artist 1200 published articles in a variety of publications and general entertainment Peter has worked for Howard Benson, Robi Draco Rosa, and Leslie Van websites, he is currently Review Editor, A&R Reporter and Features Writer Treese in roles ranging from guitar & bass tech to Pro Tools engineer. As head for Music Connection Magazine. With over twenty years in entertainment and engineer at Mad Heaven Studios, he produced numerous artists from acoustic music, Bernard has worked with superstars and emerging artists as a Director to rock to electronic. He currently works as an independent producer, engineer, of Marketing and Promotions, Director of Business Affairs, PR consultant, Media mixer, and session guitar player in addition to creating his own music, includ- Liaison and A&R executive. At Warner Bros. Entertainment, he handled marketing All Our Hope Is..., the first album by his band, Illium. At MI, Peter teaches ing and copywriting for all WB products, including music, television programs, Private Lessons for the Independent Artist Program as well as engineering films and DVDs. As a partner in BGO Entertainment Network, he consults for drum sessions and maintaining the studios. record labels, entertainment firms (music, TV, and internet) and Minarik Guitars. Bernard has appeared in documentaries, VH1, MTV and CNN specials and is a Banks, Tio Independent Artist frequent participant in music conferences and workshops across the US. At MI, After a four-year honorable tour of duty in the United States Marine Corps he teaches Music Business Basics and Start & Run Your Own Record Label. at Quantico, Tionno Banks moved to Los Angeles to study piano, synthesizers and voice at the Dick Grove School of Music. Upon completion, Tio went Berestovoy, Marcelo Guitar 114 on tour as the assistant keyboardist for legendary keyboardist Billy Preston, MI graduate (’86) Marcelo Berestovoy’s recording credits include Ricky Martin, followed by recording, writing and more touring with various artists including Jessica Simpson, and Selena, as well as movies (with Tom Coster and Tom Don Was, Khaleb, John Taylor (Duran Duran) and Mandy Moore. Tio’s current Coster Jr.) and TV spots. As a player, he’s truly versatile, covering all of the musical projects include the completion of his debut solo CD entitled Tiopiah, guitars for the live production of “Holiday on Ice”. Recent songwriter credits producing Eminem artist Cashus, and touring with the funk-rock-blues band include a cut on Natalia Oreiro’s Latin Grammy-nominated Tu Veneno (BMG The Boneshakers. When he’s in LA, Tio teaches private keyboard lessons for Argentina). Stylistic preferences: anything with guitar in it! At MI, Marcelo the Independent Artist Program. conducts Rumba Workout classes, and teaches Single String Improvisation, Rhythm Guitar, RSW, open counseling and private instruction. Basick, Shawna Vocals Shawna Basick has been performing most of her life, with experiences ranging Berry, Kris Drums from sports events to musical theater. Recently, Shawna has been touring the Kris Berry works professionally in a variety of styles including jazz, Latin, UK with Leslie Paula & the Latin Soul Band as well as performing at a variety rock, funk, R&B, soul and classical. Artists he has worked with include Clare of venues in LA. An MI grad noted for her stylistic versatility, Shawna special- Fischer (Latin/Jazz quartet & vocal ensemble), Otmaro Ruiz (Alex Acuna, izes in voice technique and placement for different styles of music. At MI, she Sheila E), Stu Goldberg (John McLaughlin, Pat Martino), Smokey Robinson, teaches Sightsinging and private lessons. Doc Severenson, Tim Bogert (Jeff Beck, Rod Stewart), Keith Jones (Santana, Andy Narell, Airto & Flora Purim) and musicians from the LA Philharmonic Bates, Jonathan Independent Artist Orchestra. At MI, Kris specializes in mallet percussion and private instruction. Jonathan is the singer and founding member of the Columbia recording group Mellowdrone. His music has been licensed by the likes of Six Feet Under, Blaisdell, Ted Audio Engineering Nissan, Project Runway, Bravo, Disney, MTV, and several video game titles. With over 20 years experience as a freelance engineer, Ted is a regular cli- Jonathan previously played guitar and sang in the French pop group M83, and ent at many of the top recording studios in Los Angeles. He has engineered he has shared the stage with Paul Weller, The Fire Theft, Elbow, Johnny Marr, several Grammy-winning and multi-platinum CDs and is the score engineer The Killers, and many others and collaborated in the studio with Eric Valentine, and mixer on over 30 feature films. He also mixes FOH every week atAgape Bob Ezrin, Tony Berg, and Sean Beaven. Years of solid touring have added to International Spiritual Center in Culver City, CA. At MI, Ted teaches Console Jonathan’s DIY practical know-how in production and mixing and as well as Operation: Venue. Faculty Bios

Bolton, Ross Guitar Brewer, Henry “Soleh” Keyboards Currently on tour with jazz vocal legend Al Jarreau, Ross Bolton has also Henry Brewer received his musical education at Webster College Music recorded or performed with Rick Braun, David Benoit, Warren Hill, English Conservatory in St. Louis, MO. After relocating to L.A. in 1983, Henry remained funksters Down to the Bone, Jeffrey Osborne and many others, as well as active in writing, performance and recording. Some of his professional cred- providing guitar work for soundtracks including the The Gary Shandling Show its include B.B. King, Lou Rawls, Gladys Knight, and The O’Jays, and most (HBO) and movies such as Switch, Into the West, and Friday. Ross has also recently, The Emotions, members of Earth, Wind, & Fire and legendary guitarist recorded with The Beach Boys and played on the theme song of the long Paul Jackson Jr. Recording credits include soundtracks for the films Nemesis, running radio show Rockline. Ross has an instructional video entitled Funk Police Academy II, Bob Roberts and Fast Getaway II, as well as his Warner Rhythm Guitar. Specialties: funk, R&B and contemporary improvising. Bros instructional video Blues Keyboard. He is the author of two instructional books, R&B Soul Keyboards and Pop Rock Keyboards (with David Garfield) Bonhomme, Al Guitar and also records for and endorses Ensoniq Corporation. Specialties: Blues, Al has performed for many years as a freelance working guitar player cover- voicings, and groove. ing all styles of music from country and blues to rock and roll, R&B, finger picking and everything in between. Al has worked with country star Dwight Brown, Dean Guitar Yoakum, guitarist/producer Pete Anderson, the Bull Durham Band and Disney For more than twenty years, Dean Brown has been one of the most sought- Entertainment as well as performing at the Grand Old Opry, on CNN’s Crook after “A-list” guitar players for both recording and tours, with a credit list of over and Chase show and with country artists Mark Collie and Tracy Lawrence. 100 major artist recordings (including four Grammy Award winners) and tours In 1988, he was voted “Guitarist of the Year” by the California Country Music with the Brecker Brothers, Marcus Miller, David Sanborn, Kirk Whalum, Bob Association. Specialties: country, “roots” music and finger picking. James, George Duke, and Billy Cobham, among others. At MI, Dean teaches electives in Advanced Electric Guitar Styles and Advanced Ensemble Skills as Borg, Bobby Music Business, Independent Artist well as weekly Open Counseling sessions. Bobby Borg is an international recording and touring musician with over 25 115 years experience in the music business. He has worked with a variety of art- Buckingham, Bruce Guitar ists including the multi-platinum group Warrant as well as Beggars & Thieves Bruce is an experienced teacher at MI and author of several courses, including and his own band, Left For Dead. As a consultant to both artists and indepen- Rhythm Guitar, Chord Melody, and Latin Guitar Styles, as well as three books dent labels, he is a familiar guest speaker at music industry events, a regular for MI Press and one video for Hal Leonard Publishing. He has played and/ contributor to music business publications and on-line sites, and a music or recorded with musicians as diverse as Helen Reddy, John Pattitucci and screener for the independent A&R company, TAXI. A graduate of Berklee Michael Jackson’s live production of Sisterella. Bruce’s classes at MI include College of Music, Bobby is also the author of the highly endorsed Billboard rhythm guitar, chord melody, Latin guitar, single string technique, theory and publication The Musician’s Handbook: A Practical Guide To Understanding The ear training. Specialties: jazz and Latin styles. Music Business. At MI, Bobby teaches Inside the Recording Industry and the Calzatti, Alan Music Video-Film Independent CD Project. FilmIT director/instructor Alan Calzatti was destined to be behind the camera— Bowders, Jeff Drums his grandfather was a film director and his father a director of photography. Jeff Bowders began playing professionally at age 14 and graduated from Alan’s first taste of the film world was as a child on location as his father shot MI as “Outstanding Student of the Year”. After relocating to Nashville, he documentaries throughout the war-torn Middle East. After moving with his fam- recorded and toured internationally with various artist including Rebecca St. ily from Russia to Jerusalem to Hollywood, by 1984 Alan was ready to begin James, Ginny Owens, Fusebox, Chuck Yamek, and the Paul Colman Trio. In his own career, honing his craft by directing & producing numerous industrial 2003, Hal Leonard Publishing/MI Press released Jeff’s book, Double Bass films and home video titles. After he was approached to direct a music video Drumming-The Mirrored Groove System. Jeff currently keeps a busy sched- for Compton’s Most Wanted, he never looked back. With partner Jeff Clark, ule touring and recording with bands and artists from the LA area; check out he formed Calzatti/Clark Productions (later Sputnik Films) and during the next www.jeffbowders.com for more info. At MI, Jeff teaches Rock Drums, Rhythm 18 years completed over 250 commercials and music videos for the domestic Section Workshop and private lessons. and international markets, working with Atlantic, Sony, A&M, Jive, Hollywood Records, WEA International, & BMG/RCA, to name a few. In 1996 Alan received the MTV Viewer’s Choice—Video of the Year Award for the Backstreet Faculty Bios

Boys’ “Get Down”, which launched the band into first place in Europe and Campos, Carlos Keyboards changed the way “Boy Bands” were marketed. A year later, Alan repeated that Carlos Campos completed his undergraduate studies at the National success with N’ Sync’s climbing to a number-one position on the European Conservatory of Lima, received his B.M. in Composition from the Berkley charts. Still very active in the industry, Alan most recently shot the critically College of Music and completed his Masters Degree at the New England acclaimed rockumentary “Heima” for the Icelandic group Sigur Ros. At MI, Conservatory. Carlos is the author of Salsa and Afro Cuban Montunos for Alan trains students in multiple areas including directing, shooting, editing Piano and has recorded over twenty albums for international artists. He is also and creating CGI/visual effects. www.alancalzatti.com the head Writer for Indiant Productions in Los Angeles and maintains an active recording schedule in broadcast television and radio. Carlos currently teaches Campbell, Kathryn Bachelor keyboard proficiency, theory, and ear training for MI’s Degree Program. Katie Campbell, a Los Angeles native, completed her Bachelor of Music Degree in Jazz Studies at Western Michigan University. While at WMU, she Carruthers, John Guitar Craft performed throughout Europe and South Africa with the award-winning ensem- Well-known LA guitar builder, instrument repairman and Guitar Craft Program bles, “Gold Company” and “University Chorale.” In the US, Katie has performed Director John Carruthers wrote the guitar repair column in Guitar Player maga- from New York to Los Angeles in venues including Alice Tully Hall (Lincoln zine for ten years. He has also worked with Fender, Ibanez, Yamaha and EMG Center), Birdland, and The Jazz Bakery. She has also performed with Bobby and helped create such signature series guitars as the Robben Ford, Joe Pass, McFerrin, Janis Siegel, and Darmon Meader. Katie was named “Best Collegiate and Lee Ritenour models, as well as the EMG pick-up. His shop, Carruthers Jazz Vocalist” in the 2004 Downbeat Awards. Katie was the stand-by for both Guitar Repair, has been in business in LA since 1977. female roles in the off-Broadway production “Toxic Audio” and performed with Carson, Rob Drums the show in Mexico and the Caribbean. Back in Los Angeles, Katie is the lead Rob Carson is recognized as one of today’s finest rudimental performers. His vocalist for the Matt Roberts Group, studies acting and dance, and is a certified snare drum talents have won him more than 30 competition awards, including yoga instructor. At MI, Katie teaches Harmony & Theory, Ear Training, and Intro 116 three World Snare Drum Championships. He is a highly regarded educator, to Keyboards. www.myspace.com/singinkate performer and clinician, and through his disciplined and aesthetic approach Campbell, Mike Vocals to music he has perfected many new and enlightening rudimental techniques. Mike Campbell has released seven solo recordings and has appeared with art- Carson is also the co-inventor of Remo’s Power Stroke and Falam Drum Head ists as diverse as Sarah Vaughn, Count Basie, Ella Fitzgerald, Henry Mancini, and designer of the DC10 ProMark Drumstick. At MI, Rob teaches Playing Nancy Wilson, Roger Miller, Bobby Darin, Petula Clark, The Supremes, the Techniques. Mamas and the Papas, Quincy Jones, Joe Williams, Tuck & Patti, Benny Christie, Jerry Audio Engineering Carter and the North Carolina Symphony. He has recorded with Nancy Wilson, Born in Seattle to a family of engineers and musicians, Jerry started playing Donald Byrd, and Brazilian composer Moacir Santos, with whom he co-wrote guitar at the age of eight, spurred by his parents’ love of American blues and the title track for Carnival of the Spirits, and has contributed his vocal talents to big band jazz, and soon began rebuilding and modifying guitar amps in order to numerous jingles, TV and movie soundtracks, and has performed on over forty improve their tone and output. By his late teens, he was working in studios and television shows, including Ed Sullivan, Jerry Lewis, Red Skelton and Roger as a touring live sound engineer. After relocating to Los Angeles in 1983, he Miller. He has served on the Board of Governors of NARAS and is a member began working in studios full time with many gold and platinum records to his of AFof M, SAG, and AFTRA. As an educator, before coming to MI, Mike was credit. In 1997, he became a training instructor on SONY’s large-format digital chairman of the vocal department at the renowned Grove School of Music and consoles and taught at Los Angeles Recording Workshop. He joined the MI has presented vocal clinics worldwide. He has recorded two vocal instructional staff in 2003 teaching NEVE and SSL consoles, Pro Tools and Studio Etiquette videos for Warner Bros. and written Sight Singing: The Complete Method for while also instructing on the SSL 9000K console at Los Angles Recording Singers (MI Press/Hal Leonard) and Harmony Vocals (with Tracee Lewis). School. In his spare time, Jerry builds guitar amps, microphones and high-end Mike appears in the Who’s Who Among American Teachers, Singing Jazz, audio equipment, writes books on audio and is completing his Digidesign certi- Virgin’s Jazz Encyclopedia, and was named one of the “The 500 Greatest fication for Pro Tools. He is currently teaching Acoustics and Automation for MI. Jazz Singers of All Time” in Scott Yanow’s book Jazz Singers, The Ultimate Guide. Specialties: Jazz vocals, performance, sightsinging/sightreading. Christolear, Matt Vocals Matt is a Pro Tools© and Waves©-certified studio engineer with experience including Paramount Recording Studios (Deftones, Flo-Rida, Bone Thugs ‘n’ Faculty Bios

