Clarinet req's

44
1 — NZMEB PERFORMANCE CLARINET SYLLABUS ed 3.11 Performance Clarinet In compiling this syllabus the New Zealand Music Examinations Board has endeavoured to use readily available and affordable editions as indicated in the text. The Board has used each book to the fullest extent possible, however any edition is acceptable. Editions are mentioned solely as a means of identification, and any standard edition will be accepted. New Zealand music is available from SOUNZ, the Centre for New Zealand Music, Level 1, 39 Cambridge Terrance, Wellington, 6001. Tel 04-8018602, Fax 04-801 8604, [email protected]. Examination Music Entrants may not use photocopies for performance (other than for facilitating page turns) in examinations, as this is prohibited by the Copyright Act. All Level Two, Three, Four, Five and Six entrants must hand copies of all pieces being performed to the examiner together with their examination slip when they enter the examination room. It is recommended that Level One entrants also hand in copies. Study List: Samples of entrant’s work for the year From Grade 1 to Grade 7 all entrants must present other pieces of their choice, as evidence of study beyond those presented for the examination. These should be at a similar level to those already in the syllabus, and may come from the syllabus or from a source other than the lists below. Examiners, at their discretion, will ask entrants to demonstrate familiarity with these pieces by performing the whole or any part of them during the examination. Entrants must bring a copy of the music to the examination room. The following minimum requirements apply: Grade 1 - one piece Grade 2 to 7 - two pieces. Entrants should not play repeats in examinations, however any da capo must be played. Scales In grades 6, 7 and 8 Dominant Seventh Arpeggios are to be played in the key. In grades 6, 7 and 8 Diminished Seventh arpeggios are to start on the key note. Co-requisites - to complete Grade 6 practical, a pass is required in NZMEB Grade 3 Theory Grade 7 practical, a pass is required in NZMEB Grade 4 Theory Grade 8 practical, a pass is required in NZMEB Grade 5 Theory AMusNZ, a credit pass is required in NZMEB Grade 5 Theory LMusNZ, a pass is required in NZMEB Grade 6 Theory For acceptable equivalents, see the Theory syllabus

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Transcript of Clarinet req's

  • 1

    NZMEBPERFORMANCECLARINETSYLLABUSed3.11

    Performance Clarinet

    In compiling this syllabus the New Zealand Music Examinations Board has endeavoured to use readily available and affordable editions as

    indicated in the text. The Board has used each book to the fullest extent possible, however any edition is acceptable. Editions are mentioned

    solely as a means of identification, and any standard edition will be accepted.

    New Zealand music is available from SOUNZ, the Centre for New Zealand Music, Level 1, 39 Cambridge Terrance, Wellington, 6001. Tel

    04-8018602, Fax 04-801 8604, [email protected].

    Examination Music

    Entrants may not use photocopies for performance (other than for facilitating page turns) in examinations, as this is prohibited by the Copyright

    Act. All Level Two, Three, Four, Five and Six entrants must hand copies of all pieces being performed to the examiner together with their

    examination slip when they enter the examination room. It is recommended that Level One entrants also hand in copies.

    Study List: Samples of entrants work for the year

    From Grade 1 to Grade 7 all entrants must present other pieces of their choice, as evidence of study beyond those presented for the examination.

    These should be at a similar level to those already in the syllabus, and may come from the syllabus or from a source other than the lists below.

    Examiners, at their discretion, will ask entrants to demonstrate familiarity with these pieces by performing the whole or any part of them during

    the examination. Entrants must bring a copy of the music to the examination room. The following minimum requirements apply: Grade 1 -

    one piece Grade 2 to 7 - two pieces.

    Entrants should not play repeats in examinations, however any da capo must be played.

    Scales

    In grades 6, 7 and 8 Dominant Seventh Arpeggios are to be played in the key.

    In grades 6, 7 and 8 Diminished Seventh arpeggios are to start on the key note.

    Co-requisites - to complete Grade 6 practical, a pass is required in NZMEB Grade 3 Theory

    Grade 7 practical, a pass is required in NZMEB Grade 4 Theory

    Grade 8 practical, a pass is required in NZMEB Grade 5 Theory

    AMusNZ, a credit pass is required in NZMEB Grade 5 Theory

    LMusNZ, a pass is required in NZMEB Grade 6 Theory

    For acceptable equivalents, see the Theory syllabus

  • 2Scales Scales in 3rds to be played as follows

    Example (C major): noteheadsnoteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheads noteheadsnoteheads noteheadsnoteheads noteheads noteheads noteheadsnoteheadsclefs 44 noteheads noteheads noteheads noteheadsnoteheads noteheads noteheadsnoteheads noteheads

    noteheads noteheadsnoteheads noteheads noteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheadsnoteheads noteheads noteheadsnoteheads noteheadsnoteheads noteheads noteheads3 noteheads noteheadsnoteheads noteheadsclefs noteheads

    Dominant 7th arpeggio to be played as follows

    Example (C):

    noteheads noteheads noteheadsnoteheads noteheads noteheads restsnoteheads noteheadsnoteheads noteheadsnoteheads noteheads

    noteheads noteheads44 noteheadsclefs noteheads

    noteheads

    Diminished 7th arpeggio to be played as follows

    Example (G):

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    noteheadsnoteheads44 noteheadsaccidentals noteheadsnoteheadsnoteheadsnoteheads

    noteheads accidentalsclefs

    Broken chords to be played as follows

    Examples:

    noteheadsnoteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheads noteheads

    noteheadsnoteheads noteheadsnoteheads noteheadsnoteheads noteheads noteheadsnoteheads

    noteheadsnoteheads noteheadsnoteheads noteheads noteheadsclefs accidentalsaccidentalsaccidentals noteheads44

    noteheadsnoteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheads noteheads noteheadsnoteheadsnoteheads noteheads noteheads noteheads

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    noteheadsnoteheads noteheadsnoteheads noteheads noteheadsclefs

    accidentalsaccidentalsaccidentalsaccidentals noteheads44

    noteheads noteheadsnoteheads noteheads noteheads noteheads noteheadsnoteheadsnoteheadsnoteheads noteheads noteheadsnoteheads noteheads noteheads noteheads3 clefs accidentalsaccidentalsaccidentalsaccidentals noteheads

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  • 3Musicianship

    NZMEBPERFORMANCECLARINETSYLLABUSed3.11

    Musicianship

    LEVEL ONE

    Preliminary

    To join in and clap the beats in simple duple or triple time, to a harmonized passage played by the examiner and to continue clapping the

    beats when the music stops.

    To clap or tap at sight, a simple written rhythm, in simple time.

    Example:

    noteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheadsnoteheads noteheads44 noteheads noteheadsnoteheads To visually recognize step or skip movement (seconds and thirds) over three notes within the compass of a fifth. We suggest entrants use

    their own pieces to develop fluency.

    Example:

    noteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheads43clefs noteheads noteheadsnoteheads

    Grade One

    To recognize written combined step/skip movements over 3 notes within the compass of a fifth. We suggest entrants use their own pieces

    to develop fluency.

    Example:

    noteheads noteheads noteheads43clefs noteheads noteheadsnoteheads To clap or tap at sight, a simple written rhythm, in simple time.

    Example:

    noteheadsnoteheadsnoteheads dotsnoteheadsnoteheadsnoteheads43 noteheads noteheadsnoteheads To play the same pattern as a given melody using only 2nds and 3rds within the compass of a fifth in the keys of C or G major.

    Example:

    noteheadsnoteheads noteheads dotsnoteheadsnoteheadsnoteheads43clefs noteheads noteheadsnoteheads To aurally identify major seconds and major thirds (number only), played twice by the examiner. Entrants may sing or hum the notes

    before answering.

    To echo clap a short rhythm pattern clapped once by the examiner. A second attempt will be allowed if necessary.

    Example:

    noteheadsnoteheads noteheads noteheadsnoteheadsnoteheads noteheads42 noteheads noteheadsnoteheads

    Grade Two

    To visually recognize any written interval within the compass of a fifth. We suggest entrants use their own pieces to develop fluency

    Example:

    noteheads noteheads noteheads43clefs noteheads noteheadsnoteheads To clap or tap at sight, a simple written rhythm in simple time. May include crotchet rests and quavers.

    Example:

    noteheadsdotsnoteheadsnoteheads noteheadsrestsnoteheadsnoteheads noteheadsnoteheads44 noteheads noteheadsnoteheadsnoteheads To play the same pattern as a given melody in the keys of G or D major.

    Example:

    noteheads noteheadsnoteheads dotsnoteheads noteheadsrestsnoteheads noteheadsnoteheadsclefsaccidentalsaccidentals 44 noteheads noteheadsnoteheadsnoteheads

    To aurally identify major and perfect intervals up to and including perfect fifths (number only) played twice by the examiner. Entrants

    may sing or hum the notes before answering.

    To echo clap a short rhythmic pattern clapped once by the examiner. A second attempt will be allowed if necessary.

    Example:

    noteheads noteheads noteheadsnoteheads noteheads noteheadsnoteheads noteheadsnoteheads noteheads noteheadsnoteheads43 noteheads noteheadsnoteheads noteheads

  • 4Grade Three

    To visually recognize written intervals within the octave at sight. We suggest entrants use their own pieces to develop fluency.

    Example:

    noteheads noteheads noteheadsnoteheadsclefs 43 noteheads noteheads To clap or tap at sight, a simple written rhythm, in simple time. In addition to the rhythmic figures in previous grades, dotted crotchets,

    quavers and minim rests may be included. Example:

    noteheadsnoteheads noteheadsrestsnoteheadsflags noteheadsrestsnoteheadsnoteheads noteheadsnoteheads44 noteheads dotsnoteheadsnoteheads noteheads To play the same rhythm pattern as a melody within the compass of an octave in the keys of F or Bb major.

    Example: noteheadsrestsflags noteheads noteheads noteheads rests noteheadsnoteheads noteheads noteheads noteheadsnoteheadsclefs accidentals 44noteheadsnoteheads dotsnoteheads

    To aurally identify major and perfect intervals up to and including perfect fifths (number only) played twice by the examiner. Entrants

    may sing or hum the notes before answering.

    To aurally identify root position triads as major or minor (notes sounded together) played twice by the examiner.

    To echo clap a short rhythm pattern clapped once by the examiner. A second attempt will be allowed if necessary.

    Example:

    noteheads noteheads noteheadsnoteheads dots flagsnoteheads noteheads noteheadsnoteheads noteheadsnoteheadsflags noteheads noteheadsnoteheads44 dots noteheads noteheads noteheads noteheadsnoteheads

    LEVEL TWO

    Grade Four

    To clap or tap at sight, a written four bar rhythm, in simple time or compound duple. In addition to the rhythmic figures in previous grades,

    semiquavers, dotted quavers and quaver rests may be added.

    Examples:

    noteheadsnoteheads noteheads noteheadsrests noteheads dots noteheadsflags noteheads noteheads noteheadsnoteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheads noteheadsnoteheads44 noteheads noteheads noteheads noteheads noteheads noteheadsnoteheadsnoteheadsnoteheads noteheads noteheadsnoteheads noteheads noteheads dotsnoteheadsnoteheadsflags dotsflags noteheads noteheadsflags noteheadsnoteheads86 noteheads noteheads noteheads restsnoteheads

    To name the tonic key.

    To play a given melody in the keys of E or B major.

    Examples:

    flags noteheadsnoteheads noteheads noteheads noteheadsdotsnoteheads rests noteheads noteheads noteheadsnoteheads noteheads noteheadsnoteheads noteheads noteheadsnoteheadsclefs accidentalsaccidentalsaccidentals 44 noteheadsnoteheads noteheads noteheads noteheads noteheadsnoteheads noteheadsnoteheads

    noteheads noteheads noteheadsnoteheads noteheads noteheads dotsflags noteheads dotsnoteheadsflags noteheadsnoteheadsflagsnoteheadsclefs accidentalsaccidentals 86 noteheadsnoteheads

    noteheads noteheads noteheads rests To name the tonic key and transpose the melody up one tone.

    To aurally identify major and perfect intervals up to and including major sixths, (number only) played twice by the examiner. Entrants

    may sing or hum the notes before answering.

    To aurally identify root position triads as major or minor (notes sounded together) played twice by the examiner.

    To echo clap a rhythmic pattern clapped once by the examiner. A second attempt will be allowed if necessary.

    Example:

    noteheads noteheadsdotsnoteheads dotsnoteheadsnoteheadsnoteheadsnoteheadsnoteheads43 noteheads noteheadsrestsnoteheads

    Grade Five

    To clap or tap at sight, a written four bar rhythm, in simple or compound time. In addition to the rhythmic figures in previous grades,

    triplets and tied notes may be added.

