Modern Music Institute

ISTITUTO NAZIONALE DI
ALTO PERFEZIONAMENTO DELLE DISCIPLINE

MUSICALI
LEVEL 1: BASIC COURSE
UNIT - 1): INSTRUMENTAL SKILLS AND IMPROVISATION
SECTION I: SCALES AND ARPEGGIOS (MAXIMUM 10 CREDITS)
Scale:
Test to evaluate the knowledge and visualization of the octaves in the CAGED system.
The candidate must be able to perform in ascending and descending order the following
scales and the melodic arpeggios in vertical position and not in position with horizontal
development on a single string.
Scales in Vertical position divided into Generic Sectors and CAGED positions:
 Chromatic scale (in 7 positions with five notes per string)

 Scales of C Major / A Minor, G Major / E Minor (in 7 late semi oblique
positions with three notes per chord)
 Pentatonic Scales of C Major / A Minor, G Major / E Minor (in 5 Generic
sectors Narrow with two notes per string)
 Blues Pentatonic Scales of C Major / A Minor, G Major / E Minor (in 5 Generic
sectors Narrow twists with two and three notes per string)
Perform the C Major / A Minor scales applying the octave transport of the Landing
Mini Patterns with index finger, middle finger, ring finger, little finger resolution.
Development Gestural Combinations applied to Landing Mini Patterns
Basic sequences with three, four, five, six, seven movements plus the related further
developments
Development of Imitative Gestures and "Crossing Fingerings"
Execute the C Major / A Minor scales by applying the hexaphonic and related subsets
combinations and transport of the scalar subgroups of two, three, four and five notes.
Execute the C Major / A Minor scales by applying the enneaphic subsets (nine notes)
Perform the C Major / A Minor scales applying the "Melodic Gesturing" (Melodic
Gestures)
Melodic arpeggios:
Perform the following Melodic Arpeggios in Basic Generic positions for Sweep Picking
and related CAGED positions.
 Arpeggio Major Triad

 Triad Minor Arpeggio
 Arpeggio Triade Diminuita
 Arpeggio Sun 7
 Arpeggios related to the 3-voice harmonization of the C major / minor scales
Relevant techniques for the execution of the Scales and the Arpeggios.
 Alternate Picking I
 Legato I
 Sweep Picking I
N.B The maximum of credits is reached for accuracy rather than for speed of execution.
SECTION II: CHORDS
The candidate must make the following chords:
 Power chords
 Dyads of Fifth, Fourth, Third, Sixth (without and with doubling and octave)
 Major chords
 Minor chords
 Dom7 chords
3-voice harmonization of the C Major / A minor scales
Power Chords harmonization of the C Major / A Minor scales
N.B The maximum of credits is reached for the accuracy and clarity in the execution
SECTION III: RHYTHM & ACCOMPANYING
The candidate must perform various accompaniments and harmonic successions:
 Several Major and Minor Tonal Harmonic Sequences.

 Harmonic Successions must be performed with chord Positions of three voices
of dom7 and related Power Chords (Dyads)
 Simple accompaniment Blues Maggiore I7 IV7 V7 in the tones of E and A
 Simple Blues accompaniment Minor Im IVm V7 in the tones of Em and Am
Execution of simple accompaniments of different Progressions in Style with insertion

notions related to the 1st level of study:
 Pop Rock I
 Hard Rock I
 Metal Rock I
 Rock and Metal Prog I
 Funky I
 Jazz / Swing I
The candidate must be able to perform a rhythm the style is entrusted to free initiative
and the student's creativity on a harmonic tour presented by the teacher (the agreements
refer to section II); time and speed will be set by the teacher.
N.B The maximum of credits is due to the fluidity, accuracy and clarity of the execution
of the agreements, inventiveness and use of the dynamics.
SECTION IV: SOLISTA TECHNIQUE EXECUTION AND IMPROVISATION
The candidate will be asked to perform technical exercises of the first level on scales
and arpeggios with the following techniques:
 Alternate Picking I
 Legato I
 Sweep Picking I
The candidate will be asked to perform the Blues Phrases I
The candidate will be asked to improvise on the following harmonics and styles:
 A Major Blues round in E and A

 A Blues Minor round in Am and Em
 A Major Harmonic turn in C and G
 A minor harmonic turn in Am and Em
The candidate will be asked to perform only one previously agreed with the teacher.
N.B The maximum of credits is reached by: fluidity, accuracy, inventiveness and
creativity, stylistic interpretation and phrasing.
UNIT - 2): APPLIED THEORY AND FUNCTIONAL HARMONY, READING
SKILLS
SECTION V: APPLIED THEORY
The following questions will be put to the candidate:
Test to evaluate the knowledge of notes on the keyboard
Test to evaluate the ability to recognize intervals on the instrument
Test to evaluate the ability to apply the Theory I program
Interval theory:
 The chromatic scale - structural and interval formula

 The major scale - structural and interval formula
 Definition of the degrees of the major scale
 The relative minor scale - structural and interval formula
 The tonalities (circle of fourths and fifths)
 The triads
3 voices harmonization of the major and minor natural scale: use of Roman numerals
and relative harmonic sequences.
The pentatonic
The Quatriad of Seventh of Dominant
The blues theory I
UNIT - 3): AURAL AWARENESS
SECTION VI: LISTENING CAPACITY - EAR TRAINING
The candidate will be asked for the following assessment tests:
 Tune the instrument

 Repetition of a rhythm proposed and performed by the teacher
 Repetition of a sentence proposed and performed by the teacher
 Recognition of intervals performed by the teacher
 Recognition of the type of triads performed by the teacher
UNIT - 4) MUSIC HISTORY: CRITICAL MUSIC LISTENING
SECTION VII: HISTORY OF MODERN MUSIC (MAXIMUM 2 CREDITS)
Evaluation of elementary concepts and ability to judge historical groups and individual
musicians.
UNIT - 5): REPERTOIRE SECTION
VIII: REPERTORY (COVERING)
Study of the pieces for Musica d'Insieme and for the exam of passing level.
Execution of a Cover agreed with the teacher.
N.B The maximum of credits is reached for the fluidity and the dynamic accuracy and
stylistic interpretation.
Indicative pieces for the First Level:
Repertorio Pop/Rock/Metal
1. BACK IN THE USSR (THE BEATLES)
2. COME TOGETHER (THE BEATLES)
3. GET BACK (THE BEATLES)
4. LET IT BE (THE BEATLES)
5. WHILE MY GUITAR GENTLY WEEPS (G. HARRISON -THE BEATLES)
6. ANGIE (ROLLING STONE)
7. GIMME SHELTER (ROLLING STONE)
8. I CAN'T GET NO SATISFACTION (ROLLING STONE)
9. JUMPING JACK FLASH (ROLLING STONE)
10. START ME UP (ROLLING STONE)
11. LIGHT MY FIRE (DOORS)
12. ROAD HOUSE BLUES (DOORS)
13. WHITE ROOM (CREAM)
14. SUNSHINE OF YOUR LOVE (CREAM)
15. I FEEL FREE (CREAM)
16. I WANT IT ALL (QUEEN)
17. WE WILL ROCK YOU (QUEEN)
18. WE ARE THE CHAMPIONS (QUEEN)
19. TIE YOUR MOTHER DOWN (QUEEN)
20. ANOTHER ONE BITES THE DUST (QUEEN)
21. SMOKE ON THE WATER (DEEP PURPLE)
22. SPACE TRUCKIN' (DEEP PURPLE)
23. STAIRWAY TO HEAVEN (LED ZEPPELIN)