Harmony, Animal, Dr. Dre, Fall Out Boy), Departure Studios, and a manage- Comstock, Kevin Keyboards ment position at GC Pro Audio. At MI, he serves as recording engineer for all Native Southern Californian Kevin Comstock received his music education of the studio-based courses in MI’s Vocal Program. at California State University Long Beach as well as the Dick Grove School of Music with an emphasis on music synthesis and technology. Kevin has Clayden, Jon Vocals performed and/or recorded with The Clue, Hotboxx, Gone Wilde, Bent, 11th Aside from his duties as Director of Vocal Programs for MI, Jon has performed Hour, Funk Rage N Soul, Bare Bones and Christine Russell, and also worked live in twenty-seven countries as a headlining act as well as with such festivals as a live-performance consultant for many LA based bands and performers. as Ozzfest, Reading, and Warped Tour alongside industry giants including In 1996 Kevin began producing live shows and events for corporate clients Black Sabbath, Iggy Pop, Ozzy Osbourne, Incubus, Queens of the Stoneage, including the NFL, Capcom Entertainment, Xtrasports LA Radio, Nickelodeon Tool, Metallica and many more. He was formerly the Associate Director of Television Entertainment, Jet Blue, Boeing, Warner Brothers, Six Flags Magic Career Development for The Los Angeles Film and Recording Schools and Mountain, Taco Bell among others. Kevin also serves as musical director for holds a Master’s Degree in Music Business Management from the University several LA-based sketch comedy groups, including writing and recording the of Middlesex in London. Jon has licensed his own music, or that of artists from theme song for “The Instigators.” He also plays guitar and percussion and is his own record company, to movie and TV productions including Clash of the a member of the Music Teachers Association of California and the National Titans, Transformers, Star Trek, Harry Potter, Pirates of the Caribbean and Association of Music Education. In 2008, he joined MI as Director of the many more. Jon’s studio experience includes writing and performing ten albums Keyboard Department. for labels including Geffen, Universal, and MCA with such name producers as Dave Jerden (Alice in Chains, Offspring, Jane’s Addiction) and Machine (Fall Corne, Eric Independent Artist Out Boy, Lamb Of God). His musical collaborations include studio recordings Eric Corne is a Canadian singer-songwriter, producer and engineer cur- with Jello Biafra (Dead Kennedys) and John Stanier (Helmet) and live perfor- rently based in Los Angeles. Worked primarily out of Dusty Wakeman’s Mad mances with Slash (Guns’N’Roses), Billy Duffy (The Cult), Steve Jones (Sex Dog Studios since 2004, Eric’s recording credits include Lucinda Williams, 117 Pistols), and Matt Sorum (Velvet Revolver). Jon has created remixes for a wide Michelle Shocked, DeVotchKa, Glen Campbell, Airto Moreira (Joni Mitchell), range of bands, including Platinum-selling Welsh giants Stereophonics. As a Nancy Wilson (Heart), John Doe (X), Taiwanese sensation Joanna Wang and music consultant, Jon has worked with firms such as Bear Stearns, Bain & Co. Ghanaian reggae/afro-beat artist Rocky Dawuni (with whom Corne recorded and Kensico Capital, and has also provided rights-and-clearances advice for and mixed a track for the Darfur charity project Instant Karma) as well as feature-length documentaries such as Wake Up Screaming. music for film, television and video games. In late 2008, he released his first solo record, Kid Dynamite & The Common Man, featuring a who’s who Cohen, Barbara Vocals, Multi-Program of L.A. rock and roots royalty including Greg Leisz (Wilco), Doug Pettibone Barbara Cohen is a gifted singer songwriter, composer and multi-instrumen- (Lucinda Williams), Brian MacLeod (Sheryl Crow), Santa Davis (Peter Tosh), talist. Her intricate body of work embraces a variety of musical genres from Stephen Hodges (Tom Waits), Freddy Koella (Bob Dylan), Dusty Wakeman folk, roots rock, trip-hop, electronica and world music. A former Virgin Records (Dwight Yoakam) and Nick Urata of Denver’s DeVotchKa. At MI, Eric teaches recording artist, her credits include co-founding the trip-hop band Brother Sun, Recording and serves as Project Advisor for the Independent Artist Program. Sister Moon; collaborating with England’s rave luminaries Orbital on their big Find out more at ericcornemusic.com beat-techno classic Middle of Nowhere; featured vocals for France’s experi- mental duo Air; and several critically-acclaimed solo albums. Cohen’s diversity Cross, Mark Audio Engineering can be heard in her scores, ranging from the klezmer influence in theAcademy Mark Cross has engineered and mixed numerous albums, film scores and tele- Award-winning short The Confession to the whimsical horn and Mellotron vision soundtracks from the Grammy-winning I Am Shelby Lynne and Randy arrangements for the film American Shopper to the ambient, Andean guitar Newman’s Oscar-nominated and Grammy-winning CARS to the Meet the and charango music for the PBS documentary The Judge and the General. Parents score and soundtrack and hundreds of episodes of ER. As a producer Her songs have appeared in film and television including the Fox produc- and composer, Mark has created the musical themes for Nickelodeon’s Wow tion Broke Down Palace, Director Michael Radford’s film Dancing at the Blue Wow Wubbzy and the Seinfeld Season 8 DVD as well as producing and per- Iguana and NBC’s Lipstick Jungle and Third Watch. Cohen’s awards include forming with Grammy-winner John Legend on HBO’s CurbYour Enthusiasm. the 2008 BMI Conducting Workshop, The 2005 Sundance Film Composer Lab Mark has been a NARAS member since 2000 and served in the 2007 NARAS Fellowship and The Minnesota State Arts Board Fellowship Grant for Artistry P&E Wing as well as on the 2008 NARAS Board of Governors. and Composition. At MI, Barbara teaches Songwriting and Artist Development. Faculty Bios

Crossen, Jude Vocals De Togni, Maurizio Audio Engineering Former Berklee College of Music graduate and Vocal instructor Jude Crossen Maurizio (better known as Otto) has been a music-maker and independent gained critical acclaim with his Boston-based modern rock band Atlas music producer since 1990. His background includes wide experience as a Shrugged. Jude is currently going solo, with continued success such as his musician, composer, arranger and programmer for Italian and international appearance on the Grammy Award-nominated DVD/CD The Hang. Jude’s artists in the classical, pop, rock, and dance fields as well as international com- voice has also been heard on film & TV shows such as America’s Got Talent, mercials and TV award programs with major Italian networks. His Logic and My Name is Earl, and Joan of Arcadia. At MI Jude teaches Private Lessons, Pro Tools credentials include Apple Logic Pro Studio Certified Master, Apple Introduction to Studio Singing, an Open Counseling. Distinguished Audio Professional, and Digidesign Certified Pro Tools Expert Music/Post Operator along with qualifications as an Apple Logic Studio Certified Derge, David Drums Master Trainer and Digidesign Certified Pro Tools Instructor. He has taught at Accomplished, versatile drummer David Derge has performed and recorded the Academy of Entertainment Arts and Professions at Milan’s Teatro alla Scala, with many artists encompassing a wide variety of musical styles, including Soho Editors (AATC - London, UK), Espero (AATC - Milan, IT), University of Cannonball Adderley, David Benoit, the Boneshakers, Jim Campilongo, Larry California Los Angeles (UCLA Extension), and Moviola (Hollywood, CA). He Carlton, Shawn Colvin, Jose Feliciano, Russ Ferrante, Bela Fleck, Clare writes articles on music data processing and audio-pro solutions for Macworld Fisher, Fareed Haque, Jimmy Haslip, Eric Marienthal, Nelson Rangell, the magazine and Macworld Online. At MI, Otto teaches Pro Tools 1 Classes. Rippingtons, Otmaro Ruiz, Brian Setzer Orchestra, Bob Sheppard, Mike Stern, Learn more about Otto at his website, http://www.superotto.net Richard Thompson, Bill Watrous and Ernie Watts, as well as co-leading the original groups Shapes and Dark Horses. He also has extensive experience Dinkins, Fred Drums in recording for TV, film and commercials, and his teaching credits include One of MI’s most popular instructors, Fred Dinkins has performed with the likes the University of Illinois Chicago, the Dick Grove School of Music and the Los of Tramaine Hawkins, Andre Crouch, David Peaston, Wilton Felder, Ndugu 118 Angeles Music Academy. At MI, David teaches Rhythm Section Workshop and Chancellor, Norman Brown, and many others. Fred is also busy with numerous Private Lessons. club dates, clinics, and session work in the L.A. area and touring as musical director with the R&B vocal group The Emotions. At MI, Fred teaches Playing Desai, Pathik Guitar Technique, Sightreading, and private lessons. Pathik completed his undergraduate studies at University of Texas at Arlington before receiving a scholarship to attend the Berklee College of Music in Doolittle, Andrew Guitar Boston. Since moving to Los Angeles and joining the MI staff in 1996, he has Los Angeles-based guitarist and bandleader Andrew Doolittle has performed been busy with recording sessions, touring and teaching, including writing and recorded with a broad palette of artists representing a wide variety of for Guitar Player magazine and online lesson provider Truefire.com. Pathik’s styles, including Bird York (Oscar Nominee), Carmen Rasmusen (American Idol recording experience includes major motion pictures (such as the 2000 hit Season 2), A-Mei (Taiwanese pop star), Wil Seabrook (Rockstar INXS), Rich Finding Forrester), television shows (Cedric the Entertainer, American Idol) and Price (Geffen Records), Stripped Polaris, songwriters Corrinne May and Joe countless jingles (Doritos, Mercedes Benz, Dirt Devil, Yamaha Motorcycles). Deveau, legendary entertainer Patti Page, and the Tulsa Philharmonic. He has In 2003, he played on Kelly Clarkson’s first single “A Moment Like This” which performed on TV shows including the Tonight Show with Jay Leno and the Tony went to #1 on the Billboard Charts and was the best-selling single of the Danza Show, and he has also recorded extensively for film and TV. Andrew year. Pathik has toured with a wide range of artists including Kelly Clarkson, has a B.M. from the Oberlin Conservatory of Music, where he studied with Bob Westlife, Anastacia, Nick Lachey, Aaron Carter, Deborah Cox, Patti Austin, Ferrazza, and a Master of Music Degree from the New England Conservatory, Kelly Price, Javier, Taylor Dayne and A.J. McLean (Backstreet Boys) just to where he studied with Gene Bertoncini and John Abercrombie. At MI, Andrew name a few. He has also appeared on the Tonight Show with Jay Leno, David teaches Guitar Reading, Guitar Effects and Private Lessons. Letterman, Today, Good Morning America, the CBS Early Show, Rosanne, Echizen, Kenny Guitar Ellen, Jimmy Kimmel, TRL Live (MTV), Regis and Kelly, and Craig Ferguson. Born and raised in Torrance, California, Kenny Echizen graduated from MI in At MI, Pathik teaches Single String, Rhythm Guitar, RSW, Reading and private 2006 with the Outstanding Stylist award. Kenny has since recorded for ABC-TV lessons while specializing in funk, R&B and contemporary pop styles. (One Life to Live), Daytime Emmy Nominee Rie Sinclair, and Steve Hopkins. At MI, Kenny can be found teaching Private Lessons. Faculty Bios

Edwards, Robert “Masta” Vocals Ferrante, Russ Keyboards Masta’s performance credits include Stevie Wonder, Wilson Pickett, Norman Russell began studying piano at age 9, performing first in church and then Brown, Don Covay, Millie Jackson, Thelma Houston, and Carole King as well with various R&B and jazz groups in the San Francisco Bay area. His profes- as on the set of the television series, Almost Perfect, and he has released sional career began in 1973 when he and guitarist Robben Ford toured the US a series of instructional videos through Warner Bros. At MI, Masta teaches and Europe with legendary blues singer Jimmy Witherspoon. In 1977, Russell Stagecraft, R&B LPW, Private Lessons, and Open Counseling. moved to LA and within a short time was recording and touring with a variety of musicians including Joe Farrell, Tom Scott, and Joni Mitchell. In 1980 he Emmons, Tim Bass co-founded the Yellowjackets jazz-fusion group with Ford and Jimmy Haslip Tim is an active freelance musician and a veteran of more than one hun- and began working as a freelance wMIer, arranger and producer for artists dred film and television scores including The Simpsons, Family Guy, Mission including Bobby McFerrin, Michael Franks, Al Jarreau, Take Six and many oth- Impossible III, The Incredibles, The Day After Tomorrow, Something’s Gotta ers. Currently, Russell continues to perform worldwide with the Yellowjackets, Give, and The Wedding Planner and for dozens of major theatrical produc- who have recorded seventeen albums, received thirteen Grammy nominations tions including Candide, Swan Lake, Swing, and Ragtime. He is known as a and won two. He teaches and conducts clinics at colleges and private music performer on both contrabass (Stevie Wonder, Beyonce, Josh Groban, Justin schools throughout the United States, Japan and Europe, including Musicians Timberlake, Kenny G, Andrea Boccelli, Brandy, John Tesh, Toni Braxton) and Institute, Berklee School of Music (which offers a course in the Yellowjackets’ bass (Joe Pass, Richard Greene, Bo Diddley, Art Pepper, Lionel Hampton, music) and USC, where he is an adjunct professor. At MI, you’ll find Russell in Liza Minelli, Donna Summer, Carol Channing, Rod Stewart, Cab Calloway). Fusion LPW, Keyboard Mastery and Open Counseling. In 2000 he joined the seminal Classical-Jazz-Fusion ensemble Freeflight, and in 2001 arranged, conducted and performed on the soundtrack of HBO’s Findlay, Jamie Guitar F. Scott Fitzgerald bio-pic Last Call and Peter Bogdanovich’s The Cat’s Meow. Originally from Seattle, Washington, 1978 MI grad Jamie Findlay is one of the Tim also directs actor Jeff Goldblum’s “Mildred Snitzer Jazz Orchestra”. As masters of contemporary acoustic guitar. He has released two CDs under his 119 an educator, he teaches bass and directs the Jazz Ensemble at Occidental own name, Amigos del Corazon and Wings of Light, featuring Alex Acuña, Gary College and is a bass instructor at Cal State Los Angeles, Azusa Pacific Willis, and Russell Ferrante, and has performed with Robben Ford, Don Mock, University, the University of Redlands, the University of California at Riverside, Frank Sinatra Jr. and the Tony Guererro Band. Jamie has also toured exten- and Musicians Institute. sively throughout Europe, Asia, Central America, and the United States. His author credits include four books for Hal Leonard, featuring his own techniques Fanelli, Lynn Vocals and compositions plus arrangements of jazz standards, plus two Star Licks Lynn Fanelli has performed, recorded or toured with such diverse acts as: videos, Acoustic Soloing and Acoustic Fingerstyle Guitar. Specialties: solo jazz Delaney Bramlett, Wild Cherry, Percy Sledge, Al Wilson, Jon Bon Jovi, Mick guitar, fingerstyle acoustic. Fleetwood, Anna Nicole Smith, The Manhattans, Deniece Williams, Peter Reckell, Les Brown, Connie Stevens, Pat Boone, Heatwave and Gene Finn, Ed Guitar Chandler, to name just a few. She sang background vocals with the National Born in Rock Island, Illinois, Ed has studied music at Blackhawk College, InChoir on Oasis’ most recent CD, Dig Out Your Soul and has recorded with Florida Atlantic University, and MI. A professional guitarist since 1966 and an some of the nation’s top music producers, including Giorgio Moroder (Blondie, MI staff instructor since 1985, Ed does freelance live and studio gigs around Donna Summer), David Briggs (Neil Young), Jim Steinman (Meatloaf, Bonnie L.A., and can be heard on the theme to the HBO series Dream On. Touring Tyler), Ray Ruff (Van Morrison, Tanya Tucker, Merle Haggard) and Jonathan credits include singer Nell Carter and pianist Roger Williams. Specialties: Wolff (Seinfeld, Will & Grace). You have heard Lynn’s voice on jingles, TV and musicianship and technique classes, commercial styles. movie soundtracks, including Melrose Place, Days of Our Lives, Radio Disney, Fiorello, Joe Audio Engineering Nickelodeon, Michelob, and Wella. She currently maintains a busy freelance After completing his recording education in the late ’70s, this native Virginian career as a singer and vocal arranger. At MI, Lynn teaches Private Lessons joined the IBEW and began his engineering career as a machine room opera- and Open Counseling, helping students from all over the world to find their tor in Washington D.C. making analog dupes (¼″ and 16mm) and editing all vocal power. forms of tape using a razor. With experience as both an engineer and musician, Joe arrived in Hollywood in 1986 to further his career in music. In 1987, he was offered a position with Summa Music Group and spent the next several years Faculty Bios

working with famed producers and artists including Tom Lord Algae, Madonna, time Bernard got also very interested in more complex, jazz oriented music. Bill Bottrell, Janet Jackson, and XTC, among others. His next position was as At the age of 15, he was accepted by the University for Music and Performing Director of Audio Production for Musicians Institute, where he managed the stu- Arts, Vienna. He continued playing and recording in and around Vienna and dio and audio departments until he left in 1992 to run his own demo studio and graduated from the Conservatory with outstanding results. After graduation, fulfill a recording/publishing contract. In 1995, Joe joined the House Of Blues he moved to Los Angeles to expand his musical career and joined the MI staff, Hollywood as a live mix engineer, later becoming Production Manager, includ- where he teaches private lessons. Visit www.BernieGalane.com for more info. ing overseeing all live recording production for HOB Live. In 2007, he re-joined Garbatini, Gary Drums MI as Production Manager, and he also teaches Live Sound Applications for Gary Garbatini, a MI graduate, is an in-demand drummer who has had private the Audio Engineering program. instruction with such noted artists as Ed Soph and Nick Forte. His proficiency Fletcher, Chris Multi-Program in various styles such as rock, pop, jazz, reggae, and funk make him versatile Chris Fletcher owns & operates her own company, Coast-to-Coast Music enough to play in almost any situation. Currently, Gary keeps a busy schedule Promotion & Consulting, where for the past fifteen years she has directed doing studio and session work as well as teaching RSW and private lessons entertainment careers ranging from bands (The Ravyns, BB Chung King) and for MI. songwriters (Platinum award-winning Harold Payne) to solo artists (Grammy- Gilbert, Daniel Guitar nominated Peter Alsop) and a variety of others. Chris has also produced, One of MI’s most popular instructors, Daniel Gilbert has played guitar directed and edited music performance videos, consults regularly on music professionally in the Northeast since age 16. He has studied music at business touring, publicity and promotion, and continues to book engagements Queensborough Community College, Brooklyn Conservatory of Music and and manage tours. Her teaching experience also includes music business work- MI. Private teachers have included Pat Martino, Howard Morgan and Ronnie shops at California State Universities at Long Beach, Northridge and Fullerton Lee. He has kept busy teaching, doing sessions, and producing his own fusion as well as UCLA. At MI, Chris teaches Getting Gigs and The Touring Musician. 120 band Mr. Invisible (YT Records), plus performing with Cone of Silence and Fletcher, Kirk Guitar Terri and the T-Bones. Dan is also the co-author of Guitar Soloing for MI Press Kirk Fletcher is booked at venues and festivals all over the world as a (Hal Leonard Publications). Specialties: Single String Improvisation, Applied “blues player” (he toured for several years with Austin legends the Fabulous Technique, Guitar Workout, Fusion LPW and Eclectic Electric Guitar and Thunderbirds, after all), but his dynamic and inspiring guitar playing cannot be Guitar EFX. pigeonholed into one genre. MI students flock to Fletcher’s Open Counseling Gold, Jude Guitar to learn how to play funk; to pick up, by osmosis, some of Fletcher’s soulful Guitar Program Director Jude Gold served as Associate Editor of Guitar Player gospel inflections (Fletcher grew up doing a lot of church gigs); to learn how magazine since 2003 and prior to that was a staff editor from 2001-2003. He to groove “behind the beat” in a tasty R&B-approved fashion, and, most of all, has written features on countless guitar greats including everyone from Slash, to learn Fletcher’s explosive riffing and soloing approaches so that they, too, Joe Perry, Zakk Wylde, and Alexi Laiho to John Mayer, Pat Metheny, Brad might know how to make every note count. Students can also come to Fletcher Paisley, and Larry Carlton. As a guitarist, Jude has toured, performed, and/or to learn the Hip Hop LPW song of the week. recorded with JGB (formerly the Jerry Garcia Band), the Oakland Symphony, Flores, Chuck Multi-Program 2 Live Crew, DJ/Producer Miguel Migs, DJ Spooky,Spinal Tap’s David St. Chuck Flores is MI’s jazz drumming specialist. His extensive background Hubbins (actor Michael McKean), BX3, (the band featuring electric bass ninjas includes gigs with Woody Herman, Stan Kenton, Bud Shank, and the Toshiko Stu Hamm, Jeff Berlin, and Billy Sheehan) and the Van Halen tribute band Hot Akiyoshi Big Band. Chuck’s authentic interest in students’ education makes him For Teacher. In addition to his duties as Director of the Guitar Program, Jude a perennially popular teacher. At MI, Chuck teaches in the Schroeder LPW and also teaches Private Lessons and Open Counseling. Open Counseling. Grandeza, Bruno Guitar, Bachelor Galane, Bernard Drums In 2001, Bruno moved from Sao Paulo, Brazil to Los Angeles to attend MI’s Bernard Galane was born in Vienna, Austria, the classical music capitol of Guitar program, where he went on to earn his Bachelor Degree in Guitar the world. He started playing drums at age 4 and later joined a band called Performance. In addition to building his performing and recording career with “MIs on The Drums” at age 12. This band was very successful in Europe, had a number of different artists in the LA area, he continued his studies and in songs in the charts, and opened for major acts like Brian Adams. Around this Faculty Bios

