A course focusing on the forms, geography, language and spirituality in Persian traditional and regional music, including influences from aesthetics, philosophy, and the interactive role of individuals in shaping the improvisation.
The focus of this workshop is twofold: 1. To provide an introduction about the accordion for composers and players to better understand its possibilities and limitations; 2. To create an ensemble to perform works written for this instrument. Composers are encouraged to participate and write work for the ensemble. Sessions will be divided between demonstration, practice and rehearsal culminating in one or more performances early in the spring semester. If possible, participants should have their own instruments, if not, contact either Daniel Corral or Paul Berkolds. Appropriate for all levels of players.
American Folk & Roots Music: A perspective: This course will introduce various forms of American Folk & Roots music. Important historical Folk & Roots music trends, and styles such as spirituals, early gospel music, folk-blues, early country music, jug band and string band music will be discussed and presented. Additionally, the course will introduce a number of the most important artists in the American Folk & Roots Music tradition, and trace the importance of their music and how they influenced American culture and tastes.
Art Lande leading a workshop open to everybody interested in improvisation. Art has led this workshop during CalArts Interim many times over the past several years, and it has brought people together to consider new possibilities in their music and lives.
Weighting: 0.25 units
Instructors: Wolfgang von Schweinitz, Andrew McIntosh, Sara Cubarsi
This class will take the form of a series of open rehearsals and discussions on Bach's solo violin sonatas with an emphasis on how the performer is to face intonation as an interpretative parameter when performing these works today. Originating material for discussion will be Marc Sabat's arrangements in extended Just Intonation of the works. Students will be expected to participate in the discussion and submit a brief personal critique of the methods and problems presented with an exposition of their listening experiences as a short essay (ca. 500 words).
Insight, discussion and performance of John Cage’s
Sonatas and Interludes for prepared piano
John Cage’s Sonatas and Interludes for prepared piano are a cornerstone of 20th century piano music. Justifiably considered one of the best musical creations of the composer, the cycle is an icon in the realm of repertoire for prepared piano. This workshop will explore the history of the creation of the cycle, offer discourse on the content of the composition as a whole and focus on the actual preparation of the instrument. The workshop will take place in three sections all occurring on the same day. First, the workshop described above. Then the students will be invited to observe the preparation of the piano and lastly a concert performance of the work will take place that evening. This workshop and concert will be presented and performed by special guest pianist Juris Žvikovs, Assistant Professor at the Latvian Academy of Music, Riga, Latvia.
Cello lessons covering either individual projects or specific technical issues. Two two-hour "super lessons" supported by eight hours of practice time in support of material covered in the lessons.
Chamber Music Boot Camp with faculty playing and coaching alongside students. Repertoire to consist of 1)Louis Spohr Sextet for Strings op. 140, Ernest von Dohnanyi Quintet for Piano and Strings op. 1. Specific students will be advised re: their participation in this project. This project culminates in a public concert Friday January 20 at 8pm in the Wild Beast.
Extended Techniques for Winds - Circular Breathing and Beyond
“Extended” techniques were once considered outside of the realm of traditional repertoire/tunes. Even though they are increasingly used and expected by composers across many genres, extended techniques are too often left out of standard instrumental education - and knowing these skills can (and does!) give you an extra edge in a competitive industry. This workshop is ideal for wind players looking to expand their musical vocabulary by adding extended techniques to their playing and for composers who want to learn those mechanics by observation. It is designed to help players with no experience with these techniques as well as those who want to learn a systematic approach to improvement and mastery in their own practice. Techniques covered include circular breathing (playing with continuous air), alternative tonguing and articulation for single reeds (slap tonguing, double/triple tonguing, flutter, etc.), multiphonics (including singing while playing), and more.
This workshop will meet 4 times. The first 2 classes (or 3, depending on student interest) will be dedicated to circular breathing - this will be helpful for ANY wind players (brass, woodwind, anyone else who wants to know how to continuously breathe out). The last class(es) will focus on techniques unique to single reeds (saxophones/clarinet/bass clarinet), but anyone is welcome to be in the class to learn about it (especially composers!!).
EVERYONE can learn how to circular breathe, and anyone who already knows can always get better!! :)
This workshop will examine the role of mobile technology such as phones and tablets in music composition, creation, and experience. Millions of people today have a smartphone in their pocket, capable of advanced networking, real-time sound and visual processing, and sophisticated interaction. Tablet computers have extended these possibilities with larger screens to work with. How can these technologies be used to musical ends?