24. WHOLE LOTTA LOVE (LED ZEPPELIN)
25. ROCK& ROLL (LED ZEPPELIN)
26. PARANOID (BLACK SABBATH)
27. IRON MAN (BLACK SABBATH)
28. WAR PIGS (BLACK SABBATH)
29. CRYIN (AEREOSMITH)
30. WALK THIS WAY (AEROSMITH)
31. SWEET EMOTION (AEROSMITH)
32. DREAM ON (AEROSMITH)
33. DUDE LOOKS LIKE A LADY (AEROSMITH)
34. LOVE IN AN ELEVATOR (AEROSMITH)
35. WON'T GET FOOLED AGAIN (THE WHO)
36. MY GENERATION (THE WHO)
37. THE BOYS ARE BACK IN TOWN (THIN LIZZY)
38. GIMME ALL YOUR LOVING (ZZ TOP)
39. THE WALL (PINK FLOYD)
40. HOTEL CALIFORNIA (EAGLES)
41. MORE THAN FEELING (BOSTON)
42. SAMBA PA TI (C. SANTANA)
43. EUROPA (C. SANTANA)
44. BLACK MAGIC WOMAN (C. SANTANA)
45. OYE COMO VA (C. SANTANA)
46. BACK IN BLACK (AC/DC)
47. HELLS BELLS (AC/DC)
48. HIGHWAY TO HELL (AC/DC)

49. YOU SHOOK ALL NIGHT LONG (AC/DC)
50. YOU REALLY GOT ME (VAN HALEN)
51. AIN'T TALKING ABOUT LOVE (VAN HALEN)
52. KNOCKING ON HEAVEN'S DOOR (GUNS N’ ROSES VERSION)
53. SWEET CHILD OF MINE (GUNS N’ ROSES)
54. PARADISE CITY (GUNS'N ROSES)
55. WE'RE NOT GONNA TAKE IT (TWISTED SISTERS)
56. STILL GOT THE BLUES (GARY MOORE)
57. COME AS YOU ARE (NIRVANA)
58. SMELLS LIKE TEEN SPIRIT (NIRVANA)
59. ACE OF SPADES (MOTORHEAD)
60. STILL LOVING YOU (SCORPIONS)
61. ROCK YOU LIKE A HURRICANE (SCORPIONS)
62. WIND OF CHANGE (SCORPIONS)
63. WHEEL OF STEEL (SAXON)
64. MONKEY BUSINESS (SKID ROW)
65. 18 AND LIFE (SKID ROW)
66. RAINING BLOOD (SLAYER)
67. GROWING ON ME (DARKNESS)
68. MY SHARONA (THE KNACKS)
69. MESSAGE IN A BOTTLE (THE POLICE)
70. CALIFORNICATION (RED HOT CHILI PEPPERS)
71. SUNDAY BLOODY SUNDAY (U2)
72. I WILL FOLLOW (U2)
73. BEAUTIFUL DAY (U2)

74. PRIDE - IN THE NAME OF LOVE (U2)
75. WHERE THE STREETS HAVE NO NAME (U2)
76. ONE (U2)
77. VERTIGO (U2)
78. RUN TO YOU (BRYAN ADAMS)
79. SUMMER OF 69 (BRYAN ADAMS)
80. HEAVEN (BRYAN ADAMS)
81. IT'S ONLY LOVE (BRYAN ADAMS)
82. AMERICAN IDIOT (GREEN DAY)
83. SWEET HOME ALABAMA (LYNYRD SKYNRYD)
84. AN ENGLISHMAN IN NEW YORK (STING)
85. FRAGILE (STING)
86. JOHNNY B GOOD (CHUCK BERRY)
87. GREAT BALLS OF FIRE (JERRY LEE LEWIS)
88. COCAINE (E. CLAPTON)
89. CROSSROAD (E. CLAPTON)
Repertorio Blues
1. BORN UNDER A BAD SIGN (ALBERT KING)
2. THE THRILL IS GONE (B. B. KING)
3. THE WOMAN I LOVE (B. B. KING)
4. PHONE BOOT (ROBERT CRAY)
5. CROP DUSTIN' (STEVE CROPPER)
6. COLD SHOT (SRV)
7. PAPA AIN'T SALTY (T-BONE WALKER)

Repertorio Jazz
1. AUTUMN LEAVES (KOSMA)
2. ALL BLUES (MILES DAVIS)

LEVEL 2: INTERMEDIATE COURSE
Scale:
scales with the Generic Sides Semi-oblique Sectors in 7 positions and CAGED
positions in different tonalities:
 Major Scale
 Natural Minor Scale
 Major Pentatonic scale (narrow sectors only)
 Lesser Pentatonic scale (narrow sectors only)
 Major Blues Pentatonic Scale (narrow sectors only)
 Blues Minor Pentatonic Scale (narrow sectors only)
Perform the C Major Scale Modes with the derivative system:
 C Ionian D Dorian and E Phrygian F Lydian G Mixolydian A Aeolian B Locrian
Perform the A Minor Harmonic Scale
Perform the A Minor Harmonic scale by applying the octave transport of the Mini
Landing
Patterns with resolution index finger, middle finger, ring finger, little finger
Basic sequences with three, four, five, six, seven movements plus the related further
developments
Execute the A Minor Harmonic scale by applying the hexaphonic and related subsets
combinations and transport of the scalar subgroups of two, three, four and five notes.
Perform the A Minor Harmonic scale by applying the enneaphic subsets (nine notes)
Perform the A Minor Harmonic scale applying the "Melodic Gesturing" (Melodic
Gestures)
Execute the "Slewing" Principles, Connection of the vertical sectors "in position" for the
development of Vertical oblique fingerings "not in position".
Applied to the C Major / A Minor scales and then by gestural imitation to the other
scales studied:
 Position Shifting
 grouping
 Sliding
 Mixed Systems
Melodic arpeggios:
Perform the following Melodic Arpeggios in Basic Generic positions for Sweep Picking
and related CAGED, revolved and voicing positions.
 Arpeggio Major Triad
 Triad Minor Arpeggio
 Arpeggio Diminished triad
 Arpeggio augmented triad
 Arpeggios sus2 and sus4
 Arpeggio dom 7
 Arpeggios maj7
 Arpeggios m7
 Arpeggios m7b5
 Arpeggios related to the 4-voice harmonization of the C Major and A Minor
scale
Relevant techniques for the execution of the Stairs and the Arpeggios.
 Alternate Picking II
 Legato II
 Sweep Picking II
 Tapping I
 String Skipping I
 Hybrid Picking I
N.B The maximum of credits is reached for accuracy rather than for speed of execution.
SECTION II: CHORDS