    Examples:

    noteheads dotsnoteheads noteheadsnoteheadsnoteheads noteheads dots noteheadsflags noteheads noteheads33 noteheads noteheads noteheadsnoteheadsnoteheads noteheads noteheadsnoteheads44 noteheads noteheads noteheads noteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheads noteheadsnoteheads noteheads dotsflagsflags noteheads noteheadsnoteheads noteheadsnoteheads noteheads noteheads noteheadsflagsdots86 noteheadsnoteheads noteheads

    To name the tonic key.

    To play a given melody in the keys of Ab major or Eb major.

    Examples:

  • 5Musicianship

    NZMEBPERFORMANCECLARINETSYLLABUSed3.11

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    V

    dotsnoteheads dots noteheadsflags noteheadsI

    A accidentals

    3

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    noteheadsV

    noteheads noteheadsflagsnoteheadsB accidentalsnoteheads noteheads

    I

    dotsE accidentalsnoteheadsflags noteheadsnoteheadsdots noteheads noteheadsnoteheadsclefs accidentalsaccidentalsaccidentals 86 dots noteheads noteheads noteheads noteheads noteheadsnoteheadsflags

    To give the letter names for both triads of the perfect cadence as marked.

    To transpose the melody down one semitone or up one tone.

    To aurally identify by quality and number major and perfect intervals up to and including a perfect octave, played twice by the examiner.

    Entrants may sing or hum the notes before answering.

    To aurally identify root position triads as major or minor (notes sounded together) played twice by the examiner.

    To echo clap a four bar rhythmic pattern clapped once by the examiner. A second attempt will be allowed if necessary.

    Example:

    noteheads noteheadsnoteheadsnoteheads noteheads noteheadsnoteheads noteheadsflags noteheads dotsnoteheads noteheads noteheads noteheadsnoteheads86 noteheadsflagsnoteheads noteheads noteheadsnoteheads

    LEVEL THREE

    Grade Six

    To clap or tap at sight, a written eight bar rhythm, in simple or compound time. In addition to the rhythmic figures in previous grades,

    syncopation may be added.

    Examples:

    noteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheads noteheadsnoteheads noteheadsnoteheads restsnoteheads noteheads noteheads noteheadsnoteheads44 dots noteheadsflags noteheads restsnoteheads noteheads noteheads noteheadsnoteheads

    noteheads noteheads noteheads noteheadsrests noteheads noteheads restsnoteheadsnoteheads noteheads noteheads dotsnoteheads noteheadsnoteheads noteheads noteheadsdots5 noteheads noteheadsflags noteheadsnoteheads noteheads noteheadsnoteheadsnoteheads noteheads noteheadsflags noteheads noteheads noteheadsnoteheadsflags noteheads restsnoteheads noteheads noteheads noteheadsnoteheads noteheads noteheadsflags noteheadsnoteheads86 noteheads noteheads noteheadsnoteheads noteheads noteheadsnoteheadsnoteheads

    noteheadsnoteheads restsnoteheads noteheads noteheads noteheads noteheadsdots noteheads noteheads dotsnoteheads noteheads noteheads noteheads5 noteheads noteheads noteheads noteheadsnoteheads noteheads To name the tonic key.

    To play a given melody in the keys or D or A major.

    Examples:

    noteheads3

    noteheads noteheadsnoteheadsnoteheads noteheads noteheadsnoteheads rests3

    3 noteheads noteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheads42accidentalsaccidentalsaccidentalsaccidentalsaccidentalsclefs rests noteheadsnoteheadsnoteheads noteheads noteheads noteheads noteheadsnoteheads noteheads

    noteheads noteheadsnoteheads noteheadsnoteheads restsnoteheads noteheadsnoteheadsnoteheads noteheads noteheadsnoteheads noteheads44noteheads noteheadsaccidentalsaccidentalsaccidentalsaccidentalsclefs noteheadsnoteheads

    To name the tonic key of the melody.

    To name the final cadence as perfect or plagal and to name the letter names for both triads.

    To transpose the melody up one tone or down one semitone.

    To aurally identify by quality and number, all major and perfect intervals up to and including a perfect octave, played twice by the

    examiner. Entrants may sing or hum the notes before answering.

    To aurally identify root position triads as major, minor, or augmented (notes sounded together) played twice by the examiner.

  • 6LEVEL FOUR

    Grade Seven

    To clap or tap at sight, a written rhythm in simple or compound time. In addition to the rhythmic figures in previous grades, syncopation

    may be added.

    Examples:

    noteheads noteheadsnoteheads noteheads noteheadsnoteheads noteheads noteheads noteheads noteheadsnoteheads33 noteheads noteheads noteheads noteheadsnoteheads noteheads dots noteheadsrests43 rests rests noteheads noteheads noteheadsnoteheads noteheadsnoteheads noteheadsnoteheads noteheads noteheadsnoteheadsnoteheads noteheads noteheads noteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheads noteheadsrests noteheads noteheadsnoteheads noteheads noteheadsnoteheadsrests noteheads noteheads5 noteheads noteheadsnoteheads noteheads noteheads noteheads

    noteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheadsnoteheadsnoteheads89 dots noteheads noteheads noteheadsnoteheads noteheads noteheadsnoteheadsflagsdots

    noteheadsnoteheads noteheadsnoteheadsnoteheadsnoteheads noteheadsnoteheads noteheadsnoteheadsrests dots noteheads4 noteheads dots noteheads noteheadsnoteheadsnoteheads noteheads noteheadsnoteheads noteheads noteheads rests dotsnoteheads noteheadsflags noteheads dotsnoteheads noteheads noteheads noteheads6 noteheads noteheads flagsnoteheads noteheads noteheadsnoteheads noteheads

    To name the tonic key.

    To play given melody in the keys of Db major or Bb major/minor.

    Examples:*noteheads noteheads noteheads*noteheads noteheadsnoteheads noteheadsnoteheads noteheads noteheadsnoteheads noteheads noteheads noteheadsnoteheadsclefs accidentals

    accidentalsaccidentalsaccidentalsaccidentals 44 dots noteheads noteheads noteheads noteheadsnoteheads dots

    noteheads noteheads*

    noteheadsnoteheadsflagsnoteheads rests

    *

    noteheads noteheadsnoteheadsaccidentalsaccidentalsaccidentalsaccidentalsaccidentalsclefs5 dotsnoteheadsnoteheadsnoteheads

    noteheads noteheadsflagsnoteheads noteheadsflags restsnoteheads noteheads

    * noteheads*noteheads noteheads noteheadsrestsclefs accidentalsaccidentals 44 rests noteheads noteheads* noteheads* dotsnoteheads

    Name the tonic key.

    Identify the first cadence as imperfect or interrupted and the second cadence as perfect or plagal (*).

    Give the letter names of all triads forming cadences.

    Transpose the melody up a tone or down a semitone

    To aurally identify by quality and number all major and perfect intervals, and minor thirds, up to and including a perfect octave, played

    twice by the examiner. Entrants may sing or hum the notes before answering.

    To aurally identify root position triads as major, minor, augmented or diminished (notes sounded together) played twice by the examiner.

    Grade Eight

    To clap or tap at sight, a written eight bar rhythm, in any time signature.

    Examples:

    noteheads noteheads noteheads noteheadsnoteheads noteheads noteheads dots rests dotsdots2 noteheads noteheads dots restsnoteheads noteheadsnoteheads noteheads noteheadsnoteheads89 dotsflagsnoteheads noteheadsdotsdots noteheads noteheads noteheads dots

    noteheads noteheads noteheadsnoteheads noteheads noteheads rests dots2 noteheadsnoteheads noteheads dotsnoteheads noteheads noteheads noteheadsflags5 noteheads dots noteheads noteheadsnoteheads dotsnoteheads flagsdots noteheadsnoteheadsnoteheads noteheads noteheadsnoteheads dots noteheads noteheads noteheadsnoteheadsnoteheads noteheads dots restsnoteheads noteheadsnoteheads restsnoteheads45 noteheads noteheads noteheads noteheads noteheads noteheads noteheads

    flags noteheadsnoteheadsnoteheads noteheads noteheadsnoteheadsnoteheads dots noteheadsflags noteheads restsnoteheads noteheads noteheads dotsnoteheadsdots noteheadsnoteheads noteheadsnoteheadsflags noteheads noteheads5 noteheadsnoteheads noteheadsnoteheads

    Entrants will be given half a minute to sight an orchestral excerpt provided by the examiner and then to play it from the score

    Entrants will be given an additional minute and a half to memorize the excerpt before replaying it.

    To aurally identify by quality and number all major and perfect intervals, minor thirds and sixths, up to and including a perfect octave,

    played twice by the examiner. Entrants may sing or hum the notes before answering.

    To aurally identify root position triads as major, minor, augmented or diminished (notes sounded together) played twice by the examiner.

  • 7MusicalKnowledge

    NZMEBPERFORMANCECLARINETSYLLABUSed3.11

    Musical KnowledgeIn practical examinations examiners will ask entrants questions on the following aspects of list pieces

    Level One - Preliminary to Grade 3 The notes, rests, signs, terms and titles of pieces.

    Keys or tonalities in which the pieces are written.

    Level Two - Grades 4 and 5 The notes, rests, signs, terms and titles of pieces.

    Keys or tonalities in which the pieces are written.

    Modulations which occur in the pieces at main cadence points.

    Broad formal structure of pieces.

    Name the period and give its time frame.

    Give the nationality of composers.

    Level Three - Grade 6 The notes, rests, signs, terms and titles of pieces.

    Keys or tonalities in which the pieces are written.

    Modulations which occur in the pieces.

    Broad formal structure and analysis of the pieces.

    Some knowledge of the period and stylistic characteristics.

    Some knowledge of the composers.

    Level Four - Grades 7 and 8 The notes, rests, signs, terms and titles of pieces.

    Keys and tonalities in which the pieces are written.

    Modulations which occur in the pieces.

    Broad knowledge of the structure and analysis of the pieces.

    Broad knowledge of the period and stylistic characteristics of the pieces.

    Some knowledge of the composers of the pieces presented for examination including range of repertoire and major contributions to the

    development of musical style.

    Level Five - Associate Diploma The notes, rests, signs, terms and titles of pieces.

    Keys and tonalities in which the pieces are written.

    Modulations which occur in the pieces.

    Detailed knowledge of the structure and analysis of the pieces.

    Detailed knowledge of the period and stylistic characteristics of the pieces.

    Knowledge of other works by the composers of the pieces presented for examination with emphasis on the repertoire for the entrants

    instrument/voice.

    Knowledge of the development of the entrants instrument through the various musical periods, and how the development of the instrument

    affected the composers writing.

    Level Six - Licentiate Diploma The notes, rests, signs, terms and titles of pieces.

    Keys and tonalities in which the pieces are written.

    Modulations which occur in the pieces.

    Detailed knowledge of the structure and analysis of the pieces.

    Detailed knowledge of the period and stylistic characteristics of the pieces.

    Knowledge of other works by the composers of the pieces presented for examination with special reference to their major works.

    Knowledge of the development of the entrants instrument through the various musical periods, and how the development of the instrument

    affected the composers writing.

  • 8CRITERIA and DESCRIPTORS

    Level 1 - Preliminary to Grade 3Processes are limited in range, repetitive and familiar, employing recall and a narrow range of knowledge and cognitive skills. These are applied

    in activities which are closely supervised by the teacher.

    Examiners will use these criteria in assessing all level 1 entrants.

    Comfortable and well balanced posture

    Appropriate hand and arm position with fingers held close to the keys.

    Beginning to acquire:

    Independent articulation of the fingers

    Systematic fingering in scales

    Accurate and prompt performance from memory of all technical work

    Performance of the technical work at the minimum tempo or faster

    Awareness of underlying pulse in the pieces

    Awareness of the dynamic range of the instrument

    Accurate and fluent performance of pieces

    Awareness and control of dynamics, tempo and articulations

    Awareness of intonation and breath support

    Awareness of clear and even tone

    Preliminary1. ScalesF, G Major scale, Major Arpeggio (one octave) all tongued

    2. PiecesAny 4 pieces from a recognized clarinet tutor book comprising a minimum of 5 different notes and a minimum of 12 bars length. Piano

    accompaniement is optional.

    Recommended Tutor books: Essential Elements Clarinet 2000 Book 1, Abracadabra Clarinet Book 1.

