RCM Clarinet Syllabus / 2014 Edition

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FHMPRT396_Clarinet_Syllabi_RCM Strings Syllabi 14-05-22 2:23 PM Page 3
Clarinet
SYLLABUS / 2014 EDITION
Message from the President
The Royal Conservatory of Music was founded in 1886 with the idea that a single
institution could bind the people of a nation together with the common thread of shared
musical experience. More than a century later, we continue to build and expand on this
vision.
Today, The Royal Conservatory is recognized in communities across North America for
outstanding service to students, teachers, and parents, as well as strict adherence to high
academic standards through a variety of activities—teaching, examining, publishing,
research, and community outreach.
Our students and teachers benefit from a curriculum based on more than 125 years
of commitment to the highest pedagogical objectives. The strength of the curriculum
is reinforced by the distinguished College of Examiners—a group of fine musicians
and teachers who have been carefully selected from across Canada, the United States,
and abroad for their demonstrated skill and professionalism. A rigorous examiner
apprenticeship program, combined with regular evaluation procedures, ensures
consistency and an examination experience of the highest quality for candidates.
As you pursue your studies or teach others, you become not only an important partner
with The Royal Conservatory in the development of creativity, discipline, and goalsetting, but also an active participant, experiencing the transcendent qualities of music
itself. In a society where our day-to-day lives can become rote and routine, the human
need to find self-fulfillment and to engage in creative activity has never been more
necessary. The Royal Conservatory will continue to be an active partner and supporter
in your musical journey of self-expression and self-discovery.
Dr. Peter C. Simon
President
Message from the President
Contents
Getting Started
Register for an Examination
What’s New? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Contact Us . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Examinations Offered . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Examination Sessions and Registration Deadlines . . . . . 72
About Us
The Royal Conservatory . . . . . . . . . . . . . . . . . . . . . . . . .
The Royal Conservatory Examinations . . . . . . . . . . . . . .
The Frederick Harris Music Co., Limited . . . . . . . . . . . .
Additional Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5
5
5
5
Examination Requirements
Certificate Program Overview . . . . . . . . . . . . . . . . . . . . . 6
Theory Examinations . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Co-requisites and Prerequisites . . . . . . . . . . . . . . . . . . . . 8
Examination Repertoire . . . . . . . . . . . . . . . . . . . . . . . . . 9
Repertoire Substitutions . . . . . . . . . . . . . . . . . . . . . . . . 10
Orchestral Excerpts . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Technical Requirements . . . . . . . . . . . . . . . . . . . . . . . . 11
Grade-by-Grade Requirements
Preparatory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grade 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ARCT in Clarinet Performance . . . . . . . . . . . . . . . . . . .
Teacher’s ARCT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
12
16
20
25
30
35
40
45
51
58
63
69
71
Examination Regulations
Examination Procedures . . . . . . . . . . . . . . . . . . . . . . . .
Credits and Refunds for Missed Examinations . . . . . . .
Candidates with Special Needs . . . . . . . . . . . . . . . . . . .
Examination Results . . . . . . . . . . . . . . . . . . . . . . . . . . .
Table of Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Supplemental Examinations . . . . . . . . . . . . . . . . . . . . .
Split Grade 10 Practical Examinations . . . . . . . . . . . . .
Practical Examination Certificates . . . . . . . . . . . . . . . . .
Medals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
School Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
RESPs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Editions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Thematic Catalogues . . . . . . . . . . . . . . . . . . . . . . . . . . .
73
73
74
74
76
77
77
77
77
78
78
78
80
81
Resources
General Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
General Reference Works . . . . . . . . . . . . . . . . . . . . . . . 84
Clarinet Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Frequently Asked Questions
Practical Examinations . . . . . . . . . . . . . . . . . . . . . . . . . 90
Theory Co-requisites . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Practical Examination Day
Checklist for Candidates
Before You Leave Home . . . . . . . . . . . . . . . . . . . . . . . . .
Points to Remember . . . . . . . . . . . . . . . . . . . . . . . . . . .
What to Expect from a Clarinet Examination . . . . . . . .
After the Examination . . . . . . . . . . . . . . . . . . . . . . . . . .
92
92
92
92
Getting Started
What’s New?
•The Clarinet Syllabus, 2014 Edition has been expanded to include Preparatory, Grade 3,
Grade 5, and Grade 7.
• Early grades expand the playing range gradually from left-hand notes only, to the
lower chalumeau, before crossing the break.
• The range and keys required for technical tests correspond, in general, to those of the
repertoire and etude selections.
• The length of repertoire selections and the number of required technical tests, etudes,
and orchestral excerpts has been refined.
• Optional E flat clarinet repertoire selections have been added to certain grades.
• Orchestral excerpts begin at Grade 7 and optional E flat and bass clarinet excerpts
have been added to the list for the ARCT in Clarinet Performance examination.
• Candidates in Grade 10 have the opportunity to split the examination into two
separate segments.
Visit www.examinations.rcmusic.ca to register for an examination
or for further information concerning official Royal Conservatory
programs.