2009 received his Master’s Degree in Music from California State University. Kether has worn many hats including A&R Director for SouthBeat Records/ At MI, Bruno teaches Private Lessons and Open Counseling. ADA and music producer for companies such as MTV, Eidos Games, Ichiban Records, Damon Dash Films, Diplomat Records and more. He has worked as Grasamke, Chas Guitar a music journalist for publications and websites including Scratch Magazine, Guitarist-arranger Chas Grasamke majored in music at the University of WaxPoetics, URB and MTV.com and he also as an internet designer-developer Wisconsin and studied with greats Howard Roberts, Ted Greene, Johnny for companies such as Hermes, Shop NBC, Barclays Bank and many more. At Smith, Jimmy Wyble and Lenny Breau. In his many years as a performer he MI, Kether is a Project Advisor and teaches Visual Media for the Independent has opened concerts for major recording acts, toured extensively, and is an Artist Program. Find out more at latchkeyrecordings.com. active force in music education. Chas is also an accomplished Travis picker and Beatles enthusiast. Specialties: Coffeehouse LPW, Harmony and Theory, Harnell, Jason Drums Eartraining, Reading. Jason is one of the most sought-after jazz drummers/educators on the West Coast and a mainstay on the Los Angeles jazz scene. He has played, Greundler, Donny Drums recorded and toured with some of the world’s top jazz musicians includ- Donny Gruendler was born and raised in the diverse musical surroundings of ing Larry Goldings, Darek Oles, Kate McGarry, Larry Koonse, and Maynard Detroit, Michigan where he was influenced by styles from Rock, Soul, Funk, Ferguson. Currently, Jason is involved in several original projects with which Pop, and Hip Hop to traditional Swing, Hard Bop, and Blues. By the time he he performs regularly including JoE-LeSs ShOe (a bass-less trio with Matt Otto was 21, Gruendler had earned his Bachelor of Music from Berklee College of and Jamie Rosenn), 3-ish (a chordless trio with Ryan McGillicuddy and Matt Music and Master of Music from Wayne State University in Detroit, Michigan. Otto), and Sigmund Fudge (an electric quartet with Joe Bagg, McGillicuddy He now lives in LA, where he has performed, programmed, toured and and Rosenn). He is also an active member of the Los Angeles Jazz Collective recorded behind such diverse artists as Jazz greats Kenny Burrell and John (www.lajazzcollective.com), and currently on the faculty of University California Medeski, D.J. Logic, Euro-Rock outfit JuliaFly, Genome, Rick Holmstrom, and Irvine, MI and World Mission University. Jason endorses Yamaha Drums, Rhett Frazier Inc. He is an expert at performing with backing tracks, manually 121 Istanbul Cymbals, Remo Drumheads, and Vic Firth Drumsticks. To learn more, triggering samples, and playing with loops (both live and in the studio) and visit www.jasonharnell.com. At MI, Jason teaches Be-Bop and Beyond, Open has also programmed and performed jingles (Remax On the Blvd Radio/TV Counseling, and Private Lessons. Campaigns, KFC, NPR), created content for sample and loop libraries (East West, Eclectic Ensembles) and has had his music featured in both TV and Harrison, Greg Guitar film. Donny has written MI’s Digital Drumming curriculum and co-authored Originally from Wilmington Ohio, Greg Harrison graduated from MI as the Rhythm Section Workshop curriculum, is the author of Playing With Drum Outstanding Stylist in late 2004. While attending the school he founded Loops (Carl Fischer DVD) and Seeing Sounds (Hudson Music), and has writ- Shredzilla, an all-instrumental shred band, and briefly studied with Paul Gilbert. ten regularly for Modern Drummer. At MI, Donny teaches Rhythm Section Greg has been performing live for years in various bands with styles ranging Workshop and DiMIal Drumming. from jazz, country and classic rock to metal, death metal, and shred. His specialties include advanced shred techniques, improvisation, and overall stylistic Grierson, Don Music Business diversity. At MI he teaches Single String Improvisation, Rhythm Guitar, RSW, As Vice President of A&R for Epic, CaMIol and EMI Records, Don signed private lessons and open counseling. Celine Dion, Heart, Iron Maiden, Sheena Easton, Joe Cocker, George Clinton, J.Geils Band and Kate Bush. He has also worked with Gloria Estefan, The Harriton, Lisa Keyboards Jacksons, Duran Duran, Queen, Tina Turner, Indigo Girls, Alice Cooper and Born into a professional music family, by age eight Harriton was working as many others. At MI, Don teaches Music Business News. a studio singer on dates for Disney, Integrity Media and Word Records, and later on preproduction tracks for Rod Stewart’s Great American Songbook. Gullu-Badat, Kether Independent Artist She graduated with distinction from the Royal Schools of Music London with a Kether has worked in the music and new media industries for over fifteen years degree in classical piano followed by a degree in Jazz Piano from USC, where and is currently co-owner and co-president of Latchkey Recordings, an indie she studied privately with prominent jazz pianist Alan Pasqua. For several label with North American distribution via Koch Entertainment. The Latchkey years Harriton played the Los Angeles jazz club scene, building a growing fol- artist roster includs an eclectic handful of artists including Rev Run’s teen- lowing with eclectic sets interspersing jazz with original songs influenced by age son JoJo and his group Team Blackout (from MTV’s Run’s House), Kool artists such as Maria Schneider and the Yellowjackets, and she played and G Rap, and Luscious Jackson co-founder Gabby Glaser. Through the years, Faculty Bios

recorded with veteran jazz musicians including Ernie Watts, Joe LaBarbara, named #1 in Guitar Player’s Annual Readers Poll. Scott has released three Darek Oles, Ingrid Jensen and Larry Koonse. In 2007, Lisa was unveiled as solo albums, Well to the Bone, Tore Down House, and Dog Party (Guitar touring keyboardist and backing vocalist for the reformed Smashing Pumpkins, Player’s “Best Blues Album of 1994”). Scott has also released two instructional appearing in videos for “Tarantula” and “That’s the Way (My Love Is)”. Featured videos, Jazz Fusion Improvisation and Melodic Phrasing. Two books containing in the April 2008 issue of Keyboard Magazine, Lisa plays Yamaha Acoustic Scott’s compositions are also available through Hal Leonard publishing. Scott’s pianos and is also sponsored by Roland and Moog. At MI, Lisa teaches Private open counseling sessions are some of MI’s most popular. Lessons and Open Counseling. Hess, Gary Drums Hassine, Mehdi Audio Engineering Gary Hess began his professional music career in 1971, playing clubs through- Medhi comes to MI from Paris, where he received a Master’s Degree in out the United States and Canada. In September of 1980 he became the first Electro-Optical Engineering from Paris University followed by extensive work- enrollee at the Percussion Institute of Technology (MI). Upon graduating in ing experience with computers. A 2000 graduate of MI, he is an active sound September of 1981 he was offered a position with the school as a staff instruc- engineer with international album credits (Dave Weckl, Dennis Chambers, tor, and served as Department Head of MI from 1995–2000. Besides having Gary Willis, Scott Henderson etc.) and a parallel career as a performing bass years of extensive hands-on teaching experience, he is also the author of player. At MI, Mehdi is head engineer for MI’s Degree projects and teaches The Encyclopedia of Reading Rhythms (MI Press/Hal Leonard), used as the Hard Disk Editing, Recording Theory, Acoustics, Electronics, and Automation. basis of MI’s drum reading program. His expertise in a wide variety of styles and techniques has made him an invaluable part of the MI staff. Gary has Hauser, Dominik Bass conducted drum clinics in Japan and the U.S. and continues to maintain a full Dominik Hauser was born and raised in Switzerland, where he attended schedule of free-lance work and teaching. Specialties: R&B, blues, funk, coun- the Jazz School and received his Masters Degree in music. As a composer, try, reading and interpretation. arranger and bassist for the jazz-funk group “The Ruleless” he was awarded 122 the prestigious “Prix Walo” and performed at the Montreux Jazz Festival. Hewitt, David Audio Engineering After moving to Los Angeles in 1996, Dominik studied film scoring at UCLA David Hewitt is an accomplished pianist – composer – arranger – producer – and began composing for independent films, which led to his selection for engineer. He began his musical career as a classical pianist, and his talent and the 2000 ASCAP Film Scoring Workshop. At MI, Dominik teaches Fretboard determination garnered many awards and local acclaim. David later learned the Improvisation, Private Lessons and Open Counseling, and he continues to guitar and subsequently spent many years traveling the US and Europe as the play and record around Los Angeles. guitar player and engineer with an internationally known folk group. He began his engineering endeavors as a live sound and venue engineer, mixing and Helmerich, T.J. Audio Engineering recording sound for theater, concerts and outdoor events. This path led eventu- MI instructor T.J. Helmerich has worked with some of the biggest names in ally to studio recording, and today engineers and produces for a wide variety of the business as both a recording engineer and musician. Behind the con- artists in LA including international pop/rock artist Hector King, jazz/contempo- sole, he’s worked with world-class musicians including Stanley Clarke, Scott rary singer Constance Jensen and many other local and national acts. For MI, Henderson, Dennis Chambers, Gary Willis and many others. His brand of 8- David teaches Music Studio Etiquette, SSL Signal Flow, and Open Counseling. finger guitar playing, showcased on two albums with Brett Garsed Quid Pro Quo and Exempt), has brought him international acclaim. T.J. is also an excep- Hill, Dave Guitar tional vocalist and has featured his playing and singing skills on tour with fellow Dave Hill graduated from Musicians Institute in March of 1983 and has toured MI alumnus Paul Gilbert (Mr. Big). At MI, T.J. specializes in Automation and extensively throughout the United States, Canada, and Europe, where he Session Engineering. performed at the Montreux Jazz Festival. Dave has also played with Frank Gambale, Jimmy Earl, Three Dog Night, The Coasters, and Al Wilson, and is Henderson, Scott Guitar a staff transcriber for REH Instructional Videos. Currently, Dave is working with Scott studied arranging and composition at Florida Atlantic University. After the Dave Hill Group and Cone of Silence. Specialties: fusion, jazz improvisa- graduating from MI, he toured and recorded with bassist Jeff Berlin, Jean-Luc tion, sightreading, ear training, rhythm guitar, and live performance. Ponty, Chick Corea, and Weather Report’s Joe Zawinul. Scott joined up with bassist Gary Willis in 1985 and together they have released eight albums Hinds, Allen Guitar with the critically acclaimed fusion group Tribal Tech. In 1991, Henderson was Allen attended Berklee School of Music in 1978 and MI in 1985, where he named by Guitar World as the #1 Jazz Guitarist, and in January 1992 he was was the winner of the Larry Carlton Scholarship. Allen has recorded many Faculty Bios

TV and radio jingles as well as recording and/or touring with Natalie Cole, the Awards. In the process, Mitch has worked with composers including John Crusaders, Roberta Flack, Eric Marienthal, BeBe and CeCe Winan, Hiroshima, Williams, Dave Grusin, Clint Eastwood, Alan Silvestri, Lalo Schifrin, Michel Randy Crawford, Boney James and many more. Recent credits include TV Legrand, Johnny Mandel, Mark Shaimen, John Barry, Tom Scott, David scores for Lucky (EFX) and JAG (CBS), touring with London funk/jazz all-stars Newman, Hans Zimmer, and Herbie Hancock. He has been an adjunct profes- Down To The Bone, and work with Marc Antoine, Jeff Kashiwa, and Rayford sor at USC, conducted numerous master classes and workshops, and recently Griffin. At MI, Allen’s specialties include jazz improvisational techniques, con- authored The Jazz Guitar Stylings of Howard Roberts (Mel Bay), an analysis temporary rock and R&B. of the playing of MI’s founder. At MI, Mitch can be found teaching Private lessons and Open Counseling. To learn more about Mitch and his extraordinary Hoffmeyer, Frank Guitar career, visit www.mitchholder.com. Frank Hoffmeyer received his formal music training at the University of Muenster in his native Germany before moving to Los Angeles to study at the Homeyer, Ernst Guitar University of Southern California, where he earned his Master’s Degree. Since Ernst traveled to LA from his native Argentina to earn his Bachelor’s degree graduation, he has maintained a busy schedule in the Los Angeles club and from MI. Ever since, he has been brandishing his monster rock and fusion recording scene, earning credits on a wide variety of film soundtracks, com- chops as a session player, live performer and recording artist with a CD entitled mercial jingles, and theater productions. Frank’s specialties as a player include EGH I. At MI, Ernst specializes in rock guitar and fusion styles and teaches Classical guitar and fingerpicking techniques, and at MI he concentrates on Single String Improvisation, Rhythm Guitar, RSW and private instruction. private instruction. Howard, Charissa Vocals Holden, Mark Multi-Program By the age of 15, Charissa Howard (also known as Charissa Nicole) was Originally from Houston, Mark Holden attended the High School for the already belting out the National Anthem at large events like the Bonneville Performing & Visual Arts, the University of Houston and the Berklee College of National Speed Week and Championship Boxing. Since moving from Oregon Music. As founder of Musicomm, Inc., Holden composes themes and scores to Los Angeles and graduating from MI with the Outstanding Student Award in 123 for TV programming including feature films, interactive features and series. His 2003, Charissa has built a successful career as a songwriter and vocalist. In advertising and corporate clients include General Motors, NBC, Fox, The Los 2004, she was chosen as a cast member for the MTV pilot, Girl Makes Band, Angeles Times, Continental Airlines, Zales Jewelers, Texas Rangers Baseball and a year later released her debut album, This Road. Along the way she per- and Compaq. Mr. Holden has received numerous Addy and Telly awards for formed numerous gigs with R&B and Top 40 bands while doing session work his music in addition to two Emmy nominations in regional categories and an and backing vocals for producers and artists including Reba McEntire, Jesse Emmy award for his score to Good Luck, Mr. Robinson. Holden is a member of McCartney, Raven Simone, Sophie B. Hawkins, Tre Hardson, and more. In The American Federation of Musicians (AFM), has served as Seminar Chair for 2007, Charissa collaborated with an LA producer to form Perpetuate Music and The Society of Composers & Lyricists (SCL) as well as Acting Secretary of the Perpetuate Records, and her first single release, “Long Days,” went to #1 in sev- American Alliance of Composer Organizations (AACO) in Los Angeles. He also eral US markets. She is currently performing with the all-female a cappella group writes a column on performing rights for Film Music Magazine and teaches Film Five Carat and her original blues/rock band Sun City Revival. At MI, Charissa & Television Scoring at MI. teaches Private Lessons and in the Reggae Live Performance Workshop. Holder, Mitch Guitar Hsu, Talun Music Video/Film Mitch Holder has been a first-call session guitarist on the LA studio and jazz Born in Taipei, Taiwan, Talun spent his formative years in Vienna, Austria scene for nearly forty years, with a wide range of professional credits that before finally relocating to Southern California. After graduating from UCLA, reflect his mastery of every style of music. Highlights of his career to date (to Talun Hsu toiled for six months in the camera department for legendary name very few) include records with Barbra Streisand, Frank Sinatra, Joe producer Roger Corman before moving on to directing three feature films, Cocker, Diana Ross, and Brian Wilson; film soundtracks for Little Children, Witchcraft V, Body Count, and Fatal Blade with stars like: Robert Davi, Steven Kicking & Screaming, Something’s Gotta Give, Catch Me If You Can, Saturday Bauer, Sonny Chiba, Gary Daniels, Eric Lutes, and Seiko Matsuda. Shortly Night Fever, E.T., Indiana Jones & The Temple of Doom, and Terms of after Talun directed his third film, he wrote his first screenplay, Snake Heads, Endearment; and TV work for the Tonight Show With Johnny Carson, The an epic gangster saga about the rise and fall of Chinese immigrants set in New Simpsons, King Of The Hill, Family Guy, The Academy Awards, Grammy York. Talun also gained experience as a line producer and producer on feature Awards, Country Music Awards, American Music Awards, and the Emmy Faculty Bios