Using both popular and experimental tools for mobile music creation, workshop participants will explore the novel musical possibilities enabled by mobile, touchscreen-based devices. In particular, we will look at using the ChucK music programming language on the iPad and also Auraglyph, a new system for gestural/handwriting-based sound and music composition. Drawing from a decade of mobile music research and practice in industry and academia, the workshop will combine technical instruction, class discussions of conceptual and aesthetic concerns, and application of these to meaningful musical ends, culminating in a final in-class mini-concert. Students are encouraged to bring their own phones or tablets if available, but devices will also be provided for shared class use. Students have taken ICOM-201 or MTEC-613.
This mini-course will focus on compositional form, and the manner in which various composers make use of parameters such as melody, harmony, rhythm, orchestration, and dynamics, among others, to organize and presents musical materials and musical ideas in an expressive, emotional, and engaging manner. Over the course of two 2-hour class meetings, analyses of the following works will be presented: Mainacht (Brahms); Prometheus (Scriabin), and String Trio (Finnissy).
Gamelan has been an integral part and has played an important role in Javanese and Balinese society for centuries. It is linked by its intimate connection with their culture and
also other arts forms such as dance, theater (puppet play, dance theater) and so on.
During the pre-colonial period, the courts were the center of the performing arts, and the courts set the standards of artistry refinement and beauty for Javanese and Balinese
culture. Also for the kings or other nobles considered necessary sought to own one or more gamelan orchestra to enhance their status as refined figures.
Now in this modern time, many changes and transitions facing Javanese and Balinese people, in their adaptation to new technologies, modern education and global communication, are also reflected in their aesthetic attitudes of the present-day, Balinese/Javanese toward their traditional arts.
As Balinese and Javanese societies adapt to an increasingly global community, how much relevance will the traditional arts have to contemporary concerns? This remains an
Ankhrasmation is a unique musical language developed by Wadada Leo Smith, that uses brightly colored graphic notation and imagery to structure ensemble-based performance and improvisation. In this class, students will learn how to read and interpret the various graphic and structural components of Ankhrasmation, including (but not limited to) music towers, rhythm units, velocity units, and improvisation units. Additionally, we will discuss some of the larger aesthetic, philosophical, and spiritual aspects of Ankhrasmation performance practice. Class time will be equally divided between group discussion, score analysis, and ensemble playing. The class will culminate with a group performance of selected Ankhrasmation works. All acoustic and electronic instrumentalists are welcome!
The human voice provides a unique and inescapable expression of individuality, an individuality that converges with the communal and in doing so connects us socially, existentially and emotionally. DocuVoice is a full day event that facilitates a space to watch and discuss 8 documentaries that deal with the voice from different perspectives and experiences.
- •Perform music from the Middle Ages through the Renaissance—learn early music and its harmonic, socia and historical context by playing it.
- •Moderate sight reading ability required.
- •Voice and all instruments welcome—Students should bring their instruments to each class, including the first. Pieces will be orchestrated with the instruments available and performed in class.
- •Each student will be required to find and research at least one group of pieces for performance in class and provide historical background information on the composers and pieces in the form of detailedprogram notes.
An intensive and fun study of the sounds of French used in classical singing, along with study of a fun, surprise work that we will "perform." This mini-course will cover French pronunciation, breaking down all of those dastardly long clusters of letters into easily recognizable and producible sounds. Participants will utilize the IPA (International Phonetic Alphabet) as a tool for recognizing these sounds. We also will use fun French tongue-twisters to work on our articulation and on complex series of sounds, and will transcribe into IPA and perform an entrancing work of poetry as a final project. Suitable for beginners in French, but also of use to those with more experience.
Instrument and Costume Management is a hands-on course open to all CalArts students that explores West African musical instruments and performance costumes, how they are made, how they are maintained, and how they are repaired.
It’s designed to challenge costume and music students to think about how the traditional, centuries-old arts and crafts of other cultures can influence their own work.
Instrument and costume making is an art and skill that has been passed down over centuries from musicians and performers to their children in Africa.
The intricate and colorful performing costumes for traditional West African Dance Drumming will be broken down, to see how they were created, and how their design serves to amplify and express the music they accompany.