Execution of the chords in the CAGED positions with three and four voices (turned and
voicing).
The candidate must make the following chords:
 Augmented chords
 Chords sus2 and sus4
 Maj7 chords
 Dom7 chords
 Chords m7
 Chords m7b5
Execution of the 4-voice harmonization of the C Major and A Minor scales with the
CAGED positions and Fundamental positions.
Execution of harmonization with 3 voices of A Minor Harmonic scale.
SECTION III: RITMICA & ACCOMPANYING
Several Major and Minor Modal Harmonic Sequences
Harmonic Successions must be performed with Chord Positions with three voices and
four voices and related Power Chords (dyads)
Execution of different Blues Major harmonic sequences in all tones
Execution of different Blues Minor harmonic sequences in all the keys
Execution of medium difficulty accompaniments of different Progressions in style with
insertion of the notions related to the 1st level of study:
 Pop Rock II
 Hard Rock II
 Metal Rock II
 Rock and Metal Prog II
 Funky II
 Jazz / Swing II
The candidate must be able to perform a rhythm, the style is entrusted to the free
initiative and creativity of the student, on a harmonic tour presented by the teacher (the
chords refer to section II); time and speed will be set by the teacher.
The candidate will have to invent and perform, with a rhythm of any kind, one or more
modal harmonic sequences decided by the teacher at the moment.
N.B The maximum of credits is reached by: fluidity, accuracy and clarity of execution
of agreements, inventiveness and use of dynamics.
The candidate will be asked to perform technique exercises of the second level on scales
 Alternate Picking II
 Legato II
 Sweep Picking II
 Tapping I
 String Skipping I
 Hybrid Picking I
The candidate will be asked to perform the Blues II Phrases
The candidate will be asked to perform the Modal Phrases I
The candidate will be asked to perform the Phrase Words on Minor Harmonic I
The candidate will be asked to improvise on a Major or Minor Blues in all the keys
The candidate will be asked to improvise on a major or minor harmonic lap in all the
keys
The candidate will be asked to improvise on a modal harmonic succession
For each improvisation the Melodic Direction on: neutral tones, guide tones, diatonic
tensions, characteristic notes and diatonic substitutions will also be evaluated.
N.B The maximum of credits is reached for the fluidity and accuracy, inventiveness and
creativity, stylistic interpretation and phrasing.
Particular attention will be paid to the melodic direction on the execution and intonation
of bending and vibrato.

SKILLS
SECTION V: APPLIED THEORY (MAXIMUM 10 CREDITS)
 Reading test with instrument I

 Test to evaluate the ability to recognize intervals on the instrument
 Test to evaluate the ability to apply the Theory II program
 Deepening of the triads, the Augmented Triad and the suspended Triads
 Le Quadryads: Quality and Nomenclature, and Voicing
 4 voices harmonization of the major and minor natural scale: analysis of the
relative harmonic sequences.
 The ways of the Major scale: structural formula and interval (characteristic
notes, notes not to be emphasized, melodic direction of the degrees,
characteristic chords, substitutions).
 Modal harmonic sequences
 The Harmonic Minor Scale
 Harmonization to 3 voices of the Harmonic Minor Scale
 The Blues II theory

 Recognition of the type of triads with relative revolutions performed by the
teacher
 Quadryad recognition in the fundamental state performed by the teacher
 Time recognition on rhythm proposed and performed by the teacher
SECTION VII: HISTORY OF MODERN MUSIC
musicians.
Discussion of the research paper and analysis of a group or musician (historical)
UNIT - 5): REPERTOIRE
SECTION VIII: REPERTORY (COVERING)
Study of the pieces for Musica d'Insieme and for the exam of passing level.
Execution of a Cover agreed with the teacher.
stylistic interpretation
Indicative pieces for the Second Level:
Repertorio Pop/Rock/Metal
1. ALWAYS WITH ME, ALWAYS WITH YOU (J. SATRIANI)
2. CRYIN' (J. SATRIANI)
3. THE FINAL COUNTDOWN (EUROPE)
4. CARRIE (EUROPE)
5. HIGHWAY STAR (DEEP PURPLE)
6. BURN (DEEP PURPLE)
7. LITTLE WING (J. HENDRIX)
8. HEY JOE (J. HENDRIX)
9. PURPLE HAZE (J. HENDRIX)
10. VOODOO CHILD (J. HENDRIX)
11. ALL ALONG THE WATCHTOWER (J. HENDRIX)
12. RED HOUSE (J. HENDRIX)
13. THE WIND CRIES MARY (J. HENDRIX)
14. KASHMIR (LED ZEPPELIN)
15. AND YOU AND I (YES)
16. CLOSE TO THE EDGE (YES)
17. OWNER OF A LONELY HEART (YES)
18. ABACAB (GENESIS)
19. HORIZONS (for classical / acoustic guitar) (GENESIS)
20. JUMP (VAN HALEN)
21. PANAMA (VAN HALEN)
22. ERUPTION (E.VAN HALEN)
23.CRAZY TRAIN (OZZY OSBOURNE)

24. BARK AT THE MOON (OZZY OSBOURNE)
25. NO MORE TEARS (OZZY OSBOURNE)
26. MR CROWLEY (OZZY OSBOURNE)
27. OVER MOUNTAIN (OZZY OSBOURNE)
28. BOHEMIAN RHAPSODY (QUEEN)
29. NOTHING ELSE MATTER (METALLICA)
30. ORION (METALLICA)
31. ENTER SANDMAN (METALLICA)
32. ONE (METALLICA)
33. AND JUSTICE FOR ALL (METALLICA)
34. I WANT OUT (HELLOWEEN)
35. AFRICA (TOTO)
36. HOLD THE LINE (TOTO)
37. ROSANNA (TOTO)
38. EVERY BREATH YOU TAKE (THE POLICE)
39. ALL MY LIFE (FOO FIGHTERS)
40. EVERLONG (FOO FIGHTERS)
41. MY HERO (FOO FIGHTERS)
42. TIME LIKE THIS (FOO FIGHTERS)
43. WALK (FOO FIGHTERS)
44. ANY WAY YOU WANT IT (JOURNEY)
45. BLOODSTONE (JUDAS PRIEST)
46. HELL BENT FOR LEATHER (JUDAS PRIEST)
47. SCREAMING FOR VENGEANCE (JUDAS PRIEST)
48. PAINKILLER (JUDAS PRIEST)