films including Lethal Eviction, Finding Madison and The Tailor. At MI, Talun Def Leppard, Madonna). Her voice can be heard on commercials, radio, TV teaches Directing and Producing. and film (Calvin Klein, FOX, ABC Family) in the US and Japan, and she has extensive touring experience (Shooter Jennings, PJ Olsson and others). Tita is Hume, Peter Bachelor the co-author (with Dena Murray) of Advanced Vocal Technique: Middle Voice, Born in Washington DC, Peter Hume took up the guitar at age twelve and Placement and Styles (Hal Leonard Publishing). She maintains an active began his professional career while still in his teens. In 1978, he graduated schedule at MI teaching private voice lessons, Live Performance, Sightsinging, Summa Cum Laude from Berklee College of Music in Boston. Peter taught at Open Counseling, and Artist Performance Showcase. Berklee from 1978 until 1982. For many years he has been the musical director for vocalist Melissa Manchester, appearing in concerts all over the world, includ- Iadarola, Matthew Audio Engineering ing a 2004 appearance at the White House. Peter has conducted the Toronto Matthew Iadarola attended UCLA film school where he received a B.A. in Symphony, Hollywood Bowl Orchestra, Atlanta Pops Orchestra and Dallas Film and Television. Over the course of his career he has recorded location Symphony, to name just a few. Over the years he has also played for Paul sound, sound effects, Foley and ADR as well as editing, mixing and master- Williams, Michael McDonald, Natalie Cole and Johnny Mathis. Peter is active ing with most current audio formats and technologies including Pro Tools and in commercial, film and TV music, contributing arrangements, orchestrations, the Digidesign Icon console. Matthew has mixed the soundtracks of over 150 source cues, MIDI production and guitar to a variety of projects. His movie and feature films while working with such directors as Robert Altman, Sam Raimi, TV credits include The Colt, Major Payne, Money For Nothing, Pearl, Evening Spike Jonze and Carl Franklin and he is a member of the Academy of Motion At Pops & The Tonight Show, and commercial credits include Albertson’s, Del Picture Arts and Sciences. Monte, Disneyland, Levi’s, MTV, Sprite & Toyota. For MI’s Bachelor Degree Jacobs, Sid Guitar program, Peter teaches Single String Improvisation, Rhythm Guitar, Reading, Sid was born in Miami, Florida and raised in Cuba, returning to the US after Ear Training, Reading Ensemble, Conducting, and Private Lessons. the revolution to continue his education. By age 18, he was the youngest 124 Humphrey, John Bass instructor on the faculty of the University of Las Vegas. Sid has performed John Humphrey graduated from MI and took private instruction with such noted with a multitude of entertainers such as Steve Lawrence and Eydie Gorme, artists as Jeff Berlin and Bob Magnusson. His proficiency in styles from rock Diahanne Carroll, Ike and Tina Turner, Luciano Pavarotti, and Frank Sinatra Jr. and pop to jazz and funk have made him versatile enough to play in almost any Sid has been receiving rave reviews for recent performances and his first setting and kept him in demand for studio and session work. At MI, he teaches album on Delmark Records. As an author, Sid has written The Complete Book private lessons and assists Carl Schroeder in his Jazz Live Playing Workshop. of Jazz Guitar Lines and Phrases and Jazz Guitar I and II. At MI, Sid’s specialty is jazz guitar and Reading. Hunter, Jevin Drums Jevin Hunter hails from Detroit, Michigan, where he was raised in the thriving Jean, Stewart Drums gospel scene. While studying at Western Michigan University under the great Originally from New Jersey, Stewart studied at the University of Miami and Billy Hart, Jevin was a part of the award-winning college vocal jazz group, received a Bachelor of Music in Studio Music and Jazz, including studies with “Gold Company,” which performed extensively in locations including South Steve Rucker and Steve Bagby. Stewart’s performing credits include Raul Africa, Latvia, Estonia, St. Lo France, New York. Since college, Jevin has Midon, Jimmy Buffett, Mike Utley, Bo Diddley, Ben Vereen, Lucky Peterson, toured, recorded, and played with such artists as Lauryn Hill, Bobby McFerrin, Preston Smith, Ellis Hall, Sam Moore, and Betty Wright, to name a few. He has Darmon Meader, Stefon Harris, Eldar, Shawn “Thunder” Wallace, Charles recorded for various artists on the Sony and Columbia labels and can be heard Laster, Liz Mikel, Mozella and more. He also makes music with the original on the soundtrack for the film Contact. An inspiring educator who is well versed band Population Game, works as a producer, and endorses Taye Drums and in all aspects of music, Stewart teaches a variety of classes including Theory, Sabian Cymbals. At MI, Jevin teaches Hip-Hop LPW and Private Lessons. Ear Training, Keyboard Lab, Drum Solos and private lessons. Hutchison, Tita Vocals Jong, Greg Independent Artist Tita Hutchison’s first single played on the radio at age 16 and she quickly Greg was a founding member of progressive rock outfit Pure Reason established herself singing in bands and doing session work for artists signed Revolution on Sony/BMG, formed while he was completing a BA in Commercial to Hollywood, Capitol, and Columbia Records. Tita’s recording and live perfor- Music at the University of Westminster in London. He has also worked in New mance credits include work with industry legends Rick Rubin, Herbie Hancock, Media Licensing for the Association of Independent Music (AIM) in London Keith Forsey (Billy Idol, Simple Minds), and Brian Malouf (Michael Jackson, and toured as a session drummer for EMI-Sparrow artists Tim Hughes & Matt Faculty Bios

Redman. More recently, he was a member of The Procession on Nude/V2 ate, has also worked with pop stars such as Jewel and Michelle Branch and Records in the UK and is currently working on his own band project, Grand in bands like the Boneshakers. He is known around town for co-leading the Vanity and as music director for Ecclesia Hollywood. At MI, Greg is a Project Baked Potato’s famous Monday Night Jam each week (MI students welcome!) Advisor for the Independent Artist Program as well as coordinator for the Jamie teaches Private Lessons, conducts Open Counseling, and specializes in Encore Program. Find out more at myspace.com/gregjongmusic. everything from prog rock to classic rock to jazz/fusion. The gifted improviser also helps students tap into harmonic approaches spanning Coltrane to John Keif, Dave Bass McLaughlin, so that they learn the art of crafting epic, exciting, open-ended David Keif is a freelance bassist and has performed and recorded with Mark solos on the fly. Lindsay, Rita Coolidge, Etta James, Freida Payne, Carla Olson, Darlene Love and the Platters and on TV shows and movies including Smallville, the Horse Kimpel, Dan Music Business Whisperer and Trekkies, As an author, Dave’s titles range from Arpeggios For Acknowledged as a foremost authority on popular music, Dan Kimpel con- Bass and Grooves For Electric Bass to Classic Rock Bass and Latin Bass tributes to a dizzying variety of print and electronic media including books, (w/George Lopez), all for Hal Leonard Publishing. At MI, Dave specializes in interactive CD’s, magazines, web sites, and videos. He is the author of the Motown Bass, RSW, Recording Performance and private lessons. best-seller Networking in the Music Business as well as Networking Strategies for the New Music Business and most recently, How They Made It: True Keller, John Multi-Program Stories of How Music’s Biggest Stars Went from Start to Stardom (Hal Leonard John Keller is the co-writer of the multi-format Number-One hit “Love Is”, Publishing). For five years, Dan conducted weeklong master seminars at Sir recorded by Vanessa Williams and Brian McKnight. His songs have been Paul McCartney’s Liverpool Institute for Performing Arts (LIPA) in the UK. recorded by Rickie Lee Jones, Al Green, Aaron Neville, and Wynonna. He also Stateside, he lectures at colleges, universities and conferences across the U.S. co-wrote “Get Over Yourself”, a Top-Ten single by Eden’s Crush as well as and Canada, and at MI he teaches a course in Music Business Networking and “I’ve Gotta See You Smile”, performed by Leigh Nash (of Sixpence None The conducts personal career counseling. To learn more, visit www.dankimpel.com. Richer) for the movie Because Of Winn Dixie. Currently signed to Sony Music, 125 John has collaborated with top writers including Tonio K, Will Jennings, Bonnie Klikovits, Christian Keyboards, Multi-Program Hayes, Shelly Piken, David Baerwald, Danny Wilde, Beth Neilson Chapman, Originally from Vienna, Austria, Christian received classical training from age and Leigh Nash. At MI, he teaches Artist Development. 11, eventually studying jazz piano at the Vienna Conservatory. Since moving to California he has remained active as a freelance keyboardist as well as com- Kerner, Kenny Music Business posing and producing music for films and commercials. Specialties are sight Director of the Music Business Program Kenny Kerner comes to MI as a thirty- reading and vocal accompaniment. year music industry veteran. He has produced records for KISS, Gladys Knight, Jose Feliciano, and Badfinger. He has also worked in personal management Kohring, Jörg Guitar and is a former record company A&R executive, public relations expert, and Originally from Germany, Jörg Kohring studied at the Hochschule für Musik music journalist. Specialties: Music business and promotion. und Darstellende Kunst and earned his Master’s Degree in jazz guitar. During that time he toured with the LJJO Big Band in Indonesia, Spain and France Kim, Hyun (Joyce) Keyboards and worked as an instructor at the prestigious Music Station in Hamburg. After Hyun Kim completed her Bachelors Degree in Music Composition in Korea, moving to the US in 1995, Jörg graduated from MI with Vocational Honors and where she also performed with Abraham Laboriel and Gary Garbatini. After resumed recording and touring, with TV appearances in both Europe and the moving to Los Angeles to attend MI, she received the Outstanding Student States (Pop of the Tops, Live and Kicking and Olympics broadcasts among Award two years in a row. Since graduation, Hyun has been directing music others) and performances with multi-platinum selling artists Lifehouse, as well for church, arranging, and performing live in the LA area. For MI, she teaches as his own band, Blend. At MI, Jörg’s specialties include rock, pop, blues and private lessons and directs keyboards for the Fusion LPW. guitar technique. Kime, Jamie Guitar Kolb, Tom Guitar As a member of Zappa Plays Zappa (led by Frank Zappa’s son Dweezil), Tom Kolb graduated from Musicians Institute in 1989 as an honors graduate Jamie Kime has played every prestigious venue from London’s Royal Albert as well as Student of the Year. A veteran of over 4,000 gigs, Tom has worked Hall to LA’s Greek Theater. In early 2009, Jamie collected a Grammy Award in nearly every musical situation imaginable, from tours to sessions to his own (“Best Rock Instrumental”) for his work with the band. Kime, a MI gradu- funk/rock band, the Gurus. He has been a featured artist and musical director Faculty Bios

for Star Licks Videos and a regular contributor and columnist for Guitar One Single String Improvisation, Rhythm Guitar, RSW, private instruction and open magazine, as well writing Classic Rock Workshop (MI Press/Hal Leonard). counseling. Specialties: rock improvisation, melodic soloing, rhythm guitar. Lander, Tony Keyboards Kotikoski, Antti Guitar Music has been a part of Tony’s life since he was a young boy growing up out- Antti Kotikoski began playing guitar at age nine, and after being introduced side of Washington D.C. In 1988, Tony formed an original band and performed to the rudiments of electric guitar at the Pop/Jazz Conservatory in Helsinki, throughout the New York-New Jersey area before relocating to Las Vegas in Finland, it was time to move to Los Angeles to attend MI. By the time he gradu- 1996, where he joined Planet Groove, a classic funk-R&B-blues ensemble. ated in 1994, he had completed his first album in MI’s own Tommy Tedesco Inspired to further his music career, he moved once again to Los Angeles to Studio with fellow Dutch MI student Richard Hallebeek. The album, Richie & study music on a full-time basis at MI and upon graduation began teaching Antti: Generator also features such guitar greats as Scott Henderson, Dan and working as a professional keyboard player and singer in the LA area. At Gilbert, and Frank Gambale as well as keyboardist Scott Kinsey. As a guitarist MI you’ll find Tony teaching Rock Keyboards, Keyboard Reading, Live Playing and composer, Antti has recorded and performed with artists including Vinnie Workshops and Private Lessons. Colaiuta, Steve Tavaglione, JK Kleutgens, Marco Minnemann, Virgil Donati, Lauretta, Troy Independent Artist Gary Novak and Andre Manga. At MI, Antti teaches private lessons and holds Singer/songwriter Troy Lauretta is currently performing with R&B/Neo- open counseling sessions with an emphasis on rock/jazz improvisation, tech- Soul duet A2C. A classically-trained pianist who completed both the Audio nique and composition. To learn more, visit www.kotikoski.com. Engineering and Independent Artist programs at MI (winning “Outstanding Krishnan, Appu Keyboards Project” in both), his songs have been featured on TV networks including Originally from Kerala India, Appu Krishnan began performing music at the ABS-CBN and MTV Asia as well as local shows in Hawaii and the Philippines. age of 11 and quickly developed a name for himself as a live keyboardist for As a performer, he has worked on MTV and with John Legend, Stevie Wonder, 126 local classic rock and metal bands. In his early teens, Appu began working with and American Idol finalists, to name a few. At MI, Troy is a Lab Assistant some of the top names in the Indian Pop-Film industries as a session musician, and Project Advisor for the Independent Artist Program. Learn more at which soon led him to producing records for other artists and scoring for TV, www.myspace.com/a2csoul film and animation. During that time, Appu also studied physics and eventually Leitje, Herman Audio Engineering earned his BE in Mechanical Engineering while serving as a product special- Herman Leitje has worked as a Front of House Engineer, Monitor Engineer, ist for Korg musical instruments. In 2005, Appu relocated to the US to attend and Production Manager for venues including the Canyon Club, Aliante Station, MI’s Audio Engineering program and graduated as Outstanding Student before Crash Mansion, Sony Pictures Studios, and the House of Blues Hollywood. earning an AA from the Keyboard Technology program. Appu has been nomi- He has toured with such legendary artists as LL Cool J, Pat Benetar, Paul nated for numerous awards, including the LA Music Awards, for his work with Rogers, KC & the Sunshine Band, Teena Marie, the Go Go’s, Green Day, Tool, independent singer/songwriters. He works closely with Renato Nieto (Prince, and Aretha Franklin. At MI, Herman teaches Stage and Tour Management. Shiela E) as a studio technician, as a staff engineer for Hugh James (Michael McDonald, Tiffany), and mixes for multiple producers and artists such as Littlefield, David Independent Artist Valente Bertelli, Norwegian electronic artist Hilde Klain and jazz pianist Yoon David Littlefield is a web designer, graphic artist, and illustrator whose recent Seung Cho. At MI, Appu teaches Digital Music, Roland Fantom-G Workshop, projects include designing the social networking component for the Adam Synthesis, Sampling and Private Lessons. Carolla Radio Show website, MacArtFilms.com, and print ads for Monte Nido & Affiliates. David graduated from the School of Visual Arts in New York and LaFleur, Bill Guitar is fluent with Adobe Photoshop, Illustrator, Indesign, and Dreamweaver. At MI, Originally from Rochester, New York, guitarist Bill LaFleur relocated to Los David is a Project Advisor for the Independent Artist Program. See David’s Angeles where he studied composition and film scoring at UCLA. He has portfolio at www.dmlworx.com. worked as a freelance music transcriber with dozens of published works for most major publishing companies including music portfolios from such diverse Lopez, George Bass artists as Sheryl Crow, Dream Theater, Dwight Yoakam and many others. He At age 14, George began his professional music career, quickly developing a is also a demonstrator for Yamaha Guitars. At MI, Bill’s busy schedule includes local reputation as a formidable talent. In 1981, George moved to L.A., where he graduated from MI, then established himself as one of the area’s finest Faculty Bios

Latin bass players. He has performed with Tito Puente, Celia Cruz, Azteca, El the supervisor of the Fender Custom Shop. Dave currently oversees the pro- Chicano, Dave Valentine, Poncho Sanchez, Norman Brown, and many other duction of Factory Special Run guitars, which are limited-edition instruments local musicians. At MI, George teaches Latin Bass, the Latin LPW, Bass RSW for special customers. At MI, he teaches Woodworking, Hardware Selection and private lessons. and Installation, Design Theory, Template Fabrication, and History of Guitar Fabrication. Lula, Jami Vocals Jami Lula is an award-winning soulful singer, songwriter, performer and record- Marlis, Beth Guitar ing artist. 2009 saw Jami release his fourth solo record, There’s a Healin Beth Marlis was GIT Director 2000–2009 and a Vocational Honors graduate Goin On (Circle Up Records), with the title song nominated for a Posipalooza of the program in 1986. She holds a BA in Music from UC Santa Cruz and a Award. He also completed his tenure as Music Director for the United Centers Master’s in Music from USC in Studio/Jazz Guitar Performance. Beth has co- for Spiritual Living annual Asilomar Conference. Jami was awarded the Youth authored (with Daniel Gilbert) two instructional books for Hal Leonard/MI Press Champion Award in 2009 for his extensive work with teens and young adults. (Guitar Soloing and Advanced Guitar Soloing) as well as a video release for He was twice nominated as Best Vocalist of the Year by the L.A. Music Awards Hal Leonard/MI Press. While working her way up the musical food chain, Beth and took home the award in 1997. His work has earned rave reviews from has performed with a wide range of artists including Harold Land, Brownie the LA Times, The Album Network, and Whole Life Times. Jami has been McGee, Helen Reddy and Louis Bellson. She’s composed more than a dozen teaching at MI since 1989, with specialties including Coffeehouse LPW, Artist independent film scores and maintains an active schedule as a freelance gui- Development, Voice, Songwriting, and Life as an Independent Artist. tarist. She’s served on the Steering Committee and as a panel moderator for the 2004 World Guitar Congress, and was a judge for 2007 North American Lyons, Sean Audio Engineering Rock Guitar Competition. Beth has been a MI Instructor since 1987, teaching Sean Lyons has worked as a Lighting Director, Designer, and Technician for all levels and courses and specializing in jazz and funk. Club Nokia, House of Blues Hollywood, the Henry Fonda Theater, the El Rey Theater, the Key Club, and the Pee Wee Herman Show, as well as for artists Marshall, Jeff Guitar 127 including Social Distortion, Joss Stone, Passion MI, Ashlee Simpson, AOL Jeff Marshall is a graduate of MI (‘89) and has since toured and recorded with Music, Zero 7, Cake, Fleetwood Mac, Mouse on Mars, and Michelle Branch, Nashville artist Rick Monroe and opened for the likes of Montgomery Gentry, amongst others. He has also worked in the Art Departments for such film/TV Dwight Yoakum, Patty Loveless, and Kenny Wayne Shepherd, to name a productions as Mad Men, Terminator: The Sarah Connor Chronicles, Lost, Big few. He has done sessions with (AC40 Female Vocalist of the Year Debbie Love, Lords of Dogtown, Hostage, House of Sand and Fog, Duplex, and Catch Hennessey, solo artist Gene Owens, Petru Luna and countless demo sessions Me if You Can. At MI, Sean teaches Lighting and Video Production. for various artists. Jeff stays ever-busy doing gigs and sessions in the LA area, covering almost any style of popular music from rock to country, jazz or blues. Machacek, Alex Guitar At MI, Jeff can be found teaching Single String Improvisation, Rhythm Guitar, Alex Machacek’s musical journey has taken him from his native Austria (where RSW, private lessons and open counseling. he holds a degree from the prestigious Conservatory in Vienna) to LA where he now resides; performing and recording his own original projects (including McIntyre, Tim Drums Alex’s trio featuring Terry Bozzio) and now as a member of the MI faculty. With Tim McIntyre is a 1987 Vocational honors graduate of MI, receiving the two CD releases under his own name, Alex has garnered praise from many Outstanding Student of the Year Award. Tim also graduated in 1981 with a notable music cMIics and fellow musicians alike, including John Mclaughlin B.M. Degree from the University of Calgary, Alberta. Tim maintains a busy who stated, “Alex Machacek’s music starts where other music ends. He is play- club, concert, and recording schedule in the L.A. area while also teaching ing some amazing guitar on (his CD) SIC. He is going where other people stop. Styles Primer, Jazz LPW and private lessons at MI. He has done some very deep excavation in the mind of music.” At MI, you’ll Megna, Andy Drums find Alex teaching private lessons and open counseling. To learn more about Andy is an honors graduate of MI and was awarded the Rock/Funk Stylist of Alex and his music visit him at www.alexmachacek.com. the Year award. He specializes in rock, funk and fusion music with an empha- Maddux, David Guitar Craft sis on hand technique and rudiments. Andy is currently recording for Lueken David Maddux began repairing and modifying guitars in 1966. In 1977, he went Innovations (Pocket Percussion, Rock University) and playing with various to work for Fender where his first assignment was in the paint department. In artists in the LA area, including Dakota Moon. He endorses Spaun drums and 1998, after having learned the various aspects of guitar production, he became Truline drumsticks. Faculty Bios