    3. Musicianship4. Musical Knowledge

    Grade One1. Scales - choose either set (a) or set (b)

    (a) G, F, B Major, Major Arpeggios

    G, F Harmonic Minor, Minor Arpeggios

    G Chromatic

    (b) G, F, B Major, Major Arpeggios

    A, E Harmonic Minor, Minor Arpeggios

    G Chromatic

    Sustained note Any one note of the G major scale held for 6 seconds mf

    All scales and arpeggios one octave ascending and descending.

    All scales and arpeggios to be: all tongued/all slurred

    Range - Inclusive as shown:

    noteheadsaccidentalsnoteheads

    clefs

    Tempo - ascending and descending minimum metronome speed 100, one note per beat

  • 9GradeOne

    NZMEBPERFORMANCECLARINETSYLLABUSed3.11

    2. Pieces Three pieces to be chosen, one from each list, plus one study list piece

    List A

    Allen No 3, 4, or 6 Progressive Studies for Clarinet Book 1 (ABRSM)

    Clinch, P Study in Rhythm Clarinet Series 1 Grade 1 Allans Publishing

    Demnitz No 5. Study in F 80 Graded Studies for Clarinet, bk 1, ed. Davies and Harris

    Gumbley Straight Up Cool School: Solos for Clarinet (Brass Wind)

    Harris Study no.6 80 Graded Studies for Clarinet, bk 1, ed. Davies and Harris

    Klos, H Study in C Clarinet Series 1 Grade 1 Allans Publishing

    Lazarus, H Tyrolienne Clarinet Series 2 Grade 1 Allans Publishing

    Percival & Dorich Ex 5 P 21 or Ex 8 P 29 Teacher on Tap Book 1 (Percival & Dorich)

    Rae No 3 Sad Dance or No 4 Jumpin 40 Modern Studies for Clarinet (Universal)

    Schneider, W Spielstck (Fun piece) Clarinet Series 2 Grade 1 Allans Publishing

    List B

    Alfven, H Swedish Rhapsody Clarinet Series 2 Grade 1 Allans Publishing

    Anon Minuet for Mock trumpet Music Through Time, Clarinet bk 1, arr Harris (OUP)

    Anon No 3 Rockingham The Young Clarinettist arr Lawton Vol 1

    Anon Rigadoon for the Mock Trumpet First Repertoire for Clarinet, Arr Harris and Johnson (Faber)

    Arnold Cornish Dance Clarinet All Sorts (Grades 1-3) Trinity Faber

    Gossec Tambourin Ten Easy Tunes, arr Griffiths (Fentone) OUP

    Harrison, A In the Gloaming Clarinet Series 1 Grade 1 Allans Publishing

    Haydn, F J Romance from Symphony No 85 Clarinet Series 1 Grade 1 Allans Publishing

    Lefevre March Music Through Time, Clarinet bk 1, arr Harris (OUP)

    Mozart Contredanse en Rondeau First Repertoire for Clarinet, Arr Harris and Johnson (Faber)

    Mozart, W A Divertimento Clarinet Series 2 Grade 1, arr Bonetti Allans Publishing

    Percival & Dorich Pavane Teacher on Tap Book 1 (Percival & Dorich)

    Purcell No 2 Fairest Isle The Young Clarinettist arr Lawton Vol 1

    Purcell No 3 Rigaudon First Pieces for B Flat Clarinet Book 1, Arr Benoy and Bryce

    (Oxford)

    Purcell Rigaudon Ten Easy Tunes, arr Griffiths (Fentone) OUP

    R Edwards (attrib) When May is in His Prime Time Pieces For Clarinet, vol 1, arr Denley (ABRSM)

    Reade No 5 Romance First Book of Clarinet Solos, Arr Davies & Reade (Faber)

    Scheidt No 6 O Little One Sweet First Pieces for B Flat Clarinet Book 1, Arr Benoy and Bryce

    (Oxford)

    Schubert The Trout 66 Great Tunes compiled by M Walton (AWMP)

    Trad No 6 Hatikvah First Book of Clarinet Solos, Arr Davies & Reade (Faber)

    Weber Lullaby (Op 13, No 2) The Really Easy Clarinet Book, arr Davies & Harris (Faber)

    List C

    Anon English Sea Shanty, The Drunken Sailor The Really Easy Clarinet Book, arr Davies & Harris (Faber)

    Anon No 19 Come, lets be Merry First Pieces for B Flat Clarinet Book 1, Arr Benoy and Bryce

    (Oxford)

    Basden, D Texas Lullaby Clarinet Series 2 Grade 1 Allans Publishing

    Brahms The Sandman Ten Easy Tunes or 66 Great Tunes compiled by M Walton

    (AWMP) (Oxford)

    Clememti A Groovy Kind of Sonatina First Repertoire for Clarinet, Arr Harris and Johnson (Faber)

    Folk No 8 Shepherds Hey First Book of Clarinet Solos, Arr Davies & Reade (Faber)

    Harris The Penguins Take A Stroll First Repertoire for Clarinet, Arr Harris and Johnson (Faber)

    Harvey Merrily We Rock Along Jazzy Clarinet 1 (Universal)

    Harvey One Hand Funk Jazzy Clarinet 1 (Universal)

    James No 20 Land of Our Fathers First Pieces for B Flat Clarinet Book 1, Arr Benoy and Bryce

    (Oxford)

    Mahler Funeral March Music Through Time, Clarinet bk 1, arr Harris (OUP)

    Norton No 1 MicroJazz for Clarinet (Boosey & Hawkes)

    Paull, J Tangaroo Clarinet Series 1 Grade 1 Allans Publishing

    Percival & Dorich Dolores The Dancing Donkey Teacher on Tap Book 1 (Percival & Dorich)

    Playford Grannys Delight Clarinet All Sorts (Grades 1-3) Trinity Faber

    Rae Time To Go Clarinet All Sorts (Grades 1-3) Trinity Faber

    Schumann No 9 The Merry Peasant First Book of Clarinet Solos, Arr Davies & Reade (Faber)

    Schumann, R Melody from Album for the Young Clarinet Series 1 Grade 1 Allans Publishing

    Sullivan Poor Wandring One! Music Through Time, Clarinet bk 1, arr Harris (OUP)

    Trad No 1, 4 or 5 The Young Clarinettist arr Lawton Book 1 (Oxford)

    Trad No 7 Finnish Folk Song First Book of Clarinet Solos, Arr Davies & Reade (Faber)

    3. Musicianship

    4. Musical Knowledge

  • 10

    Grade Two

    1. Scales - choose either set (a) or set (b)

    (a) C, G, F, B Major, Major Arpeggios

    C, G, F, B Harmonic Minor, Minor Arpeggios

    E Chromatic (lower octave only)

    (b) C, G, F, B Major, Major Arpeggios

    A, E, D, G Harmonic Minor, Minor Arpeggios

    E Chromatic (lower octave only)

    Sustained note Any one note of the G major scale held for 8 - 10 seconds. p - f - p

    Sustained scale Major scales, 1 octave (first octave) ascending. Each note equals two beats (tongued only). Breathe

    every 8 beats or 4 notes.

    All scales and arpeggios two octaves, ascending and descending except chromatic scales.

    All scales and arpeggios to be: all tongued/all slurred

    Range - Inclusive as shown:noteheadsnoteheads

    clefs

    Tempo - ascending and descending minimum metronome speed 60, two notes per beat

    Sustained scale 60, one note per two beats

    2. Pieces Three list pieces to be chosen, one from each list, plus two study list pieces.

    List A

    Allen No 20, 21 or 23 Progressive Studies for Clarinet Book 1 (ABRSM)

    Demnitz No 16 80 Graded Studies for Clarinet, bk 1, ed. Davies and Harris

    Faber

    Demnitz Study no.13 or no.21 80 Graded Studies for Clarinet, bk 1, ed. Davies and Harris

    Faber

    Gumbley In The Small Hours Cool School: Solos for Clarinet (Brass Wind)

    Klos, H Study in F Clarinet Series 1 Grade 2 Allans Publishing

    Lazarus, H Varsovianna Clarinet Series 2 Grade 2 Allans Publishing

    Percival & Dorich Ex 4 P 37, Ex 4 P 58, Ex 7 P 59 or Ex 8 P

    48

    Teacher on Tap Book 1 (Percival & Dorich)

    Rae No 12 or No 13 40 Modern Studies for Clarinet (Universal)

    Thurston, F Study in C Clarinet Series 1 Grade 2 Allans Publishing

    Trad Lost Clarinet Clarinet Series 2 Grade 2 Allans Publishing

    ed. Weston No 1 or No 3 50 Classical Studies for Clarinet, ed Weston (Fentone)

    List B

    Arne, T When Daisies Pied Clarinet Series 2 Grade 2, arr Bonetti Allans Publishing

    Bach Musette Clarinet Fancies (Boston Music Co)

    Bach Sheep May Safely Graze The Young Clarinettist, Arr Davies & Reade (Faber)

    Beethoven Ecossaise Clarinet Fancies (Boston Music Co)

    Diabelli Landler The Really Easy Clarinet Book, arr Davies & Harris (Faber)

    Dvork Humoresque Jazzical Clarinet, arr Widger & Goddard (Spartan SP572)

    Dvork Largo 66 Great Tunes compiled by M Walton (AWMP) (Oxford)

    Dvork, A Songs My Mother Taught Me Clarinet Series 1 Grade 2 Allans Publishing

    Handel The Harmonius Blacksmith Music Through Time, Clarinet bk 1, arr Harris (OUP)

    Handel, G Largo from the opera Xerxes Clarinet Series 1 Grade 2 Allans Publishing

    Haydn No 15 German Dance First Book of Clarinet Solos, Arr Davies & Reade (Faber)

    Mozart La, ci darem la mano Bravo! Clarinet, arr Barrat (Boosey & Hawkes)

    Mozart No 7 Going Solo, Arr P Harris & C Gunning (Faber)

    Percival & Dorich Adagio Teacher on Tap Book 1 (Percival & Dorich)

    Rameau Le Tambourin 66 Great Tunes compiled by M Walton (AWMP) (Oxford)

    Reinecke No 13 Lnder First Book of Clarinet Solos, Arr Davies & Reade (Faber)

    Tchaikovsky No 17 Reverie First Book of Clarinet Solos, Arr Davies & Reade (Faber)

    Tchaikovsky Old French Song 66 Great Tunes compiled by M Walton (AWMP) (Oxford)

    Telemann Vivace First Repertoire for Clarinet, Arr Harris and Johnson

    Telemann, G P Gigue Clarinet Series 2 Grade 2 Allans Publishing

    Trad. Scottish The Night Visiting Song Bravo! Clarinet, arr Barrat (Boosey & Hawkes)

    List C

  • 11GradeThree

    NZMEBPERFORMANCECLARINETSYLLABUSed3.11

    Grade Two: continued from previous page

    Bilk, A Stranger on the Shore Clarinet Series 2 Grade 2 Allans Publishing

    Bruch Swedish Dance First Repertoire for Clarinet, Arr Harris and Johnson

    Foster No 12 Serenade First Book of Clarinet Solos, Arr Davies & Reade (Faber)

    Gabriel-Marie, J La Cinquantaine Clarinet Series 1 Grade 2 Allans Publishing

    Greig Arietta Clarinet Fancies (Boston Music Co)

    Gunning No 2 Parisian Waltz Going Solo, Arr P Harris & C Gunning (Faber)

    Harvey Star Quality Jazzy Clarinet 1 (Universal)

    Johnson Georgie First Repertoire for Clarinet, Arr Harris and Johnson

    Joplin I Am Thinking of My Pickaninny Days Music Through Time, Clarinet bk 1, arr Harris (OUP)

    Mancini, H The Pink Panther Clarinet Series 2 Grade 2 Allans Publishing

    Norton No 2, No 3 or No 4 MicroJazz for Clarinet (Boosey & Hawkes)

    Percival & Dorich Canzonetta Teacher on Tap Book 1 (Percival & Dorich)

    Ponchielli Dance of the Hours 66 Great Tunes compiled by M Walton (AWMP) (Oxford)

    Rose March or Waltz A Miscellany for Clarinet Book 1 (ABRSM)

    Rossini William Tell Rock Jazzical Clarinet, arr Widger & Goddard (Spartan SP572)

    Schubert Waltz Clarinet Fancies (Boston Music Co)

    Spiewak, T Chanson Triste Clarinet Series 1 Grade 2 Allans Publishing

    Tchaikovsky No 8 Theme from Rococo Variations Going Solo, Arr P Harris & C Gunning (Faber)

    Trad David of the White Rock Concert Repertoire for Clarinet, Arr Harris and Johnson (Faber)

    Wedgwood Big-Brother Blues Clarinet All Sorts (Grades 1-3) Trinity Faber

    3. Musicianship

    4. Musical Knowledge

    Grade Three

    1. Scales - choose either set (a) or set (b)

    (a) G, D, B, E Major, Major Arpeggios

    G, D, B, E Harmonic Minor, Melodic Minor, Minor Arpeggios

    G, D, B Chromatic (lower octave only)

    (b) G, D, B, E Major, Major Arpeggios

    E, B, G, C Harmonic Minor, Melodic Minor, Minor Arpeggios

    G, D, B Chromatic (lower octave only)

    Sustained note Any one note of the G major scale held for 8 - 10 seconds. p - f - p

    Sustained scale Major scales, one octave (lower octave) ascending only. Each note equals two beats (tongued only).