49. WHAT I'VE DONE (LINKING PARK)
50. CRAWLING (LINKING PARK)
51. BLEED IT OUT (LINKING PARK)
52. GIVEN UP (LINKING PARK)
53. BEAT IT (M. JACKSON)
54. LOVE GUN (KISS)
55. ROCK AND ROLL ALL NITE (KISS)
56. STILL LOVING YOU (SCORPIONS)
57. COWBOYS FROM HELL (PANTERA)
58. I'M BROKEN (PANTERA)
59. ALIVE (PEARL JAM)
60. DU HAST (RAMSTEIN)
61. WAIDMANNS HEIL (RAMSTEIN)
62. CAT SCRATCH FEVER (TED NUGENT)
63. HERE I GO AGAIN (WITHESNAKE)
64. IS THIS LOVE (WITHESNAKE)
65. STILL OF THE NIGHT (WITHESNAKE)
66. FOOL FOR YOUR LOVING (WITHESNAKE)
67. INTO THE FIRE (DOKKEN)
68. KISS OF DEATH (DOKKEN)
69. WISH YOU WERE HERE (PINK FLOYD)
70. CONFORTABLY NUMB (PINK FLOYD)
71. SHINE ON YOU CRAZY DIAMOND (PINK FLOYD)
72. RUN TO THE HILLS (IRON MAIDEN)
73. THE TROOPER (IRON MAIDEN)

74. NUMBER OF THE BEAST (IRON MAIDEN)
75. RUNNING FREE (IRON MAIDEN)
76. FEAR OF THE DARK (IRON MAIDEN)
77. HOW YOU REMIND ME (NICKLEBACK)
78. HYSTERIA (DEF LEPPARD)
79. PHOTOGRAPH (DEF LEPPARD)
80. I SURRENDER (RAINBOW)
81. SINCE YOU BEEN GONE (RAINBOW)
82. LIVIN' ON A PRAYER (BON JOVI)
83. THE PUMP (J. BECK)
84. BECK'S BOLERO (J. BECK)
85. ‘CAUSE WE'VE ENDED AS LOVERS (J. BECK)
86. SCATTERBRAIN (J. BECK)
Repertorio Blues
1. OKIE DOKIE STOMP (CLARENCE BROWN)
2. SAN HO ZAY (FREDDIE KING)
3. STILL GOT THE BLUES (GARY MOORE)
4. VOODOO CHILE (JIMI HENDRIX)
5. LITTLE WING (JIMI HENDRIX)
6. CHEVROLET (ROBBEN FORD)
7. FROSTY (ALBERT COLLINS)
8. I WAS WARNED (ROBERT CRAY)
9. PRIDE AND JOY (STEVE RAY VAUGHAN)
10. MARY HAD A LITTLE LAMB (STEVE RAY VAUGHAN)

11. SRV (ERIC JOHNSON)
Repertorio Jazz
1. THE GIRL FROM IPANEMA (JOBIM)
2. IMPRESSION (J. COLTRANE)
3. BLUE TRAIN (J. COLTRANE)
4. SO WHAT (M. DAVIS)
5. FOOTPRINTS (W. SHORTER)
6. BLUE BOSSA (KENNY DORHAM)
7. SUMMERTIME (G. GERSHWIN)
8. FREDDY FREELOADER (M. DAVIS)

LEVEL 3: ADVANCED COURSE
Scale:
The candidate must be able to perform the following scales in the ascending and
descending phases in the General Sides Sectors Semi-oblique in 7 positions and
CAGED positions:
 Perform the Melodic Minor Scale in the tones of A, D, C

 Perform the Major Pentatonic Scale and the Minor Pentatonic Scale in all keys
 Perform the G Pentatonic Scale of Dominant Blues (narrow sectors only)
 Perform the D Pentatonic Dorian Blues Scale (narrow sectors only)
 Execute the scale of B Semi-diminished Pentatonic (narrow sectors only)
 Perform the A Pentatonic Minor Derived Harmonic / Melodic scale (narrow
sectors only)
 Perform Major and Minor Pentatonic Obtained from C major scale modes
(narrow sectors only)
 Perform the Major Scale Modes with the comparative system (in 7 Sectors semi-
oblique)
 C Ionian - C Dorian - C Phrygian - C Lydian - C Mixolydian - C Aeolian. C
Locrian
 Perform the Major Scale Modes in all keys (7 Semi-oblique sides sectors and
CAGED positions)
 Perform the Minor Harmonic Scale Modes with the derivative system
o A minor harmonic (Aeolian seventh major) *
o B Locrian sixth major
o C Ionian augmented
o D Dorian # 4
o E Phrygian Major (Phrygian of Dominant) *
o F Lydian # 2
o G # Superlocrian diminished
 Perform modal tetrachords
Note to the scales and methods indicated * greater importance and attention are
given
 Perform the A Minor Melodic scale by applying the octave transport of the Mini
Landing
 Patterns with resolution index finger, middle finger, ring finger, little finger
 Basic sequences with three, four, five, six, seven movements plus the related
further developments
 Execute the A Minor Melodic scale by applying the hexaphonic subsets and
their combinations and transport of the scalar subgroups of two, three, four and
five notes.
 Perform the A Minor Melodic scale applying the enneaphic subsets (nine notes)
 Perform the A Minor Melodic scale applying the "Melodic Gesturing" (Melodic
Gestures)
 Perform the Oblique Vertical Fingerings of 2 and 3 octaves (3-4, 4-3, 4-4)
related to the heptaphonic scales (seven notes) previously indicated in this
section in this level of study and in previous levels
 Perform the Oblique Vertical Fingerings of 2 and 3 octaves (2-3, 3-2, 3-3)
related to the previously mentioned pentatonic scales in this section in this level
of study and in previous levels.
 Perform the following scales horizontally on a single string starting from note
C.
Melodic arpeggios:
Perform the following Melodic Arpeggios in General Basic positions for Sweep Picking
and relative CAGED positions: dim7, maj7 # 5, maj7b5, min7 # 5, minmaj7, 7 sus4,
min6, maj6, majadd9, minadd9, maj9, min9, 9.
Perform the Arpeggios related to the harmonization to 4 voices of the A Minor

