Dennis Davis
Guitar • Music Technology • L.A.N. Administrator
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The following items are here to help you understand what you will need to do during your guitar studies at EKU. Be sure to read all of the information before taking the "Policies and Procedures Quiz" in Blackboard. Quicklinks: Your primary goal is to get a job in music after you graduate or to continue your education in a masters program (also a job). You attend college to learn how to become an employee in the field of music. We need to consider what is required of an employee in the field of music to better understand what should be expected of music students. 1) If you arrive to work late you get into trouble. Do it enough times and you get fired. If you arrive to work early and do your job well you eventually get a raise/promotion. Students need to be on time with the proper books, equipment, preparation, and attitude - on time means ready to play when class begins. 2) If you cause trouble you get into trouble. Do it enough times and you get fired. If you do what the job requires on time, or preferably, ahead of time, you eventually get a raise/promotion. Students are here to apply themselves and learn what the teachers are here to teach. What you are required to learn is more important than what you want to learn or think you need to learn. The requirements for the degree are based on national standards and those standards are not democratic. 3) The boss is human; the boss makes mistakes. Employees are human; they also make mistakes. Mistakes happen, they are a part of life. However, the mistake clause is not something to abuse. A few mistakes, depending upon the mistake, are easily overlooked. Too many mistakes and you get fired. The fewer the better. Some mistakes are worse than others. 4) Effort matters. The boss admires employees who try to do well; even though the product may not equal to the effort. If an employee keeps trying to do well it will eventually happen. If an employee only tries to do the bare minimum or acts disgusted with assignments, the boss makes a note of it. 5) In the field of music your reputation is your career. If you blow it, you'll need another career. If you miss one gig it can cost you for years. 6) Success in life, spirituality aside, happens when you can't tell the difference between work and play. Many people want to be professional guitarists, many more want to be professional musicians. Neuroscientists have no trouble finding work if they screw up the intangibles, musicians are not neuroscientists. Degree Requirements for Graduation 1) All students, regardless of degree option, prepare and perform a 30 minute solo guitar recital. Performance majors perform two solo recitals (a 30 minute junior recital and a 60 minute senior recital). 2) All students must pass Sophomore Comprehensive Exams to become eligible for 300 level courses. All guitar majors are provisional until they pass this exam. Performance majors have to switch to another option if they fail it (Theory/Composition, Music Business, or Education). 3) All students must complete 8 semesters of applied lessons and guitar ensemble. Performance majors need 10. 4) All students must take a performance examination at the end of each semester (String Jury), including those whom have performed a recital. This exam demonstrates the pieces and technical work accomplished during the semester. 5) Semester grades are based on meeting the goals set forth for that semester: required pieces, etudes, technical work, masterclass assignments, quizzes, exams, and so forth. It is also based on attendance, professional, preparation, class participation, and so forth.
Introduction Lessons topics include solo and ensemble performance, guitar history, and guitar pedagogy. Students perform music written by guitarists, lutenists, vihuelists, and theorbists who lived centuries ago along with works my modern masters. They also study jazz and improvisation. The guitar has many personalities in jazz and students need to competent in jazz guitar. The Music library at EKU features many guitar related items. Students can peruse centuries of guitar music, technical treatises, periodicals, CDs, and historical writings. Weekly private lessons focus on interpretation, technique, sight-reading, fretboard visualization, the evolution of the guitar, and other issues pertinent to creating historically informed and musically expressive performances. Our program is very forward looking. I welcome and encourage students who wish to learn and perform contemporary guitar music. We are truly blessed to live in an era when guitar permeates every musical landscape. Since the multiplicity of contemporary guitar styles can be overwhelming, students are encouraged to gain an understanding of them all - but only focus on a few. It is simply not reasonable to assume that everyone can be great at every style - I'm certainly not. Academic guitar programs primarily focus on classical and jazz performance: 1) Classic Guitar- Every guitar student, performance major or otherwise, shall study the nylon-string classic guitar every semester without exception. Jury performances (final exams) will consist of two memorized pieces which contrast in style and hail from different periods: for example, Capriccio Arabe by Francesco Tarrega (slow and melodic from the Romantic period) and, the Gigue from BWV 1006a by J.S. Bach (fast, contrapuntal, and from the Baroque period). Scales (Royal Conservatory- a la Andres Segovia) and arpeggios (Giuliani and other sources) will round out the rest of each semester's jury examination. 