Contact Us
• Phone: 416-408-5019 or toll-free 1-800-461-6058
• Fax: 416-408-3151
273 Bloor Street West
Toronto, ON Canada M5S 1W2
Examinations Offered
Practical Examinations
Accordion, Bassoon, Cello, Clarinet, Double Bass, Flute, French Horn, Guitar, Harp,
Harpsichord, Oboe, Organ, Percussion, Piano, Recorder, Saxophone, Speech Arts and
Drama, Trombone, Trumpet, Tuba, Viola, Violin, Voice
Theory Examinations
Rudiments, Harmony, Keyboard Harmony, History, Counterpoint, Analysis, Pedagogy
Getting Started
4
About Us
The Royal Conservatory
The Royal Conservatory is one of the largest and most respected music education
institutions in the world. Providing the definitive standard of excellence through its
extensive curricula, assessment programs, public performances, master classes, and
teacher education programs, The Royal Conservatory makes a significant impact on the
lives of millions of people globally.
Notable alumni include:
• Glenn Gould
• Adrianne Pieczonka
• Randy Bachman
• Angela Hewitt
• Paul Shaffer
• Isabel Bayrakdarian
• Norman Jewison
•St. Lawrence String
• Martin Beaver
• Diana Krall
Quartet
• Russell Braun
• Teresa Stratas
• Measha Brueggergosman • Gordon Lightfoot
• Lois Marshall
• Shania Twain
• Adrienne Clarkson
• Sarah McLachlan
• Jon Vickers
• Bruce Cockburn
• Oscar Peterson
• David Foster
Visit www.rcmusic.ca
to learn more about the
history of The Royal
Conservatory.
The Royal Conservatory Examinations
The Royal Conservatory provides a recognized standard of musical success through
an effectively sequenced course of study and individual student assessments, from
preparatory to advanced grades. Over 100,000 examinations are conducted annually in
260 communities across Canada.
The College of Examiners
Examiners are highly trained professional musicians and theorists from across North
America. All examiners complete an Adjudicator Certification Program before being
admitted to the College of Examiners. Professional development and training continues
throughout each examiner’s career to ensure consistent examination standards across
North America.
Read about the College
of Examiners, including
examiner biographies,
at www.examinations.
rcmusic.ca.
The Frederick Harris Music Co., Limited
As The Royal Conservatory’s publishing division, The Frederick Harris Music Co.,
Limited produces The Royal Conservatory’s renowned syllabi and related teaching and
examining materials for individual instruments, voice, and theoretical subjects.
Additional Programs
Additional programs of The Royal Conservatory are delivered through the following
divisions:
• The Glenn Gould School provides professional training in music for gifted young
artists at the undergraduate and graduate levels.
• The Phil and Eli Taylor Performance Academy for Young Artists provides supportive,
comprehensive training for promising young musicians aged nine to eighteen.
• The Royal Conservatory School provides acclaimed early childhood music
education programs, music classes, and private lessons for people of all ages and
stages of musical literacy.
• Learning Through the Arts® supports excellence in public education programs by
utilizing the arts to enhance learning.
•The Performing Arts Division programs superb performances and events in The
Royal Conservatory’s three venues: Koerner Hall, Mazzoleni Concert Hall in historic
Ihnatowycz Hall, and the Conservatory Theatre.
• The Royal Conservatory Music Development Program promotes and expands
musical activity in the United States and makes the study of music a central part of
the lives of all Americans.
5
About Us
Examination Requirements
Certificate Program Overview
A progressive assessment program for every candidate
Internationally recognized certificates are awarded for successful completion of each
practical grade and the required co-requisite theory examination(s). Internationally
recognized diplomas are awarded for successful completion of the ARCT practical
examination and the required co-requisite examinations in theory and piano.
Candidates may enter the Certificate Program at any practical grade from Preparatory
to Grade 10. The following table summarizes the examinations required for each
certificate.
Certificates
Preparatory Clarinet
Grade 1 Clarinet
Grade 2 Clarinet
Grade 3 Clarinet
Grade 4 Clarinet
Grade 5 Clarinet
Grade 6 Clarinet
Grade 7 Clarinet
Grade 8 Clarinet
Grade 9 Clarinet
Grade 10 Clarinet
Examinations Required
Preparatory Clarinet
Grade 1 Clarinet
Grade 2 Clarinet
Grade 3 Clarinet
Grade 4 Clarinet
Grade 5 Clarinet; Basic Rudiments
Grade 6 Clarinet; Intermediate Rudiments
Grade 7 Clarinet; Advanced Rudiments
Grade 8 Clarinet; Advanced Rudiments
Grade 9 Clarinet; Advanced Rudiments; Basic Harmony/Basic Keyboard Harmony;
History 1: An Overview
Grade 10 Clarinet; Advanced Rudiments; Intermediate Harmony/Intermediate
Keyboard Harmony; History 1: An Overview; History 2: Middle Ages to Classical
Diploma
Examinations Required
ARCT in Clarinet
Performance
ARCT in Clarinet Performance; History 3: 19th Century to Present; any two of:
Advanced Harmony/Advanced Keyboard Harmony, or Analysis, or Counterpoint;
Grade 6 Piano
Teacher’s ARCT (Parts 1, 2, and 3); History 3: 19th Century to Present; any two of:
Advanced Harmony/Advanced Keyboard Harmony, or Analysis, or Counterpoint;
Grade 8 Piano
For current information concerning the Teacher’s ARCT requirements, please visit
www.rcmusic.ca.