Professor Agbeli will also introduce a wide variety of percussion instruments , train students in their proper sounds, teach them to diagnose the causes of poor sound, and give them hands-on skills in tuning, maintaining and repairing those instruments.
This course is a historic education about traditional costume and instrument building, a practical guide to maintaining West African instruments and costumes, and an opportunity for students to apply this knowledge, along with their own creativity, to their current-day work.
The goals of this course are to give students a comprehensive understanding of graphical notation. In the first class, we will look at the history of graphic scores and notation with an emphasis on Western tradition, including (but not limited to) the work of Iannis Xenakis, John Cage, and Anthony Braxton. The second class will discuss in more detail different approaches to creating a graphic or alternative score, from silly to serious and systematic, with an assignment to create one graphic score of their own. In the third class, we will bring in the graphic scores students have made and have performances of each of the pieces, and a discussion of the performances. Homework includes two readings and one graphic score assignment.
An examination of the music of Mahler and the bridge that he helped create between music of the 19th and 20th Centuries
Class will involve listening to and discussing various genres within Hindustani music including vocal (Khayal, Dhrupad, and Thumri) and instrumental (sitar, sarode, sarangi, rudra vina). Students will learn the basics of raga (melody, singing basic scales and melodic structures) and tala (counting and reciting various rhythmic cycles).
Students will participate in developing new music through the exploration of production, beatmaking and arranging methodologies from hip hop studios and other experimental electronic music spaces. In addition, we will push the composition of lyrics using improvisation, hip hop prosodic strategies, and studio-based techniques of textual intervention (turntablist collage, chopping, quotation/sampling). By recording these projects, students will be introduced to or allowed to further develop awareness of and proficiency in the language of the recording studio.
Los Angeles is a hot bed of innovation in hip hop music. Flying Lotus, Kendrick Lamar, KING, Terrace Martin, Thundercat, Georgia Anne Muldrow, and others are blurring the lines between popular and experimental music. This class proposes the notion that maybe CalArts got next. We will develop hip hop music that remains alert to the present aesthetic and political moment with an eye on what's coming. Taking cues from experiments inside and outside hip hop culture, we will see what we can make musically and lyrically as we create a mixtape of original material.
This class will focus on improvising, and creating effective solos for world percussion settings. We will explore improvising through rhythmic concepts and structures from various cultures. The focus will be on rhythmic content and ideas, rather than instrument technique. We will discuss the continuum between improvisation, and a pre-composed solo.
experience in improvisation in a number of settings, open structure, free
forms, and cyclic events. Or if Composition lessons, students create and explore compositional approaches to improvisors
I chose 4, 2-hour meetings. But as a note, this is my first interim, so I'm not familiar with how often I should be meeting with my sponsor, how many credits it would be worth, or how much work I would be expected to have completed during this time. I am open to adjusting these things as appropriate.
During this intensive I will explore how to integrate dynamic video with live, loop-based music performance.
This is time for Students in the Interface Design Class to work on their final Project and get ready to debut a working prototype
We will concentrate on listening to and playing the music from Miles Davis’ album ‘Kind of Blue’. The compositions and their performance on this album signaled (one might even say initiated) a significant change in the direction of jazz – from an emphasis on fast tempos and chord changes to a more modal and contemplative approach. Its relative simplicity and the brilliant performance of the musicians involved (Miles Davis, John Coltrane, Cannonball Adderley, Bill Evans, Wynton Kelly, Paul Chambers and James Cobb) makes it an ideal starting point from which to begin to understand how jazz ‘works’. We will encourage the students to transcribe solos (particularly those of Mile Davis) and introduce them to specific theoretical material (chord/scale relationships, rhythms and phrasing) so that everyone will be introduced to the essential techniques necessary to initiate an understanding of the craft of jazz improvisation.
Knitting is good for the body, mind and soul! Come learn a new skill and make some hand warmers (or a hat...or something more ambitious.) Bring your own needles and yarn, or use materials provided by instructor. All levels welcome.
- •Lessons and Coaching for individuals or ensembles on material which can dealt with in a few sessions.
- •Learning classical guitar technique or other beginning guitar skills are not appropriate subjects for this short time frame.
- •Students must contact me directly in advance to arrange for lesson or coaching times.
