Theory & Composition at SCE

Paul Burdick
Martin F. Gardiner
Margaret McAllister
Stephen Savage
Shane Simpson
Doug Amos

Jazz Theory and History Faculty
Eyran Katsenelenbogen
Rick McLaughlin
Joel Yennior

Click here for Jazz Theory and History course listings.

Certificate Programs

A Certificate of Merit and a Professional Studies Certificate are available in music theory and composition. Check out our Certificates page for more information.

Private Instruction

Students wishing to broaden their musical training whether general or expert can do so through private instruction. Private classical and jazz instruction is offered by highly qualified and experienced faculty. Lessons range from 30, 45, or 60 minutes. Theoretical studies include sight-singing, ear training, form and analysis, 16th-and 18th-century counterpoint, tonal composition, 20th-century idioms, orchestration, and jazz theory and arranging. Lessons are open to everyone and you can enroll at anytime. Placement is made by the SCE Director.

Theory Program

The theory program is designed to provide the highly motivated adult student with instruction in the areas of rhythmic and melodic sight-singing, keyboard skills, and basic theoretical concepts. Ear-training is emphasized at all levels. Class presentations also provide historical context through musical examples and videos.

Classes

Music Theory & Literacy I

Shane Simpson, Instructor
Mon 6:30-8:30 pm
2 credits: $1500
Non-credit: $990
FALL SEMESTER ONLY

Required of all Certificate students. Music Theory and Literacy I is the first in the sequence of four courses that develop the skills and knowledge necessary for musical literacy and a complete understanding of music that students will apply to their everyday musical lives. This course lays the groundwork for students to understand music using their ears and bodies to the fullest extent possible and demonstrate their understanding through musical performance. Students will become masters of their own learning as they develop knowledge and skills in fixed do solfege and at the keyboard. The first semester focuses on recognition of notes and note patterns in treble and bass clefs, rhythmic rendering with conducting, and beginning the process of retaining long term pitch memory. By the end of the semester, the students who participate fully in the work of this course should be able to sight-sing diatonic melodies in various keys that use relatively simple rhythmic values and apply those skills in different musical contexts.

Music Theory & Literacy II

Shane Simpson, Instructor
Mon 6:30-8:30 pm
2 credits: $1500
Non-credit: $990
SPRING SEMESTER ONLY

A continuation and development of skills and relevant concepts introduced in Music Theory and Literacy I, this is the second in the sequence of four courses that develop the skills and knowledge necessary for musical literacy and a complete understanding of music that students will apply to their everyday musical lives. This semester focuses on recognition of notes and note patterns in three clefs (treble, bass, and alto), rhythmic rendering with conducting in various meters, and continuing the process of building long-term pitch memory. In addition, students will begin the study of harmony at the keyboard by realizing root position triad progressions and singing while playing voices from Bach chorales.

Music Theory & Literacy III

Shane Simpson, Instructor
Wed 6:30-8:30 pm
2 credits: $1500
Non-credit: $990

FALL SEMESTER ONLY

A continuation and development of skills and relevant concepts introduced in Music Theory and Literacy I and II, this is the third in the sequence of four courses that develop the skills and knowledge necessary for musical literacy and a complete understanding of music that students will apply to their everyday musical lives. The focus of this course is on expanding the students’ awareness and use of the harmonic, melodic, and analytic devices found in music of the common practice era. This course and the next are primarily taught at the keyboard, and topics of study include common harmonic progressions, realization of figured bass, and harmonization of melodies in different styles.

Music Theory & Literacy IV

Doug Amos, Instructor
Wed 6:30-8:30 pm
2 credits: $1500
Non-credit: $990

SPRING SEMESTER ONLY

A continuation and development of skills and relevant concepts introduced in Music Theory and Literacy I, II, and III, this is the last in the sequence of four courses that develop the skills and knowledge necessary for musical literacy and a complete understanding of music that students will apply to their everyday musical lives. This course continues to expand the students’ awareness and use of the harmonic, melodic, and analytic devices found in music of the common practice era. It is primarily taught at the keyboard, and topics include figured bass realization, improvisation of preludes, gaining fluency in literature study, and score reading at the keyboard which will ensure the active use of the skills and concepts taught.

