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Courses taken at UCLA Extension

• Film Composers Seminar (with Michael Giacchino)
  In this seminar, composer Michael Giacchino explores the art of composing music for animation through his experience scoring the critically acclaimed blockbuster, The Incredibles, and details the process, from presenting compositional sketches to supervising the final orchestral scoring sessions. Illustrating his lectures with clips from his own work as well as from some of the films and music that have influenced him, Mr. Giacchino presents such topics as developing themes, choosing appropriate instrumentation, learning from the masters of the genre, and some of the business-side issues faced by composers. The instructor and special guest, director Brad Bird (The Incredibles), discuss the origins and evolution of their partnership as well as the issues involved in director/composer collaboration.
  
  
• Conducting Workshop (with Eimar Noone)
  This hands-on course is designed for both the novice and experienced conductor. The set repertoire is selected to highlight some of the technical difficulties that arise in conducting and provide techniques to overcome problem areas. Pieces include Mozart's "Exultate Jubilate," Beethoven's "Egmont Overture," Sibelius's "Finlandia," and Bernstein's "Symphonic Dances" from West Side Story. Each participant gets podium time during the instrumental sessions and conducts live musicians. Instruction covers such topics as complex meter and tempo changes, dynamics, articulation, communicating with musicians, working with singers, and the history of orchestration and conducting.
  

Courses taken at Berklee College of Music

Arranging - Conducting - Composition - Ear Training - Ensembles - Film Scoring - General Education - Musicology - Music Production & Engineering, Music Technology - Piano

• Writing Skills (with Sarah Brindell)
  Exploration of the elements and concepts of music and how they combine and interact to create compositions and arrangements as applied to the rhythm section (guitar, keyboard, bass, and drums). Assignments include creating and developing musical projects for the rhythm section based on the course topics.
  
  
• Arranging 1 (with Lynda Chase)
  A study of the musical concepts of melody, rhythm, harmony, and form as applied to the principles and techniques of writing and arranging for the rhythm section (drums, bass, guitar, keyboards, basic percussion) and a lead-line for a solo instrument, two horns (trumpet plus alto or tenor saxophone), or voice. Focus on the conceptual process of combining individual components to create a musically satisfying arrangement. Exploration of the use and integration of MIDI technology and sequencing as they relate to rhythm section and lead-line writing. Study of various contemporary musical styles and musical concepts that comprise them, including writing from the "bottom up" (groove-driven) and "top down" (working with a melody in a lead instrument or voice). Writing assignments incorporate combinations of acoustic, electronic, and MIDI instruments.
  

• Conducting 1 (with James Reyes)
  Techniques of conducting vocal and instrumental music. Fundamental beat patterns. Discussion and study of terminology, problems of tempo, phrasing, and articulation.
  
  
• Conducting 2 (with Louis Stewart)
  The course assumes basic beat pattern knowledge and covers three areas: (1) symphonic conducting with an instrumental soloist (concerto), (2) symphonic conducting with a vocal soloist (operatic aria), and (3) symphonic conducting of a major modern work involving complete meter changes. Works used include a romantic piano or violin concerto, an operatic excerpt, and a piece such as Petrouchka, The Rite of Spring, or Symphonies of Wind Instruments.
  
  
• Conducting 3 (with David Callahan)
  Continuation of Conducting 2. This course is designed for the student who wishes to further his/her abilities in conducting. Emphasis on refining conducting skills and expanding repertoire.
  
  
• Advanced Conductors' Workshop with Live Ensemble (with George Monseur)
  A practical course for conductors and music directors in preparation, organization, rehearsal, and recording under studio conditions. Emphasis on establishing fluency in conducting and rehearsal techniques to maximize efficiency in the session.
  
  
• Advanced Rehearsal Techniques (with Ronald Feldman)
  An advanced course for conductors in the development of effective technical, musical, and psychological skills, including planning (choice of literature, aesthetic and practical considerations, allotment of rehearsal time); musical preparation (development of interpretation, choice of tempi, stylistic factors, identifying difficult or tricky passages, editing parts for bowing and breathing); rehearsal (pacing, including alternating woodshedding with play-through; balancing dynamics; using effective gestures with the baton, face, left hand, and body; giving effective verbal instructions; intonation; listening and prioritizing; stopping and starting, knowing when to be satisfied); and human factors (mutual respect and honesty, shared responsibility, ensemble esprit de corps, and psychological momentum).
  
  
• Directed Study in Conducting (with David Callahan)
  Supervised preparation and performance of an approved conducting project. Projects may originate with recitalists or from various departments such as Film Scoring, Contemporary Writing and Production, and Music Production and Engineering. The student conduct at least one project from the following categories: studio recording, recital or live concert requiring a conductor, or preparing and conducting a work with the Berklee Wind Ensemble.
  

• (Jazz) Harmony 1 (with Eric Byers)
  Basic harmonic theory. Note identification, scale and mode construction, key signatures, interval recognition, chord construction, available tensions. Principles of diatonic chord progressions and analysis.
  