    Breathe every 8 beats or 4 notes.

    All scales and arpeggios two octaves, ascending and descending.

    All scales and arpeggios to be: all tongued/all slurred

    Range - Inclusive as shown:noteheads

    noteheadsclefs

    Tempo - ascending and descending minimum metronome speed 72, two notes per beat

    Sustained scale 60, one note per two beats. Breathe every 8 beats or 4 notes.

    2. Pieces Three pieces to be chosen, one from each list, plus two study list pieces.

    List A

    Allen No 23, 26, 27 or 28 Progressive Studies for Clarinet Book 1 (ABRSM)

    Demnitz Study no.22 or no. 25 80 Graded Studies for Clarinet, bk 1, ed. Davies and Harris

    Faber

    Demnitz, F Adagio in A minor Clarinet Series 2 Grade 3 Allans Publishing

    Goodman, B Rhythmical Study Clarinet Series 1 Grade 3 Allans Publishing

    Gumbley Major Road Ahead Cool School: Solos for Clarinet (Brass Wind)

    Michael Rose Shanty A Miscellany for Clarinet Book 2 (ABRSM)

    Percival & Dorich Ex 10 Level 7 or Ex 8 Level 8 Teacher on Tap Book 2 (Percival & Dorich)

  • 12

    Grade Three: continued from previous page

    Rae No 14, 15 or 16 40 Modern Studies for Clarinet (Universal)

    Thurston, F Study in E mnor Clarinet Series 1 Grade 3 Allans Publishing

    Walton, M Study in C minor Clarinet Series 2 Grade 3 Allans Publishing

    ed. Weston No 10, 11, 12, or 16, any one 50 Classical Studies for Clarinet, (Fentone)

    ed. Weston No 11 17 Classical Solos, Fentone

    List B

    Bach No 23 Minuet First Book of Clarinet Solos, Arr Davies & Reade (Faber)

    Bach, J S Siciliano BMV 1031 Clarinet Series 1 Grade 3 Allans Publishing

    Baermann, C Schlummerlied Op 84 No 2 Clarinet Series 1 Grade 3 Allans Publishing

    Beethoven Romance Clarinet Fancies (Boston Music Co)

    Granados Old Mans Tale Music Through Time, Clarinet bk 2, arr Harris (OUP)

    Haydn Serenade 66 Great Tunes compiled by M Walton (AWMP) (Oxford)

    Hook Divertimento Clarinet All Sorts (Grades 1-3) Trinity Faber

    Lefevre No 4 Allegro Clarinet Solos Vol 1 ed King (Chester)

    Mozart No 8 Minuet Clarinet Solos Vol 1 ed King (Chester)

    Mozart Papagenos Aria 66 Great Tunes compiled by M Walton (AWMP) (Oxford)

    Mozart, W A Trio Kegelstatt Clarinet Series 2 Grade 3 Allans Publishing

    Paradis No 13 Sicilienne Going Solo, Arr P Harris & C Gunning (Faber)

    Percival & Dorich Romance Teacher on Tap Book 2 (Percival & Dorich)

    Purcell No 19 Rondeau First Book of Clarinet Solos, Arr Davies & Reade (Faber)

    Schumann Op 68, No 21 Time Pieces for Clarinet vol 2, arr Denley (ABRSM)

    Weber, C M von Theme Clarinet Series 2 Grade 3 Allans Publishing

    List C

    Arnold Policemans Dance Concert Repertoire for Clarinet, Arr Harris and Johnson (Faber)

    Bizet No 5 Entracte from Carmen Clarinet Solos Vol 1 ed King (Chester)

    Desmond, P Take Five Clarinet Series 2 Grade 3 Allans Publishing

    Ferguson Prelude or Pastoral Four Short Pieces (Boosey & Hawkes)

    Finzi No 3 Carol Five Bagatelle (Boosey & Hawkes)

    Gunning No 9 Estuary or No 11 A Hungarian Tale Going Solo, Arr P Harris & C Gunning (Faber)

    Kavalebsky Dance (from Op 27) Time Pieces for Clarinet vol 2, arr Denley (ABRSM)

    Lovelock, W Waltz Clarinet Series 1 Grade 3 Allans Publishing

    Norton No 9, 10, 11 or 12 MicroJazz for Clarinet (Boosey & Hawkes)

    Percival & Dorich Hungarian Dance Teacher on Tap Book 2 (Percival & Dorich)

    Percival, R Hungarian Dance Clarinet Series 2 Grade 3 Allans Publishing

    Rimsky-Korsakoff Theme from Scherezade Clarinet Fancies (Boston Music Co)

    Rose Intermezzo Barcarolle A Miscellany for Clarinet Book 1

    Rose Jig A Miscellany for Clarinet Book 1

    Schumann The Wild Horseman 66 Great Tunes compiled by M Walton (AWMP) (Oxford)

    Spiewak, T Adagio, The Picture of Madonna Clarinet Series 1 Grade 3 Allans Publishing

    3. Musicianship

    4. Musical Knowledge

  • 13GradeFour

    NZMEBPERFORMANCECLARINETSYLLABUSed3.11

    CRITERIA and DESCRIPTORS

    Level 2 - Grades 4 and 5Processes are moderate in range, established and familiar, employing basic operational skills using readily available information. These are

    applied in directed activities which are supervised by the teacher. Learners have some responsibility for quantity and quality.

    Examiners will use these criteria in assessing all level 2 entrants.

    Comfortable and well balanced posture and comfortable relationship with the instrument.

    Appropriate and comfortable hand and arm position with fingers close to the keys.

    Technical facility, sufficient to allow:

    Developing independence of the fingers

    Rhythmic stability

    Systematic fingering in scales and arpeggios

    Developing controlled co-ordination of the hands and tongue

    Controlled, clear, even legato and tone

    Accurate and prompt performance from memory of all technical work

    at the minimum tempo or faster

    A developing sense of pulse to allow accurate performance of rhythmic figures

    Accurate and fluent performance of pieces with appropriate breath control and tone

    Awareness and control of dynamics and tempo

    The ability to articulate legato and staccato textures as required

    Awareness of phrasing

    Generally secure intonation and breath support.

    A developing awareness of fine pitch discrimination.

    A developing ability of vibrato.

    To demonstrate the ability to tune the instrument.

    Grade Four

    1. Scales - choose either set (a) or set (b)

    (a) D, A, E, A Major, Major Arpeggios, Chromatic

    D, A, E, A Harmonic Minor, Melodic Minor, Minor Arpeggios

    A, E Major Scales in thirds (tongued only)

    (b) D, A, E, A Major, Major Arpeggios, Chromatic

    B, F, C, F Harmonic Minor, Melodic Minor, Minor Arpeggios

    A, E Major Scales in thirds (tongued only)

    Sustained note Any one note of the G major scale held for 10 seconds. p < f > p

    Sustained scale Major scales, one octave (lower octave) ascending. Each note equals two beats (tongued only).

    Breathe every 8 beats or 4 notes.

    All scales and arpeggios two octaves, ascending and descending.

    All scales and arpeggios to be played: all tongued/all slurred/two slurred, two tongued

    Major scales in thirds: tongued only

    Range - Inclusive as shown:noteheadsaccidentals

    noteheadsclefs

    Tempo - ascending and descending minimum metronome speed 92, two notes per beat

    Sustained scale 60, one note per two beats. Breathe every 8 beats or 4 notes

    2. Pieces Three list pieces to be chosen, one from each list, plus two study list pieces.

    List A

    Allen No 33, 34, or 35 Progressive Studies for Clarinet Book 1, Associated Board

    Baermann, C Study in C Clarinet Series 1 Grade 4 Allans Publishing

    Baermann, C Study no.39 80 Graded Studies for Clarinet, bk 1, ed. Davies and Harris

    Faber

    Demnitz, F Tempo commodo Clarinet Series 2 Grade Book Grade 4 Allans Publishing

    Gumbley ZigZag Rag Cool School: Solos for Clarinet (Brass Wind)

    Michael Rose Invention A Miscellany for Clarinet Book 2 (ABRSM)

  • 14

    Grade Four: continued from previous page

    Mller, I Siciliano Clarinet Series 2 Grade 4 Allans Publishing

    Percival & Dorich Ex 10 Level 9, Ex 14 Level 9 or Ex 4

    Level 10

    Teacher on Tap Book 2 (Percival & Dorich)

    Rae No 21 or 24 40 Modern Studies for Clarinet (Universal)

    Uhl No 1 from 48 Etudes Volume 1, Schott

    Willman, T Theme with Variations Clarinet Series 1 Grade 4 Allans Publishing

    ed. Weston No 17, 21 or 22, any one 50 Classical Studies for Clarinet, (Fentone)

    ed. Weston No 3, 7 or 15 17 Classical Solos, Fentone

    List B

    Baermann Adagio No 14 Solos for the Clarinet Player (Schirmer)

    Beethoven Allegro Op 71 Clarinet Solos Vol 2 ed King (Chester)

    Crusell, B Andante Moderato No 6 Clarinet Solos Vol 2 ed King (Chester)

    Crusell, B Minuetto No 2 Clarinet Solos Vol 2 ed King (Chester)

    Martin Plasir damour 66 Great Tunes compiled by M Walton (AWMP) (Oxford)

    Mozart, W A Gavotte Clarinet Series 1 Grade 4 Allans Publishing

    Mozart, W A Serenade Clarinet Series 2 Grade 4 Allans Publishing

    Percival & Dorich Scherzo Teacher on Tap Book ?? (Percival & Dorich)

    Purcell Rondo 66 Great Tunes compiled by M Walton (AWMP) (Oxford)

    Schubert, F Menuetto from Sonatina for Violin &

    Piano

    Clarinet Series 1 Grade 4 Allans Publishing

    Spohr Adagio Solos for the Clarinet Player (Schirmer)

    Stanley Gavotte & Minuet Solos for the Clarinet Player (Schirmer)

    Trad Clarinet Polka Clarinet Series 2 Grade 4 Allans Publishing

    Verdi The Force of Destiny Concert Repertoire for Clarinet, Arr Harris and Johnson (Faber)

    List C

    Albinoni Adagio Jazzical Clarinet, arr Widger & Goddard (Spartan SP572)

    Badings Siciliano Time Pieces for Clarinet vol 3, arr Denley (ABRSM)

    Brumby, C Danza Clarinet Series 2 Grade 4 Allans Publishing

    Ferguson Scherzo No 2 Four Short Pieces (Boosey & Hawkes)

    Finzi Forlana Five Bagatelles (Boosey & Hawkes)

    Finzi, G Forlana from Five Bagatelles Clarinet Series 1 Grade 4 Allans Publishing

    Gade Andantino conmoto Fantasy Pieces Op 43 (Hansen)

    Glick Suite Hebraique, 1st mvmt and 2 other

    mvmts

    Grieg Peer Gynt Jazzical Clarinet, arr Widger & Goddard (Spartan SP572)

    Harris Gut Reaction Concert Repertoire for Clarinet, Arr Harris and Johnson (Faber)

    Harvey Backgarden Blues or Wayward Waltz Jazzy Clarinet 2 (Universal)

    Joplin New Rag 66 Great Tunes compiled by M Walton (AWMP) (Oxford)

    Mendelssohn, F Andante No 3 Clarinet Solos Vol 2 ed King (Chester)

    Percival & Dorich Hungarian Dance Teacher on Tap Book ?? (Percival & Dorich)

    Rimsky-Korsakov Andante No 1 Clarinet Solos Vol 2 ed King (Chester)

    Rose Hornpipe A Miscellany for Clarinet Book 2 (ABRSM)

    Spiewak, T The Afternoon Walk Clarinet Series 1 Grade 4 Allans Publishing

    3. Musicianship

    4. Musical Knowledge

  • 15GradeFive

    NZMEBPERFORMANCECLARINETSYLLABUSed3.11

    Grade Five

    1. Scales - choose either set (a) or set (b)

    (a) A, E, E, A Major, Major Arpeggios, Broken Chords, Chromatic

    A, E, E, A Major Scales in thirds

    A, E, E, A Harmonic Minor, Melodic Minor, Minor Arpeggios, Broken Chords

    (b) A, E, E, A Major, Major Arpeggios, Broken Chords, Chromatic

    A, E, E, A Major Scales in thirds

    F, C, C, F Harmonic Minor, Melodic Minor, Minor Arpeggios, Broken Chords

    Sustained note Any one note of the G major scale held for 10 - 12 seconds. p < f > p

    Sustained scale Major scales, one octave (upper octave) ascending only. Each note equals two beats (tongued

    only). Breathe every 8 beats or 4 notes.