Teacher’s ARCT
Examination Requirements
6
Theory Examinations
Essential Tools for Musical Development
• Clarinet candidates are encouraged to begin theory and piano studies as early as
possible.
• Beginning at Grade 5, candidates must complete the required theory examinations in
order to receive Practical Examination Certificates.
See the current
edition of the Theory
Syllabus for detailed
theory examination
requirements.
Overview of Theoretical Subjects
The following table lists all of the written theory examinations in the Certificate
Program with brief details, including the length of the examination and a summary
description of the content.
Subject
Rudiments
Harmony and
Counterpoint
Analysis
History
Theory Examination Title
Preparatory Rudiments (1 hour)
– Building blocks of music notation
Basic Rudiments (1 hour)
– Elements of music for the beginner
Intermediate Rudiments (2 hours)
– Continuation of basic rudiments
Advanced Rudiments (2 hours)
– Continuation of intermediate rudiments and preparation for harmony
Introductory Harmony (2 hours)
– Chord symbols; non-chord tones; elementary four-part and melodic writing
Basic Harmony (3 hours)
– Four-part writing; melodic composition; harmonic and structural analysis in major and minor keys
or
Basic Keyboard Harmony (20 minutes)
– Melodic improvisation; keyboard-style harmonization; accompaniment; melodic transposition;
harmonic and structural analysis
Intermediate Harmony (3 hours)
– Four-part writing and melodic composition in major and minor keys; modulation; harmonic and
structural analysis of musical forms
or
Intermediate Keyboard Harmony (25 minutes)
– Melodic improvisation; keyboard-style harmonization; modulation; accompaniment; melodic
transposition; harmonic analysis; C-clef reading
Counterpoint (3 hours)
– Composition and analysis of simple counterpoint in Baroque style
Advanced Harmony (3 hours)
– Advanced harmonic and contrapuntal techniques
or
Advanced Keyboard Harmony (30 minutes)
– Melodic improvisation; keyboard-style harmonization; figured bass; accompaniment; melodic and
orchestral transposition; score reading
Analysis (3 hours)
– Advanced harmonic and structural analysis of musical forms
History 1: An Overview (3 hours)
– Introduction to styles, composers, and music from 1600 to the present
History 2: Middle Ages to Classical (3 hours)
– Styles, composers, and music of the Medieval, Renaissance, Baroque, Rococo, and Classical periods
History 3: 19th Century to Present (3 hours)
– Styles, composers, and music of the Romantic era to the present
7
Examination Requirements
Preparing for a Theory Examination
• Theory examinations test music theory and knowledge of music history in a formal
classroom setting, generally with a written examination.
• Official Examination Papers, available at music retailers, are published annually by The
Frederick Harris Music Co., Limited to aid with examination preparation.
Co-requisites and Prerequisites
The following table summarizes all the co-requisite and prerequisite examinations
required to obtain certificates for Grades 5 to 10 and diplomas for the ARCT in Clarinet
Performance or the Teacher’s ARCT. There are no prerequisite or co-requisite theory
examinations for Preparatory to Grade 4. However, it is recommended that students
complete Preparatory Rudiments prior to Basic Rudiments. Similarly, it is recommended
that students complete Introductory Harmony prior to Basic Harmony.
Candidates must complete prerequisite examinations at least one session prior to
attempting the ARCT in Clarinet Performance. Candidates for the ARCT in Clarinet
Performance or the Teacher’s ARCT will be required to complete the following
theory co-requisite examinations: History 3: 19th Century to Present, and two of the
following three examinations: Advanced Harmony/Advanced Keyboard Harmony, or
Counterpoint, or Analysis. The selection of these examinations and the order in which
they are taken is at the discretion of the candidate.
Candidates for the ARCT in Clarinet Performance must complete co-requisite theory
examinations and the Grade 6 Piano examination before or within five years after the
original practical examination to be eligible for the Diploma.
For up-to-date information on the Teacher’s ARCT please consult www.rcmusic.ca.
Grade
5
Required Examinations (C = Co-requisite; P = Prerequisite)
Basic Rudiments
C
Intermediate Rudiments
6
7
8
9
10
C
C
C
C
C
P
P
C
P
P
C
C
P
P
C
P
P
C
P
C
P
C
Advanced Rudiments
Basic Harmony
Intermediate Harmony
Any two of: Advanced Harmony, or Counterpoint, or Analysis
History 1: An Overview
History 2: Middle Ages to Classical
History 3: 19th Century to Present
C
Grade 10 Practical
Grade 6 Piano
Grade 8 Piano
Alternative Examinations
Basic Keyboard Harmony
(can be substituted for Basic Harmony)
Intermediate Keyboard Harmony
(can be substituted for Intermediate Harmony)
Advanced Keyboard Harmony
(can be substituted for Advanced Harmony)
Examination Requirements
ARCT in
Teacher’s
Performance
ARCT
C
C
C
C
C
8
P
P
C
C
Examination Repertoire
The Clarinet Syllabus, 2014 Edition lists the repertoire for Clarinet examinations.