  
• (Jazz) Harmony 2 (with Eric Byers)
  Continued exploration of major key harmony: secondary and extended dominant relationships. Continued study of melodic construction and motif development. Principles of linear harmonic continuity and guide tone lines. Minor key harmony; introduction to subdominant minor. Blues theory and chord progressions. Melodic rhythm, form, and melody/harmony relationship.
  
  
• (Jazz) Harmony 4 (with Daniel Ian Smith)
  Continuation of principles of modern chord progression: deceptive resolutions of secondary dominants; dominant seventh chords without dominant function; contiguous dominant motion. Review of melodic construction, form, and melody/harmony relationship; modal interchange; pedal point and ostinato; modal harmony and modal composition; compound chords; constant structures.
  
  
• Traditional Harmony and Composition 1 (with Apostolos Paraskevas)
  Diatonic harmonic analysis in various musical textures. Melody writing. Harmonization of melodies in various musical textures.
  
  
• Traditional Harmony and Composition 2 (with Clyde Witmyer)
  Continuation of Level 1. Advanced traditional harmony and intermediate compositional procedures. Seventh chords, altered chords, modulation.
  
  
• Techniques of Tonal Writing (with Armand Qualliotine)
  Specific techniques of traditional tonal composition. Conclusive and nonconclusive phrases; antecedent-consequent phrase relationships; open-ended phrase relationships; sequencing; modulation; large-scale tonal relationships; thematic variation and development. Application of these techniques in writing, using models from the classical period.
  
  
• Traditional Counterpoint 1 (with Don McDonnell)
  Free counterpoint within a diatonic tonal context. Emphasis on two-voice and melody/bass combinations.
  
  
• Traditional Two-Part Canon and Invention (with Don McDonnell)
  Continuation of Traditional Counterpoint 1. Two-part canon and two-part invention in traditional style.
  
  
• Advanced Counterpoint (with Greg Fritze)
  Analysis and writing of three- and four-voice imitative counterpoint based on traditional models. Models include fugue, chorale prelude, and passacaglia or chaconne.
  
  
• Instrumentation and Score Preparation (with Leroy W. Southers and Andrew List)
  The technical aspects involved in creating finished, professional scores. Score layout; instrumental/vocal ranges and performance characteristics; special playing techniques and limitations; breath and bowing considerations; choice of key, meter, beat, and subdivision values; use of slurs, articulation marks, dynamics, tempo variation, and other devices for indicating expressive nuance; proper underlaying of vocal text; calligraphy; creating a practical piano reduction; extracting parts.
  
  
• Contemporary Techniques in Composition 1 (with Tom J. McGah)
  Specific techniques of traditional twentieth-century composition. Technical devices such as quartal harmony, serial writing, polytonality, and contrapuntal techniques. Assignments are directly related to each of these aspects of composition and are performed in class.
  
  
• Contemporary Techniques in Composition 2 (with Tom J. McGah)
  The continuation of Level 1 with concentration on the employment of serial approaches to composition. Various composition assignments and a final project are required.
  
  
• Choral Composition (with James Reyes)
  Traditional scoring techniques for full chorus with and without instrumental accompaniment. A choral composition in a traditional style is required as a final project.
  
  
• Scoring for Strings (with David Callahan)
  Discussion of string instruments, their special effects, and proper notation. Principles of string orchestration and voicing techniques.
  
  
• Directed Study in Composition of Small Forms (with Tom J. McGah)
  Individualized instruction in composing small forms (i.e., short instrumental pieces, themes and variations, art songs, single movements of larger works, etc.). Emphasis on developing stylistic diversity and gaining experience in writing for various musical textures and ensemble combinations.
  

• Ear Training 4 (with Scott Free)
  Continuation of Ear Training 3. Modal singing and dictation studies. Interval studies, two- and three-part dictation. Basic atonal melodic studies.
  

• Rhythm Section Ensemble (with Consuello Candelaria)
  Instrumental ensembles that focus on rhythm section performance in a variety of musical styles. Combining piano, guitar, bass, and drum lab, and ensemble formats, classes cover performance techniques utilized in contemporary musical idioms including jazz, rock, and blues.
  
  
• Contemporary Styles Ensemble (with John Pierce)
  This ensemble focuses on performance in a variety of musical styles. Classes cover performance techniques utilized in contemporary idioms including pop/rock, r&b, jazz, Latin, and world music styles. Instrumentation: Piano, Guitar, Bass, Drums.
  

• Introduction to Film Scoring (with Richard Davis)
  Investigation of the aesthetic relationship between film and music. Discussion of the many functions of film music with analysis of its most effective application to dramatic situations. Exploration of career opportunities in film and television music.
  
  
• Analysis of Film Scores (with Jon Klein)
  A study of the significance of important film scores by prominent composers from the 1930s to the present. This course stress the study of important film scores that will allow for sufficient depth and variety in content and style.
  
