NZMEB CLARINET SYLLABUSES · Musical Knowledge — NZMEB PERFORMANCE CLARINET SYLLABUS ed 20.3 Musical Knowledge In practical examinations examiners will ask entrants questions on

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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

NZMEB accepts pieces as listed in current and previous AMEB syllabuses. An entrant for may enter a List A, List B, List C or List D piece

from the equivalent AMEB list.

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

Act. When Entrants enter the examination room they must hand copies of all list pieces being performed, to the examiner, together with their

examination slip. Copies for examiner use of extra repertoire list pieces in the Performance syllabuses are optional.

Please note that where pieces are listed in the Syllabus, the publishers are given mainly as an aid to locating material, and are merely suggestions;

other authoritative editions of the music will be equally acceptable.

Scales

Dominant Seventh arpeggios are to be played in the key.

Diminished seventh arpeggios are to start on the key note.

Extra repertoire 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 Credit Pass is required in NZMEB Grade 4 Theory

AMusNZ, a Credit Pass is required in NZMEB Grade 5 Theory

LMusNZ, a Pass is required in NZMEB Grade 6 Theory

Entrants have 36 months in which to complete the co-requisite theory component.

FOR ACCEPTABLE EQUIVALENTS PLEASE SEE THE THEORY SYLLABUS

2

Scales• Scales in 3rds to be played as follows

Example (C major): �� 44 � � � ��

� �� 3 � ��

• Dominant 7th arpeggio to be played as follows

Example (C):

� � ��

� �44 ��

�

• Diminished 7th arpeggio to be played as follows

Example (G♯):

� � ��

��44 ��

� ��

• Broken chords to be played as follows

Examples:

��

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�� 44

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�� 44

� �� 3 � ��

� � ��

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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:

�� 44 � ��• 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:

�� 43� � ��

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:

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

Example:

�� 43 � ��• 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. Entrants

will be given half a minute to sight the melody during which time they may try parts of the test.

Example:

�� 43� � ��• 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:

�� 42 � ��

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:

� � �43� � ��• To clap or tap at sight, a simple written rhythm in simple time. May include crotchet rests and quavers.

Example:

�� 44 � ��• To play the same pattern as a given melody in the keys of G or D major. Entrants will be given half a minute to sight the melody during

which time they may try parts of the test.

Example:

� �� 44 � ��

• 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:

� � �� 43 � ��

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Grade Three

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

Example:

� � �� 43 � �• 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:

�� 44 � �� • To play the same rhythm pattern as a melody within the compass of an octave in the keys of F or Bb major. Entrants will be given half a

minute to sight the melody during which time they may try parts of the test.

Example:

�� 44��



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


Example:

� � �� 44 � � � � ��

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:

�� 44 � � � � � �� 86 � � � ��

• To name the tonic key and play a given melody in the keys of E♭ or B♭ major. Entrants will be given half a minute to sight the melody

during which time they may try parts of the test.

Example:

��

44 ��

� � ��

86 ��

� � � �• 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



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

Example:

� �� 43 � ��

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:

� �� 33 � � �� 44 � � � �� 86 ��

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• To name the tonic key and play a given melody in the keys of A♭ major or E♭ major. Entrants will be given half a minute to sight the

melody during which time they may try parts of the test.

Examples:

� �� E �

V

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A �

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3 � � � ��

44 � � � ��

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� ��B ��

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86 � � � � � ��

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

Example:

� �� 86 ��

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:

� � � �� 44 � ��

� � � �� 5 � �� 86 � � ��

�� 5 � � � �� • To name the tonic key and play a given melody in the keys or D♭ or A♭ major. Entrants will be given half a minute to sight the melody


Examples:

�� 3

33

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V

�D �

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�� 42

� � ��

�� D �

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A �

IV

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44 ��

• 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.

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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:

� �� 33 � � � �� 43 � � � � �� 5 � �� 89 � � � ��

�� 4 � � � ��

� � �� 6 � � �� • To name the tonic key and play a given melody in the keys of D♭ major or B♭ major/minor. Entrants will be given half a minute to sight

the melody during which time they may try parts of the test.

Examples:

� �V

A �

�VI

B �m� � � � ��

44 � � � ��

�D �

� �I

A �

V

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5

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V

� � ��F

I

B �

� � ��

44 �F � �

VI

Gm�V

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• 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:

� � � �� 2 � � � �� 89 ��

� � �� 2 �� 5 � � � �� 45 � � � � � � �

� �� 5 ��

• Entrants will be given one minute to sight an orchestral excerpt during which time they may try parts of the test, and then play it from the

score.

• 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.


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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.


• 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.


• 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.


• 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.



• 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 entrant’s

instrument/voice.

• Knowledge of the development of the entrant’s instrument through the various musical periods, and how the development of the instrument

affected the composer’s writing.