Harmonic scale
Perform the Arpeggios of the 3 and 4-item harmonization of the A minor melodic scale
Execution of harmonization with 4 voices A minor harmonic scale with related

arpeggios characteristic derived from the enharmonic translation of the Modal formulas
Execution of harmonization with 3 and 4 voices A minor melodic scale with relative
characteristic arpeggios derived from the enharmonic translation of the Modal formulas
in particular on the IV V VII Grade.
Oblique vertical fingerings of 2 and 3 octaves (2-2) of the arpeggios previously

indicated in this section in this level of study and in previous levels
Perform the following Arpeggios Horizontally on a single string starting from note C
Relevant techniques for the execution of the Scales and the Arpeggios:
 Alternate Picking III

 Legato III
 Sweep Picking III
 Tapping II
 String Skipping II
 Hybrid Picking II
 Sliding (for horizontal development)
N.B The maximum of credits is reached for accuracy rather than for speed of
execution.
The student can develop the visualization preferring to his choice different settings of
alternative sectors for scales and related arpeggios:
 Verticals in 5 narrow and vertical positions in 7 extended positions extended on

five keys
SECTION II: CHORDS
Execution of the chords in the CAGED positions at three and four voices and
subsequent development
The candidate must make the following agreements: dim7, maj7 # 5, maj7b5, min7 # 5,
minmaj7, 7 sus4, min6, maj6, majadd9, minadd9, maj9, min9, 9
Execution of Slash Chords
Execution of Power Chords (Pandriatic Triads) 1 5 9, 1 3 7, 1 5 7, 1 6 9, 1 4 9
Performing the 4-step Major scale harmonization in all keys
Execution of harmonization with 4 Minor scale voices in all keys
Execution of harmonization with 4 items of A Minor Harmonic scale
Execution of harmonization at 4 voices A Minor Harmonic scale with related chords

characteristic derived from the enharmonic translation of the Modal formulas
Execution of harmonization with 3 and 4 scale voices of A Minor Melodic
Execution of harmonization with 3 and 4 voices A minor melodic scale with relative
characteristic agreements derived from the enharmonic translation of the Modal
formulas in particular on the IV V VII Grade
The maximum of credits is reached for the accuracy and clarity in the execution
SECTION III: RITMICA & ACCOMPANYING
 Different Major and Minor Modal Harmonic Sequences in all shades

 Harmonic Successions must be performed with Chord Positions of three voices
and four entries and related Power Chords (Dyads)
 Several Modal Harmonic Sequences in A and E
 Execution of harmonic sequences with substitutions of tonal areas
 Execution of harmonic sequences with modal interchange with parallel modes
and scales
 Minor Harmonic and Parallel Melodic Minor
 Execution of harmonic sequences with Chromatic Substitutions
 Execution of harmonic sequences with Direct and Indirect Modulations
 Performing an accompaniment at first sight Blues Maggiore in all shades with
insertion of the II V and I VI II V progressions and different turn around
 Performing an accompaniment at first sight Blues Minor in all shades with
insertion of the II V and I VI II V progressions and different turn around
 Execution of accompaniments of different progressions in style with insertion of
notions related to the 3rd level of study:
o Pop Rock III
o Hard Rock III
o Metal Rock III
o Rock and Metal Prog III
o Funky III
o Jazz / Swing III
The candidate must be able to perform a rhythm, the style is entrusted to the free
initiative and creativity of the student, on a harmonic tour presented by the teacher (the
agreements refer to section II); time and speed will be set by the teacher.
The candidate will have to invent and execute, with any rhythm, one or more modal
sequences decided by the teacher at the moment with the insertion of replacement and
exchange agreements.
N.B The maximum of credits is due to the fluidity, accuracy and clarity of the execution
of the agreements, inventiveness and use of the dynamics.
SECTION IV: SOLIST TECHNIQUE EXECUTION AND IMPROVISATION
The candidate will be asked to perform technique exercises of the third level on scales
 Alternate Picking III

 Legato III
 Sweep Picking III
 Tapping II
 String Skipping II
 Hybrid Picking II
The candidate will be asked to perform the Blues III Phrases
The candidate will be asked to perform the Modal Phrases II
The candidate will be asked to perform the Phrase Words on Minor Harmonic II
The candidate will be asked to perform the phrasings on Melodic Minor I

The candidate will be asked to improvise on a Major and Minor Blues in all keys with
the use of arpeggios and scales related to each chord.
The candidate will be asked to improvise a Major and Minor blues without harmonic
accompaniment.
The candidate will be asked to improvise on a Modal harmonic lap using Arpeggios and
Pentatonic and related replacements.
relative replacements derived from the Harmonic Minor scale.
relative substitutions derived from the Minor Melodic scale.
The candidate will be asked to improvise on a Modal harmonic circle with the use of
colours and embellishments.
The candidate will be asked to improvise on a Modal harmonic circuit using modal
tetrachords.
For each improvisation the Melodic Direction on: neutral tones, tones will also be
evaluated, driving, diatonic tensions, characteristic notes and diatonic substitutions
creativity, stylistic interpretation and phrasing. Particular attention will be paid to the
direction melodic about the performance and intonation of bending and vibrati.

SKILLS
SECTION V: APPLIED THEORY
Reading test with instrument II
Test to evaluate the ability to apply the Theory III program
 Contact chords: Extended chords 9, 11, 13 other chord qualities: 7sus4, 6, add,
power chords, quatryads, slash chords
 Harmonic Equivalences
 The Cadences
 The Minor Harmonic scale: structural and interval formula, harmonization with
3 and 4 voices, characteristic chords and harmonic sequences
 The Minor Melodic scale: structural and interval formula, harmonization with 3
and 4 voices, characteristic chords and harmonic sequences
 Modal tetrachords
 The colours and embellishments
 Diatonic substitutions, tonal areas
 Dominant functional agreements not altered and altered; non-functional altered
and unaltered;
 The major and minor cadences II-V-I: analysis and use. Preparation, tension,
resolution
 Direct and Indirect Modulations
 The parallel tones
 Modal interchange, pitch axis
 Analysis of the modes of the Harmonic and Melodic Minor scale
 Chromatic substitutions: secondary dominants, secondary subdominants,
secondary overtones, tritone substitutions, substitution of the dominant
agreement with diminished quadriade, Neapolitan 6th
 Blues III theory: Advanced harmonic and melodic solutions
 Harmonic analysis of a piece chosen by the teacher
N.B the application aspect of some topics will be deepened and demonstrated only at
the IV level, in-depth study and theoretical treatment only serve for a prior awareness.
 Transcription with harmonic succession and solo part of a piece chosen by the
teacher
 Recognition and harmonic interpretation of a tonal progression performed by the
teacher
musicians
Discussion of the research and analysis report on a group or musician (historical)