2) Jazz Guitar- Jazz studies teach the aspiring guitarist many things including: harmonic progression, tension and resolution, improvisation, variation techniques, and phrasing. These issues are also explored in classical studies, but some students seem to make a better connection to them while studying jazz. It is always exciting to see a jazz student look at a baroque piece, figure out the harmonic progression and then solo over it. It is simply a win-win scenario: the student appreciates the baroque piece on a different level; the piece comes down from the classical pedestal; and, the student's overall phrasing improves. The EKU Jazz Band is excellent and always looking for good guitarists 3) Other Guitar Styles- You may learn and study other styles, as long as your classical and jazz progress is unaffected. There are so many other styles of guitar a student can pursue - too many to try to list. But there is one caveat: The piece must be a solo guitar feature. Compositions by Tony MacAlpine, Allan Holdsworth, Joe Satriani, Steve Vai, Frank Gambale, Earl Klugh, Tony Rice, Engwie Malmsteen, etc., are fine and welcome. If you can play it, you can do it. (Caveat: you still have to keep up your classical chops!) 4) Private Lessons- Performance majors must enroll for an hour lesson each week (preferably two 1/2 hr. lessons per week). In college, students enrolled for either 2 or 3 credit hours get an hour lesson. The difference lies in the amount of work you must complete. Music Education, Merchandising, Composition, and General music majors are not required to have as many applied credits as performance majors. They typically enroll for one credit hour per week and receive a weekly 30 minute lesson. 5) Ensemble- All guitar students (major or minor) are required to participate in guitar ensemble. The ensemble meets as a class for 3+ hours per week and students rehearse outside of class for 4 more hours (or longer, as necessary). The concerts feature music from all style periods. 6) Masterclass- All guitar students are required to participate in guitar masterclass. Solo performance, interpretation, technique, research, and other issues pertinent to guitar are investigated in masterclass. Students present assigned findings and perform. Performance practice improves performance skills. 7) History & Pedagogy- All guitar students are required to give presentations periodically in guitar masterclass. These presentations will introduce materials newly acquired by the library, explore the guitar's elegant past, or review the viability of some technical treatise. 8) Scholarships- Guitar scholarships are available, and all incoming freshman are encouraged to audition. These awards do not cover the full cost of tuition but may be combined with other awards, scholarships, and service grants: like those offered for Jazz Band and Marching Band. More importantly, EKU offers a host of academic scholarships and partial tuition waivers that are available to all qualified students. It is often less expensive for out-of-state students to attend EKU on a partial tuition wavier than to go to a school in their state of residency. The Department of Music has a scholarship web site which lists audition dates and provides links to other EKU funding sources. Grading and Assessment: Private Lessons
Grading and Assessment: Ensemble
Credo The study of music demands, as do all the arts, not only natural ability and talents, but more importantly, dedication, sacrifice, self-discipline, inquisitiveness, and the unrelenting desire to achieve excellence. Success requires all of these attributes. Natural ability is not a substitute for any other component. In fact, "natural ability" often unfairly enjoys the credit earned by those "other components." It is assumed that music students are here to get the most from the Department of Music, its faculty, and resources, and, that music students will work consistently towards advancement in all areas, including those required outside the field of music. Grading Policy Lessons will be graded weekly, averaged, and combined with a final jury grade to produce a semester score. Masterclass, theory assignments, and other written requirements are also tallied into the final grade. The first lesson of each semester is used to outline objectives, discuss priorities, and set goals. Students will participate in a juried performance at the conclusion of each semester. Grades are based on degree of improvement, quality of preparation, amount of material covered, attendance, and how effectively semester goals are realized. The grade 'B' indicates progress; 'A' indicates exceptional work. Any student receiving less than a B needs to improve or reassess his or her goals and career choice. Professionalism factors into the final grade. Attendance policy Alternate lesson times will be arranged when the professor has a scheduling conflict. Unexcused student absences will not be rescheduled, and, will be treated as a failing grade for that lesson. Warning: an unexcused absence reduces your semester grade by one letter. Only verifiable university or medical absences will be accepted. Missing a required performance or dress rehearsal is an automatic failing grade. Not attending a required concert lowers your semester grade by one letter. Practice Requirements Performance majors enjoy 3-4 hours daily, or, whatever amount of time necessary to achieve the weekly goals. Music Education, Theory/Composition, and Merchandising practice less generally, but must take care of deficiencies as defined by the instructor. This usually involves improving technique, sight-reading, rhythm, interpretation, and so forth. Non-performance majors are expected to do the work necessary to become competent, expressive, multistyle guitarists. Lesson Assignments Lesson objectives are outlined and discussed with each student at the beginning of each semester. Generally these include technical exercises, etudes, studies, repertoire from several style periods, and required reading. Visit the required repertoire site for more detailed information. Preparation It is assumed that lesson assignments will be practiced and carefully considered . I am fairly adept at knowing whether or not assignments have been practiced. I can also tell the difference between a student struggling to play something they have practiced and a student that is really unprepared. If a student comes to a lesson unprepared they will be sent to the practice room to work on the assignment. Unprepared lessons affect your semester grade.