With the help of two guest artists teachers from Makoto Taiko, an established 18 year old group based in Pasadena, we will build our own Taiko drums from found objects (garbage cans, tires, packing tape, etc) and have instruction on building techniques and beginning performance forms. Class members will learn at the culmination of the two workshops, at least one traditional Taiko song. Will be building instruments in the interim.
This will be a 4 Day intensive Project where Students will work with 3 great masters of Music Technology to build a Mechatronic Musical Instrument that will premiere at the Digital Arts Expo on May 4. Must have taken Interface Design (semester 1) in past and Digital Fabrication to join.
We will learn and practice the wonderful method presented in the Sutra "On the Full Awareness of Breathing" and emphasize counting and hearing aspects. We will proceed to listening in a very concentrated manner to pieces by Bach that express peacefulness, and wholesomeness. Finally we can work on playing some little Bach pieces ourselves.
Exploring movement choices for musicians for our health and well being, for fun, for holding our instruments, for posture. Co taught from diverse backgrounds and perspectives of yoga, dance, and movement therapies. Supporting people in becoming fully-embodied musicians, free to express themselves through an integrated body, heart, and instrument.
In a musical career spanning nearly sixty years, the alto saxophonist and composer Jackie McLean (1931-2006) developed a model of collaborative and socially engaged pedagogy that was to prove enormously fruitful both for his own career and that of the younger musicians who came into his sphere of activities. Based on a rigorous musicianship essential to Afrological forms of improvisation, an uncommon depth and breadth of experience, professional ties to seminal artists like Charlie Parker, Bud Powell, Miles Davis, Charles Mingus, and Ornette Coleman, and a personal self-confidence which allowed for a radical openness, McLean was able to integrate performance, pedagogy and social and cultural advocacy into a uniquely coherent whole which was much greater than the sum of its parts. Through group discussion and analysis of key scores and recordings this class will seek to develop a deeper understanding of the powerful cultural space delineated by this musician.
This Musical Poetry Intensive will include both critical and practical components. Through the study of creative and theoretical texts, films, and other sources, I will be able to better contextualize my place in this musical tradition and learn new strategies to apply to my music, writing, and musical writing. Equipped with a strengthening framework and dedicated Interim time, I aim to generate ample new material to propel me forward in my future studies, commissions, and my graduation recital preparations.
This course invites students to experiment with the construction of their own musical instruments. In the first week, students will be given a wide variety of example projects ranging from the modification of existing instruments to the creative manipulation of repurposed “junk.” In the second week, students will bring in their new instruments and learn/teach how to write music for them!
We will encourage students to fearlessly approach instrument construction/creation, viewing the objects in their environment as pre-compositional materials. The hope is that this will provide fertile ground for the creation of experimental musical works in the coming spring semester.
This class will spend time listening to and discussing influential noise artists in addition to learning about the history of minimalist music, hardware hacking and the demo scene. This will serve as a background to be able to identify humor and absurdities in music and how it relates to (or refutes) society and our ideas of structure and meaning. We will read a few short texts and spend time repurposing instruments both musical and otherwise to create sounds in addition to exploring tools to use for hardware hacking. The hardware project will be worked on through the course of 4 classes and will culminate in a final project where students record a short composition with their hacked instruments, repurposed objects and newfound nihilism.
Hands-on investigation of various approaches to improvisation regardless of musical style. We will examine tonal and modal systems, use of noise and non-pitched sounds as well as deriving improvisation structures from other art forms such as graphic (visual) information, text, movement, moving image etc. We will define methodical, systematic approaches to practicing improvisation individually or in a group. All instruments and voices are welcome. This class is aimed primarily at students who wish to learn to improvise but don't have much experience at it and for those who have fear of improvising. If you're not sure if this class is for you, please contact the instructor at email@example.com prior to signing up.
Nylon Guitar Ensemble: Nylon string guitar that focuses on classical techniques in a group setting. As a group we will focus on musicianship and tone. We will work together to learn original music as well as already published works by composers such as, Roland Dyens, Andrew York, and Patrick Roux.