    All scales and arpeggios two octaves, ascending and descending.

    All scales, arpeggios and broken chords to be: all tongued/all slurred/ slurred pairs/two slurred, two

    tongued

    Range - Inclusive as shown:noteheads

    noteheadsclefs

    Tempo - ascending and descending minimum metronome speed 66, four notes per beat

    Sustained scale 60, one note per two beats. Breathe every 8 beats or 4 notes

    2. Pieces Three pieces to be chosen, one from each list, plus two study list pieces.

    List A

    Allen Study no. 39 or no. 43 Progressive Studies for Clarinet, bk 2 ABRSM

    Percival & Dorich Ex 4 p31, Ex 3 p45, Ex 3 p58, or Ex 4 p59 Teacher on Tap Book ?? (Percival & Dorich)

    Rae No 22, 25, 27, 28, 30 or 32 40 Modern Studies for Clarinet (Universal)

    Uhl No 2 or No 20 48 Etudes for Clarinett Vol 1, Schott

    Wiedemann Study no.48 80 Graded Studies for Clarinet, bk 1, ed. Davies and Harris

    ed. Weston No 1 or 17 17 Classical Solos Fentone

    ed. Weston No 26, 27, 28, 29 or 31 50 Classical Studies for Clarinet (Fentone)

    List B

    Corelli Gigue Arr Kell (IMC)

    Handel, G F No 1 or No 3 Three Pieces (arr Kell)

    Lefevre 1st mvt from Sonata no 3 in F

    Molter, J Moderato from Concerto No 4 in D No 7 Clarinet Solos Vol 2 ed King (Chester)

    Mozart Adagio No 11 Solos for the Clarinet Player, ed Christmann (Schirmer)

    Mozart Larghetto Solos for the Clarinet Player, ed Christmann (Schirmer)

    Percival & Dorich The Appoggiatura Variations Teacher on Tap Book ?? (Percival & Dorich)

    Rameau, P 2nd Gigue en Rondeau Suite Arr Ettlinger (Boosey & Hawkes)

    Reger Fast zu keck Time Pieces for Clarinet vol3, arr Denley (ABRSM)

    Trad Carnival of Venice 66 Great Tunes compiled by M Walton (AWMP)

    Weber NO 13, 2nd Mvmt from Concerto No 1 Solos for the Clarinet Player, ed Christmann (Schirmer)

    Whitlocke Coranto Music Through Time, Clarinet bk 4, arr Harris (OUP)

    List C

    Arnold Sonatina, 2nd mvmt

    Bailey Wily Bossa or Stokers Siding Jazz Incorporated Vol 1 (Bailey)

    Farr Meditation (SOUNZ)

    Ferguson Nos 3 & 4 Four Short Pieces (Boosey & Hawkes)

    Finzi Romance Five Bagatelles (Boosey & Hawkes)

    Gade, NW Allegro Vivace from Fantasy Pieces Op 43 Hansen

    Mozkowski Two Spanish Dances, either one ed Lethbridge (OUP)

    Nielsen Fantasy in G minor Hansen

    Percival & Dorich Polonaise dAcciaccatura Teacher on Tap Book 3 (Percival & Dorich)

    Schumann Fantasy Piece No 1 Solos for the Clarinet Player

    Tempelton Bach Goes To Town Concert Repertoire for Clarinet, Arr Harris and Johnson (Faber)

    Wagner (Baermann) No 18 Adagio Solos for the Clarinet Player, Schirmer

    3. Musicianship

    4. Musical Knowledge

  • 16

    CRITERIA and DESCRIPTORS

    Level 3 - Grade 6Processes require a range of developing skills within a range of familiar contexts. These are applied using relevant theoretical knowledge,

    interpretative skills, discretion and judgment within a range of known responses to familiar problems. Although activities are directed by the

    teacher, learners have significant responsibility for the quantity and quality of output.

    Examiners will use these criteria in assessing all level 3 entrants.

    Comfortable and well balanced posture demonstrating considerable ease in the relationship with the instrument.

    Appropriate hand and finger shape with fingers held close to the keys and use of alternative fingerings where appropriate.

    Technical facility, to allow:

    Accurate and prompt performance from memory of all technical work at the minimum tempo or faster

    Systematic fingering in technical work

    Independent articulation of the fingers

    Increasing control of co-ordination of the hands and tongue

    A well developed sense of pulse to allow accurate performance of rhythmic figures.

    Increased control of variations in tempo, tone and articulations

    A developing sense of phrasing, style and ornamentation as appropriate to each musical period.

    Increased awareness of intonation and breath support

    Increased awareness of fine pitch discrimination.

    Increased ability of vibrato.

    Able to tune the instrument with competence.

    Grade Six

    1. Scales - choose either set (a) or set (b)

    (a) E, B, A, D Major, Major Arpeggios, Broken Chords, Chromatic

    E, B, A, D Major Scales in thirds, tongued only

    E, B, A, D Dominant seventh Arpeggios, tongued only

    E, B, A, D Harmonic Minor, Melodic Minor, Minor Arpeggios, Broken Chords

    (b) E, B, A, D Major, Major Arpeggios, Broken Chords, Chromatic

    E, B, A, D Major Scales in thirds, tongued only

    E, B, A, D Dominant seventh Arpeggios, tongued only

    C, G, F, B Harmonic Minor, Melodic Minor, Minor Arpeggios, Broken Chords

    Sustained note Any one note of the G major scale held for 12 - 14 seconds. p < f > p

    Sustained scale Major scales, one octave (upper octave) ascending. Each note equals two beats (tongued only).

    Breathe every 8 beats or 4 notes

    All scales, arpeggios and broken chords beginning on E to be 3 octaves ascending and descending.

    All other scales and arpeggios two octaves, ascending and descending.

    All scales, arpeggios and broken chords to be: all tongued/ all slurred/ slurred pairs/ two slurred, two

    tongued

    Range - Inclusive as shown:noteheads

    noteheadsclefs

    Tempo - ascending and descending minimum metronome speed 72, four notes per beat

    Sustained scale 60, one note per two beats. Breathe every 8 beats on 4 notes

    2. Pieces Five list pieces to be chosen, one each from lists A, B and C and two from list D; plus two study list pieces.

    List A

    Allen Study no. 52 Progressive Studies for Clarinet, bk 2 ABRSM

    Baermann, C Study no.53 80 Graded Studies for Clarinet, bk 2, ed. Davies and Harris

    Faber

    Cavallini No 10 30 Capricci

    Gumbley Mind The Gap Solo Flight for Clarinet (Brass Wind)

  • 17GradeSix

    NZMEBPERFORMANCECLARINETSYLLABUSed3.11

    Grade Six: continued from previous page

    Percival & Dorich Ex 4 P 31, Ex 3 P 45, Ex 3 P 58, or Ex 4 P

    59

    Teacher on Tap Book ?? (Percival & Dorich)

    Rae No 36 or No 40 40 Modern Studies for Clarinet (Universal)

    Uhl No 4, 5, 6, or 18 any one 48 Etudes for Clarinette, Vol 1, Schott

    ed. Weston No 32, 34, 35, 37, 40 or 14, any one 50 Classical Studies for Clarinet, ed Weston (Fentone)

    ed. Weston No 4 or No 13 17 Classical Solos

    List B

    Brahms 2nd mvt, Clarinet Sonata no 2 in Eb

    Brahms 3rd mvt, Clarinet Sonata No 1 in Bb

    Percival & Dorich Courante Teacher on Tap

    Percival & Dorich Little Fugue Teacher on Tap

    Piern, G Canzonetta Op 19 (Leduc)

    Rameau, JP Gavotte & Doubles Suite for Clarinet & Piano, Arr Ettlinger (B&H)

    Reinecke Allegretto Op 22 No 1 Fantasiestcke (A edition) Emerson

    Saint-Sans 2nd mvt from Sonata Op 167

    Stamitz 1st mvmt of any Concerto

    Tartini-Jacob 1st & 2nd mvt from Concertino for

    Clarinet

    Boosey & Hawkeys

    List C

    Finzi Prelude No 1 Five Bagatelles (B&H)

    Gould Derivations No 3

    Hindemith 1st mvt from Sonata (1939) Schott

    Hurlstone Croon Song No 2 Four Characteristic Pieces (Emerson)

    Lawton Fugue on a Nursery Theme

    Milhaud Caprice

    Percival & Dorich The Oily Rag or Turn Etude Teacher on Tap

    Ravel, M Pieces en Forme de Habanera for B Flat Clarinette & Piano (Leduc)

    Reger Vivace ma non troppo, 2nd mvmt Op 49

    No 1

    Concert Repertoire for Clarinet, Arr Harris and Johnson (Faber)

    Stanford, CV 3 Intermezzi Op 13 (any one) Chester

    Sutermeister 2nd mvmt, Concerto

    Vallassa Dances from Szeged Music Through Time, Clarinet bk 4, arr Harris (OUP)

    List D

    Bartok Concerto for Orchestra 1st mvt Clarinet: Orchestral & Chamber Music Excerpts (Allans

    Publishing)

    Beethoven Theme & Variation No 3 for Trio for

    Piano, Clarinet & Cello Op 11

    Clarinet: Orchestral & Chamber Music Excerpts (Allans)

    Brahms Symphony No 3 2nd mvt Clarinet: Orchestral & Chamber Music Excerpts (Allans)

    Tchaikovsky Symphony No 5 1st mvt Clarinet: Orchestral & Chamber Music Excerpts (Allans)

    3. Musicianship

    4. Musical Knowledge

  • 18

    CRITERIA and DESCRIPTORS

    Level 4 - Grades 7 and 8Processes require a wide range of technical skills involving a considerable choice of procedures in a variety of familiar and un-familiar contexts.

    The learning demands a broad knowledge base incorporating some theoretical concepts and analytical interpretation of information. The

    learning demand requires informed judgment within a range of innovative responses to concrete but often unfamiliar problems. Learners have

    complete responsibility for the quantity and quality of output under broad guidance and evaluation from their teacher.

    Examiners will use these criteria in assessing all level 4 entrants.

    In addition to those criteria at level 1, 2, & 3 the entrants will demonstrate:

    Accurate and fluent performance throughout

    Rhythmic stability and vitality

    A full exploration of the dynamic range of the instrument.

    A confident projection of the style and character of chosen works

    Sensitivity to subtleties of nuance, rubato and ornamentation

    A well developed aural awareness and reliable intonation.

    A well developed awareness of fine pitch discrimination.

    A competent use of vibrato for musical expression.

    Grade Seven

    1. Scales - choose either set (a) or set (b)

    (a) B, F, A, D Major, Major Arpeggios, Broken Chords, Chromatic

    B, F, A, D Major Scales in thirds, tongued only

    B, F, A, D Dominant Seventh Arpeggio, tongued only

    B, F, A, D Harmonic Minor, Melodic Minor, Broken Chords

    B, F, A, D Diminished Seventh Arpeggio. Beginning on the note.

    C Whole Tone Scale

    (b) B, F, A, D Major, Major Arpeggios, Broken Chords, Chromatic

    B, F, A, D Major Scales in thirds, tongued only

    B, F, A, D Dominant Seventh Arpeggio, tongued only

    G, D, F, B Harmonic Minor, Melodic Minor, Broken Chords

    G, D, F, B Diminished Seventh Arpeggio. Beginning on the note.

    C Whole Tone Scale

    Sustained note Any one note of the G major scale held for 14 - 16 seconds. pp - ff - pp

    Sustained scale Major scales, 1 octave (upper octave) ascending. Each note equals two beats (tongued only).

    Breathe every 8 beats or 4 notes.

    All F and F scales, arpeggios and broken chords to be played three octaves, ascending and descending.

    All other scales, arpeggios and broken chords to be played two octaves, ascending and descending.