SECTION VIII: REPERTOIRE (COVERING)
Study of the pieces for Musica d'Insieme and the exam of passing level.
Execution of a Cover agreed with the teacher
Indicative pieces for the Third Level:
1. SATCH BOOGIE (J. SATRIANI)
2. SURFING WITH THE ALIEN (J. SATRIANI)
3. THE EXTREMIST (J. SATRIANI)
4. SUMMER SONG (J. SATRIANI)
5. FLYING IN A BLUE DREAM (J. SATRIANI)
6. LORDS OF KARMA (J. SATRIANI)
7. CRUSHING DAY (J. SATRIANI)
8. CRYSTAL PLANET (J. SATRIANI)
9. ECHO (J. SATRIANI)
10. HORDES OF LOCUSTS (J. SATRIANI)
11. ICE 9 (J. SATRIANI)
12. MIDNIGHT (J. SATRIANI)
13. NOT OF THIS HEART (J. SATRIANI)
14. THE ENIGMATIC (J. SATRIANI)
15. WAR (J. SATRIANI)
16. FOR THE LOVE OF GOD (S. VAI)
17. THE ANIMAL (S. VAI)
18. ATTITUDE SONG (S. VAI)
19. DIE TO LIVE (S. VAI)
20. JUICE (S. VAI)
21. SISTERS (S. VAI)
22. TENDER SURRENDER (S. VAI)
23. THE BOY FROM SEATTLE (S. VAI)

24. THE CRYING MACHINE (S. VAI)
25. THE RIDDLE (S. VAI)
26. BAD HORSIE (S. VAI)
27. ANSWER (S. VAI)
28. MANHATTAN (E. JOHNSON)
29. CLIFFS OF DOVER (E. JOHNSON)
30. SIMPLE SIMON (S. MORSE)
31. MODOC (S. MORSE)
32. APRIL SKY (VINNIE MOORE)
33. MORNING STAR (VINNIE MOORE)
34. GLASGOW KISS (J. PETRUCCI)
35. EDGE OF INSANITY (T. MACALPINE)
36. PERPETUAL BURN (J. BECKER)
37. DELIVER US (A. TIMMONS)
38. CRY FOR YOU (A. TIMMONS)
39. I'M ALRIGHT (N. ZAZA)
40. DRAGON MISTRESS (M. FRIEDMAN)
41. BLACK STAR (YNGWIE MALMSTEEN)
42. FAR BEYOND THE SUN (YNGWIE MALMSTEEN)
43. TRILOGY (SUITE) (YNGWIE MALMSTEEN)
44. KRAKATAU (YNGWIE MALMSTEEN)
45. TECHNICAL DIFFICULTIES (P. GILBERT/RACER X)
46. SCARIFIED (P. GILBERT/RACER X)
47. VIKING KONG (P. GILBERT/RACER X)
48. NO BOUNDARIES (MICHAEL ANGELO BATIO)

49. FREIGHT TRAIN (SOLO) (MICHAEL ANGELO BATIO)
50. GET YOU BACK (S. LANE)
51. NOT AGAIN (S. LANE)
52. RULES OF THE GAME (S. LANE)
53. ILLUSIONS (S. LANE)
54. A MUSICAL OASIS AWAITS US (B. GARSED)
55. JUMP START (GREG HOWE)
Repertorio d'indirizzo Rock/Metal/Prog
56. MASTER OF PUPPETS (METALLICA)
57. GET THE FUNK OUT (EXTREME)
58. PULL ME UNDER (DREAM TEATHER)
59. UNDER A GLASS MOON (DREAM TEATHER)
60. TAKE THE TIME (DREAM TEATHER)
61. ANOTHER DAY (DREAM TEATHER)
62. EROTOMANIA (DREAM TEATHER)
63. METROPOLIS PT1/PT2 (DREAM TEATHER)
64. ADDICTED TO THAT RUSH (MR. BIG)
65. GREEN TINTED SIXTIES MIND (MR. BIG)
66. NOVA ERA (ANGRA)
67.I AM A VIKING (YNGWIE MALMSTEEN)
68. I'LL SEE THE LIGHT TONIGHT (YNGWIE MALMSTEEN)
69. AS ABOVE, SO BELOW (YNGWIE MALMSTEEN)

Repertorio d'indirizzo Blues
1. TALK TO YOUR DAUGHTER (ROBBEN FORD)
2. REVELATION (ROBBEN FORD)
3. BLUES FOR NARADA (GARY MOORE)
4. PARIESIENNE WALKWAYS (GARY MOORE)
5. NADIA (JEFF BECK)
6. WHILE MY GUITAR GENTLY WEEPS (VERSIONE DI JEFF HEALEY)
7. SCUTTLE BUTTIN' (STEVE RAY VAUGHAN)
8. COULDN'T STAND THE WEATHER (STEVE RAY VAUGHAN)
9. WALL OF DENIAL (STEVE RAY VAUGHAN)
10. RUDE MOOD (STEVE RAY VAUGHAN)
11. BIG BLOCK (JEFF BECK)
Repertorio d'indirizzo Jazz/Fusion
1. PROTOCOL (J. SCOFIELD)
2. CHROMAZONE (M. STERN)
3. DOLOMITE (S. HENDERSON)
4. FRANKLY SPEAKING (F. GAMBALE)
5. 6,8 SHAKER (F. GAMBALE)
6. LITTLE CHARMER (F. GAMBALE)
7. ROAD GAMES (A. HOLDSWORTH)
8. PROTO COSMOS (A. HOLDSWORTH)
9. THE THINGS YOU SEE (A. HOLDSWORTH)
10. FOUR ON SIX (WES MONTGOMERY)
11. WEST COAST BLUES (WES MONTGOMERY)

12. D NATURAL BLUES (WES MONTGOMERY)
13. DONNA LEE (C. PARKER)
14. ANTHROPOLOGY (C. PARKER)
15. ORNITHOLOGY (C. PARKER)
16. CONFIRMATION (C. PARKER)
17.BILLIE'S BOUNCE (C. PARKER)
18. AU PRIVAVE (C. PARKER)
19. NOW'S THE TIME (C. PARKER)
20. SCRAPPLE FROM THE APPLE (C. PARKER)
21. GIANT STEPS (J. COLTRANE)
22. THE PROMISE (J. COLTRANE)
23. NAIMA (J. COLTRANE)
24. EQUINOX (J. COLTRANE)
25. COUNTDOWN (J. COLTRANE)
26. MR P.C. (J. COLTRANE)
27. LIKE SONNY (J. COLTRANE)
28. A LOVE SUPREME (J. COLTRANE)
29. SOLAR (M. DAVIS)
30. NARDIS (M. DAVIS)
31. TUNE UP (M. DAVIS)
32. MILESTONE OLD/NEW (M. DAVIS)
33. E.S.P (W. SHORTER)
34. SPEAK NO EVIL (W. SHORTER)
35. FEE FI FO FUM (W. SHORTER)
36. WITCH HUNT (W. SHORTER)