Information given for each item includes:
• the composer
• the title of the selection
• the larger work of which the selection is a part (where applicable)
• an anthology or collection in which the selection can be found (where applicable)
• performance directions (where applicable) indicating the section(s) of a work to be
prepared
• the publisher of a suggested edition (where applicable)
Names of publishers are indicated by an assigned abbreviation. Please see p. 80 for a list
of publishers with their abbreviations.
Syllabus Repertoire Lists
At each grade, candidates are encouraged to choose a balanced and varied examination
program that includes a variety of musical styles and keys. The repertoire for each grade
is divided into lists, according to genre or stylistic period.
Preparatory to Grade 8
List A: includes rhythmic pieces in a faster tempo
List B: includes lyrical pieces in a slower tempo
Grade 9
List A: includes pieces from the Baroque, Classical, and Romantic periods
List B: includes 20th- and 21st-century repertoire
Grade 10
List A: includes pieces from the Baroque, Classical, and Romantic periods
List B: includes 20th- and 21st-century repertoire
List C: includes unaccompanied repertoire
ARCT in Clarinet Performance
List A: includes concertos
List B: includes sonatas and suites
List C: includes unaccompanied repertoire
Da Capo Signs and Repeats
• When performing repertoire in an examination, candidates should observe da capo
and dal segno signs, unless stated otherwise in the Clarinet Syllabus, 2014 Edition.
• Repeat signs should be observed only if indicated in the Clarinet Syllabus, 2014 Edition
or in Clarinet Series, 2014 Edition.
Memory
• Repertoire, etudes, and orchestral excerpts need not be memorized, and no extra
marks will be awarded for memory.
• Technical tests (scales and arpeggios) must be played from memory.
9
Examination Requirements
Accompaniment
Candidates must
provide their own
collaborative pianist
in order for the
examination to
proceed.
All selections requiring accompaniment must be performed with piano accompaniment
only. No other instruments are permitted. Recorded accompaniment is not permitted.
Candidates must provide their own collaborative pianists. Collaborative pianists are
permitted in the examination room only while they are playing accompaniments for the
candidate.
Repertoire Substitutions
Clarinet candidates in Grades 1 through ARCT have the option of substituting one
repertoire selection at each examination with a selection of their own choice. Repertoire
substitutions for Clarinet fall under the following categories.
Syllabus Substitutions
Candidates in Grades 1 through 10 may substitute one repertoire selection from the
grade immediately above without prior approval. The repertoire substitution must
normally be chosen from the corresponding List of the grade immediately above the
candidate’s official grade. For example, a Grade 5 List A selection may be performed
in place of a Grade 4 List A selection. However, candidates should ensure that the
substitution piece complies with the genre or stylistic period intended for the List in
the grade to be examined (see Syllabus Repertoire Lists on p. 9). Please note that the
performance of repertoire substitutions chosen from a higher grade will be evaluated at
the standard of the higher grade.
Non-Syllabus Substitutions Requiring Approval
Clarinet candidates may apply to substitute one repertoire selection not listed in the
Clarinet Syllabus, 2014 Edition with a work that is comparable in style and difficulty.
The substitute repertoire selection must be of comparable length and musical quality to
selections in the specified List. Approval of such selections is based on the suitability of
the style and the level of difficulty of the substitute composition.
Candidates wishing to include a substitute selection on their examination programs
must complete an Examination Substitute Piece Request Form (available at
www.examinations.rcmusic.ca) by the examination registration deadline. Candidates
are advised to prepare an alternate work in case the request is denied.
• Send the completed form together with the appropriate fee and a copy of the
substitute piece to The Royal Conservatory. (Photocopies used for this purpose
should be marked “For Approval Only”; these copies will be destroyed once a
decision has been made.) Any published music submitted will be returned to the
candidate along with the approval form.
• Bring the approved Examination Substitute Piece Request Form to your examination
and give it to the examiner.
• Please note that marks will be deducted from the final examination mark for any
unapproved Non-Syllabus substitution or for any Syllabus substitution that does not
follow the guidelines provided above.
Orchestral Excerpts
All orchestral excerpts listed in the Clarinet Syllabus, 2014 Edition are included in Clarinet
Series, 2014 Edition: Orchestral Excerpts. Alternatively, candidates may select the specified
passages from standard clarinet orchestral parts.
Orchestral excerpts need not be memorized, and no extra marks will be awarded for
memorization. For further details on examination requirements for orchestral excerpts,
please consult the listings for each grade.
For examination purposes, rests of more than one measure need not be counted.
Examination Requirements
10
Technical Requirements
Etudes
A selection of etudes for Preparatory though Grade 8 is published in Clarinet Series, 2014
Edition: Clarinet Etudes (Preparatory–4 and 5–8). Etudes need not be memorized, and no
extra marks will be awarded for memorization. All etudes must be performed on B flat
clarinet. For further details on examination requirements for etudes, please consult the
listings for each grade.
