Learn all about our Precollege curriculum at Manhattan School of Music.
The curriculum of the Precollege Division has been devised to assure a thorough musical education. The basic tuition package includes a lesson, theory, ear training, and ensemble.
Each student is entitled to one 60-minute lesson for 29 weeks. The 30th lesson is reserved for juries.
Juries will occur once a year near the end of each spring semester. Juries ensure that a student’s progress merits continuation in his or her program of study. Jury scores are also a determining factor in evaluating eligibility for scholarship for the following year.
Students must audition for positions in large ensembles and are placed according to their ability. Assignment to all large ensembles is made by the Precollege Administration, in consultation with the conductors and directors, and is based on audition.
Senior Select Chorus
Double Bass Ensemble
French Horn Ensemble
Chamber music is an elective and placement is made by the Precollege Administration. Pianists may be required to audition for chamber music. Because of the difficulties in matching students by level and requests, there is no guarantee that all students will be placed in a chamber music group each semester. Students wishing to be considered for chamber music must complete the Chamber Music Request Form by May 1st of every year.
Courses in music theory and ear training are a mandatory part of every student’s study and complement private instruction.
Elementary Theory and Ear Training (grades 4 and below)
Elementary Theory and Ear Training provides students with a fundamental background in the development of coordination and rhythmic awareness, listening awareness, responses to pitch, dynamics and tempo, and emphasizes basic reading skills.
Junior Theory and Ear Training (grades 5-8)
This level involves study of scales, intervals, chords, melody harmonization, and form with appropriate analysis and creative work. Ear training stresses the singing, aural recognition, and writing of all elements studied in the theory classes. The materials used are selected from music literature appropriate to the age level and degree of advancement of the students.
High School Theory and Ear Training (grades 9 and above)
This level is a comprehensive study of the elements of music from rudiments through chromatic harmony. Areas covered include melody, harmony, part writing, form and analysis, counterpoint, orchestration, and some compositional techniques. Corresponding ear training courses cover rhythmic solfège, melodic sight singing, rhythm and movement, diatonic-modal improvisation, harmonic perception, contemporary sight singing, dictation, and advanced choral literature.
Jazz Theory I
This course covers jazz theory on a basic level, and it is designed to help students develop the necessary theoretical foundations in order to be able to improvise, arrange, and compose.
Jazz Theory II
The Jazz Theory II curriculum involves a study of topics such as chord function, extension and alteration, common chord progressions, scales, key relationships, superimposition, form, modulation, re-harmonization, rhythmic permutation, voice leading, counterpoint, composition, arranging, and ear training. Traditional or classical harmonic principles and their relevance in jazz settings will also be studied.
Jazz Theory III
Jazz Theory III focuses on the practical application of theory to the students’ writing and playing. Subjects covered in Jazz Theory I and II will be reviewed and utilized as a basis for compositional techniques.
Jazz Theory IV (Theoretical Applications in Jazz Arranging and Composition)
This course will include guided instruction in jazz arranging and composition using the tools and techniques learned in Jazz Theory I, II, and III. Laboratory groups will include members of the class as well as school ensembles.
Jazz Ear Training A
This class will cover, with an emphasis on fluency, intervallic dictation and singing, rhythmic dictation and tapping, simple harmonic dictation to the 7th degree, simple sight-singing, and simple melodic dictation, as well as an introduction to the art of transcription of jazz solos.
Jazz Ear Training B
This class will cover, with an emphasis on fluency, melodic dictation, sight singing, harmonic dictation to the 9th degree, and harmonic singing (arpeggios of common chord progressions to the 9th degree in jazz standards), as well as a continuation of the art of transcription of jazz solos.
Jazz History/Styles/Analysis I
This course provides a yearlong overview of the history of jazz music, including its major innovators, trends, and musical examples. Students will learn about artists and their work and will acquire critical listening skills.
Jazz History/Styles/Analysis II
This course is a continuation of Jazz History/Styles/Analysis I and serves to broaden the base already provided by using more in-depth listening, research, and comparative analyses of works.
Electives are offered in a variety of subjects. With the exception of chamber music groups, all classes must have a minimum of five students.