Meza, Aaron Music Business Morgan, James Audio Engineering Aaron Meza is an ASCAP Writer and publisher, NARAS musician and vocal- MI instructor-engineer-producer-studio technician-songwriter Jim Morgan has ist, SAG and AFTRA-member voice actor, and has served on the Los Angeles been engineering in Los Angeles recording studios for over twenty years. He Board of the Recording Academy. His narration talents have been recognized has held chief engineer positions at RFH Records, A&R Studios/Hollywood and with Telly and Golden Aurora awards. Based on his many years of experi- currently Silent Sounds Recording Studios (which he also designed and built ence as the West Coast Director for The Songwriters Guild of America, Aaron with owner Steve Jacobson). Jim’s extensive client list includes Kool Keith, Raz wrote the audiobook, You’ve Written A Song, So Now What? He holds a music Kaz, George Clinton (P-Funk), Laurence Tollhurst (The Cure), Bootsy Collins, degree from UCLA and certificates from USC Law Center and UCLA Extension, Killah Priest, Cannabis, Sunshine Anderson, Kurupt, Joe Walsh, Nancy Wilson, and has taught at UCLA Extension, Cal State Dominquez Hills, Los Angeles Don Henley, Mark Latham, Guitar Jack, Mike City, Billy Gibbons, Billy Preston, City College and El Camino College. At MI, Aaron teaches Music Publishing CaMIol Records, Interscope and Warner Bros., to name a few, and his efforts and Music Licensing. to further the art of audio engineering have earned him a collection of Gold and Platinum records. Jim is also an accomplished technician, so when he’s not Mikkelsen, Ronny Independent Artist actually operating a world-class recording console he can often be found in the Originally from Odense, Denmark, Ronny Mikkelsen is a freelance audio engi- wee hours of the morning taking one apart, just because he can. For MI, Jim neer and musician based in Los Angeles. His credits include roles as Technical teaches Electronics and Mixing & Mastering. Director for two nationally-syndicated radio programs (Sounds Eclectic hosted by Nic Harcourt and The Axis of Justice Radio Network featuring hosts Tom Nathan, Robert Music Business Morello and Serj Tankian), to post-production and sound design for film, TV and Robert Nathan began his protean career as a performer in television and on video games including the Academy Award-nominated feature documentary stage, transitioning to producer and writer, and later to management and law. The Garden, Activision’s Marvel Ultimate Alliance 2, and multiple independent With over fifty years in the entertainment industry, including over twenty years 128 features. At MI, Ronny is a Project Advisor in the Independent Artist Program. in Business Affairs and Legal Affairs for record labels and stage, television, and film production companies, Mr. Nathan is the author of The Business Affairs Mina, Maurilio Bass Glossary, heads a specialized legal consulting firm in Beverly Hills, and is regu- Maurilio hails from Ticino, Switzerland. After studying and playing in vari- larly engaged in negotiating and packaging entertainment projects. At MI, he ous bands there, he moved to LA to study at MI. Upon graduation (where he applies his expertise to teaching courses in Music Contracts, Legal Issues, and received the award for Outstanding Student) he was asked to stay and teach. Music Business. Currently, Maurilio is a working bassist in Los Angeles doing casuals, jingles, and sessions. At MI, he teaches Live Playing Workshops in Classic Rock, Nikou, Ali Independent Artist Reggae, Country and ’80s Pop. Ali has been a working, multitasking musician in Los Angeles since 2002. He has worked as touring guitarist, musical director/band leader for theatri- Morgan, Burgundy Music Business cal productions, songwriter, producer, and original artist. Collaborators and Burgundy Morgan is a graduate of Pepperdine University School of Law and project affiliates include producer Jim Wirt (Incubus), Dave Carlock (The is a member of the State Bar of California, the United States District Court Transplants), and Chris Julien (De La Soul). At MI, Ali is a Project Advisor for for the Central District of California and the United States District Court of the Independent Artist Program. Michigan, Western Division. A former professional musician, Ms. Morgan holds two undergraduate degrees in Music from William Paterson University and Nonisa, Mark Audio Engineering Raritan Valley College, with applied music in Classical Guitar and Jazz Piano, Mark Nonisa has been a working professional in the music industry for nearly respectively. Ms. Morgan’s law practice focuses on entertainment transactions three decades. In 1990, he graduated with honors from MI and began teaching and litigation, including copyright infringement lawsuits, drafting and negotiat- for the Recording program in 1999. Some of his professional credits include ing music contracts and licenses, and application of new technology relating work as an actor and musical performer in the feature film A Mighty Wind, to music, including online music distribution and Digital Millennium Copyright vocalist on Scott Henderson’s Tore Down House, and guitarist on Babyface’s Act issues. Ms. Morgan is a member of the National Association of Recording soundtrack for the film Have Plenty on the YabYum label. He is currently per- Industry Professionals, the California Copyright Conference and California forming with his group The Basix and working on a new musical project with Lawyers for the Arts. Presently, Ms. Morgan teaches Music Contracts and guitarist/producer TJ Helmerich, bassist Ric Fierabracci and drummer Bernie Owning and Operating a Music Business. Galane. At MI, Mark teaches Musicianship and SSL Console Workshop. Faculty Bios

Oakes, David Guitar partner Dean Landon, for the musical opera Temple of the Souls. Anika teaches David Oakes graduated in 1978 with a B.M. from North Carolina School of the Artist Development, Songwriting, Performance, Voice and Image Development. Arts and studied Classical guitar with Jesus Silva, Pepe Romero, and Andres Park, Hijin “Adrian” Vocals Segovia, flamenco with Juan Serrano and harmony with Ted Greene. Before Adrian began playing classical piano at the age of five in her native South moving to California, David taught at Appalachian State University, Greensboro Korea before moving to the US at age 17. She holds a Bachelor’s Degree in College, and Winston Salem State University. As a classical guitar soloist, he Vocal performance from MI, earning the highest appraisal from her faculty has done studio work for NBC and Paramount. David is an expert with music evaluators. As a studio vocalist, Adrian has recorded many tracks for Korean notation and computer generated music notation programs and is the author commercials and radio stations and is currently a co-host for a live music- of Music Reading for Guitar (MI Press/Hal Leonard). Specialties: Reading, training radio program broadcast on Radio Korea. At MI, Adrian specializes in Playing Techniques, classical guitar. Piano, Vocals, and Harmony & Theory. Ozaki, Jinshi Guitar Parker, Scott Guitar Jinshi Ozaki is a specialist in funk, R&B and contemporary jazz styles. He has A native Floridian, Scott toured the Latin circuit out of Miami for years and is toured with Kirk Whalum, Paul Taylor, Keiko Matsui and Jody Watley and is an alumni of both the Florida State School of Classical Guitar and University of also a busy recording session veteran. At MI, he specializes in Acid Jazz, Funk Miami Jazz and Music Business School. Scott moved to Los Angeles in 1993 and private instruction. and has maintained a busy schedule as a studio musician/producer. Currently, Panciera, Greg Independent Artist Scott works as a session guitarist for Sabour Entertainment and Fox Television Greg Panciera received his Bachelor’s Degree in Computer Engineering from and performs around town with Mr. Nice Guy. Specialties: Versatility as both a the University of Michigan and later graduated from MI. As a sound engineer, musician and a producer. Greg has worked as an assistant to engineer/producers Sylvia Massey (Tool, Pedersen, Tim Drums System of a Down), Dusty Wakeman (Dwight Yoakam, Me’shell Ndege’ocello), 129 Tim Pedersen has been performing and recording for over 30 years. Some of David Bianco (Rage Against the Machine, The Black Crowes, Tom Petty) and his credits include Spencer Davis, Fabian, Little Anthony, Johnny Nash, Ron MI’s own TJ Helmerich (Uncle Moe’s Space Ranch, Scott Henderson). As a Wood, Peter Noone, Jeff Pilson, and Mackenzie Phillips. Tim graduated from guitarist, he has performed with Warner Bros recording artist Bonnie McKee. the Grove School of Music in 1981, and studied privately with Terry Bozzio, He is currently focusing on his original project Veiled (www.veiledmusic.com). Tom Brechtlein, David Garibaldi, Mark Craney, and Les DeMerle before coming At MI, Greg directs the Independent Artist Program and teaches Recording to MI as an instructor. Tim is featured on the best-selling instructional videos Techniques classes. Beginning Drums Vol. 1 & 2 (Hal Leonard) and is the co-founder of the free Peress, Anika Vocals drum lesson/interview site www.learn2drum.com In 2000, Tim took over duties Anika Peress (also known as Anika Paris) is a singer/songwriter and recipi- as the Department Head while maintaining a teaching schedule that includes ent of ASCAP’s Abe Oleman Scholarship at the Songwriters Hall of Fame, RSW, Rock Drums and the Classic Rock and Hard Rock LPWs. Nashville’s City Song Festival, and ASCAP’s Pop Plus Award. A published Pfeifer, Daren Drums songwriter with Universal Polygram and Warner Bros., her songs are featured Daren Pfeifer, from Abilene, Texas, performed as Principal Percussionist with in major motions pictures starring Gwyneth Paltrow, Ben Affleck, Mira Sorvino the Waco Symphony and played with the Abilene Philharmonic Orchestra. and on soundtracks alongside Carly Simon, Dido & Six Pence None the Richer. He earned his Bachelor degree in Music Education at Baylor University and She has released three solo CD’s (EAR/Sony, Warner Brothers London, was a member of the Madison Scouts Drum and Bugle Corps. In 2000, Daren Abbeylane Records). Anika is the only female composer for WB Telepictures completed his Masters of Fine Arts degree at the California Institute of the Arts, and has songs featured on Lifetime, MTV, HBO’s Sex in the City and more. She where he studied with John Bergamo and Joe LaBarbera, and in 2004 joined has been a musical guest on Late Night’s Craig Kilborn, Latin Explosion (with the Novo Philharmonic as Principal Timpanist. He is the author of Advanced Christina Aguilera & Ricky Martin), Celebrity Justice, toured the U.S., Canada Pedal Applications: a Comprehensive Study of Pedal Bridging and Multiple- and performed for the Royal Princess of Thailand. Anika has shared the stage Pedal Setups, plays drums for alternative rock band Earshot (Vertu Records), with Stevie Wonder, John Legend and John Mayer in a benefit concert. Anika is active on the Los Angeles live music scene, and has toured throughout North is also composing for Off-Broadway’s The Judas Tree and currently with writing America. In 2009, Daren founded Knock Box Studio and is a proud endorser Faculty Bios

of Ddrum, Evans Drumheads, Puresound, Regal-Tip and HQ Percussion. At Rappoport, Doug Guitar MI, Daren teaches Private Lessons. Doug Rappoport has played guitar professionally since age 15 and is currently playing lead guitar, touring and recording with the Edgar Winter group. The Poulos, Nicole Music Business band has performed for hundreds of thousands of people throughout Europe, Nicole Poulos is the founder and President of Sideways Media, an online mar- the UK, Japan, Canada and the USA. Doug has also composed for televi- keting and artist management company that leverages web 2.0 technologies to sion and acted as Music Director and composer for LA TV favorite “The John enable artists to connect with and engage their fans. Nicole oversees business Kerwin Show”. At MI, Doug can be found teaching Private lessons and Open development, media relations, social media management and formulating and Counseling. Check out his website at www.dougMIpoport.com executing marketing plans for the Sideways client roster, which has included Universal Music Group, Custard Records, the Welk Music Group, The Scratch Rashid, Orlando Audio Engineering DJ Academy and Sony Music as well as such artists as Ringo Starr, Billy Idol, Orlando Rashid is an experienced audio engineer and producer whose credits Megadeth, Everclear, Paul Doucette (of Matchbox 20), The Watson Twins and include local and international bands. A musician/songwriter as well, he brings George Thorogood. Nicole graduated from Loyola Marymount University with a both technical and creative skill to the classroom. Orlando’s specialties at MI Bachelor of Arts degree and has worked in the digital music space since 2003, include both Recording Theory and Pro Tools. with previous positions in New Media at Vanguard Records and director of digi- Razze, Ralph Drums tal marketing company Klew Media (Welk Music Group). At MI, Nicole teaches Ralph Razze studied with Jim Chalpin and Charlie Perry in New York, performed Internet Marketing. with the Buddy Rich Band, the Nelson Riddle Orchestra, and has recorded with Rabuchin, Brad Guitar the L.A.-based Steve Speigel Band. His TV credits include Trapper John M.D., LA native Brad Rabuchin studied music formally at Pierce Junior College, but Matlock, Highway to Heaven, and The Fall Guy, as well as the TV specials War his true musical identity was formed by self-study and several excellent private and Remembrance and Perry Mason. His most recent film credits are Cocoon, 130 teachers including Derol Coraco, Ted Greene and Joe Pass. Brad’s eclectic Beaches, and Teenage Mutant Ninja Turtles. Ralph works extensively as a well- performing career began as a sideman playing Balkan Gypsy, Flamenco, rounded studio and big band drummer in L.A. besides teaching Three Horn Indian, Punk, Atonal/Free, Persian, Turkish, Brazilian and African music. Some Band, Ensemble Technique and Percussion Ensemble at MI. of the his professional credits include Bonnie Raitt, Al Kooper, Steve Wonder, Reed, Kyra Music Business Buddy Miles, Lean-to, Diane Shurr, David “Fathead” Newman, Ta Ta Vega, Kyra Reed has more than fifteen years of experience in Marketing and Social Willie Nelson and even Mr. Tom Jones. Brad also toured six continents as Ray Media. Prior to forming MarKyr Media, she was a New Media Consultant work- Charles’ guitarist during the final years of his career (you can learn more about ing with clients such as Little Radio and The Monterey Pop Festival. Kyra is the Brad at www.bradrabuchin.com). At MI, you’ll find Brad teaching private les- author of Blog 101, a beginner’s guide to blogging. She has guest-lectured at sons and open counseling. UCLA and USC and has spoken at a number of conferences including Digital Randall, Robin Independent Artist, Multi-Program Music Forum West, Blog World, ASCAP Expos and SXSW. Kyra is an expert Robin Randall was born and raised in Hollywood. After graduating from the in teaching people how to assemble social networking friends and delegating Dick Grove School of Music, she spent eight years on the faculty. As a writer, them with responsibilities to help market products or develop new business. she got her first break co-writing the hit song “Tomorrow Doesn’t Matter At MI, she teaches Social Networking and Fan Management. Tonight” for Starship, going on to write songs for domestic and international Reeves, Tommy Keyboards recording artists including ABBA, Mark Free, and Australian band Roxus. Other Tommy Reeves is a singer, songwriter, piano player and overall versatile and credits include songs for Baywatch, the ABC TV movie The Amy Fisher Story eclectic musician. With heartfelt songwriting, passionate vocals and a piano and NBC reality show Starting Over. As an author, Robin co-write Lead Sheet style blending rock, country and blues, Tommy has been compared to art- Bible (Hal Leonard Publishing). In 2007, she was voted a Top-20 finalist in the ists such as Billy Joel and Elton John. His credits include performing with American Idol songwriting competition and also contributed to songwriting on artists including Reba McEntire, Melissa Etheridge, Jesse McCartney, Burt Idol finalist Brooke White’s CD, Songs from the Attic. She has been a music Bacharach, Smokey Robinson, Sophie B. Hawkins, Liza Minnelli and Randy judge for the Emmy Awards since 1997. At MI, Robin teaches songwriting, Travis. Tommy has written and recorded music for the Oprah Winfrey Show, theory and keyboards. Dateline NBC, Dick Clark Productions and Apple Computers. At MI, Tommy teaches Keyboard Voicings, Reading, and private lessons. Faculty Bios