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





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



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Level 1 - Preliminary to Grade 3DescriptorsProcesses 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.

CriteriaExaminers 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:

�

�

�

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

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2. Pieces – Three pieces to be chosen, one from each list, plus one extra repertoire 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

Klosé, 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 Spielstück (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, let’s 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 Shepherd’s 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 Granny’s Delight Clarinet All Sorts (Grades 1-3) Trinity Faber

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

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

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

Sullivan Poor Wand’ring 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

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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.


Range - Inclusive as shown:��

�

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 extra repertoire 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

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

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

Klosé, 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

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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

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)

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

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

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

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

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

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

Telemann Vivace First Repertoire for Clarinet, Arr Harris and Johnson

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

List C

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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


Grade Three


(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.


Range - Inclusive as shown:�

��


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 extra repertoire 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

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

ed. Weston No 11 17 Classical Solos, Fentone

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

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

12

Grade Three: continued from previous page

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)

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

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 Man’s 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 Papageno’s 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 Policeman’s Dance Concert Repertoire for Clarinet, Arr Harris and Johnson (Faber)

Bizet No 5 Entr’acte 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


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Level 2 - Grades 4 and 5

Descriptors

Processes 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.

Criteria

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


(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).



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

Major scales in thirds: tongued only


��


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

14

Grade Four: continued from previous page

2. Pieces – Three list pieces to be chosen, one from each list, plus two extra repertoire 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

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

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

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

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

Müller, 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

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 d’amour 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


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Grade Five


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

tongued


��

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


2. Pieces – Three pieces to be chosen, one from each list, plus two extra repertoire list pieces.

List A

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

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)

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

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 d’Acciaccatura 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


16

Level 3 - Grade 6

Descriptors

Processes 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.

Criteria


• 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


(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


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

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Grade Six: 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 extra repertoire

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

ed. Weston No 4 or No 13 17 Classical Solos

ed. Weston No 32, 34, 35, 37, 40 or 41, any one 50 Classical Studies for Clarinet, ed Weston (Fentone)

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

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

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

Pierné, G Canzonetta Op 19 (Leduc)

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

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

Saint-Saëns 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


18

Level 4 - Grades 7, 8 and Performers Certificate

Descriptors

Processes 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.

Criteria


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


(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).


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:��

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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 extra repertoire

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

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

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

List B

Horovitz Sonatina, 1st mvt Novello NOV120541

Saint-Saëns 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)

Dvořák 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


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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


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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-Saëns, 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

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Grade Eight: continued from previous page

Lutoslawski, W No’s 1 , 2 & 3 or No’s 3, 4 & 5 Dance Preludes (Chester)

Milhaud Sonatine (Durand)

Penderecki 3 Miniatures Clarinet & Piano

Pierné 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


22

Level 5 - Associate Diploma

Descriptors

Processes 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.

Criteria


• 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

Entrants may choose alternatives to those listed below, but must submit their alternative programme for approval prior to entry.

The entrant will select a programme of four pieces. One should be unaccompanied and three others contrasting in style and era, with a playing

time of between 20 - 35 minutes. If the works have an accompaniment written for them, entrants must use an accompanist. The chosen

repertoire must reflect sufficient technical/musical challenges to fulfil the criteria for Level Five.

List A

Dubois, PM Sonata Breve (Leduc)

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

Messiaen, O L’abime des oiseaux Quatuor pour la fin du temps (Durand)

Schumann Fantasiestücke 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 Etüden 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 in C minor Op 26 No 1, 1st and

any other mvt

(Peters)

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

mvt

(Breitkopf & Hartel)

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

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Level 7 - Licentiate Diploma

Descriptors

Learners 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.

Criteria


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

Diploma LMUSNZ

1. Pieces

Entrants may choose alternatives to those listed below, but must submit their alternative programme for approval prior to entry.

The entrant will select a programme of four pieces. One should be unaccompanied and three others contrasting in style and era, with a playing

time of between 30 - 45 minutes. If the works have an accompaniment written for them, entrants must use an accompanist. The chosen

repertoire must reflect sufficient technical/musical challenges to fulfil the criteria for Level Seven.

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 Etüden 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 in E flat, Op 57 No 2

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

Weber Grand duo concertant Op 48 (Peters)

List C

Berg, A Vierstücke Op 5 (Universal)

Castelnovo-Tedesco Sonata (Ricardi)

Copeland, A Concerto (Boosey & Hawkes)

Finzi, G Concerto (Boosey & Hawkes)

Français Concerto (Schott)

List D

Arnold Clarinet Concerto No 2

Gould, Morton Derivations

Milhaud Duo Concertante (Heugel)

Muczynski Time Pieces (Presser)

Takacs Essays in Sound


3. Co-requisite Theory

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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

NZMEB accepts pieces as listed in current and previous AMEB syllabuses. An entrant for may enter a List A, List B, List C or List D piece

from the equivalent AMEB list.