Elective courses are offered for an additional fee. See Tuition and Fees for details.
Acting for Singers
A class primarily for voice majors of high school age, but open to all students who wish to learn more about stage presence, acting, and audition techniques. Audition required for non-vocal majors.
Advanced Chamber Skills for Pianists (ages 14-18)
Students participating in this 55 minute class will have previous experience in chamber groups, collaborating with multiple instruments. Here we will explore masterclass teaching, involving performances of professionals as well as previous recordings of the students’ groups. Score study will be the central focus and students will gain knowledge of repertoire (duo, trio, quartet, quintet) and advanced listening and rehearsal techniques to benefit them in future chamber studies.
Advanced Counterpoint Workshop
Counterpoint literally means “point against point”, or “note against note”, and is the study of how melodies blend together, yet maintain their individuality. Counterpoint is the study of the horizontal aspects of multi-voice composition while harmony is the study of the vertical aspects of composition. This is a convenient way of dividing the aspects of composition; however, this distinction is merely theoretical. In practice, the study of counterpoint incorporates much harmony and leads to a better understanding of the harmonic forces, as well as the melodic forces, that move the composition.
In the advanced counterpoint workshop we will summarize the basic 16th century counterpoint that is part of the general curriculum and proceed to the higher forms of the 16th century style such as the canon and the motet, as well as a study of counterpoint that leads to the fugue – arguably the most sophisticated form of composition, combining counterpoint and harmony in perfect balance. The class will also compare and contrast traditional and non-traditional forms including chromatic and non-classical counterpoint.
Prerequisites: Successful completion of HS Theory III/JR Theory IV and Ear Training C.
African-American Music History
This course is a concise overview of music from the African-American diaspora, including African music, the spiritual, the work song, blues, jazz, concert music, rock and roll, gospel, R&B, soul, rap, hip-hop, neo-soul, trap and beyond.
AP Theory Preparation
The goal of Advanced Placement Theory Preparation is to help students prepare for the AP theory test which is held every May at a non-MSM affiliated testing site. Students will be tested on every aspect of the course material including musical terminology, notational skills, basic compositional skills, score analysis and aural skills. Emphasis will be given to each student’s strengths and weaknesses, as well as regular in-class testing. Although the goal of this elective is to prepare students for the May test, taking the outside test is not be a necessary requirement.
Prerequisites: Students need to have received a “B” average in HS Theory IV and HS Ear Training D.
Audition Techniques and Preparation
This course, designed for instrumentalists and vocalists, will offer students tools to investigate, select, and prepare audition material appropriate for entrance auditions, juries and orchestra auditions. The course includes opportunity to play mock auditions, exercises in sight reading, and offers a discussion about pacing, stamina and focus at the time of the audition.
Basics of Music Production
Students will learn the basics of music production and how to create multi-track recordings.
The Beethoven course will be an overview of the fascinating and troubled life of Ludwig van Beethoven. The class will read short texts for discussion and consider his difficult physical and emotional problems as well as his contribution to early nineteenth-century music. Intersecting with his biography, the class will study examples of his major compositions, especially piano sonatas, string quartets, and symphonies.
Body Mapping/Alexander Technique
The Body Mapping/Alexander Technique class will educate student musicians in relevant information that can enhance their performance and help them avoid injury. In a weekly class, the students will explore how improving the body map (the internal representation in the brain) leads to movement that is freer, easier, more effective, and free from pain. The students will leave the class with an accurate anatomical understanding which will serve as the basis for their technique as aspiring musicians, improve their kinesthetic (movement) sense, and learn to use the Alexander Technique to gain the necessary tools to release excess tension and pain throughout the body thereby improving their ability to make music. The class participants will also be coached as they learn to observe each other’s movement which will further enrich their own movement education. Topics explored will include but not be limited to: the places of balance in the body, head, neck, spine, arms, legs; structures of breathing; performance anxiety; constructive rest; and cultivating an authentic performance.