    All scales, arpeggios and broken chords to be: all tongued/all slurred/ slurred pairs/ two slurred, two

    tongued

    Range - Inclusive as shown:noteheadsaccidentals

    noteheadsclefs

    Tempo - ascending and descending minimum metronome speed 76, four notes per beat

    Sustained scale 60, one note per two beats. Breathe every 8 beats or 4 notes

  • 19GradeSeven

    NZMEBPERFORMANCECLARINETSYLLABUSed3.11

    Grade Seven: continued from previous page

    2. Pieces Five list pieces to be chosen, one each from lists A, B and C and two from list D; plus two study list pieces.

    List A

    Allen Study no. 58 Progressive Studies for Clarinet, bk 2, ABRSM

    Cavallini No 13 or No 16 Cavallini

    Cavallini Study no.69 80 Graded Studies for Clarinet, bk 2, ed. Davies and Harris

    Faber

    Gumbley Hoe Down Solo Flight for Clarinet (Brass Wind)

    Klose Study no.65 80 Graded Studies for Clarinet, bk 2, ed. Davies and Harris,

    Faber

    Percival & Dorich Ex 5 P 32 Teacher on Tap Book 3

    Rae No 38 40 Modern Studies for Clarinet (Universal)

    Uhl No 8, 12, or 18, any one 48 Etudes for clarinette, vol 1, Schott

    ed. Weston No 45 or No 50 50 Classical Studies for Clarinet, ed Weston (Fentone)

    List B

    Horovitz Sonatina, 1st mvt Novello NOV120541

    Saint-Sans 1st mvt from Sonata Op 167

    Scarlatti Sonata 1 & 2 or 3 & 4

    Spohr, L Concerto No 1 in C minor Op 26 3rd mvt

    List C

    Badines Cavatina

    Dunhill Fantasy Suite Op91, 2nd & 3rd mvts (Boosey & Hawkes)

    Hindemith, P 2nd or 4th mvt from Sonata (1939) Schott

    Hurlstone Scherzo No 4 Four Characteristic Pieces (Emerson)

    Jacob, G Five Pieces for Clarinet (OUP)

    Poulenc Sonata 2nd mvt (Chester)

    Ridout 1st or 3rd mvt from Concertina (Etherson)

    Stanford 2nd mvt: Caoine, Sonata op 129 Stainer H44

    List D

    Berlioz 2nd & 3rd mvts Fantastic Symphony Clarinet: Orchestral & Chamber Music Excerpts (Allans)

    Brahms 2nd mvt (Adagio), Quintet for Clarinet &

    Strings Op 115

    Clarinet: Orchestral & Chamber Music Excerpts (Allans)

    Dvork Serenade for Wind 1st mvt Op 44 Clarinet: Orchestral & Chamber Music Excerpts (Allans)

    Mozart Kegelstatt Trio, 1st or 3rd mvt K498 Clarinet: Orchestral & Chamber Music Excerpts (Allans)

    3. Musicianship

    4. Musical Knowledge

  • 20

    Grade Eight

    1. Scales - choose one group

    G, E, B OR G, D, A OR G, A, D

    Major, Harmonic Minor, Melodic Minor, Chromatic

    Major Scales in thirds

    Major Arpeggios and Broken Chords

    Minor Arpeggios and Broken Chords

    Dominant Seventh Arpeggios, tongued only

    Diminished Sevenths Arpeggios (beginning on the note), tongued only

    Whole Tone Scale, tongued only

    Sustained note Any one note of the G major scale held for 14 - 16 seconds pp < ff > pp

    Sustained scale Sustained scale G harmonic minor (middle octave) ascending and descending. Each note equals two beats

    (tongued only). Breathe every 8 beats or 4 notes.

    All E, F, F, G, G and A scales, arpeggios and broken chords to be played three octaves, ascending and

    descending.

    All other scales, arpeggios and broken chords to be played two octaves, ascending and descending.

    All scales, arpeggios and broken chords to be: all tongued/all slurred/ slurred pairs/ two slurred, two

    tongued

    Range - Inclusive as shown:noteheads

    noteheadsclefs

    Tempo - ascending and descending minimum metronome speed 80, four notes per beat

    Sustained scale 60, one note per two beats. Breathe every 8 beats or 4 notes

    2. Pieces Five list pieces to be chosen, one each from lists A, B and C and two from list D.

    List A

    Allen Study no. 60 Progressive Studies for Clarinet, bk 2, ABRSM

    Bach No 18 or No 19 21 Pieces for Clarinet, trans Giampieri (Ricordi)

    Berkeley No 1 or 3 3 Pieces for Clarinet Solos (Chester)

    Blatt No 46 50 Classical Studies for Clarinet, ed Weston (Fentone)

    Cavallini No 19, 24, 26, or 28 30 Caprices (Fischer)

    Harvey No 1 Three Etudes on Themes of Gerschwin for Solo Clarinet

    (Emerson)

    Rose Study no.74 80 Graded Studies for Clarinet, bk 2, ed. Davies and Harris,

    Faber

    Uhl No 24 from 48 Etudes for Clarinett Vol 1, Schott

    List B

    Brahms Sonata in E flat Op120 No2, 1st mvt

    Brahms Sonata in F min Op120 No1, 1st mvt

    Crusell 3rd mvt from Concerto No 2 in F minor,

    Op 5

    Universal

    Glazunov Allegretto No8 Clarinet Solos Vol 2, ed King (Chester)

    Krommer 1st mvt from Concerto in E, Op 36 Peters

    Mozart Any one of Church Sonatas Ed Ettlinger

    Mozart Concerto K 622, 1st mvt (if possible A

    clarinet to be used)

    Saint-Sans, C Sonata, 4th mvt (Chester) (Durand)

    Stamitz Concerto No3 in B flat (Peters)

    Tartini-Jacob Concertino (Boosey & Hawkes)

    Weber, C M Concerto in F min Op73 No1, any two

    mvts

    Weber, C M Theme & Variation Op33 (Peters)

    List C

    Arnold Fantasy for Clarinet (Faber)

    Finzi Fughetta No 5 Five Bagatelles (Boosey & Hawkes)

    Gould Derivations, 1st mvt (SOUNZ)

    Hurlstone, W Nos 1 & 2 or 3 & 4 Four Characteristic Pieces

  • 21GradeEight

    NZMEBPERFORMANCECLARINETSYLLABUSed3.11

    Grade Eight: continued from previous page

    Lutoslawski, W Nos 1 , 2 & 3 or Nos 3, 4 & 5 Dance Preludes (Chester)

    Milhaud Sonatine (Durand)

    Penderecki 3 Miniatures Clarinet & Piano

    Piern Andanta-Scherzo Gerard Billaudot Editeur (PR.524015590)

    Poulenc Sonata, 1st mvt (Chester)

    Sutermeister Concerto, 1st or 3rd mvt

    List D

    Beethoven Symphony No 6 Clarinet: Orchestral & Chamber Music Excerpts (Allans)

    Mendlessohn 3rd mvt, Concert Piece No 1 Clarinet: Orchestral & Chamber Music Excerpts (Allans)

    Rossini Barber of Seville Clarinet: Orchestral & Chamber Music Excerpts (Allans)

    Schubert Finale, Shepherd on the Rock Clarinet: Orchestral & Chamber Music Excerpts (Allans)

    Schumann Last mvt, Fairy Tales Clarinet: Orchestral & Chamber Music Excerpts (Allans)

    Tchaikovsky Symphony No 6 Clarinet: Orchestral & Chamber Music Excerpts (Allans)

    3. Musicianship

    4. Musical Knowledge

  • 22

    CRITERIA and DESCRIPTORS

    Level 5 - Associate DiplomaProcesses require a wide range of specialised technical skills involving a wide choice of standard and non standard procedures in a variety of

    routine and non-routine contexts. The learning demands a broad knowledge base with substantial depth in some areas, employing analytical

    interpretation and the determination of appropriate methods and procedures in response to a range of concrete problems, with some theoretical

    elements. Learners have full responsibility for the nature, quantity and quality of outcomes under broad general guidelines in self directed and

    sometimes directive activity.

    Examiners will use these criteria in assessing all level 5 entrants.

    From a programme of four works the entrant will demonstrate

    A well developed aural awareness and secure intonation with fine pitch discrimination.

    understanding of the works as to their structure, musical content and their particular character

    technical and stylistic mastery leading to a coherent, expressive performance

    command of special effects appropriate to the instrument

    ability to differentiate between a broad range of musical styles

    familiarity with the accompanying parts in items requiring accompaniment, with a consistent and integrated sense of ensemble between

    soloist and accompanist.

    a developing sense of professional presentation, with attention to posture, appearance and normal performance conventions.

    a detailed knowledge of the structure, keys and modulations of each work

    a knowledge of the period and stylistic characteristics of each work

    familiarity with general repertoire of chosen composers, particularly their clarinet works

    some knowledge of the historical development of the instrument as it relates to the chosen works.

    Diploma AMUSNZ

    1. Pieces Four works to be chosen, one from each list.

    List A

    Dubois, PM Sonata Breve (Leduc)

    Mayer, J Raga Music for Solo Clarinet, any three (Legnick)

    Messiaen, O Labime des oiseaux Quatuor pour la fin du temps (Durand)

    Schumann Fantasiestcke Op 73 (complete) Henle (may be played in version for B flat clarinet - (Peters))

    Sutermeister, H Capriccio (Schott)

    Uhl No 41, 42 or 43 any one 48 Etden for Klarinette Vol 2 (Schott)

    List B

    Brahms, J Sonata Op 120 No 1 in F minor 1st and

    any other mvt

    Brahms, J Sonata Op 120 No 2 in Eb 1st and any

    other mvt

    Spohr, L Concerto No 3 in F min, 1st and any other

    mvt

    (Breitkopf & Hartel)

    Spohr, L Concerto in C minor Op 26 No 1, 1st and

    any other mvt

    (Peters)

    Stanford Sonata Op 129 1st and any other mvt Stainer

    List C

    Horovitz Sonatina 1st mvt (Novello)

    Ireland Fantasy Sonata (Boosey & Hawkes)

    Milhaud Scaramouche

    Poulenc Sonata

    Shaw, Arti Concertante

    List D

    Farr, Gareth Meditation

    Gould Derivations No4

    Lilburn Sonatina (Clarinet in A)

    Ritchie, John Concertino Clarinet in A & String Orchestra

    2. Musical Knowledge

  • 23DiplomaLMUSNZ

    NZMEBPERFORMANCECLARINETSYLLABUSed3.11

    CRITERIA and DESCRIPTORS

    Level 7 - Licentiate DiplomaLearners will carry out processes that require a command of wide ranging highly specialised technical skills involving a wide choice of standard

    and non standard procedures often in non standard combinations. They are employed in highly variable routine and non-routine contexts. The

    learning demands employ a specialist knowledge base with depth in more than one area, employing the analysis and evaluation of a wide range

    of information and the formulation of appropriate responses to resolve both concrete and abstract problems. Learners have full responsibility

    in managing the learning processes and complete accountability for determining and achieving personal outcomes within broad parameters for

    defined activities.

    Examiners will use these criteria in assessing all level 6 entrants.

    From a programme of four works the entrants will demonstrate

    A well developed aural awareness and secure intonation and fine pitch discrimination.

    their ability to build a varied and coherent programme worthy of public performance

    understanding of the works as to their structure, musical content and their particular character

    technical and stylistic mastery leading to a coherent, expressive performance,

    command of special effects appropriate to the instrument,

    ability to differentiate between a broad range of musical styles,

    a convincing presentation showing a developing sense of professional presentation, with attention to posture, appearance and normal

    performance conventions

    performance from memory as required in the syllabus.

    Diploma LMUSNZ

    1. Pieces Four works required, one from each list, and at least one work from memory.

    List A

    Jeanjean, P No 45, 46, 47, 48, 49, 50, 51,52,53 54,55,

    56, 57, 58, 59 or 60,any one

    Etudes Progressives et Melodiques Book 3 (Leduc)

    UHL No 44, 45, 46, 47, or 48, any one 48 Etden for Klarinette Vol 2 (Schott)

    List B

    Brahms, J Sonata Op 120 No 1 in F minor Complete

    Brahms, J Sonata Op 120 No 2 in Eb Complete

    Crussell Concerto in F minor Op 5 (Sikorski)

    Mozart Concerto K622, must be played on A

    clarinet

    Rossini Introduction, Theme & Variations arr J Michaels (Sikorski)

    Spohr, L Concerto No 4 in E minor For Clarinet in A

    Spohr, L Concerto in E flat, Op 57 No 2

    Weber Grand duo concertant Op 48 (Peters)

    List C

    Berg, A Vierstcke Op 5 (Universal)

    Castelnovo-Tedesco Sonata (Ricardi)

    Copeland, A Concerto (Boosey & Hawkes)

    Finzi, G Concerto (Boosey & Hawkes)

    Franais Concerto (Schott)

    List D

    Arnold Clarinet Concerto No 2

    Gould, Morton Derivations

    Milhaud Duo Concertante (Heugel)

    Muczynski Time Pieces (Presser)

    Takacs Essays in Sound

    2. Musical Knowledge

  • 24

  • 25

    NZMEBCLARINETSYLLABUSed3.11

    Clarinet

    In compiling this syllabus the New Zealand Music Examinations Board has endeavoured to use readily available and affordable editions as

    indicated in the text. The Board has used each book to the fullest extent possible, however any edition is acceptable. Editions are mentioned

    solely as a means of identification, and any standard edition will be accepted.