Introduction to Composition I

Stephen Savage, Instructor
Saturday 2:00-3:10 pm
1 credit: $750 per semester
Non-credit: $495 per semester

Starting: Saturday, 9/15

Beginning composition students are encouraged to realize their musical conceptions. Basic concepts introduced include pitch and scale organization, meter, rhythm, interval, chord, tone color, motive, phrase, melody and texture. Rudiments of counterpoint, harmony, instrumentation and standard forms are considered, with emphasis on the balance between repetition and contrast. Specific exercises are given, but students are also encouraged to write freely and to develop a style of their own.

Compositions are performed in class when possible. Prerequisite: some basic knowledge of standard music notation and a desire to compose.

Introduction to Composition II

Stephen Savage, Instructor
Saturday 1:00-2:00 pm
1 credit: $750 per semester
Non-credit: $495 per semester

Intermediate composition students are encouraged to realize their musical conceptions. Topics from Introduction To Composition semester 1 are reviewed, and in addition chromatic and non-triadic harmony, contrapuntal techniques such as double and triple invertibility, larger forms, and various 20th century developments are explored. Specific exercises are given, but students are also encouraged to write freely and to develop a style of their own. Compositions are performed in class when possible.

Prerequisite: Completion of Introduction To Composition 1, or permission of the instructor.

Prerequisite is Advanced Music Theory III or permission of the instructor.

The Art of Musical Sightreading

Martin F. Gardiner, Instructor
OFFERED AS PRIVATE INSTRUCTION FALL AND SPRING SEMESTERS. Private lesson rates apply.

This course is especially for singers or instrumentalists who know basic notation and wish to become more fluid at reading music they wish to explore or prepare to perform. But all who wish to better understand languages of music and how to read them are welcome. When reading verbal language we expect to not only translate symbols for letters and words, but to immediately interact with verbal meaning that these symbols can convey. Our goal in this course is similar: to develop skills at reading musical notation in ways that immediately go beyond translating notational symbols simply into sounds, but instead reach for higher structures of musical meaning. We will read music of different historical periods and of different composers to develop capabilities in understanding how musical languages work and how they may be read. Practice at home is expected of those who wish to improve their reading fluidity, there will be group reading, and opportunities for individual reading work in class for those who wish it.

Modal Counterpoint

Margaret McAllister, Instructor
Offered as private instruction. Private lesson rates apply.

A study of 16th-century species counterpoint in two voices and an introduction to 18th-century counterpoint and canon and fugue in three voices. Representative musical examples by Palestrina and Bach will be studied; the last class is a one-hour exam. Text: Johann Fux, Gradus ad Parnassum. Prerequisite: Theory I or permission of the instructor.

Eighteenth-Century Tonal Counterpoint

Margaret McAllister, Instructor
Offered as private instruction. Private lesson rates apply.

A study of the basic elements of canon and fugue and the tonal harmony that gives direction and articulation to these types of polyphony. Representative examples will be drawn from J.S. Bach’s Musical Offering, Goldberg Variations, and The Well-Tempered Clavier, Book I. Prerequisite: Permission of the instructor.

Composition Seminar

Bert van Herck, Instructor
Wed 6:00-8:00 pm
2 credits: $1500
Non-credit: $990

Required of all Composition Certificate students. This course involves itself with creating intensive collaborations between composers and conservatory performers. The coursework is project based. Projects are focused on composing for specific instrumental combinations, differing from semester to semester. Studies in orchestration and score study of repertory pieces will help composers develop their craft for writing for the selected performer combination. The class will predominantly be run like a group composition lesson where students present ongoing work for the chosen ensemble to each other. At various times throughout the semester meetings will be held with performers who will workshop works-in-progress. The course will culminate in a final performance and recording of finished work. This course fulfills the ensemble requirement for certificate composition students.