Rich, Allan Music Business students from all over the US as well as Sweden, Japan, Mexico, and Brazil, Allan Rich is a two- time Oscar, Grammy, and Golden Globe-nominated song- where she is the vocal coach for teenage duo sensation Sandy & Junior. Her writer. His songwriting credits include hits for Natalie Cole (“I Live For Your stylistic teaching technique has been captured on the Warner Brothers instruc- Love”), James Ingram (“I Don’t Have The Heart”), Whitney Houston (“Run To tional video, Blues Vocals. At MI, her specialties include “everything you can do You” from the Bodyguard soundtrack), Kenny Loggins (“For The First Time” in the studio” plus Blues Vocals and the Blues LPW. from the movie One Fine Day), and N’Sync (“I Drive Myself Crazy”) as well as Roper, Jan Keyboards “Before I Fall In Love” from the hit movie Runaway Bride and dance hits for With more than 25 years of experience as a professional keyboard player, Kristine W (“Stronger,” “Walk Away”). Allan’s songs have also been recorded by singer, arranger, composer and music director, Jan brings exceptional depth to everyone from Barbra Streisand, Tina Turner, Rod Stewart, Luther Vandross, her roles as teacher and private coach. She has performed hundreds of gigs Patti LaBelle, Gladys Knight, Chaka Khan, BeBe and CeCe Winans, Ray as singer and/or keyboard player at top venues including the Kodak Theater, Charles, Dolly Parton, Barry Manilow, Peabo Bryson, Oleta Adams, Chante Hollywood Bowl and Greek Theater and since 2000 has been a featured singer Moore, and many others representing over 65 million total CD sales. Recent at Governor’s Balls for the Oscars and Emmys. As a keyboard player, Jan has and upcoming releases include songs for Toni Braxton, David Foster’s new music-directed numerous shows including her own rock opera, Jerusalem A.D. artist Charice, Keb’ Mo’, Rodney Carrington, and the soundtrack for the film In 2008, she released a CD of original inspirational rock tunes with her band, Mama I Wanna Sing. At MI, Allan teaches Artist Development and Songwriters Breathing Room. As an educator, she spent nine years on the keyboard faculty as well as providing personal career counseling to students. at Grove School of Music and currently divides her time between performing, Richman, Jeff Guitar recording projects and teaching. At MI, Jan teaches private lessons and open Jeff Richman is a 1976 graduate of Berklee College of Music. His performance counseling. credits include Blood, Sweat and Tears, John Klemmer, Ronnie Laws, Doc Roscetti, Ed Drums Severinson, Don Grusin, and Alphonse Mouzon. Jeff has also recorded six Ed Roscetti has authored numerous instructional book/CD packages including 131 solo albums and teaches seminars and clinics around the world. Currently, the World Beat Rhythms Series: Brazil, Africa, Cuba & USA, Drummers Guide Jeff is busy doing studio work for albums and TV shows. At MI, Jeff conducts to Odd Meters, Blues Drumming, Funk & Hip Hop Drumming, Rock Drumming the Fusion Ensemble, and teaches private lessons and open counseling. Workbook, Stuff Good Drummers Should Know (all published by Hal Leonard Roberts, Paul Guitar Corp.) and Creating Professional Drum Loops (Music Sales Group). He has Paul Roberts is a Los Angeles native and graduate of MI’s Guitar Craft pro- been an MI core curriculum author for 28 years at and has conducted concerts, gram. His first professional experience was gained while working for MI clinics, workshops, music camps and master classes at PASIC, IAJE, TMEA, instructor and master luthier John Carruthers at his custom guitar and repair NAMM and The Berklee School of Music World Percussion Festival. Ed has shop. Paul’s duties included performing all types of repairs and modifications composed, performed and produced for numerous records, TV shows and films on a wide variety of stringed instruments while also working as a guitar tech including Disney’s Mostly Ghostly, Saturday Night Live, The 60s, The History for local bands. Currently, Paul works at the custom shop of noted LA guitar Channel, WWE, Biography, General Hospital and Santa Barbara to name a designer James Tyler, where he wires, assembles, and sets up guitars. At MI, few. As a performer, he has worked with Quincy Jones, Herbie Hancock, Joe Paul teaches the Guitar Repair and Maintenance class. Sample and The Crusaders, among others, and he endorses DW/PDP, Paiste. Remo, Regal Tip, Shure, Puresound, Factory Metal, Protection Racket & Rogers, Carol “Mama O” Vocals E-pad. At MI, Ed teaches Odd Metter. “Mama O” is a 30-year veteran of the recording and performing industries. Her numerous vocal recording credits include a “Best World Recording” Grammy Rosenberg, John Keyboards winner, Brasileiro (Sergio Mendes), and her voice has also been featured in John Rosenberg has played and taught piano from Philadelphia and Boston major motion pictures (Antitrust w/Leonardo DiCaprio and Bossa Nova w/ to San Francisco and Los Angeles, working with artists from Cab Calloway, Amy Irving), network TV (2001 Teen Choice Awards) and educational software Carlos Santana and Bonnie Raitt to Phil Collins, Huey Lewis and Bobby Blue (Walla’s World). As a live performer, Carol has toured the world with her musi- Bland. John’s recording credits include Jerry Garcia, Maria Muldaur and Dan cal inspiration and mentor, Sergio Mendes, and appears regularly with her own Hicks; and he has written songs for television and film, most notably for the group, “Mama O”. During ten years of teaching vocal technique at MI, Carol’s Jim Henson Production Animal Jam and Disney’s Air Bud and MVP series. multilingual stretching and strengthening techniques for the voice have trained His songs have been recorded by Mandy Patinkin and Bernadette Peters for Faculty Bios

a new children’s book/CD entitled Dewey Doo-it Helps Owlie Fly Again based Band), Black Lab, MIa Coolidge, Sophie B. Hawkins, Cock Robin, Mick Taylor, on the life and work of Christopher Reeve. As an educator, John developed Chuck Berry, Donny Osmond, Adam Cohen, Boxing Ghandis, Snapdragon, Improvisational Music courses for Harvard University’s Adult Education pro- Billy Vera & the Beaters and others. David has also performed extensively gram and has taught Cognitive Therapy workshops at the Sufi Institute in on television, including The Tonight Show with Jay Leno, The Late Show with Istanbul. He was also Artist-in-Residence aboard the University of Pittsburgh’s Conan O’Brien, The Late Late Show with Craig Kilbourn, The Rosie O’Donnell Semester At Sea voyage-around-the-world in the spring of 2000. At MI, John Show, The Wayne Brady Show, Arsenio Hall Show, Rick Dees Show, and many teaches Private Lessons, Open Counseling, Groove and the Country LPW. others in Europe, Japan, Canada and South America. He has played on commercials for Mattel Toys, Hilton Hotels, Ford, Pepsi and others, and is heard Rosenn, Jamie Guitar each week on the score for the hit WB Network show One Tree Hill. At MI, Jamie holds a Bachelors Degree in Music from the New England Conservatory David teaches Funk Drums, Live Performance Workshops, Private Lessons, of Music and a Masters Degree in Music from CalArts. He has studied with and Rhythm Section Workshops. such jazz greats as Jimmy Giuffre, Ran Blake, Mick Goodrick, Cecil McBee, Bob Moses, Charlie Haden, Leo Smith, Larry Koonse and Joe LaBarbera, and Saltzman, Steven Audio Engineering his teaching resume includes positions at UCLA, Saddleback College, and the Steven Saltzman is an active freelance music editor, a composer as well as Los Angeles Music Academy. In 1996, Jamie was chosen by the United States a Certified Digidesign Pro Tools Instructor. He has worked on studio projects Information Agency to be an artistic ambassador, an assignment that took his for Sony Pictures, Paramount, MGM, Dreamworks SKG, Disney, Lions Gate duo on a seven week tour of the Middle East and South Asia. Currently, Jamie Films and Warner Bros., as well as independent films with such directors as co-leads an original group, is working on a new CD, and is a very active mem- Joe Dante, John Hindman, David Duchovny and Randa Haines. Some of the ber of the Los Angeles jazz scene (see www.jamierosenn.com for current info). composers he has worked with include Mark Mothersbaugh, George Fenton, At MI, Jamie teaches private lessons and open counseling. J.A.C.Redford, Larry Groupe’ Ernest Troost and others. He has received Golden Reel award for his music editing. He composed the music for Chicken 132 Rosser, Ken Guitar From Outerspace, and was nominated for an Academy Award Of Merit for Ken Rosser’s lengthy performance resume ranges from John Cage, Billy Animated film. Some recent music editing projects include The Answer Man, Higgins, Bennie Wallace and Vinny Golia to the Elvis Schoenberg Orchestra The Hole, Born To Be A Star, Bewitched, Desperate Housewives, Strangers Surreal, with appearances at prestigious festivals including the Monterey Jazz With Candy, House Of D, A Guy Thing, Heart Breakers, and The Creature Festival, The Frankurt Jazz Festival and the International Reggae Festival in of The Sunnyside Up Trailer Park, a film by Christopher Coppola. At MI, he New Orleans. He is also actively involved in the World Music scene, studying teaches Music Editing. traditional Chinese, African and Brazilian music and performing with several Southern California-based Chinese orchestras. Currently, Ken is perform- Sandoval, Jaime Guitar Craft ing with the Grandmothers (featuring Frank Zappa alumni playing Zappa’s Jaime A. Sandoval attended Los Angeles Trade Technical College, where he music), West African kora virtuoso Prince Diabate, free-jazz luminary Bobby learned basic machining skills, before he completed MI’s Guitar Craft program Bradford, the David Pritchard Guitar Quartet, jazz pianist Steve Lockwood, in 2004. Shortly after graduation he was hired as a teacher’s assistant and now vocalist Angela Carole Brown, the Steve Weisberg Big Band, world music/jazz teaches a wide range of classes for MI while also holding a full-time position at group Quarteto Nuevo and others. Ken’s recording experience includes work the Matchless Amplifier company. for Warner Brothers and Nine Winds records, the films American Beauty and Saucier, Michael Bass Runaway Jury, TV shows and commercials. His Delta blues-inspired score for Born in California and raised in Omaha, Nebraska, Michael began his musical the play Turning Points won an L.A. Theatre Award. At MI, Ken teaches Single development with the saxophone before switching to electric and acoustic bass. String Improvisation, Rhythm Guitar, RSW, Reading, private lessons and open While in Omaha, he played rock, R&B and with a 7-piece jazz band directed by counseling. saxophonist Stemsy Hunter (formerly with the Electric Flag and Buddy Miles Salinas, David Drums Band). In 1978 Michael relocated to LA where he recording two albums with David Salinas received his music education at the Leeds College of Music in a jazz group as well as performing and recording with Alligator Records artist England and at MI before joining the teaching staff in 1995. He has performed Guitar Shorty. Additional credits include performances with Johnny Hammond and/or recorded with artists such as Paulina Rubio, Josh Kelley, Melissa Smith, Earl Palmer, Gene Harris, and David Whitfield, as well as work for the hit Etheridge, John Fogerty, Chuck Negron (3 Dog Night), Yogi (Chris Cornell Faculty Bios

TV series Seinfeld and The Single Guy. At MI, Michael teaches private lessons, and others. Her education credits include writing the popular Vocal Technique ensembles, and the Blues and R&B Live Playing Workshops. curriculum for MI Japan, where she taught from 1994-99 before returning to MI Hollywood. Voted Instructor of the Year in 2008, she maintains a full class Saunders, Daniel Guitar schedule with Vocal Technique, Rock Vocal Workshops, Pro Performance Daniel studied at Berklee College of Music and graduated from MI. He has Showcase, Vocal Performance, Teacher Training, Vocal English Workshop, performed countless live shows in a diverse array of musical styles, includ- Contemporary Vocal Styles, Accent Reduction, Private Lessons and Open ing opening slots for such national recording artists as Puya, Candiria and Counseling. Drowning Pool. In addition, he has several years of experience as a session guitarist and is endorsed by D’Addario strings. As a player, Daniel specializes Shotts, Blair Independent Artist in rock, hard rock and metal, with an equal enthusiasm for blues and funk. At Blair has worked with Tone Loc, El Hefe of NOFX, Hollywood Records record- MI he can be found teaching private lessons, open counseling, and the Hip ing artist Jesse McCartney, and The Zodiac Show with Macy Gray and Adam Hop LPW. Lambert. Blair was nominated for “Best Musical Direction in a Theatrical Production” by LA Weekly for his work as Musical Director of Everyman For Schroeder, Carl Keyboards Himself; a play directed by Ameenah Kaplan of Stomp. Blair also tracked drums Pianist Carl Schroeder is from New York, where he started his career playing for Toots and the Maytals’ Grammy-nominated album Light Your Light featuring with blues legends Jimmy Reed and John Lee Hooker, subsequently switch- Bonnie Raitt and Derek Trucks. Currently, Blair is playing in Born as Ghosts with ing gears and recording with jazz greats Art Blakey and Roy Haynes. His work actor/singer Eric Balfour as well as Arthropoda Records recording artist Rachel with the illustrious jazz vocalist Sarah Vaughan enabled him to perform around Sierra, and has completed an album of soundtrack music featuring Angelo the world and be heard on two Grammy-nominated recordings. In addition to Moore and Norwood Fisher of Fishbone and El Hefe of NOFX. At MI, Blair is appearing several times at the White House for Presidents of the United States, a Project Advisor and session drummer for the Independent Artist Program. he is featured in the Smithsonian Collection of Classic Jazz. Carl teaches improvisation and composition, and the Schroeder LPW has introduced hun- Silva, Rick Audio Engineering 133 dreds of students on all instruments to the mysteries of chord changes. Rick Silva has accumulated a wide variety of experience in his dual roles as guitarist and engineer. Years of teaching and studio work as a player have coin- Sezaki, Katsuya “Kats” Vocals cided with an impressive list of credits in the recording field, including work as a Katsuya “Kats” Sezaki won a National Orchestra Award as a percussionist, digital editor for hip-hop artists Pharcyde (Chapter One Records) and mixer for and graduated from Hiwassee College in 2004 with an award for Outstanding reggae/rock artists Pysde Car (Stellar Records) as well as tracking, mixing and Choral Member. Turning his focus to music, he went on to receive his Bachelor live engineering numerous projects for such labels as Legato, Shrapnel, Inside Degree in Voice from Musicians Institute in 2008. As a studio vocalist, Kats Out and Tone Center. Recently, Rick opened his own production studio in LA has recorded the original song “Bright Shine” for Fervor Records and Matt (Mixed Emotions Productions). At MI, Rick’s specialties include Musicianship, Hirt. He has also been directing and arranging for choirs and bands for several Hard Disk Editing, Recording Workshop and Recording Theory. churches in the Los Angeles area. His musical strengths also include percussion, harmony and theory, ear training, composition and chart transcription. Silverman, Chuck Drums In 2009, Kats was the recipient of MI’s Instructor of the Year Award. At MI, he Known worldwide for his DVDs, books, articles and travels to Cuba and Brazil, can be found teaching Arranging for Singers, Sight-Singing, Degree Ensemble, Chuck Silverman brings over 40 years of drumming and percussion experi- Music Theory, Ear Training, private lessons and open counseling. ence to the Drum Program at MI. Chuck has been teaching for over 25 years, using concepts developed from his studies of the drum set. One of his books, Sheehan, Coreen Vocals Practical Applications, was included in Modern Drummer’s list of “Best Drum A five-time nominee and three-time winner of LA’s Best Rock Vocalist Award, Books of All Time.” Chuck instills in his students the concepts of serious Baltimore, Maryland native Coreen Sheehan has toured and recorded with grooves in many styles, the importance of reading, and developing a relaxed artists including Whole Lotta Rosies, Richie Kotzen, Richie Zito, Japan’s Tyed and purposeful playing style, also passing along techniques gained from his Dyed Junkies and Bricks Dance Company in Paris, including shows alongside studies with snare drum Masters Murray Spivack and Richard Wilson. Author of such acts as David Lee Roth and The Foo Fighters. She can be seen and the best-selling book, The Funkmasters - The Rhythms Sections of the Great heard in TV commercials in the U.S., Germany, Japan (MTV) and South Korea, James Brown Bands, Chuck makes sure that MI students are exposed to “Old and served as Music Consultant for the series You Rock (VH1) where she pre- School” styles. His new DVD, The Latin Funk Connection (Cherry Lane Music), pared vocalists for performances with Rod Stewart, The Bare Naked Ladies Faculty Bios