Brass Ensemble offers Precollege brass students an opportunity to be challenged both technically and musically while focusing on improving each player’s ensemble skills. Using repertoire ranging from the Renaissance through Contemporary periods, the class focuses on developing a group sound while refining intonation, blend and balance. Recent performances have included works by Bach, Cheetham, Ewald, Ewazen, Gabrieli, Hindemith, Holst, Ives, Koetsier, Mozart, and Purcell among many others.
Chamber Music PLUS
Chamber Music PLUS is an introduction to the emerging field of interdisciplinary performance. Students will work in small groups of varying instrumentation to co-create new performance pieces that combine music with theatre, creative movement, storytelling, poetry, and other arts. The class combines basic skill building work (theater and movement games adapted to include musical instruments), along with a collaborative creation process, culminating in an original performance. Students will learn to perform from memory, to construct new performing works from both existing sources and from their own improvisations, to incorporate speaking into musical performance, and to work creatively and collaboratively with colleagues.
Chamber Music Skills Class for Violin and Viola Students
This course will focus on the details of ensemble playing from before the rehearsal to after the performance. This includes reading scores and creating a rehearsal strategy based on the student’s knowledge of the score; researching works from the standard chamber repertoire and introducing composers from the Baroque, Classical, Romantic, Impressionist, 20th and/or 21st century. Students will learn how to write program notes, give an educational pre-performance talk, and write a concert review. This course is for both experienced chamber players and those students new to chamber music. The students are strongly encouraged to have their instruments available during the class.
Chamber Skills for Pianists (ages 11-18)
In this 55 minute class, students will explore how to approach new pieces of music involving multiple performers. Pianists will gain familiarity with repertoire from four-hand, duo, and trio literature, commenting and critiquing on each other’s performance based on score study and listening assignments. No prior chamber experience required.
Clarinet Ensemble explores the rich variety of repertoire available to clarinets, including arrangements from the standard repertoire and pieces written expressly for clarinet ensemble. The group will perform several times throughout the year. Students are offered the opportunity to switch parts, affording them the experience of playing solos as well as inner voices.
Classical Improvisation for Pianists
Many of the great composers were great improvisers, and what fun they must have had! In this class students will learn the basics of improvisation with models from Bach to Mozart to Chopin. Students will draw upon the pieces they play for ideas, and discover a new way of looking at the piano.
Students interested in composition are placed in small groups according to their levels, which range from beginning to advanced. Students receive individual attention and develop techniques and skills for writing for small ensembles and orchestra. Exploration of style, both traditional and experimental, is encouraged.
A class in which students learn the fundamentals of orchestral conducting techniques and score reading. Two levels, beginning and intermediate, are offered.
Dance Technique and Energy Flow
Dance Technique and Energy Flow is a class designed to deepen physical awareness and teach basic movement skills valuable to all types of performance. The focus will be on both performative techniques such as ballet and jazz and experiential somatic movement techniques such as Bartenieff Fundamentals and Continuum Movement. The class is appropriate for beginners and all levels of previous experience.
Diction for Singers
Diction for Singers will explore phonetics and pronunciation in English, Italian, German and French. One semester will be devoted to each language, with an introductory study of the International Phonetic Alphabet (IPA), the standard system used to represent and transcribe sounds in any language. The individual vowel and consonant sounds of each language will be studied, with both spoken and written work, and then applied in singing.
Discovering Secrets within Musical Compositions
This elective is based on the theories of Claude Debussy, who encouraged “souls destined for music” to look within ourselves and our surroundings to discover the most beautiful ideas music has to offer. This course will offer a fascinating look into the minds and methods of composers throughout the world and across all styles and genres, including (but not limited to): Bach, the Beatles, Samuel Barber, Beethoven, Luciano Berio, Borodin, John Coltrane, Debussy, Duke Ellington, Jimi Hendrix, Hermeto Pascoal, Pink Floyd, Bob Marley, Thelonious Monk, Radiohead, Schumann, U2, William Grant Still, Vivaldi and Neil Young.
In addition to lectures, each student will be required to give a 15-20 minute performance presentation, where they will identify, prepare, perform and discuss a selection (or excerpt from a larger work) of their choice, highlighting those influences found in the environment and specifically how these influences are expressed in the language of music. The class will collectively discuss how this knowledge has shaped their interpretation of the piece. Promising to offer a unique and memorable experience, this elective is open to all high school aged students.