Performance Requirements - Solo and Ensemble Performances Students will participate in guitar department performances each semester. They are also required to perform in convocation (student recital) each semester (the number of times depends upon the student/major). Other performances WILL also be required. A recording session will occur the week before or after each departmental recital. Problem Solving I care deeply about my student's welfare and college education. I am always ready to discuss and solve problems, whether music related or not. Please see me during your lesson, between lessons, via email (preferred: dennis.davis@eku.edu), or phone (859.333.0724 - emergencies only).
Convocation, Jury, and Solo Concert Attire
Ensemble Requirements
Optional Ensembles
Performance Requirements
Masterclasses and Special Sessions: Masterclasses provide guitar students the opportunity to perform for one another. The class may feature student performances, a guest appearance, a lecture, a video or CD, or a discussion of technique or other practical matters. As stated above, every guitar student is expected to perform in masterclass as directed by the instructor. Class is held on TR at 4pm and MWF at 1:25 p.m. unless a Convocation is scheduled. If a faculty meeting or similar event occurs, students will meet under the direction of a scholarship student. Attendance at other concerts and events may also be required. These may be either in or out of town. They include artists performing in the area, masterclasses at other universities, guest artists at the Department of Music, and occasionally performances on television, video, CD, or radio. Every performance, whether one is playing or listening, is a learning opportunity. Take your journal and take notes as the situation permits: clinics, masterclasses, guest lectures, and so forth. Recital Attendance All guitar students, including those in class instruction (MUS 107), are required to attend all events involving EKU guitarists. Missing any guitar related recital lowers the semester grade by one letter. Examples include, but are not limited to, faculty recitals, guest guitar recitals, jazz ensemble concerts, chamber music recitals, guitar ensemble concerts, and other events involving guitar. Apart from required recitals per the guitar program, the Department of Music has a recital attendance policy (16 concerts at the present). Support your fellow students by attending their recitals and they will reciprocate by attending yours - again, if a guitarist is performing, it is required. Turn in a recital attendance card! Repertoire Scores, books, and materials: It is the student's responsibility to quickly (by their next lesson) purchase or copy music as requested by the instructor. Materials may be purchased from local stores, guitar supply houses (Guitar Solo Publications: http://www.gspguitar.com/), the music office, or occasionally from the teacher when available. Guitar majors should set aside $100-$150 per year for music - it is part of your text requirements. It is not the responsibility of the teacher to build your repertoire library. Again - music and materials should be purchased or copied promptly. Visit the required repertoire site for more information. Of all music majors, guitarists are least prepared to fit appropriately at the college level. Other music majors have a wealth of professional preparation. Most have years of ensemble experience before they attend college. The majority have been reading music and counting rhythms since middle school. They were taught how to behave during rehearsals. They understand the ramifications of tardiness and insolent or disruptive behavior. Bad students are often failed out of programs during high school. Your colleagues know not to talk or play their instrument while their director speaks. They know not to debate the director. They know ensembles are not democracies and rehearsals are not open forums. They understand rehearsal and concert etiquette. They dress appropriately. They work together as a team and are not divisive. Guitarists have little, if any, experience with organized music - period. Most have no ensemble experience. Few have taken lessons. Many are self-taught. Most cannot read music or count rhythms at a level near their peers. Young guitarists are sometimes proud of this. This supposedly qualifies "heart." Young guitarists are typically stubborn, insecure, defensive, and afraid of having their deficiencies exposed. The popular image of the instrument encourages a rebellious behavior. Guitarists are the mavericks of the popular music world. Consequently, their reception in college is exactly the opposite. Your colleagues know your deficits. They view you suspiciously. You must over compensate to dispel your legacy. You need, more than any other music major, a serious dose of über-professionalism. Missing a concert you perform in is failing grade for the