Technical Tests
Complete technical tests for Preparatory through Grade 10 are published in Clarinet
Series, 2014 Edition: Clarinet Technique. Technical tests (scales and arpeggios) must be
played from memory. All technical tests must be performed on B flat clarinet. For
further details on examination requirements for technical tests, please consult the
listings for each grade.
General Instructions
• The examiner will choose a representative sampling of items on the technical
requirements list.
• Metronome speeds are intended as a guideline.
Articulation Patterns
Articulations
Grades
Four-note Patterns
Prep Grade Grade Grade Grade Grade Grade Grade Grade Grades
x
all slurred
1
x
all tongued
2
x
3
x
4
x
5
x
6
x
7
x
8
x
9–10
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
2 slurred,
2 tongued
2 tongued,
2 slurred
2 slurred,
2 slurred
3 slurred,
1 tongued
1 tongued,
3 slurred
1 tongued,
2 slurred,
1 tongued
x
Three-note Patterns
Prep Grade Grade Grade Grade Grade Grade Grade
x
all slurred
all tongued
2 slurred,
1 tongued
1 tongued,
2 slurred
3 slurred,
3 slurred
œ œ œ
œ œ œ
11
1
x
2
x
3
x
4
x
5
x
6
x
7
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
Examination Requirements
Grade-by-Grade Requirements
Preparatory
Candidates at the Preparatory level should exhibit
developing tone quality and basic articulation using notes
played predominantly with the left hand. Repertoire
at this level introduces basic rhythms and and
dynamics. Candidates should perform with a steady
rhythmic pulse, proper posture, and correct playing
position.
Preparatory Requirements
Repertoire
one selection from List A
one selection from List B
Technical Requirements
Etudes: two etudes from the Syllabus list
– one from Group 1 and one from Group 2
Technical Tests
– scales
– arpeggios
Ear Tests
Clapback
Playback
Sight Reading
Playing
Clapping
Total possible marks (pass = 60)
List A
Anonymous
l Minuet (arr. Costel Puscoiu, in Classical Repertoire for
Clarinet, 1 MEL)
Traditional
l Blow the Man Down (arr. Denes Agay, in The Joy of
Clarinet YOR)
→ optional: take the last C down an octave
u
Donkey Riding (arr. Harold Birston FHM)
u
The Ryans and the Pittmans (arr. Jason Gray FHM)
Marks
50
25
25
30
20
Bartók, Béla
l Maypole Dance (arr. Denes Agay, in The Joy of
Clarinet YOR)
Beethoven, Ludwig van
l To Joy (Ode to Joy), from Symphony No. 9, op. 125
(arr. Costel Puscoiu, in Classical Repertoire for
Clarinet, 1 MEL)
10
10
5
5
10
7
3
Corrette, Michel
l Fanfare (arr. Costel Puscoiu, in Classical Repertoire
for Clarinet, 1 MEL)
Handel, George Frideric
l Minuet, from Music for the Royal Fireworks, HWV
351 (arr. Costel Puscoiu, in Classical Repertoire for
Clarinet, 1 MEL)
l Passepied (arr. Pamela Weston, in First Clarinet
Album OTT)
100
Theory Co-requisite
None
Harris, Paul
The Really Easy Clarinet Book FAB
u
Pony Ride
Repertoire
Please see “Examination Repertoire” on p. 9 for important
information regarding this section of the examination.
Hook, James
l Minuet (arr. Costel Puscoiu, in Classical Repertoire for
Clarinet, 1 MEL)
Candidates must prepare two contrasting selections by two
different composers: one from List A and one from List B.
Please note that all selections requiring piano accompaniment
must be played with piano.
• List A includes rhythmic pieces in a faster tempo.
• List B includes lyrical pieces in a slower tempo.
Mozart, Leopold
l Menuet for Nannerl (arr. Pamela Weston, in First
Clarinet Album OTT)
Norton, Christopher
The Microjazz Clarinet Collection, 1 B&H
l Martial Arts
l Soldier Boy
l Tall Tale, Big Hat
Bullets used to denote selections for examination
purposes:
l one selection
u
one selection, found in Clarinet Series, 2014 Edition:
Preparatory Clarinet Repertoire FHM
Preparatory
Praetorius, Michael
l Gavotte (arr. Costel Puscoiu, in Classical Repertoire
for Clarinet, 1 MEL)
→ play both repeats
12
Technical Requirements
Rae, James
Clarinet Debut UNI
u
Big Chief Sitting Bull
Repertoire Explorer UNI
u
A Funeral March for a “Bad Reed”
u
In Gear
Please see “Technical Requirements” on p. 11 for
important information regarding this section of the
examination.
Etudes
Candidates must prepare two etudes from the following
list: one from Group 1 and one from Group 2. All etudes
must be performed on B flat clarinet.