Want to master your collection of tracks? Don’t have $1500 to pay Universal Mastering? Don’t have $500 to pay a hipster in Highland Park with a bunch of used analog equipment? Then come to this workshop and I will show you how you can realistically master your record using available software tools in the DRS at CalArts. The workshop will provide an overview of the professional mastering software called SoundBlade which is used by professional mastering engineers throughout the world and is installed in the DRS. The class will demonstrate a recommended mastering chain using the Waves mastering plugins and will cover DC offset removal, multi-band compression, linear phase EQ, stereo imaging, and peak limiting. Other topics will include PQ marking, UPC codes, and online PQ delivery of the final CD. If you have a collection of tracks ready to assemble bring them along or if you just want to check out the process feel free to sit in. Limited to students that have taken the DRS recording class.
This is a workshop in which new pieces are developed and performed using Medieval and Renaissance scores as source material. We will look at Gregorian and Byzantine chants and polyphonic pieces notated with familiar and unfamiliar notation systems. We will then develop new improvisations and compositions that are, in some way or another, inspired by these investigations.
Coached rehearsals and recording sessions for a limited number of student compositions with words, which are selected from demo recording submissions (due on Nov 21st). The aim of this project is to inspire collaborations between students and their colleagues, to provide composition, vocal and production coaching, and to provide a showcase for student work.
- just submitted the form and asked for rehearsals on Monday, Tuesday and Wednesday afternoons in B320 for 4 hours each day, plus the weekend of 14th/15th in the ROD +DRS.
I will be studying South Indian Classical music in Chennai south India, and also will be observing concerts in both North and south India.
This course will be devoted to exploring and performing Karlheinz Stockhausen’s so-called
Intuitive Music. We will focus primarily on his “Aus den sieben Tagen” (From the Seven Days), a
collection of text pieces he composed on a solitary retreat in 1968.
We will explore the aesthetic, musical and spiritual underpinnings of Stockhausen’s approach,
and compare and contrast these pieces with other text pieces from the same era.
The final class meeting will be a full-length concert of selected pieces from “Aus den seiben Tagen”, concluding with a performance of “Set Sail for the Sun” by the entire class.
To receive credit, students will need to perform on the concert, write a short paper and compose at least one text piece.
Class Meetings 1-3
We delve into the ethos and special features of “Intuitive Music” in general and “Aus den seiben Tagen" in particular; augmenting our analyses and discussion with printed materials and a video of a 1972 London lecture by K.S. on Intuitive Music. At the third class meeting we will assign specific players to selected “A.d.s.T.” pieces and plan the concert program.
Class Meeting 4 (in ROD or W.B.)
Rehearsal of selected pieces with critique. Confirm concert program.
Class Meeting 5 (in ROD or W.B.)
Concert in ROD or W. Beast.
John Storie, guitarist and bandleader, has many years of experience in extended concert tours with his band, the New West Guitar Group. His comprehensive workshop will prepare CalArts musicians for all of the practical details in planning and executing successful regional tours for groups of any style or instrumentation.
When traditional notation fails you, and graphic notation is too vague, the utilization of text can be the key to allowing performers to deliver the emotional, sonic, and narrative goals of a piece during performance. In this course we will look at how text can work in tandem with other forms of notation as well as independently. Students will discuss works presented, and compose a text-based score that will be performed and recorded by the class. Course is taught by Creative Writing MFA and alumnus from the Composition Program, Jesse VanDenKooy.
The Artist's Way: A Spiritual Path To Higher Creativity is a groundbreaking book by Julia Cameron. The book offers techniques and exercises to assist artists of all disciplines in gaining self-confidence in harnessing their creative talents and skills. First published in 1992, it has enjoyed a cult-like following every since, with countless self-directed groups ("Creative Clusters") forming around its principles worldwide. The CalArts Creative Cluster, led by CalArts faculty member Tali Tadmor, will begin its activity during Interim and will continue meeting weekly throughout the semester for a total of 12 weeks.
The course will be a combination of lecture/discussion, open rehearsal, and performance dedicated to the music of Jürg Frey. It is open to performers and non-performers alike, but will be centered around two concerts of Jürg's music: a concert featuring his 2nd and 3rd string quartets, and a concert of repertoire TBD featuring class participants and special guests Erik Carlson (violin) and Greg Stuart (percussion).