Double Bass Ensemble
This class offers double bass students the opportunity to rehearse and develop the many skills necessary to create a high-performing, musical ensemble. The class explores the vast repertoire of compositions and arrangements written for double bass ensemble, and presents these pieces in concerts throughout the year. Emphasis is placed on the goal of creating a musical, cohesive ensemble sound which also serves to hone skills that will carry over into orchestral section playing, chamber music, and solo performances.
Exploring Music of the 20th and 21st Centuries
The objective of this course is to provide students with a basic understanding of 20th & 21st century music, specifically, music that is based on systems other than traditional major-minor tonality. Students will engage the music through various activities aimed at offering different views of the pieces being studied. Activities will include listening, playing, sight-singing, composition exercises and basic post-tonal analysis. Students must have completed or passed out of JR/HS Theory I and JR/HS Ear Training A.
Introduction to film scoring provides the student with an overview of the fundamentals he/she needs to acquire in order to function in this medium. Film scoring is a highly specialized, creative, knowledgeable, and unique form of composition. The film composer must combine traditional and contemporary training as well as have a wide understanding of the technical, historic, and creative aspects of marriage between picture and sound, some understanding of the film-making process, and considerable compositional skills. The class will cover a wide variety of topics with strong emphasis on student projects and participation.
Flute Ensemble is open to all MSM Precollege flutists as well as woodwind doublers wishing to improve their skills as a flutist and ensemble player. This ensemble provides students with a broad performance experience of repertoire written for flute ensemble – from trios to larger flute ensemble pieces, and pieces for multiple flutes with piano, and on occasion with solo vocalists. Each semester the Flute Ensemble performs on a Performers Showcase and also presents a formal concert towards the conclusion of the semester. Repertoire is selected from the Baroque Period to the 20th Century, which provides members of the Flute Ensemble with a valuable ensemble experience and knowledge of available flute ensemble music.
Guitar Ensemble is a class in which guitar majors explore the growing repertoire for multiple guitars. Works examined and performed are written by prominent contemporary composers for the growing number of professional ensembles around the world. There is also a sizeable number of transcriptions of works by the great masters, such as J. S. Bach, Antonio Vivaldi, and Franz Josef Haydn. Rehearsal skills are stressed, sight-reading is enhanced, and the sense of belonging to a musical community is a goal of the class. All Guitar Ensemble students must be currently enrolled in a primary or secondary guitar lesson with a Precollege Faculty member.
Harp Ensemble is designed to introduce each student to the range of professional harp literature. The class is a combination of harp ensemble and study of music drawn from the orchestral, choral, opera and ballet repertoire. Each semester, students will become familiar with a large number of pieces through listening and preparation of excerpts.
Harp Workshop (non-harp majors)
Harp Workshop is step-by-step introduction to the harp offered in a group setting, covering basic to intermediate harp technique and repertoire. While the class is open to all instruments and levels, a background in piano is helpful (but not required).
History of Chamber Music
The course History of Chamber Music will survey small ensemble works for strings, winds, and piano in the 18th and 19th centuries. We will study duo sonatas, trio sonatas, string quartets, wind groups, and combinations with piano by major composers, including Corelli, Bach, Haydn, Mozart, Beethoven, Schubert, Mendelssohn, Brahms, Schoenberg, and Shostakovich.
History of Sacred Music
The course History of Sacred Music will cover major genres of vocal and instrumental music used in church or based on sacred texts. The class will study early chant, the Catholic mass, Renaissance choral music, Reformation music, Bach’s Lutheran cantatas and organ works, Handel oratorios, and concert Requiems.
Impressionism: Debussy and Ravel
This course will dive into the exciting and colorful world of Impressionist music. With a focus on the composers Debussy and Ravel, this course will survey compositions for symphony orchestra, piano solo, chamber music and voice, paired with a look into impressionist paintings to increase the understanding of this unique movement in history. The course will include opportunity to view historic performances by notable soloists, conductors and orchestras.