semester. Missing a lesson is one letter grade. Three tardies equal one letter grade (masterclass tardiness and absenteeism count against your applied lesson grade). Arriving late to a performance, dress rehearsal, or recording lowers your grade one level. Numerous actions qualify as unprofessional behavior; a complete list is not feasible. Good intentions do not excuse unprofessional behavior. Past examples run the gamut from colorful statements at a preschool concert to sexually explicit drawings of a GA in music theory to throwing snowballs at EKU police. Your actions reflect upon the whole guitar program. Consequences for unprofessional behavior will be decided by the director. They can include point deductions from your final grade, corrective writing, a letter grade reduction, or a failing grade for the course. Many great musicians have ruined their careers with a single bad action. Good professional behavior can open doors and secure futures more readily than great playing. If you are fortunate enough to have a scholarship your actions must exceed all standards and be seen as an example. Scholarships are renewed EACH SEMESTER at my discretion. Unprofessional actions will be addressed privately. I will tell you what you did and what the ramifications will be. I expect to hear an explanation, but I will not debate the issue with you. Understand that guitar lessons have to focus on your problems and are, at times, uncomfortable. Personal problems often become guitar problems - if you work 25 hours a week and cannot practice - we have a guitar problem born of a personal problem. If you have fight with your significant other and miss a lesson because you were upset - we have a guitar problem born of a personal problem. We will work to be positive and supportive in the face of trying conditions. But, professionals must work to keep personal matters from corrupting their professional development. EKU Guitar Department The first lesson of the semester reviews your pre-semester activities and accomplishments and sets goals the current term. If you are new to the program much of this will be new and I will do it all for you. Presemester Activity: Initial Diagnostics - The beginning of each semester requires a complete set of diagnostics to measure technique, musicianship, rhythmic competency, repertoire, etudes, scales, and so forth. Establish your competency with the following items before your first lesson and bring the results to your first lesson (Week 1-lesson 1):
You can do all of this at home, except for the jury assessment. You may do the jury assessment anytime the office is open before the semester begins. Jury DVDs are in the library and often in Campbell 327. First Lesson Activity: We Establish Semester Objectives Together - The diagnostic report helps formulate the broader goals of the semester. Deficiencies are noted and targets are established. Repertoire and etudes are selected. Realistic goals are listed:
Second Lesson Activity:
Basic Right Hand Fingering Guidelines
Student Philosophy: Applied Lessons I. RESPONSIBILITY A. Responsibility for Punctuality. You are prompt and reliable. Unforeseen circumstances (i.e. death in the family) may necessitate your absence, but you notify me. B. Responsibility for essential equipment. You come to lessons prepared with your instrument, pencils, tuning fork, metronome, extra strings, and music cut and taped ready for use. You do not expect other people to take care of you. You take your music seriously and you act in a professional manner. The music you study deserves that much. C. Responsibility for your playing. You can play your assignments. You have studied your music, fingered the part, practiced it, and have warmed up. Symphony musicians dare not come to a rehearsal unprepared to play their parts. How can you perform your piece if you are struggling to read it? D. Responsibility for contributing ideas. You have immediate responsibility for suggesting modes of practice and interpretative ideas. You have a proactive role. Regardless of your level, you should come to each lesson prepared to move things forward. II. LISTENING A. Listening for correct pitches, tuning, attacks, releases, rhythm, balance, color, phrasing, dynamics, and so forth, in your playing. Singing while you play takes care of these issues naturally and organically. B. Listen to the music outside of your lesson -- keep it in your head, conjuring up images of its sound, tapping rhythms, singing pitches, getting the piece in your soul. Sing, Sing, Sing. If the music is in your mind and in your ear, then you can get it into your fingers. The reverse never works. C. Record yourself often to check for progress. The recording can be both rewarding and quite painful. It is an important tool for progress. III. ATTITUDE A. Accepting criticism is part of the process. Lessons focus on exposing problems and celebrating triumphs. Not doing what your are told