Bullets used to denote selections for examination
purposes:
l one selection
u
one selection, found in Clarinet Series, 2014 Edition:
Clarinet Etudes Preparatory–4 FHM
List B
Traditional
u
Inuit Children’s Song (arr. Christine Donkin FHM)
u
Song of the Volga Boatmen (arr. Jason Gray FHM)
Arbeau, Thoinot
u
Two Pieces from Orchésographie (arr. Paul Harris, in
Music Through Time, 1 OUP)
Group 1
Technical Etudes
Bach, Johann Sebastian
l Oh, Tiny Child (O Jesulein süss, BWV 493)
(arr. Costel Puscoiu, in Classical Repertoire for
Clarinet, 1 MEL)
Traditional
l Twinkle, Twinkle Little Star (arr. C. Paul Herfurth
and Hugh M. Stuart, in A Tune A Day For Clarinet, 1
HAL)
Bartók, Béla
l Lament (arr. Denes Agay, in The Joy of Clarinet YOR)
Handel, George Frideric
l Gavotte (arr. Costel Puscoiu, in Classical Repertoire
for Clarinet, 1 MEL)
Bennett, Ned
Absolute Beginners Clarinet WIS
l Don’t Flunk the Funk
l Time for T-T-T-Tea
Lawlor, Charles B.
u
Sidewalks of New York (arr. Forrest Kinney FHM)
Mozart, Wolfgang Amadeus
l Air, from Sonata in A Major, K 331 (arr. Costel
Puscoiu, in Classical Repertoire for Clarinet, 1 MEL)
Demnitz, Friedrich
Elementary School for Clarinet, Ia: The Simplest Forms of
Phrasing (Tenuto)
u
Etude in F Major (no. 2)
Norton, Christopher
u
In the Snow (arr. Harold Birston)
The Microjazz Clarinet Collection, 1 B&H
l Spring Day
Galper, Avrahm
Clarinet Method, 1 WAT
l Your First Notes (no. 2)
l Your First Tune (no. 3)
Poulton, George R.
l Aura Lee (arr. Denes Agay, in The Joy of Clarinet
YOR)
Harris, Paul
Clarinet Basics FAB
u
Bubblegum
Purcell, Henry
l Song (arr. Paul Harris, in Music Through Time, 1
OUP)
Pearson, Bruce
Standard of Excellence, 1 KJO
l Down by the Station (no. 18)
l Country Walk (no. 20)
l Farm Out (no. 34)
Rae, James
Clarinet Debut UNI
u
Limelight Waltz
Pierpont, James Lord
l Jingle Bells (arr. C. Paul Herfurth and Hugh M.
Stuart, in A Tune A Day For Clarinet, 1 HAL)
Reade, Paul
l Prelude (in First Book of Clarinet Solos FAB)
Rae, James
Forty Modern Studies UNI
u
Prowlin’ (no. 1)
l Undercover (no. 2)
Style Workout UNI
u
Proclamation (no. 1)
Thirty-eight More Modern Studies UNI
l Ups and Downs (no. 11)
l Waves (no. 3)
l Windsor March (no. 2)
13
Preparatory
Group 2
Lyrical Etudes
Hegvik, Ted
Melodic Etudes ETC
u
Sustained Sound
Herfurth, C. Paul, and Hugh M. Stuart
A Tune A Day For Clarinet, 1 HAL
l The Boat Song
l Lightly Row
Traditional
u
The Birch Tree
Bennett, Ned
Absolute Beginners: Clarinet WIS
l A Sigh For Siberia
l Moonlight Waltz
Pearson, Bruce
Standard of Excellence, 1 KJO
l Au clair de la lune (no. 17)
l Song of the Fjords (no. 27)
Bodegraven, Paul van
Adventures in Clarinet Playing STA
l Four Fingers Waltz (no. 27)
Rae, James
Thirty-eight More Modern Studies UNI
l Horizon (no. 1)
u
Hungarian Lament (no. 4)
Galper, Avrahm
Clarinet Method, 1 WAT
l Au clair de la lune (no. 14)
l Melody (no. 16)
Russell, Helen
u
Skating on the Rideau
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the examination. Candidates
must play all scales and arpeggios from memory, ascending and descending, in all the articulations listed below. All
technical tests must be performed on B flat clarinet.
Scales
Major
Minor
Arpeggios
Major
Minor
Keys
C, D
D
Range
Tempo
Note Values
Articulations
^ ^ ^
1 –5 –1
q
= 76
q
all slurred
C, D
D
^^^^^
13531
q
= 76
q
all slurred
^
^
Five-note scales extend from the tonic (1) to the dominant (5).
&
œ œ œ œ
œ œ œ œ
˙
Ear Tests
Clapback
Candidates will choose to either clap or tap the rhythm of a short melody after the examiner has played it twice on the piano.
Time Signatures
Approximate Length
two to four measures
Example only
Preparatory
14
Playback
Candidates will be asked to play back a melody on the clarinet, based on the first three notes of a major scale. The
examiner will name the key, play the tonic triad once, and play the melody twice on the piano.
Beginning Note
tonic or mediant
Keys
C, G, F major
Approximate Length
four notes
Example only
Sight Reading
Playing
Candidates will be asked to play a short melody at sight.
Time Signature
Keys
Approximate Length
C major
four measures
Clapping
Candidates will be asked to clap or tap a rhythm. A steady pulse and rhythmic precision are expected.