Introduction to Chamber Music for Piano Four Hands and Two Pianos Recommended (ages 5-11)
This course is designed to enhance sight reading, rapid learning, rhythmic skill, rhythmic flexibility and active listening required for successful chamber music collaboration. The repertoire lends opportunity to explore composers not typically associated with solo teaching repertoire but often with symphonic music, eg. Arensky, Dvorak, Granados, Grieg and Germaine Tailleferre. Through preparatory sight reading and assigned listening, students will become familiar with each composer’s individual language. The class will trade parts working individually while partners actively follow scores and vice versa through the various stages of learning with the intention of achieving the ability to play while listening to one another. When appropriate, students will self-record and share files at more metronomic practice tempos. As well we will address the technical aspects of balances in specific dynamics and musical settings. Given the solitary nature of piano study this course strives to instill an awareness of the piano as a collaborative instrument and to build the many reflexes and skills necessary in chamber music.
Jazz Improvisation for Non-Majors
Jazz Improvisation for Non-Majors is a course designed to provide the classical major with fundamental concepts needed to compose spontaneously. Blues and basic jazz forms are covered through performance and recordings. Exploration of jazz rhythm is central to the class.
Jazz Keyboard Harmony
This course is an introduction to common jazz keyboard techniques, chord symbols, and chord voicings. The focus is on current jazz performance practice.
Music History: The Great Cellists
This course is a survey of notable cellists from the classical period to our time. Together we will learn about the cellists who premiered some of the most important cello repertoire and understand how they helped shaping the composition of these master works. The course will offer an opportunity to listen and view historic performances, conduct performance comparisons of major concertos, and open a discussion about trends in cello performance practice between different periods in classical music history.
Music History: The Symphony
This class is a survey of significant orchestral masterworks composed between the classical period to the 20th century. Class presentation will focus on the formation of the symphony in the classical period, its features and developments in the romantic period and early 20th century. Each student will experience reading orchestral scores and listen to works by key composers such as Haydn, Mozart, Beethoven, Brahms and more.
Music History: The Symphony II – from Tchaikovsky to Mahler
This course is a survey of significant orchestral masterworks composed between the late romantic period to early 20th century. Class presentation will focus on development and new trends in symphonic compositions and formation of new styles such as Impressionism and Neo Classical. Each student will experience reading orchestral scores and view historic performances by top conductors and orchestras, with selections of works by key composers such as Tchaikovsky, Wagner Rachmaninoff, Debussy, Mahler, Stravinsky, and more.
Music History: Vocal Music from Lieder to Opera
This class is a review of vocal works from Lieder to Opera in the classical and romantic periods. Class presentation will focus on analysis of the standard lieder and its development in the romantic period along with a survey of Operatic works from the baroque to the romantic period with an emphasis on key composers such as Rossini, Mozart, Verdi and Wagner.
Musical Theatre focuses on contemporary Broadway literature through a combination of applied voice, acting, and movement technique. The first semester is devoted to developing the skills necessary to perform this exciting and ever-evolving genre, while the second semester is spent working on a performance selected to utilize the gifts of the ensemble. Audition required.
Opera Workshop is designed for high school students who are interested in opera performance. The class works on performance and auditon techniques and presents a public performance at the end of the spring semester. Audition required.
Orchestral Excerpts for Cellists
This course consists of an overview of major orchestral excerpts for Cello from Beethoven to Mahler and aims to build skills to studying orchestral excerpts. Along with familiarizing with the works by listening to historic recordings, this course will offer opportunity to play mock auditions and increase the exposure to technical and musical elements required for successful orchestral audition preparation and performance.
Overview of Chamber Music for Woodwind Players with Horn, Strings and Piano
Students’ experience of chamber music for future semesters will be enhanced by learning about chamber music repertoire for woodwind instruments from trios to octets with all wind combinations, along with mixed combinations of woodwinds with strings and piano. This special course is open to all woodwind players (flute, oboe, clarinet, and bassoon), as well as horn players, pianists, and string players who are interested in exploring chamber music with woodwind players. Coursework will include learning how to read scores, how to develop listening skills when approaching chamber music and how to organize and select music for chamber ensembles in the future. The semester’s overview will include music ranging from Classical composers (Mozart and Haydn), Romantic composers (Schubert, Brahms and Dvorak) to more contemporary music by composers such as Debussy, Ravel, Khachaturian, Prokofiev, Stravinsky, Ligeti, and Paquito D-Rivera.