to do is unprofessional and counterproductive to your goal of improving. B. Treat everyone with respect regardless of what you think about them. Any public/private gathering involving guitar majors demands mutual respect. Do not play while others talk. Suppress the urge to make those witty, biting, and counterproductive comments. It is easy for joking to escalate into something much more serious. The guitar department exudes a collective vibe - and that vibe must be positive. Work diligently to remain positive. We are all part of the human condition and guitar is really insignificant by comparison. C. Consider your spirituality - whatever form it takes. I am a Christian and I believe God has helped me throughout my career. He sometimes helps me by not answering my prayer. When we pray for something, we often get the opportunity to gain it. For instance, if we pray for patience, we often get "the opportunity" to develop patience, rather than just being given patience. That can be difficult to comprehend at the time. I know you have faith because you practice guitar. Why would you continue to practice if you did not have faith you will eventually achieve your dream? I know you are spiritual because music touches your soul. Consider your spirituality and learn to enjoy the process - enjoy the struggle - we spend 99% of time working toward goals that we enjoy for 1% of our time (i.e. concerts and recitals). EKU Department of Music Credo The study of music demands, as do all the arts, not only natural ability and talents, but more importantly dedication, sacrifice, self-discipline, inquisitiveness, and the unrelenting desire to achieve excellence. Success requires all of these attributes. Natural ability is not a substitute for any other component. In fact, "natural ability" often unfairly enjoys the credit earned by those "other components." It is assumed that music students are here to get the most from the Department of Music, its faculty, and resources, and, that music students will work consistently towards advancement in all areas -- including those required outside the field of music. Grading Policy Rehearsals will be graded weekly, averaged, and combined with concert performance grades to produce a semester score. The first rehearsal of each semester is used to discuss objectives, set goals and test reading skills. Grades are based on degree of improvement, quality of preparation, amount of material covered, attendance, and, how effectively the semester goals are realized. Students will be regularly required to perform their ensemble parts solo with a metronome. If their part is unprepared they will have one week to correct it or: a) their semester grade will be lowered; b) they will have to write out their part to correct the "software" problem; or, c) they will have to forfeit their part to another member. The grade 'B' indicates progress; 'A' indicates exceptional work. Any student receiving less than a B needs to improve or reassess his or her goals and career choice. Preparation Attendance Policy Required Equipment Performance Requirements - Ensemble Performances Ensemble Recital and Convocation Concert Attire Student Philosophy: Guitar Ensemble Productive Ensemble Rehearsals: Individual Preparation+Group Practice=Solid Execution
I. Discover the piece before you try to shape it. A. Play your parts in time, slowly, and with a metronome. Do not practice the piece at performance tempo until later. Practice at a tempo that all members can play. It is folly to go faster. Players with significant reading problems are expected to quickly remedy them. B. Play all the parts with the correct pitches. Have your part fingered before rehearsal. Be alert to other fingering possibilities as you rehearse. Tempo affects fingerings. C. Play all the parts with the correct dynamics. Be attentive to the score, timbre changes, and so forth. Know the form. D. Play all the parts with the right balance. Understand everyone's part. Listen to the piece - not just your line. Play your part strongly so that it can be heard by all. Make collective decisions as to whom has the most important part at any given moment. E. Play everyone's part. Switch parts. Play from another's marked score, if necessary. Learn all the parts so you can hear them. F. A professional has pencil and writes down all of their decisions and performance directions. II. Develop a collective concept of the piece. A. Talk about the structure of the work: who has the melody/accomp., Is it polyphonic, homophonic, etc? Talk about ways to make the structure apparent to the listener - timbre and volume can help this goal. B. Talk about the nature of the piece. What type of sound is appropriate? What motion/energy is appropriate? (sweeping, slow, restless, free, intense, etc.) Do all parts have the same nature at once? Talk about the character of the piece. every piece has its own personality. Is it