  
• Scoring Techniques for Film and Video (with Jon Klein)
  Covers full range of mechanical scoring techniques; time and footage relationships of all film and video formats. Applications and actual usages of these techniques presented using extensive musical and visual examples. Scoring procedures and rehearsal techniques. Students record a final project with "live" ensemble using scoring stage facilities.
  
  
• Computer/Synthesis Application for Film Scoring (with Jon Klein)
  A user's course in the application of computers and synthesizers in film scoring. Students apply techniques learned in class to film scoring projects utilizing synthesizers.
  

• English Skills (with Dr. Sally Blazar)
  In this course, students develop the skills of reading, writing, and analytical thinking that are necessary for success in all college courses. Students are introduced to thought-provoking ideas in reading from a variety of disciplines which help them to recognize, define, and evaluate their own beliefs. They analyze their understanding and thoughts in written standard English appropriate for college freshmen. Students learn to organize material, analyze ideas, and write clearly.
  
  
• College Writing 1: Structure and Styles (with Dr. Sally Blazar)
  Students develop techniques for the writing of concise and lucid themes as a means of developing clarity and coherence in discussion and essays. Additionally, the analysis of assigned readings provides an introduction to various rhetorical forms where emphasis is placed on effective communication. The course focuses on effective writing skills ranging from mechanics (grammar, spelling, and punctuation) to paragraph structure and organization, to more subtle considerations of style, audience, and tone. It covers the principal aims of writing: to express, explain, persuade, and create.
  
  
• College Writing 2: Literary Themes (with Dr. Sally Blazar)
  This course reinforces the principles and practices of College Writing 1, emphasizing critical and creative thinking through literary analysis and creative writing projects. Students apply the skills of synthesis, interpretation, and evaluation in writing and speaking about fiction, drama, poetry, and creative nonfiction. Basic concepts of literary analysis are introduced (e.g., plot, point of view, character tone, style). Students have to demonstrate an understanding of these concepts in frequent and substantial writing assignments.
  
  
• History of Art 1 (with J. Keith Doherty)
  This course covers the prehistoric to the Gothic period. It is a survey of painting, sculpture, and architecture from prehistory, the ancient Near East, Egypt, Greece, Rome, Byzantium, the early Middle Ages, and the Romanesque and Gothic periods. Slide lectures are supplemented by works viewed at the Museum of Fine Arts, Boston.
  
  
• Contemporary History (with Victor Wallis)
  Students read and discuss articles by respected scholars and commentators on critical issues facing the world today. Discussions focus on topics of historic significance in the last quarter of the twentieth century.
  
  
• Modern Political Thought (with Victor Wallis)
  This course surveys the major ideological movements of our time. Students have to understand the principal ideas and practices of nationalism, fascism, communism, and democracy.
  

• History of Western Music 1 (with Tom J. McGah)
  A survey of the major styles in Western music from about A.D. 600 to the conclusion of the baroque. This includes a summary of ancient music. Audiovisual examples of scores and photographs of related art works.
  
  
• History of Western Music 2 (with Tom J. McGah)
  A survey of the major styles in Western music from the early classical period to the present. Audiovisual examples; correlation of characteristics of each period with activities in related arts.
  

• Introduction to Music Technology (with David Doms)
  An introduction to the fundamentals of music technology geared to the needs of today's professional musician. One of the most significant challenges facing musicians today is mastering the skills required to continually adapt to a changing technology base. Musicians today must understand and be prepared for the fact that this technology base is moving more rapidly than it can be assimilated. The course topics give an overview of all aspects of the current technology with the primary goal of enabling students to make intelligent decisions in evaluating future technological needs.
  
  
• Introduction to Music Production & Engineering (with Stephen Webber)
  Roles and responsibilities of music producers and engineers from idea inception to finished product. An overview of studio technologies and basic recording procedures. Recommended for students considering the Music Production and Engineering major or anyone desiring a broad overview of the field.
  

• Keyboard Lab: Reading 2 (with Marc Rossi)
  Continuation of Reading 1. Reading studies in a variety of idioms.
  
  
• Keyboard Lab: Reading 3 (with Robert Christopherson)
  Continuation of Reading 2. Reading studies in a variety of idioms.
  
  
• Keyboard Lab: Comping 1 (with Suzanne Davis)
  Instrumental laboratory for piano principals emphasizing comping studies and the application of these techniques to a variety of idioms. Recorded material for play-along purposes.
  
  
• Keyboard Lab: Comping 2 (with Robert Christopherson)
  Instrumental laboratory for piano principals emphasizing comping studies and the application of these techniques to a variety of idioms. Recorded material for play-along purposes.
  
  
• Keyboard Lab: Comping 3 (with Marc Rossi)
  Instrumental laboratory for piano principals emphasizing comping studies and the application of these techniques to a variety of idioms. Recorded material for play-along purposes.
  

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