Let’s get personal. This workshop is designed to encourage people to write more freely about their personal lives, and then to incorporate that text (spoken) into original musical compositions. Over the course of two weeks, we will write, listen, and present our works to our classmates. In class, participants will be allowed to write in whatever way feels natural to them, about any topic relating to their lives. We will also listen to music that incorporates spoken text and personal narrative, including The Books, Jenny Hval, Hildegard Westerkamp and excerpts from Einstein on the Beach. The class will also include discussions on topics such as what it means to be honest in writing, the merits and problems with editing personal writing and what we can express and achieve through writing. At the end of the course, the workshop will present their original compositions in a concert that we plan collectively. No formal writing experience is necessary, but participants should have some sort of musical background as well as access to any sort of music editing software (Audacity, Garageband, Ableton, ProTools, etc.).
(Please note: this class will meet for 4 3-hour classes, as well as a 1.5 hour dress rehearsal and a 1.5 hour concert. This makes it 15 hours total, making it eligible for a 0.25 credit for both BFAs and MFAs. I also have an entire course plan including lesson plans, listening, and discussion questions written as well. If you'd like to see it, please send me an email and I will send it.)
The Schizophrenic World of U.
- the many facets of the music of Ulrich Krieger
OK, ok, I know this looks pretty egocentric…
But there are some real reasons for offering this:
1. I am regularly being told by students that they like to listen to more of my
music and asked where they can find it.
2. Then David mentioned a while ago in a faculty meeting that he would like to
see more talk about the music of our the faculty and interim could be a place
3. I feel that my career is a good blueprint for a non-traditional, multi-stylistic and
multi-faceted career, working as:
—composer (—writing music for other people to play)
—performer (—performing other composers’ works – from classical, new
music, avant-garde to experimental)
—composer-performer (—writing for me to perform myself)
—rock musician (from free improvised and avant-garde rock to mainstream rock)
So here is my outline (5 meetings):
1. Composer: Music on paper — Chamber Music
-discussing a variety of my compositional and aesthetical approaches and—
resulting from this—my compositional work in series. (Why working in series—
like a painter?)
-microsound and limits of perception
-discussing the term 'acoustic electronics' or 'instrumental electronics'
-use of scientific-acoustic principle to create music
(beatings, difference tones, frequency analysis)
-use of Just Intonation and overtone structures
2. Performer: Interpret vs/and Improviser
Interpretation as Re-Composition and
Improvisation as Instant Composition
a. the interpret as composer & the composer as interpret
b. the improviser as composer & the composer as improviser
c. do improvisation and interpretation (and composing) help each other?
d. working in classical music (Cowell, Grainger, etc.) and new music
(Cage, Tenney, Pisaro, etc.)
e. arrangements - arranging is interpreting (Metal Machine Music, etc.)
3. Composer-Performer: Saxophone Solo Works (mostly)
a. Solo Saxophone, Noise, Rock & Conceptual Composition
- Universe: RAW, ReSpace, Quantum, Cosmos
b. Noise vs. Silence - Reductionism has two sides
c. use of conceptual composition and improvisation
4. Rock: Blurring the lines
a, Experimental Rock & Improvisation
- Blood Oath, in limbo, MM3, ToL, Sus Futuos, Joy Buzzers, Murilag
b. Conventional Rock
- LR Band, FFtD, as guest
Playing some pieces, depending on amount of students and instruments available, probably some of my flexible instrument pieces or re-arrangements - ROD
The Charlie Haden/CalArts Artist in Residence for 2017 is saxophonist Tony Malaby. Tony will lead four workshops/open rehearsals focusing on his compositions for quartet and nonet, as well as the music of Charlie Haden. These special guest artist sessions are open to all, including playing, listening, and discussion. Tony's music will be distributed to all participants in advance of the workshops.
In our rapidly evolving and ever more globalized society, virtual worlds offer us a chance to transcend boundaries, geographic and otherwise; for artists in particular, these worlds can provide an environment in which to produce work that reaches a wider audience while pushing the limits of form. Beginning with a brief look at the history of so-called "sandbox" worlds like Second Life (as opposed to the "theme parks" of which World of Warcraft is arguably the chief representative), we will continue by examining the creative output and practices of a diverse group of musicians, visual artists, choreographers, filmmakers, writers, performers, and designers, many of whom owe their publics if not their livelihoods to a place that exists only as pixels on a screen.
We will begin with the basics—history, range, characteristics. Then on to contemporary techniques—multiphonics, microtones, timbral possibilities and more. Join us and write a piece for one to four bassoons. The last class will provide readings of the class's works.