graceful? Refined? Withdrawn? Joyous? Reflective? Tumultuous? etc. C. Talk about articulations. (apoyando, tirando, staccato, legato, sostenuto, etc.) D. Talk about and try different tempi with a metronome. The character of a piece changes with different tempi. It is crucial to find the correct tempo, groove, and vibe. E. Record yourself often to check for progress. The recording can be both rewarding and quite painful. It is an important tool for progress. III. Professionalism A. Responsibility for Punctuality. You are prompt and reliable. Unforeseen circumstances (i.e. death in the family) may necessitate your absence, but you notify your colleagues, give your parts to a colleague to substitute for you, or, reschedule rehearsals. You are not always pulling at the schedule and asking to change things. You all agree to a schedule and keep it. You are consistent. B. Responsibility for essential equipment. You come to rehearsals prepared with your instrument, footstool, pencils, tuning fork, metronome, extra strings, music stand, and music cut and taped ready for reading. You do not expect other people to take care of you. The rehearsals begin on time - all the tuning and preparatory work is done. You take your music seriously and you act in a professional manner. The music deserves that much. C. Responsibility for your playing. You can play your part. You have studied the music, fingered the part, practiced it, and have warmed up. Ensemble meetings are to rehearse the whole piece, not individual parts. Symphony musicians dare not come to a rehearsal unprepared to play their parts. You do not hold back the progress of the group by being careless about your preparation. Your job is to listen to every part in rehearsal. How can you listen to anyone else's part if you are struggling to read your own? If your part is too difficult, know when to layout or reduce your part for the sake of the group's progress. Add the omitted spots back as soon as possible. D. Responsibility for contributing ideas. If you are the first chair player, you have an immediate responsibility for suggesting modes of rehearsal and interpretative strategies. You have a leadership role. If you are a member of the group, you have an ensemble obligation to keep working for the best performance of the piece, speaking out, contributing ideas and reactions. Be sure to tell others when you feel your part has some be prominent in the mix. Regardless of your role in the ensemble, you should come to each rehearsal prepared to move things forward. II. LISTENINGA. Listen for correct pitches, tuning, attacks, releases, rhythm, balance, color, phrasing, dynamics, in your part, in each other part, in the piece as a whole. Who has the most important part at every moment? When should articulations, dynamics, and timbre change? B. Listen to the piece outside rehearsal -- in your head, conjuring up images of its sound, tapping rhythms, singing pitches, getting the piece in your soul. Sing, Sing, Sing! If the music is in your mind and in your ear, then you can get it into your fingers. The reverse never works. III. COMPROMISE A. Learn the art of civil disagreement. Work to seriously consider other opinions. Ensemble playing is not solo playing. The piece should reflect a joint agreement by all players as to how they want it to sound. Advocate your own feelings strongly, courteously, listen for responses, then balance everything out. Try your interpretive ideas, the score only has 30% of the required information - you supply the rest. B. Learn to be tolerant of others' limitations, errors, bad days; they have to bear with yours! Stay purposeful, but flexible and helpful. Human interaction flourishes with courtesy, respect, and humility. Practice the art of civilized disagreement - bring any lingering issues to me. Most importantly, the vibe must remain positive. C. Cultivate the ability to trade inconveniences. You may have to schedule rehearsals that are inconvenient for you sometimes in order to accommodate the whole group. Be willing to do that. Group rather than self is the key concept in ensemble. There should be times when rehearsals are scheduled to suit your convenience as a trade off. You Perform The Way You Practice... EKU Guitar Department
EKU Guitar Department
Final Comments Thank you for taking the time to read the handbook - I know there is a lot of information to consider and several healthy redundancies. Please ask questions if you need clarification. Older students need to help younger students navigate the typical problems. Younger students need to gleam the wisdom from their senior colleagues. Share recordings, music, videos, and so forth. Perform for one another as often as possible. Get accustomed to making a mistakes - we all make them (especially me). Remember guitar is simply something you do - its not who you are... Cheers and happy practicing, Professor Davis
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