    New Zealand music is available from SOUNZ, the Centre for New Zealand Music, Level 1, 39 Cambridge Terrace, Wellington, 6001.Tel

    04-801 8602, Fax 04-801 8604, [email protected]

    Examination Music

    Entrants may not use photocopies for performance (other than for facilitating page turns) in examinations, as this is prohibited by the Copyright

    Act. From Level Two onwards, all entrants must hand copies of all pieces being performed to the examiner together with their examination slip

    when they enter the examination room. It is recommended that Level One entrants also hand in copies.

    Entrants should not play repeats in examinations, however any da capo must be played.

    Scales

    In grades 6, 7 and 8 Dominant Seventh Arpeggios are to be played in the key.

    In grades 6, 7 and 8 Diminished Seventh arpeggios are to start on the key note.

    Co-Requisites

    There are no additional theory requirements for Grades 6-8.

    Improvisation

    Credit will be awarded for appropriate improvisation. It is acknowledged that within some of the styles presented improvisation will be

    appropriate. Care however must be taken to maintain the works musical integrity and level of difficulty. A copy of the work with the

    improvisation section marked must be brought to the examination for use by the examiner.

    Entrants changing from Performance Clarinet to Clarinet

    Entrants in Performance Clarinet are permitted to swap to the Clarinet syllabus by presenting three pieces by different composers two of which

    must be in the Performance Clarinet syllabus of the same grade. Entrants should advise the examiner of the change when they enter the

    examination room and mark the appropriate box on their examination slip.

    Syllabus Repertoire

    Three pieces by three different composers are to be presented. A minimum of two pieces are to be from the NZMEB syllabus list. The third

    piece may be an own choice piece and should be at a similar level to those already in the syllabus. The syllabus repertoire lists below may be

    used as a source for an own choice piece. Entrants must bring a copy of the own choice piece to the examination for the examiner to refer to.

  • 26

    Scales Scales in 3rds to be played as follows

    Example (C major): noteheadsnoteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheads noteheadsnoteheads noteheadsnoteheads noteheads noteheads noteheadsnoteheadsclefs 44 noteheads noteheads noteheads noteheadsnoteheads noteheads noteheadsnoteheads noteheads

    noteheads noteheadsnoteheads noteheads noteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheadsnoteheads noteheads noteheadsnoteheads noteheadsnoteheads noteheads noteheads3 noteheads noteheadsnoteheads noteheadsclefs noteheads

    Dominant 7th arpeggio to be played as follows

    Example (C):

    noteheads noteheads noteheadsnoteheads noteheads noteheads restsnoteheads noteheadsnoteheads noteheadsnoteheads noteheads

    noteheads noteheads44 noteheadsclefs noteheads

    noteheads

    Diminished 7th arpeggio to be played as follows

    Example (G):

    noteheads noteheads noteheadsaccidentals noteheads noteheads noteheads noteheads noteheadsnoteheads

    noteheadsnoteheads44 noteheadsaccidentals noteheadsnoteheadsnoteheadsnoteheads

    noteheads accidentalsclefs

    Broken chords to be played as follows

    Examples:

    noteheadsnoteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheads noteheads

    noteheadsnoteheads noteheadsnoteheads noteheadsnoteheads noteheads noteheadsnoteheads

    noteheadsnoteheads noteheadsnoteheads noteheads noteheadsclefs accidentalsaccidentalsaccidentals noteheads44

    noteheadsnoteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheads noteheads noteheadsnoteheadsnoteheads noteheads noteheads noteheads

    noteheadsnoteheads noteheadsnoteheads noteheadsnoteheads noteheads noteheadsnoteheads

    noteheadsnoteheads noteheadsnoteheads noteheads noteheadsclefs

    accidentalsaccidentalsaccidentalsaccidentals noteheads44

    noteheads noteheadsnoteheads noteheads noteheads noteheads noteheadsnoteheadsnoteheadsnoteheads noteheads noteheadsnoteheads noteheads noteheads noteheads3 clefs accidentalsaccidentalsaccidentalsaccidentals noteheads

    noteheads noteheads noteheadsnoteheads noteheadsnoteheadsnoteheadsnoteheads

  • 27Musicianship

    NZMEBCLARINETSYLLABUSed3.11

    Musicianship

    LEVEL ONE

    Preliminary

    To join in and clap the beats in simple duple or triple time, to a harmonized passage played by the examiner and to continue clapping the

    beats when the music stops.

    To clap or tap at sight, a simple written rhythm, in simple time.

    Example:

    noteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheadsnoteheads noteheads44 noteheads noteheadsnoteheads To visually recognize step or skip movement (seconds and thirds) over three notes within the compass of a fifth. We suggest entrants use

    their own pieces to develop fluency.

    Example:

    noteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheads43clefs noteheads noteheadsnoteheads

    Grade One

    To recognize written combined step/skip movements over 3 notes within the compass of a fifth. We suggest entrants use their own pieces

    to develop fluency.

    Example:

    noteheads noteheads noteheads43clefs noteheads noteheadsnoteheads To clap or tap at sight, a simple written rhythm, in simple time.

    Example:

    noteheadsnoteheadsnoteheads dotsnoteheadsnoteheadsnoteheads43 noteheads noteheadsnoteheads To play the same pattern as a given melody using only 2nds and 3rds within the compass of a fifth in the keys of C or G major.

    Example:

    noteheadsnoteheads noteheads dotsnoteheadsnoteheadsnoteheads43clefs noteheads noteheadsnoteheads To aurally identify major seconds and major thirds (number only), played twice by the examiner. Entrants may sing or hum the notes

    before answering.

    To echo clap a short rhythm pattern clapped once by the examiner. A second attempt will be allowed if necessary.

    Example:

    noteheadsnoteheads noteheads noteheadsnoteheadsnoteheads noteheads42 noteheads noteheadsnoteheads

    Grade Two

    To visually recognize any written interval within the compass of a fifth. We suggest entrants use their own pieces to develop fluency

    Example:

    noteheads noteheads noteheads43clefs noteheads noteheadsnoteheads To clap or tap at sight, a simple written rhythm in simple time. May include crotchet rests and quavers.

    Example:

    noteheadsdotsnoteheadsnoteheads noteheadsrestsnoteheadsnoteheads noteheadsnoteheads44 noteheads noteheadsnoteheadsnoteheads To play the same pattern as a given melody in the keys of G or D major.

    Example:

    noteheads noteheadsnoteheads dotsnoteheads noteheadsrestsnoteheads noteheadsnoteheadsclefsaccidentalsaccidentals 44 noteheads noteheadsnoteheadsnoteheads

    To aurally identify major and perfect intervals up to and including perfect fifths (number only) played twice by the examiner. Entrants

    may sing or hum the notes before answering.

    To echo clap a short rhythmic pattern clapped once by the examiner. A second attempt will be allowed if necessary.

    Example:

    noteheads noteheads noteheadsnoteheads noteheads noteheadsnoteheads noteheadsnoteheads noteheads noteheadsnoteheads43 noteheads noteheadsnoteheads noteheads

  • 28

    Grade Three

    To visually recognize written intervals within the octave at sight. We suggest entrants use their own pieces to develop fluency.

    Example:

    noteheads noteheads noteheadsnoteheadsclefs 43 noteheads noteheads To clap or tap at sight, a simple written rhythm, in simple time. In addition to the rhythmic figures in previous grades, dotted crotchets,

    quavers and minim rests may be included. Example:

    noteheadsnoteheads noteheadsrestsnoteheadsflags noteheadsrestsnoteheadsnoteheads noteheadsnoteheads44 noteheads dotsnoteheadsnoteheads noteheads To play the same rhythm pattern as a melody within the compass of an octave in the keys of F or Bb major.

    Example: noteheadsrestsflags noteheads noteheads noteheads rests noteheadsnoteheads noteheads noteheads noteheadsnoteheadsclefs accidentals 44noteheadsnoteheads dotsnoteheads

    To aurally identify major and perfect intervals up to and including perfect fifths (number only) played twice by the examiner. Entrants

    may sing or hum the notes before answering.

    To aurally identify root position triads as major or minor (notes sounded together) played twice by the examiner.

    To echo clap a short rhythm pattern clapped once by the examiner. A second attempt will be allowed if necessary.

    Example:

    noteheads noteheads noteheadsnoteheads dots flagsnoteheads noteheads noteheadsnoteheads noteheadsnoteheadsflags noteheads noteheadsnoteheads44 dots noteheads noteheads noteheads noteheadsnoteheads

    LEVEL TWO

    Grade Four

    To clap or tap at sight, a written four bar rhythm, in simple time or compound duple. In addition to the rhythmic figures in previous grades,

    semiquavers, dotted quavers and quaver rests may be added.

    Examples:

    noteheadsnoteheads noteheads noteheadsrests noteheads dots noteheadsflags noteheads noteheads noteheadsnoteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheads noteheadsnoteheads44 noteheads noteheads noteheads noteheads noteheads noteheadsnoteheadsnoteheadsnoteheads noteheads noteheadsnoteheads noteheads noteheads dotsnoteheadsnoteheadsflags dotsflags noteheads noteheadsflags noteheadsnoteheads86 noteheads noteheads noteheads restsnoteheads

    To name the tonic key.

    To play a given melody in the keys of E or B major.

    Examples:

    flags noteheadsnoteheads noteheads noteheads noteheadsdotsnoteheads rests noteheads noteheads noteheadsnoteheads noteheads noteheadsnoteheads noteheads noteheadsnoteheadsclefs accidentalsaccidentalsaccidentals 44 noteheadsnoteheads noteheads noteheads noteheads noteheadsnoteheads noteheadsnoteheads

    noteheads noteheads noteheadsnoteheads noteheads noteheads dotsflags noteheads dotsnoteheadsflags noteheadsnoteheadsflagsnoteheadsclefs accidentalsaccidentals 86 noteheadsnoteheads

    noteheads noteheads noteheads rests To name the tonic key and transpose the melody up one tone.

    To aurally identify major and perfect intervals up to and including major sixths, (number only) played twice by the examiner. Entrants

    may sing or hum the notes before answering.

    To aurally identify root position triads as major or minor (notes sounded together) played twice by the examiner.

    To echo clap a rhythmic pattern clapped once by the examiner. A second attempt will be allowed if necessary.

    Example:

    noteheads noteheadsdotsnoteheads dotsnoteheadsnoteheadsnoteheadsnoteheadsnoteheads43 noteheads noteheadsrestsnoteheads

    Grade Five

    To clap or tap at sight, a written four bar rhythm, in simple or compound time. In addition to the rhythmic figures in previous grades,

    triplets and tied notes may be added.

    Examples:

    noteheads dotsnoteheads noteheadsnoteheadsnoteheads noteheads dots noteheadsflags noteheads noteheads33 noteheads noteheads noteheadsnoteheadsnoteheads noteheads noteheadsnoteheads44 noteheads noteheads noteheads noteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheads noteheadsnoteheads noteheads dotsflagsflags noteheads noteheadsnoteheads noteheadsnoteheads noteheads noteheads noteheadsflagsdots86 noteheadsnoteheads noteheads

    To name the tonic key.

    To play a given melody in the keys of Ab major or Eb major.

    Examples:

  • 29Musicianship

    NZMEBCLARINETSYLLABUSed3.11

    noteheads noteheadsnoteheads noteheadsE accidentals

    V

    dotsnoteheads dots noteheadsflags noteheadsI

    A accidentals

    3

    3 noteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheadsnoteheadsclefs accidentalsaccidentalsaccidentalsaccidentals 44 noteheads noteheads noteheads noteheadsnoteheads noteheadsnoteheads noteheadsnoteheads

    noteheadsV

    noteheads noteheadsflagsnoteheadsB accidentalsnoteheads noteheads

    I

    dotsE accidentalsnoteheadsflags noteheadsnoteheadsdots noteheads noteheadsnoteheadsclefs accidentalsaccidentalsaccidentals 86 dots noteheads noteheads noteheads noteheads noteheadsnoteheadsflags

    To give the letter names for both triads of the perfect cadence as marked.