This performance ensemble is designed to develop chamber music and rehearsal skills while acquainting the student with the vast and growing body of ensemble music for percussion instruments. Repertoire covered ranges from classics of the genre to newer works, as well as improvisation, giving the student an overview of the requirements of being a contemporary percussionist. The ensemble is open to Precollege classical and jazz percussion majors.
Piano Lab (non-piano majors)
A group class in elementary to intermediate piano for non-piano majors. Students having some or no prior training may register.
Piano Literature I (grades 6 and above)
The piano literature is among the richest collections of works in the cannon of classical music. From its inception the piano has been the beloved instrument of some of music’s greatest minds who have poured their most personal thoughts into works for this instrument. This class explores the most essential works written for the piano and examines the lives and times of the composers who wrote them.
Piano Literature II (grades 7 and above)
As an instrumental form, the true classical concerto possesses unique dramatic possibilities which, when in the hands of genius, create some of the most captivating moments in music. This class is an up close and personal look at what makes a concerto such a powerful and yet elusive form.
Piano Literature III (grades 8 and above)
How do some pieces survive the progression of time, while others exist on the fringe, living only briefly when a performer is inspired to bring a forgotten masterpiece back to the public? There are many such works in the piano repertoire, each waiting for the right pianist to come along and give them another moment in the sun. We will explore unknown masterpieces in this class, as well as take a new look at some favorite pianistic war-horses.
Piano Literature of South America
Latin America boasts a rich catalogue of music that is sadly rarely performed or studied.
This is music informed by a colorful mix of indigenous, folkloric and classical traditions. Many pieces correspond easily to the European catalogue: the works of Gianneo and Cosme could easily substitute for Bartók’s Mikrokosmos, Schumann’s Album for the Young, or any of Kabalevsky’s children pieces. In the music of Ponce one hears Romanticism with a Mexican bent. Guarnieri treats the listener to landscapes Debussy or Messiæn might have created had either been Brazilian. Lecuona’s tunes are as if written by a Cuban Gershwin, while Gonzalez’s music shows Cuban folk music through a modernist lens. Other pieces could have only been written in South America, displaying a sophisticated handling of local influences to create something universal: Ginastera’s Piano Sonatas, Villa-Lobos’ As Três Marias, or Guarnieri’s sets of Ponteios.
This class will survey piano works from Latin America, focusing on their commonalities and differences, and exploring their roots in local as well as European music. Students will be expected to perform one South American work in the final recital.
The art of making reeds for the oboe is an essential part of the tonal, aural and acoustic development as an oboist. As the student’s concept of how to use their air changes in conjunction with the demands of the music, so does the reed, thus the need for the skill to continually subtly change the reed to meet these new demands. This class will focus on each stage of the reed-making process such as cane selection, tying, scraping, pre-gouging, and gouging.
Saxophone Ensemble is a workshop which includes highly motivated saxophonists (majoring in classical or jazz) who are encouraged to write and perform their own transcriptions, arrangements, and original compositions. Assigned repertoire consists primarily of classical and contemporary selections, chosen to facilitate a thoughtful chamber music experience. The ensemble (usually a quartet) performs one concert per semester, and is responsible for determining the concert order and providing program notes. Students, performing without a conductor, learn to take responsibility for elements of tone quality, intonation, dynamics, phrasing, style, and stage presentation. Discussions include saxophone history, performance practice, and how to prepare for a career in music as a saxophonist.
Solving Technical Complexities at the Keyboard
A course for advanced high school piano students with emphasis on solutions for difficult passages in repertoire. A hands-on approach will allow students to bring excerpts from any piece they are learning to enhance and supplement their skills. Wellness and healthy habits are essential and enable each pianist to have boundless potential in music making. Class participants will share the concepts and topics explored and presented with their private teachers, to fully integrate the skills learned in this class with their major lesson studies. Students will gain further insight and knowledge by observing each other’s passages being performed. Each topic is presented with excerpts from piano repertoire; an anchor piece is cited for demonstration each week.