37. NEFERTITI (W. SHORTER)
38. ANA MARIA (W. SHORTER)
39. MAIDEN VOYAGE (HERBIE HANCOCK)
40. WATERMELON MAN (HERBIE HANCOCK)
41. CANTALOUPE ISLAND (HERBIE HANCOCK)
42. SOME DAY MY PRINCE WILL COME (CHURCHILL)
43. ALL THE THINGS YOU ARE (KERN)
44. STELLA BY STARLIGHT (YOUNG)
45. THE DAYS OF WINE AND ROSES (MANCINI)
46. LADY BIRD (TAD DAMERON)
47. NIGHT AND DAY (PORTER)
48. OLEO (ROLLINS)
49. TENOR MADNESS (ROLLINS)
50. ABOVE AND BELOW (BRECKER BROTHERS)
51. SPONGE (BRECKER BROTHERS)
52. INSIDE OUT (BRECKER BROTHERS)
53. SOME SKUNK FUNK (BRECKER BROTHERS)
54. 500 MILES HIGH (CHICK COREA/NEVILLE POTTER)
55. SPAIN (CHICK COREA)
56. WE AS LOVE (G. BENSON)
57. ROOM 335 (L. CARLTON)

LEVEL 4: DIPLOMA
SECTION I: SCALES AND ARPEGGIOS
Scale:
scales in 7 positions, semi-oblique and CAGED positions:
Modes of the A Melodic Lesser Scale with the Derivative System
 A Melodic Minor (Dorian major seventh) *

 B Phrygian sixth major (Doric b2)
 C Lydian augmented
 D Dominant Lydian (Mixolydian # 4) *
 And Mixolydian minor sixth
 F # Locrian second major (Aeolian b5)
 G # Superlocrian *
 Modes of the Harmonic Minor Scale with the Comparative System
 C Minor Harmonic (Aeolian major seventh)
 C Locrio major sixth (Dorian b2b5)
 C Ionian augmented
 C Dorian # 4
 C Phrygian Major (Dominant Phrygian)
 C Lydian # 2
 C Superlocrian diminished
Ways of the Harmonic Minor Scale in all shades
Modes of the A Melodic Minor Scale with the Comparative System
C Minor Melodica (Dorian major seventh)
C Phrygian sixth major (Dorian b2)
C Lydian augmented
C Dominant Lydian (Mixolydian # 4)
C Mixolydian minor sixth
C Locrian major major (Aeolian b5)
C Superlocrian
Modes of the Melodic Minor Scale in all keys
Modal Pentatonic Scales
Modal Hexaphonic Scales
Symmetrical scales:
 whole-tone *
 Increased T ½ - ST, ST - T ½ *
 Decreased T - ST, ST - T *
 Chromatic * (development on the Major / Minor scale with insertion of
chromatism of tension and embellishment and further development on the
previously studied scales)
Other types of scales:
 Bebop Ottophonic stairs

 Exotic scales
 Harmonic Major Scale and relative modes
 Neapolitan Minor Scale
 Neapolitan Major Scale
 Hungarian Minor Scale
 Hungarian Major Scale
 Enigmatic scale
 Kumoi scale
 Hirojoshi scale
Perform the following scales horizontally on a single string starting from note C.
NB The scales and modes indicated * are given greater importance and attention
Melodic arpeggios:
Perform the following Melodic Arpeggios in Basic General Vertical Sweep positions
Picking and relative CAGED positions and development in Vertical Oblique positions:
maj7 # 11, maj13, min11, min13, 11, 13, 7alt (b5 # 5 b9 # 9 # 11 b13)
Harmonization with Arpeggios of ninth, eleventh, thirteenth in C Major key.
Harmonization with arpeggios with 3 and 4 voices Minor Harmonic scale in all keys
Harmonization with 3 and 4-voice arpeggios Minor Melodic scale in all keys
Relevant techniques for the execution of the Scales and the Arpeggios:
 Alternate Picking
 Legato
 Sweep Picking
 tapping
 String Skipping
 Sliding (for horizontal development)
N.B The maximum of credits is reached for the accuracy rather than for the speed of
running.
The student can develop the visualization preferring to his choice different settings of
alternative sectors for scales and related arpeggios:
Verticals in 5 narrow and vertical positions in 7 extended positions extended on five

keys
SECTION II: CHORDS
Execution of the chords in the CAGED positions at three and four voices and
subsequent development: maj7 # 11, maj13, min11, min13, 11, 13, 7alt (b5 # 5 b9 # 9 #
11 b13)
Quartal chords with three and four voices
Harmonization with ninth, eleventh, thirteenth chords in C Major key
Harmonization with 3 and 4 chords Minor Harmonic scale in all keys
Harmonization with 3 and 4 voice chords Minor Melodic scale in all keys
Harmonization with Quartal chords with 3 and 4 voices in C major / A minor keys
SECTION III: RHYTHM & ACCOMPANYING
Accompaniment of a major blues in all keys with insertion of the II progression,

secondary dominants and tritone substitutions, diatonic substitutions, tonal areas
Arrangement of a harmonic circle with the insertion of the II V progression, secondary

dominants and tritone substitutions, Neapolitan sixth substitution of ninth minor
substitutions of tonal areas
Execution of accompaniments of different progressions in style with insertion of notions

relating to the 4th level of study:
 Pop Rock IV
 Hard Rock IV
 Metal Rock IV
 Rock and Metal Prog IV
 Funky IV
 Jazz / Swing IV
The candidate must be able to perform a rhythm (the style is entrusted to the free
initiative and creativity of the student) on a modulating harmonic turn in any key (the
agreements refer to section II); time and speed will be set by the teacher.
The candidate must be able to perform a harmonic turn in modulating minor key with
different styles and rhythm.
The candidate must be able to read at first sight a harmonic sequence with rhythm and
chords proposed by the teacher.
The maximum of credits is reached by: fluidity, accuracy and clarity of execution of
agreements, inventiveness and use of dynamics.
The candidate will be asked to perform technique exercises of the fourth level on scales
 Alternate Picking IV
 Legato IV
 Sweep Picking IV
 Tapping III
 String Skipping III
 Hybrid Picking III
The candidate will be asked to perform the Blues Phrases IV
The candidate will be asked to perform the Modal Phrases III
The candidate will be asked to perform the Phrase Words on Minor Harmonic III
The candidate will be asked to perform the Phrase on Minor Melodic II
The candidate will be asked to perform the Phrase Words on Major Harmonic I
The candidate will be asked to perform the Phrase Words on Modal Pentatonic I
The candidate will be asked to perform the Phrase Words on Modal Hexaphonic I
The candidate will be asked to execute the Phrases on Symmetrical scales I