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

Act. When Entrants enter the examination room they must hand copies of all list pieces being performed, to the examiner, together with their

examination slip. Copies for examiner use of extra repertoire list pieces in the Performance syllabuses are optional.

Please note that where pieces are listed in the Syllabus, the publishers are given mainly as an aid to locating material, and are merely suggestions;

other authoritative editions of the music will be equally acceptable.

Scales

Dominant Seventh arpeggios are to be played in the key.

Diminished seventh arpeggios are to start on the key note.

Extra repertoire 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 Credit Pass is required in NZMEB Grade 4 Theory

AMusNZ, a Credit Pass is required in NZMEB Grade 5 Theory

LMusNZ, a Pass is required in NZMEB Grade 6 Theory

Entrants have 36 months in which to complete the co-requisite theory component.

FOR ACCEPTABLE EQUIVALENTS PLEASE SEE THE THEORY SYLLABUS

26

Scales• Scales in 3rds to be played as follows

Example (C major): �� 44 � � � ��

� �� 3 � ��

• Dominant 7th arpeggio to be played as follows

Example (C):

� � ��

� �44 ��

�

• Diminished 7th arpeggio to be played as follows

Example (G♯):

� � ��

��44 ��

� ��

• Broken chords to be played as follows

Examples:

��

��

�� 44

��

��

��

�� 44

� �� 3 � ��

� � ��

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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:

�� 44 � ��• 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:

�� 43� � ��

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:

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

Example:

�� 43 � ��• 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. Entrants

will be given half a minute to sight the melody during which time they may try parts of the test.

Example:

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

before answering.


Example:

�� 42 � ��

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:

� � �43� � ��• To clap or tap at sight, a simple written rhythm in simple time. May include crotchet rests and quavers.

Example:

�� 44 � ��• To play the same pattern as a given melody in the keys of G or D major. Entrants will be given half a minute to sight the melody during

which time they may try parts of the test.

Example:

� �� 44 � ��



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

Example:

� � �� 43 � ��

28

Grade Three

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

Example:

� � �� 43 � �• 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:

�� 44 � �� • To play the same rhythm pattern as a melody within the compass of an octave in the keys of F or Bb major. Entrants will be given half a

minute to sight the melody during which time they may try parts of the test.

Example:

�� 44��





Example:

� � �� 44 � � � � ��

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:

�� 44 � � � � � �� 86 � � � ��

• To name the tonic key and play a given melody in the keys of E♭ or B♭ major. Entrants will be given half a minute to sight the melody


Example:

��

44 ��

� � ��

86 ��

� � � �• 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



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

Example:

� �� 43 � ��

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:

� �� 33 � � �� 44 � � � �� 86 ��

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• To name the tonic key and play a given melody in the keys of A♭ major or E♭ major. Entrants will be given half a minute to sight the

melody during which time they may try parts of the test.

Examples:

� �� E �

V

�� I

A �

3

3 � � � ��

44 � � � ��

�V

� ��B ��

I

�E ��

86 � � � � � ��

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

Example:

� �� 86 ��

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:

� � � �� 44 � ��

� � � �� 5 � �� 86 � � ��

�� 5 � � � �� • To name the tonic key and play a given melody in the keys or D♭ or A♭ major. Entrants will be given half a minute to sight the melody


Examples:

�� 3

33

�A �

V

�D �

I

�� 42

� � ��

�� D �

�I

A �

IV

� � � ��

44 ��

• 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:

� �� 33 � � � �� 43 � � � � �� 5 � �� 89 � � � ��

�� 4 � � � ��

� � �� 6 � � �� • To name the tonic key and play a given melody in the keys of D♭ major or B♭ major/minor. Entrants will be given half a minute to sight

the melody during which time they may try parts of the test.

Examples:

� �V

A �

�VI

B �m� � � � ��

44 � � � ��

�D �

� �I

A �

V

��

5

� � ��

V

� � ��F

I

B �

� � ��

44 �F � �

VI

Gm�V

� �

• 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.


Grade Eight

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

Examples:

� � � �� 2 � � � �� 89 ��

� � �� 2 �� 5 � � � �� 45 � � � � � � �

� �� 5 ��

• Entrants will be given one minute to sight an orchestral excerpt during which time they may try parts of the test, and then play it from the

score.

• 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.


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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.


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


• 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.



• 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.



• 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.





• Knowledge of other works by the composers of the pieces presented for examination with emphasis on the repertoire for the entrant’s

instrument/voice.



Level Six - Licentiate Diploma

Documents

NZMEB CLARINET SYLLABUSES · Musical Knowledge — NZMEB PERFORMANCE CLARINET SYLLABUS ed 20.3 Musical Knowledge In practical examinations examiners will ask entrants questions on