fuses the best of Funk with Latin grooves to create a nexus of rhythm power. Night Football theme on ESPN). Glen’s other touring/recording credits include At MI, Chuck teaches Latin/Caribbean Drumming and Latin Live Performance Alice Cooper, Chris Impellitteri, Jennifer Batten (Michael Jackson’s guitarist), Workshop. Tony Macalpine , Gary Hoey, Warner Bros. recording act Beautiful Creatures, Cypress Hill, and many others. Glen also conducts clinics internationally for Simper, Jay Bass Mapex drums, Regal Tip Sticks and Sabian Cymbals. At MI, Glen teaches pri- Jay Simper has been a professional bass player for seventeen years, with vate lessons and the Classic Rock Live Playing Workshop. Find out more at the past ten spent in the Los Angeles area. Jay graduated with honors from www.myspace.com/drummerglen. Musician’s Institute in 1992 and has been a member of the MI staff since 1996. Professionally, he is currently recording and performing as a freelance bassist Solt, Gary Bachelor with various artists in a variety of styles. At MI, Jay is the bass instructor for the Gary’s professional credits include session guitar work for Star Trek: The Next Classic Rock and Real World LPWs. Generation, Deep Space Nine, Voyager, Enterprise, Becker, Knots Landing and other television shows. His guitar playing has been featured on many Jay Sklarevski, Alexis Bass Chattaway scores including Masters of Horror (Showtime). He has toured North A MI “Outstanding Achievement” graduate, Alexis has worked with Crosby, America and Japan as a featured guitarist with The Percy Faith Orchestra, Stills & Nash, Manhattan Transfer, Jackson Browne, Dweezil & Ahmet Zappa, Don Rader, Leslie Uggams, Shirley Bassey, The Bruce Paulson LA All-Star Big Albert Lee, Carole King, Rita Coolidge, Johnny Rivers, Jamie Walters, Daniela Band, and many others. Gary serves as a performing artist and clinician for the Romo, Martha Reeves and Chuck Berry. He has performed on The Tonight Northern Arizona Jazz Festival, directed by former Tonight Show bassist, Joel Show with Jay Leno, The Late Show with David Letterman and numerous DiBartolo. He has played in the MI at the Pasadena Playhouse for the world film, TV and jingle sessions. Alexis is the author of the critically-acclaimed premieres of Broadway musicals Sister Act, Mask, Vanities, Stormy Weather instructional video The Slap Bass Program and also co-produced Fingerstyle and many others. He has performed with Gordon Goodwin, Natalie Cole, Josh Funk, the instructional video by legendary Tower Of Power bassist Francis Groban, David Foster, Frank Sinatra, The Boston Pops, and numerous others. 134 Rocco Prestia. In addition to having written the Bottom-Line Bass column in He is a former faculty member at the Berklee College of Music in Boston and Bass Player magazine for seven years, Alexis is the author of Bass Playing performed for the Boston Pops with John Williams conducting. At MI, aside Techniques -The Complete Guide (Hal Leonard/MI Press) and has done bass from his duties as Associate Dean of the Baccalaureate program, he is an clinics throughout Japan and Europe. Currently, he continues recording and instructor in Music Theory, Degree Ensemble, Performance, History of Rock, performing with many artists in the US and around the world. In addition to his and various computers-in-music classes. duties as Bass Department Head, Alexis teaches Playing Techniques, Blues Bass, Beatles Bass, Fusion LPW and private lessons. Squire, Barry Music Business Barry spent fifteen years as a professional drummer before starting a career Smith, Putter (Patrick) Bass as a record company A&R executive, including fourteen years at Warner Bros., Upright specialist Putter Smith has worked with music legends ranging from Geffen and Columbia records. He currently works as an independent A&R Thelonious Monk and Art Blakey to Phil Spector, the Beach Boys, John Mayall, consultant and operates an exclusive musician referral service for professional Marlene Dietrich and Burt Bacharach. In addition to playing concerts with his musicians and recording artists. His client list includes over 400 recording art- own band, “Left Coast”, Putter is a very active figure on the LosAngeles jazz ists such as John Mayer, Weezer, Guns and Roses, Kelly Clarkson, Smashing scene, performing and recording with numerous other artists including Alan Pumpkins, Hoobastank, Perfect Circle and Justin Timberlake. Barry’s resume Broadbent, Mose Allison, Karin Alyson, Natalie Cole, Sam Most, Walter Norris, also includes work at Musicians Union Local 47 as a rock music representative, Larry Koonse, Dave Koonse and Gary Foster. His schedule at MI includes two consulting positions at music business web sites and twelve years of music Sightreading and Walking Basslines as well as private lessons on upright bass. business instruction at UCLA extension. Since joining the MI staff in 2001, his Sobel, Glen Drums emphasis has been on helping students transition from their school experience Glen Sobel has played in a variety of genres including rock, hip hop, pop, to a future in the music world. He teaches A&R, coordinates Industry Seminars, metal, punk, and fusion. Recently he has played, toured, and/or recorded with and oversees MI’s weekly “Hiring Hall” that offers exclusive auditions at the artists ranging from hard rock (SIXX A.M. featuring Nikki Sixx of Motley Crue), school for tours and recording artists. Learn more at www.Barrysquire.com. pop/r&b (tour with American Idol finalist Elliott Yamin, who had one of the biggest hits of ‘07), instrumental fusion (Glen played on guitar great Paul Gilbert’s new DVD), to studio work (Glen plays drums on the new version of the Monday Faculty Bios

Steele, Mark Audio Engineering dates. Kevin is also the leader of the San Francisco-based Brass Monkey Mark Steele is an award-winning sound editor with 32 years of editing experi- Brass Band, and on any given day he can be found putting his diverse skills ence and 20 years of sound mixing experience. He has won seven Primetime to work playing indie-rock, jazz, funk, pop, R&B, deep soul, punk, or big band. Emmys, three Golden Reels, and has received thirty-two other nominations. At At MI, Kevin teaches Private Lessons. MI, he teaches the Background and Sound Effects Editing class for the Post- Swann, Darryl Audio Engineering Production Audio program. Darryl’s first session as second engineer took place in 1986 with famed produc- Steiger, Ken Guitar tion team LA and Babyface as they produced the hit song “Rock Steady” for A MI honors graduate in 1992. Ken gathered wide-ranging film score, radio and R & B vocal group The Whispers. Within a month, he became night manager TV experience before returning to MI, where he offers new explorations in rock/ and first engineer at Silverlake Recording Studios, literally living at the studio metal guitar and intense lessons on the latest techniques of modal shred guitar while conducting round-the-clock sessions and learning the Trident Series improvisation. Ken’s current activities include his “Instra-Metal” shred guitar 80B console. After a break to earn his bachelor’s degree from UCLA, Darryl project Project Steiger , available in May of 2002, featuring special guests returned to engineering full time at Straight Arrow Studios in Van Nuys, where Derek Sherinian (Dream Theater, KISS) on keyboards, Virgil Donati (Steve Vai) he wrote, produced, and engineered his first major label release with Motown on drums and Tony Franklin (Whitesnake, Jimmy Page) on bass. Ken is also group Pretty in Pink before his own group, Cultural Revolution, signed with known as a “guitar coach for the stars”, most recently on the Warner Brothers Sony/Epic/New Deal Records and released the single “Nite & Day” on the movie, Rock Star. At MI, Ken currently teaches the Metal LPW, Metal Guitar soundtrack to the John Singleton-directed film Poetic Justice. In 1997, Darryl and private lessons specializing in speed picking, arpeggios studies, string began writing and producing with Macy Gray, resulting in the multi-platinum skipping, advanced modal improvisation and advanced rock rhythm guitar. album Macy Gray on How Life Is as well as her follow-up, The Id. His other Check out Ken on the web at www.Steiger.RockGuitar.net. recent projects include developing a music-related video game for Sony Playstation 3 and Microsoft X-Box 360. At MI, he teaches Music Production Steinman, Roger Bachelor 135 and Track Programming. Roger Steinman was educated at Performing Arts High School, Youngstown State University (BM, Magna Cum Laude), and California Institute of the Tagliarino, Barrett Guitar Arts (MFA). Additional composition studies were undertaken at Juilliard and Barrett’s extensive performing experience includes tours of Asia and Europe, Dartmouth with Vincent Persichetti, Carlos Chavez, Mel Powell, and George where he served as Rock Department Head at Hohner Musikchule in Vienna. Tremblay. He has taught at the Grove School of Music, California State He has recorded projects for ARCO, Sony, MTV, The Food Network, and his University, Fullerton, and Musicians Institute, where he oversees the Degree own CD, Moe’s Art. Barrett’s education-oriented projects include Classic Rock program. For network television, Roger has scored Best of the West, George Soloing (Starlicks/Hal Leonard DVD) and Guitar Fretboard Workbook (Hal Burns Comedy Week, Family Man, and Major Dad. As a keyboardist, he Leonard) as well as columns for Guitar One and Guitar Player magazines. He has performed at CBS Television, A&M Records, Los Angeles Music Center also created and maintains a guitar-oriented website, www.monsterguitars. (Phantom of the Opera), Shubert Theatre (Evita, Cats, Les Miserables, Sunset com. At MI, Barrett’s specialties include rock, blues, jazz and composition. Boulevard, Beauty and the Beast, Ragtime) and Pantages Theater (Lion King, Tibbs, Ernest Bass Wicked). In addition to his duties as Dean of the Degree Program at MI, Roger Ernest Tibbs graduated from MI in 1989 and received the Bass Student of the also teaches theory, ear training and advises the Sophomore and Senior juries. Year Award. Since then, he’s gone on to develop an impressive list of cred- Stevens, Kevin Drums its, including work with Melba Moore, Natalie Cole, Gladys Knight (musical Los Angeles based freelance drummer Kevin Stevens is a graduate of the Madam Lilly), Eloise Laws, Debra Laws, Miki Howard with the Kevin Toney acclaimed University of Miami Jazz department with a BA in Studio Music Band, Carl Anderson, and James Ingram. Ernest has also toured and/or per- and Jazz Performance. Since moving to LA six years ago, Kevin has toured formed with Allan Holdsworth, Thom Rotella, David Benoit, David Garfield, Phil the globe with the likes of critically acclaimed Neon Neon, actress/singer Upchurch, Dan Segal, Tom Scott, Eric Marienthal, Brian Auger, Ronnie Laws, Minnie Driver, and Chilean pop superstar Beto Cuevas (La Ley). In LA he has Jeff Lorber, Pat Kelley, John Pisano, and Norman Brown, as well as symphony played with the house band (Cleto and the Cletones) for Jimmy Kimmel Live, orchestras in San Francisco, Atlanta, and Los Angeles. His TV appearances appeared on-screen in prime-time TV shows including CSI Vegas, The O.C., include The Tonight Show with Jay Leno, the Rosie O’Donnell Show, and the Frasier, and American Dreams, and recorded numerous album and soundtrack 2002 American Idol finale. His recording credits are equally impressive: David Faculty Bios

Garfield, Pat Kelley, Kevin Toney, Reggie C, Mijares, Phil Upchurch & the Phil- and produced instructional videos and software (see Carl’s website, Harmonic Orchestra, Vernell Brown, and David Benoit. At MI, Ernest teaches www.carlverheyen.com , for updates and details). At MI, Carl teaches private lessons and LPWs. Advanced Electric Guitar Styles. Torres, Carlos Audio Engineering Verbaten, Menno Bass Originally from Mexico City, Carlos Torres has worked in the audio industry Born and raised in The Netherlands, Menno relocated to Los Angeles to attend in Los Angeles for over 15 years. He is a two-time Emmy award-winning Musicians Institute, studying with the likes of Steve Bailey, Billy Sheehan and sound mixer and composer as well as a talented percussionist. Currently Stuart Hamm. He graduated in 1998 as Outstanding Student and started play- working at the Lopez Tonight show, his credits include Carlos Santana, Ray ing the LA club scene, sharing the stage with artists such as Marty Friedman Charles, Morrisey, Marc Anthony and many others. At MI, Carlos teaches Live (Megadeth), Steven Adler (Guns ‘n Roses) and Mike Hartman (David Lee Recording and Mixing. Roth). Although fluent in many musical styles, Menno specializes in Hard Rock and Heavy Metal, with a ‘heavy’ emphasis on ‘shred’ style bass and two- Toucet, Ervin Independent Artist handed tapping. At MI, Menno teaches private lessons and the Metal LPW. Ervin Toucet graduated from MI’s Guitar program after traveling the world and Check out Menno at www.nihilistworkshop.com or www.thecauterized.com. touring across Europe. While part of the LA music scene, he began performing and recording with artists in the international and Latin music communities, Verloop, Maurice Bass including performances on the Telemundo and Univision TV networks. As an A native of the Washington D.C. area, Maurice is a MI honors graduate and endorser of Bogner Amps, Ervin regularly tests new products and provides recipient of the Outstanding Student award. Maurice’s busy LA performing sound clips for the Bogner website. Recently he has turned to producing new schedule includes work with Carl Anderson, Zakk Wylld, Nick Menza and Virgil artists, including writing, arranging, and performing with Puerto Rican singer- Donati as well as various original projects. At MI, Maurice teaches MI private songwriter John Ray, and providing guitar work for motion pictures including lessons and workshops. 136 the upcoming Resident Evil Afterlife. At MI, Ervin teaches private guitar lessons Watson, Michael Audio Engineering for the Independent Artist Program. Michael Watson is the CEO of M2M Media Productions (formally M2M Sounds) Turner, Dale Guitar and is a professional audio engineer with a decade of experience in corporate As West Coast Editor of Guitar One magazine, Dale Turner has interviewed and live event production. Michael also works with MKM, a production com- upwards of 100 world-renowned players (from Al Di Meola to Zakk Wylde) and pany that composes and arranges material for upcoming artists. He has put conducted exclusive lesson features with the A-List of “instrumental guitar” his audio experience to work with artists including Earth Wind & Fire, Robin greats (from Scott Henderson and Mike Stern to Yngwie Malmsteen and John Thicke, Jennifer Hudson, Elvis Crespo, Jessica Simpson, Ne-Yo, Keri Hilson Petrucci). An author, transcriber, and multi-stylist, Dale received his Bachelor’s and others. At MI, Michael teaches Monitor Set-Up and Operation. degree in Studio Guitar Performance from USC in 1991. Performance high- Watson, Sammy J. Drums lights include appearances with Billy Cobham (Mahavishnu Orchestra/Miles Sammy has toured and recorded with multiple artists, including most recently Davis), Larry Klein (Joni Mitchell/Shawn Colvin), and Eric “Bobo” Correa The Apex Theory. After graduating with honors from MI in 1995, he toured with (Cypress Hill), among others. Recent releases include David PMIchard’s Ricky Lee Jones on the H.O.R.D.E. Festival and a variety of other artists. With Acoustic Guitar Quartet CD, Unassigned Territory (Zebra Acoustic). At MI, The Apex Theory, Sammy has performed at the Ozz Festival, Warped Tour, Dale teaches private lessons, open counseling (focus: guitar for the vocalist), Snow Core and many others, both in the US and internationally. Sammy’s music theory and ear training. teaching specialties include rock, jazz, drum-n-bass, jungle, fusion, reggae, Verheyen, Carl Guitar metal, pop and funk influences with heavy emphasis on odd meter groove and Guitar Magazine calls him “one of the top 10 best guitar players in the world.” stylistic feel. Sammy’s outlook towards the drums is passionate and honest, For the past two decades, Carl Verheyen has been one of LA’s first call session summed up by the statement, “We were born students and will die students.” players as well as a member of Supertramp and leader of his own success- Way, Jason (Jay) Audio Engineering ful band. Carl has played on hundreds of recordings, movie soundtracks and Jay Way has been a musician for over 15 years. His experiences in the studio TV shows, and 1996 won the Guitar Player Magazine Reader’s Poll for Best as a musician along with his desire to become more self-sufficient led him into Studio Guitarist. In addition to his work as for others, Carl has released several the field of recording. In addition to his skills as an engineer, Jay continues solo CDs, written for all of the major guitar periodicals, conducted seminars, Faculty Bios to perform with his group The Gravity Guild (www.thegravityguild.com). After Weinstein, Paul Independent Artist attending MI in 2001, Jay returned as an instructor and currently teaches SSL Paul began playing music at an early age while growing up in New Hyde Park, Console Theory, Pre-Production, and Applied Hard Disk Editing. NY. After graduating with a Bachelor of Arts in Music from SUNY Oneonta he honed his skills working as a writer and studio musician for various Pop, Hip- Waymire, Charlie Drums Hop, and R&B producers in New York City. Paul has collaborated on countless Charlie studied music at the McNally Smith College of Music in St. Paul, MN sessions with multi-platinum mega-producer Timbaland, working on recordings and Musicians Institute in Hollywood, CA where he graduated with “Rock for artists including Justin Timberlake, Bubba Sparxxx, Petey Pablo, Ms. Jade, Drummer of The Year” honors. Following graduation, he was signed to Shady Sheist, and many more. His recent sessions and original music place- Universal Records with the hard rock act, Speak No Evil and toured exten- ments include TV (MTV Making the Band IV, VH-1), independent feature films sively throughout the United States. He has since toured Europe with his band (Downtown, The Angry Trainer), commercials (“Steve Irwin Action Figure”), JKB and has achieved critical acclaim through his work with his Rock-Fusion and indie artists (Cassanova Jones). For the Independent Artist Program, trio, EGH, with the CD releases Live at MI and a studio recording both due Paul works as a Project Advisor. in 2007 along with his first solo electronica record. Charlie endorsesTrueline Drumsticks, which has created his signature stick known as “The Basher”. Weiss, Greg Bass Besides Charlie’s drumming work he also stays busy writing, producing and Greg Weiss studied at Miami Dade CC South before graduating with honors mixing for his production company Abrasive Productions and various TV shows from MI’s Bass program. The gifted son of successful songwriter Larry Weiss, including Malcolm in the Middle (Fox Television) at his studio in Hollywood, who wrote the hit song “Rhinestone Cowboy”, Greg’s versatility and depth CA. For MI, Charlie teaches private lessons, Live Playing Workshops, Rock encompass styles from metal, rock, and funk to jazz, Latin, Middle Eastern, Drums & Rhythm Section Workshop. For more bashing mayhem check out and reggae. As a member of the band Speak No Evil (Universal Records), www.thebasher.com! Greg performed live shows with System of a Down, Megadeth, Staind, and Papa Roach. He has performed clinics at MI with Kirk Hammett (Metallica), Weber, Matthias Keyboards 137 Ray Luzier (Korn, David Lee Roth), and Tony Royster Jr. (Jay-Z). Greg is also Matthias Weber is an Emmy and National Songwriting Award-winning Film a composer for Telepictures Music. At MI, Greg teaches Private Lessons, and TV composer, songwriter, and arranger with such feature film credits as Progressive Rock, and in the Schroeder Live Performance Workshop. Dead in Three Days I & II, The Visit, The Juror, and Surrender Dorothy starring Diane Keaton as well as television series including Desperate Housewives, Widegren, Lenny Guitar The North Shore, The West Wing, The Shield, Baywatch and The Sopranos. MI Bachelor’s Degree graduate (‘98) Lenny Widegren was born and raised in He has written songs and lyrics for Daughtry and Stanfour, among others, and Sweden. After playing the local scene, he recorded two albums with Boulevard his most recent arranging credit was on the latest album by British cult artist (1987) and The Ungrateful (1993). Lenny plays Blues, Hard Rock, Metal, and Tricky. Weber is also an in-demand guest lecturer on film scoring at institutions slide guitar with equal passion and performs internationally with his band, including UCLA Extension, Ocho y Medio (Quito, Ecuador), Film Akademie Elegantly Wasted. At MI, he currently teaches Alternative Guitar Heroes, Hard Ludwigsburg (Germany) and Universität für Musik und Darstellende Kunst Rock LPW, Single String Improvisation, Rhythm Guitar, RSW, open counseling (Vienna, Austria). At MI, he teaches Keyboard Programming:Video Scoring for and private lessons. the Keyboard department. Williams, Brian Vocals Weiner, Dave Guitar Brian “Hacksaw” Williams got his start in the music business singing four nights For the past decade and counting, MI grad Dave Weiner has been record- a week at age 13. Brian sang with the band Racer X in the late 80s and in ing, filming, and touring the world as the right-hand man to one of the planet’s the past year his vocal performances have been featured in a number of TV most celebrated guitar heroes—Mr. Steve Vai. If you have seen a recent Vai shows, including The Mentalist (CBS), Men of a Certain Age (TNT), and The DVD or caught a G3 tour, you’ve most certainly seen Dave in action. Or maybe Life and Times of Tim (HBO). In 2008 Brian joined forces with former Megadeth you’ve caught him online, as his riffoftheweek.com video lesson series contin- drummer Nick Menza to form the band Deltanaut, with whom he is currently ues to renew every Wednesday (as it has since November 2005!). Weiner’s recording and performing in Southern California. With a B.A. from UCLA and a second solo album is due out in early 2010. In his Private Lessons and Open CBEST certificate, Brian has been teaching at Musicians Institute since 1999. Counseling, Weiner teaches everything from rock to shred to fusion to 7-string His classes include Rock Vocal Performance, The Art of Success (a class technique. Learn more about this dynamic guitarist at www.daveweiner.com. designed to assist vocalists in the development of realistic career goals along Faculty Bios