The candidate will be asked to execute the Phrases on Ottophonic scales I
The candidate will be asked to improvise on a blues major or minor in all the tones with
the use of arpeggios and scales for each chord with insertion of progression II V,
secondary dominants and tritone substitutions, minor ninth substitution, diatonic
substitutions, tonal areas.
The candidate will be asked to improvise on the sequence II V (alt) I major and minor
with and without harmonic accompaniment.
The candidate will be asked to improvise on a major or minor harmonic lap with the use
of arpeggios and scales for each chord with insertion of the progression II V, secondary
dominants and tritone substitutions, replacement of ninth minor Neapolitan sixth
diatonic substitutions tonal areas.
of arpeggios and scales of the harmonic minor scale
of arpeggios and scales of the melodic minor scale
of arpeggios and scales of the harmonic major scale
The candidate will be asked to improvise on a major or minor harmonic circle with the
use of hexaphonic modal scales
of pentatonic modal scales
of modal octopus scales
of symmetrical scales
The candidate will be asked to improvise on a major or minor harmonic lap with the
elementary use of the outside playing
The candidate will be asked to improvise on his choice on a harmonic turn in the styles:
 Pop Rock
 Hard Rock
 Metal Rock
 Rock and Metal Prog
 Funky
 Rock / Fusion
 Jazz / Fusion
The candidate will be asked to perform only one previously agreed with the teacher
creativity, stylistic interpretation and phrasing. Particular attention will be paid to the
piece of its own composition.
Some tests may be prioritized depending on the style the student declares as an address.

SKILLS
SECTION V: APPLIED THEORY (MAXIMUM 10 CREDITS)
Reading test with instrument III
Test to evaluate the ability to apply the Theory IV program
Questions in general on the whole program carried out in the Previous Levels
Symmetrical scales: hexatonal, diminished and augmented: structural and interval

formula, harmonization with 3 and 4 voices and use
Modal Pentatonic Scales
Modal Hexaphonic Scales
Bebop Ottophonic stairs
Exotic scales
Harmonic Major Scale and relative modes
Neapolitan Minor Scale
Neapolitan Major Scale
Hungarian Minor Scale
Hungarian Major Scale
Enigmatic scale
Kumoi scale
Hirojoshi scale
Quartal Harmony
Notions on outside playing
Blues VI theory: Advanced harmonic and melodic solutions
Harmonic analysis of a piece chosen by the teacher
SECTION VI: ABILITY TO LISTEN - EAR TRAINING
 Transcription of a piece with harmonic succession and solo part

 Recognition and harmonic interpretation of a modal progression performed by
the teacher
 Recognition and harmonic interpretation of a piece proposed by the teacher
Evaluation of the ability to judge historical groups and individual musicians
Evaluation of the research and analysis report on a group or musician (historical)
SECTION VIII: REPERTOIRE (COVERING)
Study of the pieces for Musica d'Insieme and the exam of passing level.
Execution of a Cover agreed with the teacher
The maximum of credits is reached for the fluidity and the dynamic accuracy and
The selection of the pieces is entrusted to the capacity of stylistic and aesthetic
judgment reached so far by the candidate, this selection will be submitted to the
judgment of the teacher for approval.

Modern Music Institute

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ISTITUTO NAZIONALE DI

ALTO PERFEZIONAMENTO DELLE DISCIPLINE

LEVEL 1: BASIC COURSE

UNIT - 1): INSTRUMENTAL SKILLS AND IMPROVISATION

SECTION I: SCALES AND ARPEGGIOS (MAXIMUM 10 CREDITS)

 Chromatic scale (in 7 positions with five notes per string)

Development Gestural Combinations applied to Landing Mini Patterns

Development of Imitative Gestures and "Crossing Fingerings"

 Arpeggio Major Triad

SECTION II: CHORDS

The candidate must make the following chords:

3-voice harmonization of the C Major / A minor scales

Power Chords harmonization of the C Major / A Minor scales

SECTION III: RHYTHM & ACCOMPANYING

The candidate must perform various accompaniments and harmonic successions:

 Several Major and Minor Tonal Harmonic Sequences.

Execution of simple accompaniments of different Progressions in Style with insertion

SECTION IV: SOLISTA TECHNIQUE EXECUTION AND IMPROVISATION

The candidate will be asked to perform the Blues Phrases I

 A Major Blues round in E and A

SECTION V: APPLIED THEORY

The following questions will be put to the candidate:

Test to evaluate the knowledge of notes on the keyboard

Test to evaluate the ability to recognize intervals on the instrument

Test to evaluate the ability to apply the Theory I program

 The chromatic scale - structural and interval formula

The Quatriad of Seventh of Dominant

The blues theory I

UNIT - 3): AURAL AWARENESS

SECTION VI: LISTENING CAPACITY - EAR TRAINING

The candidate will be asked for the following assessment tests:

 Tune the instrument

SECTION VII: HISTORY OF MODERN MUSIC (MAXIMUM 2 CREDITS)

UNIT - 5): REPERTOIRE SECTION

VIII: REPERTORY (COVERING)

Execution of a Cover agreed with the teacher.

1. BACK IN THE USSR (THE BEATLES)

2. COME TOGETHER (THE BEATLES)

3. GET BACK (THE BEATLES)

4. LET IT BE (THE BEATLES)

5. WHILE MY GUITAR GENTLY WEEPS (G. HARRISON -THE BEATLES)

6. ANGIE (ROLLING STONE)

7. GIMME SHELTER (ROLLING STONE)

8. I CAN'T GET NO SATISFACTION (ROLLING STONE)

9. JUMPING JACK FLASH (ROLLING STONE)

10. START ME UP (ROLLING STONE)

11. LIGHT MY FIRE (DOORS)

12. ROAD HOUSE BLUES (DOORS)

13. WHITE ROOM (CREAM)

14. SUNSHINE OF YOUR LOVE (CREAM)

15. I FEEL FREE (CREAM)

16. I WANT IT ALL (QUEEN)

17. WE WILL ROCK YOU (QUEEN)

18. WE ARE THE CHAMPIONS (QUEEN)

19. TIE YOUR MOTHER DOWN (QUEEN)

20. ANOTHER ONE BITES THE DUST (QUEEN)

21. SMOKE ON THE WATER (DEEP PURPLE)

22. SPACE TRUCKIN' (DEEP PURPLE)

23. STAIRWAY TO HEAVEN (LED ZEPPELIN)

25. ROCK& ROLL (LED ZEPPELIN)

26. PARANOID (BLACK SABBATH)

27. IRON MAN (BLACK SABBATH)

28. WAR PIGS (BLACK SABBATH)