A class for high school pianists who are interested in learning skills that are necessary in order to be a successful accompanist. Students will cover repertoire including art songs, Broadway selections, concert and operatic arias, choral music, and popular music. Skills covered in the class include sight-reading techniques, preparation of the score, improvisation, transposition, matters of style, and ensemble issues specific to singers. Students will have the opportunity to accompany professional singers as well as students.
Who stole my music? a.k.a. The art of transcription.
In past centuries, it was common for performers and composers to transcribe works, that is, arrange, adapt or orchestrate them for different instruments than originally intended. These works give us unique insights into the transcribers’ thoughts, and they offer a particular vantage point from which a work might be interpreted. From Liszt’s virtuosic handling of Schubert songs, where the piano sounds both the accompaniment and the vocal line, to Rachmaninoff’s transcription of Bach’s Third Partita for Violin, where added harmonies and counterpoint flesh out Bach’s already complex lines, to Stravinsky’s “Three Movements from Petrushka” extracted from his own orchestral score, where the transcription seems to defy the limitations of ten fingers, there are countless examples of inventiveness, creativity and possibility.
The class will explore transcriptions both as adaptations of particular works as well as works in their own right. We will also look at orchestrations of works that have entered the canon, such as Henri Büsser’s orchestration of Debussy’s “Petite Suite,” as well as some works scored for unusual forces such as Isao Tomita’s 1976 electronic version of Mussorgsky’s “Pictures at an Exhibition.” Students will be expected to transcribe and perform a piece of their own choosing for the final recital.
Women in Music
“Women” and “greatness” – throughout the course of history these two words have not been used in the same sentence often enough. Certainly, in the case of music history, it is as if there was a sort of mental programming to exclude women from the realm of great legacy and powerful contribution. This course will provide a fascinating exploration into the lives and stories of women who enriched music history in spite of many obstacles. Our journey will begin in the Middle Ages and conclude with the current times. We will explore a great variety of musical carriers, placing our main emphasis on the study of the life and work of such great composers as Barbara Strozzi, Clara Schumann, Amy Beach, and Tania Leon. We will also celebrate the trail blazing women on the concert stage from the prima donnas of Italian opera to the great female conductors on the world stage today. The goal of the course is to shed light on the music composed over an entire millennium that may still be undiscovered, and to better understand the sociopolitical circumstances, which many of the women had to overcome to bring their gifts to the world.
Woodwind Ensemble is open to all Precollege instrumentalists studying flute, oboe, clarinet, bassoon and French horn. This ensemble was created to give students an opportunity to experience playing in a woodwind section in addition to their orchestral experience. Repertoire has included Dvorak’s Serenade for Winds, Cello and Bass, wind serenades by Mozart and Beethoven, music for double woodwind quintet and various mixed woodwind ensemble repertoire. Past semesters have also included themed concerts such as a focus on operatic transcriptions for woodwind ensemble and 20th-century repertoire. Woodwind Ensemble presents several performances each semester.
The Precollege Division encourages performance and thus offers several opportunities in the form of recitals, showcases, and concerts. Students are not required to attend each week, but they are always invited to listen.
Chamber Music Festivals
Chamber Music Festivals are scheduled twice a year to showcase Precollege chamber music groups. Requests to perform are submitted by the chamber music coach to the Precollege administration.
Students are chosen by faculty in consultation with the Dean to perform at one of the Honors Recitals scheduled during the academic year.
Studio & Student Recitals
Studio recitals are an opportunity for students to perform with other members of their teacher’s studio. Non-graduating student recitals and studio recital requests are submitted by the teacher.
A graduating senior is permitted, but not required, to schedule and perform an entire 40-minute graduation recital.
Chamber Music Competition
The Chamber Music Competition takes place in January of every year. Applications are due by December 1.
Concerto competitions are held annually in various categories. Winners appear as soloists with one of the Precollege orchestras in a public concert.
Precollege Classical Program
Precollege Jazz Program
Tuition & Fees
More Helpful Links:
Give to Precollege Scholarships
130 Claremont Avenue
New York, New York 10027