    To transpose the melody down one semitone or up one tone.

    To aurally identify by quality and number major and perfect intervals up to and including a perfect octave, played twice by the examiner.

    Entrants may sing or hum the notes before answering.

    To aurally identify root position triads as major or minor (notes sounded together) played twice by the examiner.

    To echo clap a four bar rhythmic pattern clapped once by the examiner. A second attempt will be allowed if necessary.

    Example:

    noteheads noteheadsnoteheadsnoteheads noteheads noteheadsnoteheads noteheadsflags noteheads dotsnoteheads noteheads noteheads noteheadsnoteheads86 noteheadsflagsnoteheads noteheads noteheadsnoteheads

    LEVEL THREE

    Grade Six

    To clap or tap at sight, a written eight bar rhythm, in simple or compound time. In addition to the rhythmic figures in previous grades,

    syncopation may be added.

    Examples:

    noteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheads noteheadsnoteheads noteheadsnoteheads restsnoteheads noteheads noteheads noteheadsnoteheads44 dots noteheadsflags noteheads restsnoteheads noteheads noteheads noteheadsnoteheads

    noteheads noteheads noteheads noteheadsrests noteheads noteheads restsnoteheadsnoteheads noteheads noteheads dotsnoteheads noteheadsnoteheads noteheads noteheadsdots5 noteheads noteheadsflags noteheadsnoteheads noteheads noteheadsnoteheadsnoteheads noteheads noteheadsflags noteheads noteheads noteheadsnoteheadsflags noteheads restsnoteheads noteheads noteheads noteheadsnoteheads noteheads noteheadsflags noteheadsnoteheads86 noteheads noteheads noteheadsnoteheads noteheads noteheadsnoteheadsnoteheads

    noteheadsnoteheads restsnoteheads noteheads noteheads noteheads noteheadsdots noteheads noteheads dotsnoteheads noteheads noteheads noteheads5 noteheads noteheads noteheads noteheadsnoteheads noteheads To name the tonic key.

    To play a given melody in the keys or D or A major.

    Examples:

    noteheads3

    noteheads noteheadsnoteheadsnoteheads noteheads noteheadsnoteheads rests3

    3 noteheads noteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheads42accidentalsaccidentalsaccidentalsaccidentalsaccidentalsclefs rests noteheadsnoteheadsnoteheads noteheads noteheads noteheads noteheadsnoteheads noteheads

    noteheads noteheadsnoteheads noteheadsnoteheads restsnoteheads noteheadsnoteheadsnoteheads noteheads noteheadsnoteheads noteheads44noteheads noteheadsaccidentalsaccidentalsaccidentalsaccidentalsclefs noteheadsnoteheads

    To name the tonic key of the melody.

    To name the final cadence as perfect or plagal and to name the letter names for both triads.

    To transpose the melody up one tone or down one semitone.

    To aurally identify by quality and number, all major and perfect intervals up to and including a perfect octave, played twice by the

    examiner. Entrants may sing or hum the notes before answering.

    To aurally identify root position triads as major, minor, or augmented (notes sounded together) played twice by the examiner.

  • 30

    LEVEL FOUR

    Grade Seven

    To clap or tap at sight, a written rhythm in simple or compound time. In addition to the rhythmic figures in previous grades, syncopation

    may be added.

    Examples:

    noteheads noteheadsnoteheads noteheads noteheadsnoteheads noteheads noteheads noteheads noteheadsnoteheads33 noteheads noteheads noteheads noteheadsnoteheads noteheads dots noteheadsrests43 rests rests noteheads noteheads noteheadsnoteheads noteheadsnoteheads noteheadsnoteheads noteheads noteheadsnoteheadsnoteheads noteheads noteheads noteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheads noteheadsrests noteheads noteheadsnoteheads noteheads noteheadsnoteheadsrests noteheads noteheads5 noteheads noteheadsnoteheads noteheads noteheads noteheads

    noteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheadsnoteheadsnoteheads89 dots noteheads noteheads noteheadsnoteheads noteheads noteheadsnoteheadsflagsdots

    noteheadsnoteheads noteheadsnoteheadsnoteheadsnoteheads noteheadsnoteheads noteheadsnoteheadsrests dots noteheads4 noteheads dots noteheads noteheadsnoteheadsnoteheads noteheads noteheadsnoteheads noteheads noteheads rests dotsnoteheads noteheadsflags noteheads dotsnoteheads noteheads noteheads noteheads6 noteheads noteheads flagsnoteheads noteheads noteheadsnoteheads noteheads

    To name the tonic key.

    To play given melody in the keys of Db major or Bb major/minor.

    Examples:*noteheads noteheads noteheads*noteheads noteheadsnoteheads noteheadsnoteheads noteheads noteheadsnoteheads noteheads noteheads noteheadsnoteheadsclefs accidentals

    accidentalsaccidentalsacci


espr. Romanian Folk Dances - Baton · PDF fileFlute 1,2 Oboe 1,2 Solo Clarinet B b 1,2 Bassoon 1,2 Eb Clarinet B b Clarinet 1 Bb Clarinet 2 Bb Clarinet 3 Bass Clarinet Alto Saxophone

espr. Romanian Folk Dances - Baton · PDF fileFlute 1,2 Oboe 1,2 Solo Clarinet B b 1,2 Bassoon 1,2 Eb Clarinet B b Clarinet 1 Bb Clarinet 2 Bb Clarinet 3 Bass Clarinet Alto Saxophone

13992 What Child Is This - alle-noten.de1st Bb Clarinet (Eb Clarinet) 2nd Bb Clarinet 3rd Bb Clarinet 4th Bb Clarinet Bb Bass Clarinet Bass Guitar (optional) Piano / Guitar (optional)

13992 What Child Is This - alle-noten.de1st Bb Clarinet (Eb Clarinet) 2nd Bb Clarinet 3rd Bb Clarinet 4th Bb Clarinet Bb Bass Clarinet Bass Guitar (optional) Piano / Guitar (optional)

Irae With Clarinet Clarinet

Irae With Clarinet Clarinet

Spohr Clarinet Concerto No1 Op26 Clarinet Part

Spohr Clarinet Concerto No1 Op26 Clarinet Part

(Clarinet) - Mason Sonata, Clarinet Part

(Clarinet) - Mason Sonata, Clarinet Part

CLARINET & BASS CLARINET AUDITIONS SOLO & EXCERPT …

CLARINET & BASS CLARINET AUDITIONS SOLO & EXCERPT …

CLARINET CHAMBER MUSIC · 2021. 6. 24. · and clarinet, clarinet and violin, Quartets for clarinet and strings, clarinet, ... Wie stark ist nicht dein Zauberton! 2’08 15. Schelle

CLARINET CHAMBER MUSIC · 2021. 6. 24. · and clarinet, clarinet and violin, Quartets for clarinet and strings, clarinet, ... Wie stark ist nicht dein Zauberton! 2’08 15. Schelle

Fall 2018 Clarinet and Bass Clarinet Excerpts - unl.edu · CLARINET EXCERPTS (Excerpts marked with an asterisk * are for all clarinet majors, minors, and non-majors; clarinet majors

Fall 2018 Clarinet and Bass Clarinet Excerpts - unl.edu · CLARINET EXCERPTS (Excerpts marked with an asterisk * are for all clarinet majors, minors, and non-majors; clarinet majors

Clarinet Trio (2012): clarinet part

Clarinet Trio (2012): clarinet part

UTM Clarinet Handbook Handbook... · UTM Clarinet Handbook Fall 2016 For ... Note that the Clarinet Calendar and all Syllabi (for lessons, recitals, clarinet choir, & clarinet quartet)

UTM Clarinet Handbook Handbook... · UTM Clarinet Handbook Fall 2016 For ... Note that the Clarinet Calendar and all Syllabi (for lessons, recitals, clarinet choir, & clarinet quartet)

PRINCIPAL CLARINET Solo Mozart Clarinet Concerto … · PRINCIPAL CLARINET Solo Mozart Clarinet Concerto 1st Mvt. ... First Clarinet Parts ... Gershwin Rhapsody in Blue Beginning

PRINCIPAL CLARINET Solo Mozart Clarinet Concerto … · PRINCIPAL CLARINET Solo Mozart Clarinet Concerto 1st Mvt. ... First Clarinet Parts ... Gershwin Rhapsody in Blue Beginning

Clarinet Institute of Los Angeles - Clarinet Institute Free Music...Author Clarinet Institute of Los Angeles - Subject Clarinet Institute of Los Angeles Keywords Clarinet Institute

Clarinet Institute of Los Angeles - Clarinet Institute Free Music...Author Clarinet Institute of Los Angeles - Subject Clarinet Institute of Los Angeles Keywords Clarinet Institute

B Oboe Clarinet 3 Clarinet 2 Clarinet 1 Clarinet …...Mini Score 12 13 14 14 15 16 17 Flute 1,2 Oboe Bassoon 1,2 E b Clarinet B b Clarinet 1 B b Clarinet 2 B b Clarinet 3 E b Alto

B Oboe Clarinet 3 Clarinet 2 Clarinet 1 Clarinet …...Mini Score 12 13 14 14 15 16 17 Flute 1,2 Oboe Bassoon 1,2 E b Clarinet B b Clarinet 1 B b Clarinet 2 B b Clarinet 3 E b Alto

ALICE IN WONDERLAND - Top Score Diffusion1st Flute 2nd Flute Oboe Bassoon Clarinet in Eb 1st Clarinet in Bb 2nd Clarinet in Bb 3rd Clarinet in Bb Alto Clarinet in Eb Bass Clarinet

ALICE IN WONDERLAND - Top Score Diffusion1st Flute 2nd Flute Oboe Bassoon Clarinet in Eb 1st Clarinet in Bb 2nd Clarinet in Bb 3rd Clarinet in Bb Alto Clarinet in Eb Bass Clarinet

Danzón no. 2 - Amazon S3 · Piccolo Flute 1,2 Oboe 1,2 English Horn Bassoon 1,2 Eb Clarinet Solo Clarinet B b 1,2 Bb Clarinet 1 Bb Clarinet 2 Bb Clarinet 3 Alto Clarinet Bass Clarinet

Danzón no. 2 - Amazon S3 · Piccolo Flute 1,2 Oboe 1,2 English Horn Bassoon 1,2 Eb Clarinet Solo Clarinet B b 1,2 Bb Clarinet 1 Bb Clarinet 2 Bb Clarinet 3 Alto Clarinet Bass Clarinet

 · 1st & 2nd Flutes Oboe Bassoon Clarinet in E' 1st Clarinet in 2nd Clarinet in 3rd Clarinet in B; Alto Clarinet in E' Bass Clarinet in 1st Alto

 · 1st & 2nd Flutes Oboe Bassoon Clarinet in E' 1st Clarinet in 2nd Clarinet in 3rd Clarinet in B; Alto Clarinet in E' Bass Clarinet in 1st Alto

IMSLP17653--Clarinet Institute- Glinka Trio Clarinet

IMSLP17653--Clarinet Institute- Glinka Trio Clarinet

 · Piccolo Flute 1 2 Oboe 1, 2 English Horn Eb Clarinet Bb Solo Clarinet Bb Clarinet I Bb Clarinet 2 Bb Clarinet 3 Eb Alto Clarinet Bb Bass Clarinet

 · Piccolo Flute 1 2 Oboe 1, 2 English Horn Eb Clarinet Bb Solo Clarinet Bb Clarinet I Bb Clarinet 2 Bb Clarinet 3 Eb Alto Clarinet Bb Bass Clarinet

8.578174 Clarinet booklet - booklets.idagio.com · Classic Clarinet Best loved classical clarinet music Superbly performed clarinet pieces including works by Brahms, Mendelssohn,

8.578174 Clarinet booklet - booklets.idagio.com · Classic Clarinet Best loved classical clarinet music Superbly performed clarinet pieces including works by Brahms, Mendelssohn,

Clarinet User's Guide - music of expressionmusicofx.com/pdf/Clarinet User's Guide.pdf · clarinet Orientation Welcome to clarinet! clarinet is a performance instrument for the iPhone.

Clarinet User's Guide - music of expressionmusicofx.com/pdf/Clarinet User's Guide.pdf · clarinet Orientation Welcome to clarinet! clarinet is a performance instrument for the iPhone.