Time Signature
Approximate Length
two measures
Example only
15
Preparatory
Grade 1
Candidates in Grade 1 should demonstrate the ability to
slur and tongue while maintaining proper air support
and tone. Solos at this level remain within the chalumeau
register and use a variety of simple rhythms and
dynamics. Repertoire introduces a variety of historically
important styles as well as traditional folk melodies.
Candidates should perform with a steady rhythmic pulse,
proper posture, and correct playing position.
Grade 1 Requirements
Repertoire
one selection from List A
one selection from List B
Technical Requirements
Etudes: two etudes from the Syllabus list
– one from Group 1 and one from Group 2
Technical Tests
– scales
– arpeggios
Ear Tests
Clapback
Playback
Sight Reading
Playing
Clapping
Total possible marks (pass = 60)
List A
Anonymous
l Minuet for the Mock Trumpet (arr. Paul Harris, in
Music Through Time, 1 OUP)
u
Round Dance from Poictou (Bransle double de
Poictou) (arr. Harold Birston FHM)
Traditional
u
Land of the Silver Birch (arr. Nancy Telfer FHM)
u
Mango Walk (arr. Christine Donkin FHM)
Marks
50
25
25
30
20
Bach, Johann Sebastian
l Menuet (arr. Pamela Weston, in First Clarinet Album
OTT)
Dangain, Serge, and Christian Jacob
l Chansonette LED
l Chinoise LED
→ play B flat clarinet part
10
Grieg, Edvard
u
Gavotte, from Holberg Suite, op. 40, no. 3 (arr. Jason
Noble FHM)
10
5
5
10
7
3
Handel, George Frideric
l Impertinence, HWV 494 (arr. Pamela Weston, in
First Clarinet Album OTT)
Harris, Paul
The Really Easy Clarinet Book FAB
u
Popcorn
Summer Sketches B&H
l Carousel (no. 8)
l Dancing Bears (no. 3)
l Humoresque (no. 5)
100
Theory Co-requisite
None
Repertoire
Harvey, Paul
Jazzy Clarinet, 1 UNI
l Merrily We Rock Along
l One Hand Funk
u
Star Quality (in Repertoire Explorer UNI)
Please see “Examination Repertoire” on p. 9 for important
information regarding this section of the examination.
Candidates must prepare two contrasting selections by two
different composers: one from List A and one from List B.
Please note that all selections requiring piano accompaniment
must be played with piano.
• List A includes rhythmic pieces in a faster tempo.
• List B includes lyrical pieces in a slower tempo.
Kullak, Theodor
u
Witches’ Dance (arr. Paul Harris and Emma
Johnson, in First Repertoire for Clarinet FAB)
Lefèvre, Xavier
l March (arr. Paul Harris, in Music Through Time, 1
OUP)
Bullets used to denote selections for examination
purposes:
l one selection
u
one selection, found in Clarinet Series, 2014 Edition:
Clarinet Repertoire 1 FHM
Mozart, Wolfgang Amadeus
l Menuetto (arr. Paul Harris, in Music Through Time, 1
OUP)
Norton, Christopher
u
Smooth as Silk (arr. Harold Birston FHM)
The Microjazz Clarinet Collection, 1 B&H
u
Crumbs!
Seward, N.H.
l Dreaming BEL
Grade 1
16
Technical Requirements
Telemann, Georg Philipp
l Allegro (arr. Pamela Weston, in First Clarinet Album
OTT)
Please see “Technical Requirements” on p. 11 for
important information regarding this section of the
examination.
Valentine, Robert
l Allegro (arr. Pamela Weston, in First Clarinet Album
OTT)
Etudes
Candidates must prepare two etudes from the following
list: one from Group 1 and one from Group 2. All etudes
must be performed on B flat clarinet.