with the skills required to reach them), Extreme Vocals (a class that shows stu- his original fusion of pop, rock and soul. Other notable performances include dents how to execute aggressive vocal tones without damaging their voices), appearances on the Today Show, at the Illinois Governor’s Inauguration Ball, Hard Rock Live Performance Workshop, and Vocal Private Lessons. for the White Sox and Halsted St. Market Days, and live performances on WGN-TV, WJYS-TV and WCBR radio. He (and his songs) can be heard in the Wingert, Kathy Guitar Craft indie films Angels Don¹t Live Here, Finders Keepers and The Promise. Doug Soon after she began designing guitars in the mid-90s, Kathy Wingert was nominated for a 2001 JPF pop songwriting award and has composed attended a guitar-making class at Orange Coast College where she studied songs for twelve original stage plays and musicals in addition to earning a BFA the techniques of renowned classical builder Bob Mattingly, followed by an in Musical Theatre from Millikin University. At MI, Doug handles Vocal Review, apprenticeship with violin maker Jon Peterson at the World of Strings in Long Vocal Interpretation, Acting for Singers, private lessons and open counseling. Beach, California. By 2001, a growing client waiting list led her to establish her own shop, where she builds custom instruments for discerning customers who Wright, Ross Bass appreciate her passion for the beauty of the guitar coupled with skill in finding Ross Wright (AKA Elvis Schoenberg) is a composer, conductor and bass- each guitar’s individual voice. The bulk of Kathy’s work has been in creating ist whose educational background includes a Masters Degree in Music from steel-string acoustic guitars for fingerstyle play, with harp guitars, nylon stringed California State University, Los Angeles; a Bachelor Degree from California guitars, bouzoukis, ukuleles, classical guitars and occasional electric guitars State University, Northridge; a diploma from the UCLA Film Scoring Program, rounding out the list. In the Guitar Craft program, Kathy is passing on her and certificates from the Dick Grove School Of Music and Musicians Institute. addicti.... er, passion to students in the Acoustic Guitar Design emphasis. Trained in classical and jazz bass, Ross has worked as composer or orchestra- tor on over 20 feature films and composed four concerti, two symphonies and Witt, Tom Bass dozens of chamber pieces that have been performed internationally. As a bass- Tom Witt graduated from Berklee College of Music in ’93 and has assembled ist, he has performed and toured internationally with artists from Ray Charles an impressive array of credits in his musical journey since then. He has toured to Middle East superstar Darioush and served as music director and bassist for 138 extensively with artists including Javier, Missing Persons, and American the Frank Zappa musical, “Joe’s Garage.” His alter-ego, Elvis Schoenberg, is Idol Live! and worked with such artists as Enrique Iglesias, Andrae Crouch, the writer, conductor, and producer of the Orchestre Surréal, a 25-piece group Fantasia, Jennifer Hudson, Impromp2, Lemar, Pepe Aguilar, Martha Reeves, that mixes classical, rock, jazz, and hip-hop into an unclassifiable musical Isyss, Don Omar, and many more. His television appearances include 2005 hybrid that has won him honors for Best Orchestral Arranger and Best Rock Latin Grammy Awards, The Ryan Seacrest Show, The Ellen DeGeneres Opera at the Los Angeles Music Awards. The group, which performs regularly Show, BET’s 106 & Park, and Soul Train. Tom’s recording career includes #1 at theaters, festivals, and clubs throughout Southern California, has recorded singles, film soundtracks, and commercial jingles. He has also had the privilege albums including Air Surreal, It’s Alive, and Manic Voodoo Lady, an orchestral of tracking sessions with drummers Steve Smith, Vinnie Colaiuta, Carmine tribute to Jimi Hendrix. At MI, Ross teaches private lessons and courses includ- Appice, Abe Laboriel, Jr., and Joey Heredia. Currently, he works as a LA-based ing Harmony and Theory, Playing Techniques, and Melodic Bass Duets. sideman and session player. For MI, Tom teaches the Slap Bass 101 course and the Funk LPW. Wyatt, Keith Guitar A graduate of MI’s second MI class, Keith helped design MI’s curriculum and Wittenberg, Scott Drums later served as department head of MI before becoming Director of Programs. A native of California, Scott Wittenberg has studied a variety of musical instru- As a guitar education specialist, he has created over a dozen best-selling ments and has been playing the drums professionally since the age of 15. instructional videos for Warner Brothers (including Rockin’ the Blues and Since graduating from MI’s Drum Program in 2006 with the “Outstanding Guitar Basics), books for MI Press/Hal Leonard (Harmony and Theory: a Player” award, he has toured both nationally and internationally and keeps a Comprehensive Guide), award-winning CD-ROMs for Play Music (Play Blues busy schedule performing and recording in a variety of styles in the L.A. area. Guitar and Play Rock Guitar), DVDs for Hal Leonard/Fender (the award- For MI’s drum program, Scott teaches Contemporary Drum Concepts, Rhythm winning Getting Started on Guitar) and has written columns and articles for all Section Workshop, private lessons, Modern Rock and Heavy Metal LPWs. of the major guitar magazines. As a performer, Keith is currently touring with Wood, Doug Vocals the Blasters, and has performed and recorded in the US, Europe and Asia. As a singer, Douglas Wood has toured nationally with the award-winning rock Specialties: blues and American “roots” music. a cappella group, Chicago Voice Exchange, and performed as lead vocalist in the Chicago area with the Stanley Paul Orchestra while also unleashing Faculty Bios

Yares, Spencer Independent Artist Ziff, Stuart Guitar As a producer, writer, and engineer, Spencer and his production team District Native New Yorker Stuart Ziff has crafted a career as professional guitarist, 78 produce music for film, television (Randy Jackson Presents: America’s Best songwriter, and popular music historian. Ziff’s expertise lies in Rock & Roll, Dance Crew; So You Think You Can Dance) and recording artists (Far East R&B, Funk, Blues and all points in between. A veteran sideman of 25 years, he Movement, Adam Lambert, Taboo of Black Eyed Peas, Jennifer Lopez). At has supported legends including Wilson Pickett and Charles Brown and backed MI, Spencer is a Project Advisor and teaches Apple Logic for the Independent contemporary artists, emerging singer-songwriters as well as Broadway shows. Artist Program. In 1994, Ziff co-wrote the #1 single “Thinkin’ Problem” with country artist David Ball (Warner Bros.). He has numerous recording credits as a wMIer, guitarist, Yoon, Rachel Jiyoung Bachelor producer, and vocalist in NYC, Nashville and Los Angeles, and tours as guitar- Rachel Jiyoung Yoon graduated from Seoul National University (BA and MA ist for the legendary Funk-R&B-Latin group War. At MI, Stuart teaches Blues in Composition) and UCLA (PhD in Composition). Professionally, Rachel con- Guitar, Slide, private lessons and Open Counseling. sults with jazz groups (including the Yellowjackets) and film composers on orchestration and music preparation in the Finale format in addition to playing Zilbershtein, Vadim Guitar sessions for noted R&B producer Wah-Wah Watson. As a teacher, her classi- Vadim’s resume as a guitarist includes Earth Wind and Fire (2003-08) as well cal background combines with her contemporary commercial music experience as performances and recordings with such industry luminaries as Marcus to provide a unique educational approach. At MI, she teaches Western Music Miller, Chaka Khan, Chick Corea, Lenny KraMIz, James Brown, and Mary J History, World Music History, Theory, Composition, and Keyboard Proficiency Blige, to name a few, with numerous TV appearances including the Grammy as well as private lessons. and Emmy award shows. At MI, Vadim can be found teaching the Earth, Wind, and Fire LPW, Open Counseling and private lessons. Yoon Seung, Cho Keyboards Cho Yoon Seung was born 1973 in Seoul, Korea and at 14 moved to Zunigar, Rick Guitar Buenos Aires, Argentina where he studied classical music at C.L.B Nacional Jazz guitarist Rick Zunigar has been on the professional scene since he was 139 Conservatory. While attending Berklee College of Music in Boston from sixteen years old. He has accumulated an extensive list of studio credits includ- 1996-2000, he studied with Paul Schmeling and Hal Crook as well as with ing work with Stevie Wonder, Freddie Hubbard, Cal Tjader, Ray Charles, Willie Jerry Bergonzi and John Lockwood at the New England Conservatory. From Bobo, Roberta Flack, Smokey Robinson, and the Crusaders. At MI, you’ll find 2001-03, after being selected by Herbie Hancock he attended the exclusive Rick teaching private lessons and Open Counseling. Thelonious Monk Institute at USC and studied with Dave Holland, Lewis Nash, Kenny Barron, John Scorfield and Terence Blanchard. Currently, Cho works Biographies not available: with the Ron King Quartet and Big Band, participating in world festivals includ- Bertelli, Valente Keyboards ing the Umbria Jazz Festival, Java Jazz Festival and Tri-C Jazz Festival and King, Kevin Keyboards has released his own CDs for the Sound Sketch and Woong-Jin Media labels Miller, Luke Keyboards in Korea. At MI, Cho teaches Open Counseling and Private Lessons. Schoenhals, Tim Keyboards Zargaran, Mahsa Independent Artist Mahsa is an Iranian-born singer, songwriter and classically-trained pianist based in Los Angeles. Aside from her solo project, Omniflux, Mahsa’s credits include piano/synth programming sessions for producer Dave Ogilvie (Nine Inch Nails, David Bowie, Marilyn Manson), studio vocal sessions at Dream Sequences for producer Dan Chase (Sheryl Crow, Celine Dion, Pink), and co-writing the score for the short film A Season To Whither for The Director’s Guild of Canada. At MI, Mahsa teaches Keyboard Private Lessons for the Independent Artist Program. Learn more at www.myspace.com/mahsa and www.myspace.com/omnifluxmusic. Administration

ADMINISTRATION Student Affairs Executive Officers Senior Director Lissa Wayne President Hisatake Shibuya Student Services Manager Clifton Seminerio VP - Operations / General Manager Takeshi Sakimoto Counselor Hilde Moshaug Meffert VP - Marketing and Corporate Planning Coko Johnson VP - Industry and Community Relations Beth Marlis Financial Aid VP - Programs Keith Wyatt Associate Director Melissa Cuesta-Booker Financial Aid Officers Isabel Cano Accounting Barbara Corzo Director Ben Bacon Ginger Lopez Senior Accountant Edgar Carapetian Christina Winkelman Payroll Coordinator Robyn Hansen Application Coordinator Amanda Garcia Staff Accountant Claudia Melgar-Segovia Verification Coordinator Jamie Roland Accounts Payable Amber Mullins Student Advocate Marla Harris Student Billing Coordinators Yaritza Santana Planell Darlene Carrillo Human Resources Director Jeff Spencer Admissions Generalist Gildardo Carrillo Director Paul Weinstein Admissions Representatives Brooke Archilla Education 140 Jennifer Cazares Senior Director Thomas Engfer Michael Coleman Senior Director of Curriculum Tim Pedersen William Dean Program Directors Cullen Dickson Baccalaureate Dean Roger Steinman Geoffrey Fafenrodt Associate Baccalaureate Dean Gary Solt Louis Grosso Bass Alexis Skljarevski Jeri Jewell Guitar Jude Gold Marshall McQuown Keyboards Kevin Comstock Ryan Mitchell Drums Tim Pedersen Valerie Smith Vocals Jon Clayden Gary Younger Audio Engineering Monica Mancillas Admissions Coordinator Heather Robertson Guitar Craft John Carruthers Admissions Assistant Ben Lam Music Business Kenny Kerner Receptionist Rossana Brassea Music Video/Film/TV Alan Calzatti Information Technology Independent Artist Greg Panciera Director Iyob Araia Alternative Programs Daniel Gilbert Network Administrator Ramil Gavia ASP.Net Developer Pavel Grigoryants MAC Computer Technician Nathan Lowe System Administrator Tim Metz Computer Tech Joaquin Pacheco Administration

Education Coordinators Operations Encore Program Greg Jong Director Michael Phifer Live Performance Workshops Tita Hutchison Security Manager Michael Hinksmon All-MI Courses & Musicianship Stewart Jean Facilities Manager Akram Audish Lead Course Scheduler Kristina Fox Mail Room Manager Dave Leggett Course Scheduler Kelly Olano Production Manager Joe Fiorello Library Circulation Supervisor Ermila Carlin Curriculum and Printing Coordinator Mark Thomas Electronics Technician Dale Scott Registrar - Academic Advising Drum Service Coordinator Anthony Taddeo Manager Christina Page Academic Advisors Michelle Leadon Musicians Institute Contact Information: Michael Park Telephone: 800-255-7529 (toll free; US and Canada) Shaun Vieten 323-462-1384 (Local/International) Academic Advisor/Collections Michelle Leadon Fax: 323-462-6978 Mail: 6752 Hollywood Boulevard Registrar - Records and Registry Hollywood, CA 90028 Manager Jim McMains E-mail: [email protected] Website: www.mi.edu Marketing Manager Roy Walker Employment: [email protected] Web Master James Felix 141 Graphic Designer Nicholas Tam Outreach Manager Travis Johnson Outreach Coordinator Steve Lunn Outreach Research Assistant Marisa Takenaka

International Student Affairs Director Daniel Diaz Assistant Andrew Rajzer

Artist and Career Services Director Todd Berhorst Job Outreach Coordinator Michael Bishop Internship Coordinator Chris Fletcher Administrative Assistant Gina Galardo

Campus Events Director Gabriel Hernandez

Players Supply Manager Scott Munday Assistant Manager Miguel Vega Assistants Nathan Javier CAMPUS HOLLYWOOD

CAMPUS HOLLYWOOD HOLLYWOOD UNIVERSITY INITIATIVE

Musicians Institute belongs to Campus Hollywood, a group of entertainment-related schools and companies in the fields of contemporary arts and education. Established in 2000, Campus Hollywood currently includes: ESP Guitars www.espguitars.com Leading manufacturer of electric guitars and basses including ESP, LTD, and X-Tone. Schecter Guitars www.schecterguitars.com Manufacturer of custom-quality guitars and basses for the contemporary music market. MI Japan www.mijapan.com.jp Providing Musicians Institute’s world-renowned style of contemporary music 142 education to students throughout Japan. Los Angeles Music Academy www.lamusicacademy.com Hollywood is not only a renowned travel destination, but also a genuine college A boutique contemporary music school training well-rounded musicians for pro- town; a thriving higher-education mecca for a wide variety of arts and entertain- fessional performing careers. ment-oriented schools serving thousands of students from across the globe. United Television Broadcasting www.utbhollywood.com These schools, including Musicians Institute and other Campus Hollywood Southern California’s premier provider of Japanese culture-oriented television institutions, have joined with community leaders to form the Hollywood programming through digital channel KSCI 18.2. University Initiative, an organization dedicated to exploring ways to serve the needs of students in Hollywood. To find out more about Hollywood U., Theater of Arts www.toahollywood.com visit www.hollywoodu.org Innovative education in the theatrical arts. International Dance Academy www.idahollywood.com Training in all styles of contemporary dance, from novice to professional. Elegance International www.ei.edu Comprehensive education in professional and special-effects makeup.