List B
Traditional
l America (arr. Jay Arnold, in Clarinet Solos AMS)
l Bonny at Morn (arr. Pamela Weston, in First Clarinet
Album OTT)
u
Deep River (arr. Christine Donkin FHM)
u
Morning Has Broken (arr. Harold Birston FHM)
l Song of the Volga Boatmen (arr. John Davies and
Paul Reade, in First Book of Clarinet Solos FAB)
u
The Water Is Wide (arr. Mark Mrozinski FHM)
u
What Is This Lovely Fragrance? (Quelle est cette
odeur agréable?) (arr. Martin van de Ven FHM)
Bullets used to denote selections for examination
purposes:
l one selection
u
one selection, found in Clarinet Series, 2014 Edition:
Clarinet Etudes Preparatory–4 FHM
Group 1
Technical Etudes
Brackett, Joseph
u
Simple Gifts (arr. Christine Donkin FHM)
Bennett, Ned
Absolute Beginners: Clarinet WIS
l Magical Mystery Tour
l Minuet in G
Corbett, William
l Sarabande (arr. Pamela Weston, in First Clarinet
Album OTT)
Galper, Avrahm
Clarinet Method, 1 WAT
l The Bee (no. 10)
l Polly (no. 15)
l Study On the New Notes (no. 6)
Eberhardt, Dorothee
u
Pas de deux (in Spectrum for Clarinet ABR)
Elgar, Edward
l Andante (arr. Paul Harris, in Music Through Time, 1
OUP)
Harris, Paul
Clarinet Basics FAB
u
Hornpipe Study
Handel, George Frideric
l The Harmonious Blacksmith, from Suite in E Major,
HWV 430 (arr. Paul Harris, in Music Through Time, 1
OUP)
Haydn, Franz Joseph
l From the Second Symphony (arr. C. Paul Herfurth
and Hugh M. Stuart, in A Tune A Day For Clarinet, 1
HAL)
Harris, Paul
Summer Sketches B&H
l Reflections (no. 4)
l Spanish Memory (no. 2)
Hegvik, Ted
Melodic Etudes ETC
u
Nimble Fingers
Lully, Jean-Baptiste
l Andantino (arr. Costel Puscoiu, in Classical
Repertoire for Clarinet, 1 MEL)
Langenus, Gustave
Complete Method for the Boehm Clarinet, 1 FIS
u
Etude in C Major (no. 40)
Mahler, Gustav
l Funeral March, from Symphony No. 1 (arr. Paul
Harris, in Music Through Time, 1 OUP)
Pearson, Bruce
Standard of Excellence, 1 KJO
l Bingo (no. 63)
l Erie Canal Capers (no. 58)
l Go for Excellence! (no. 61)
Norton, Christopher
u
Trip to the Bazaar (arr. Harold Birston FHM)
The Microjazz Clarinet Collection, 1 B&H
l Gloomy
l How Graceful
l Under A Cloud
Rae, James
Forty Modern Studies UNI
l Jumpin’ (no. 4)
Jazz Scale Studies: Clarinet UNI
l Breezin’ (no. 2)
l Dorian Dance (no. 3)
Mosaics, 1 TCL
u
March of the Processed Peas (no. 13)
Reade, Paul
l Romance (in First Book of Clarinet Solos FAB)
17
Grade 1
Thirty-eight More Modern Studies UNI
l The Middle Man (no. 8)
l Olympic Flame (no. 17)
u
The Organ Grinder’s Apprentice (no. 7)
l The Sheriff (no. 9)
Demnitz, Friedrich
Elementary School for Clarinet, Ia: The Simplest Forms of
Phrasing (Tenuto)
u
Etude in F Major (no. 4)
Galper, Avrahm
Clarinet Method, 1 WAT
l Folk Song (no. 5)
l Long, Long Ago (no. 20)
l Hickory Dickory Dock (no. 24)
Group 2
Lyrical Etudes
Traditional
l America (arr. C. Paul Herfurth and Hugh M. Stuart,
in A Tune A Day For Clarinet, 1 HAL)
l Down in the Valley (no. 70, arr. Bruce Pearson, in
Standard of Excellence, 1 KJO)
u
Old King Cole
Rae, James
Forty Modern Studies UNI
l Slow Motion (no. 7)
Jazz Scale Studies: Clarinet UNI
l The Comfort Zone (no. 1)
Mosaics, 1 TCL
u
Going Down with Eees (no. 14)
u
May the Fourths Be with You (no. 11)
Thirty-eight More Modern Studies UNI
l Blue Waltz (no. 12)
u
Destiny (no. 13)
l Diversion (no. 10)
Bennett, Ned
Absolute Beginners: Clarinet WIS
l Lullaby
Brahms, Johannes
l Theme from Symphony No. 1 (no. 57, arr. Bruce
Pearson, in Standard of Excellence, 1 KJO)
Schumann, Robert
l Evening Song, op. 85, no. 12 (arr. C. Paul Herfurth
and Hugh M. Stuart, in A Tune A Day For Clarinet, 1
HAL)
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the examination. Candidates
must play all scales and arpeggios from memory, ascending and descending, in all the articulations listed below. All
technical tests must be performed on B flat clarinet.
Scales
Keys
Major
Harmonic and Melodic Minor
Arpeggios
Major
Minor
G, F, B b
A, G
G, F, B b
A, G
Range
Tempo
Note Values
Articulations
1 octave
q
= 80
q
all slurred
1 octave
q
= 50
all slurred
Ear Tests
Clapback
Candidates will choose to either clap or tap the rhythm of a short melody after the examiner has played it twice on the piano.
Time Signatures
Approximate Length
three to four measures
Grade 1
18
Example only
1
2
Playback
Candidates will be asked to play back a melody on the clarinet, based on the first three notes of a major scale. The
melody may contain repeated notes and a leap of a 3rd. The examiner will name the key, play the tonic triad once, and
play the melody twice on the piano.
Beginning Note
tonic, supertonic, or mediant
Keys
C, G, F major
Approximate Length
four notes
Example only
1
2
Sight Reading
Playing
Candidates will be asked to play a short melody at sight.
Time Signature
Keys
Approximate Length
C, G, F major
four measures
Clapping
Candidates will be asked to clap or tap a rhythm. A steady pulse and rhythmic precision are expected.
Time Signature
Approximate Length
two measures
Example only
19
Grade 1
Grade 2
Candidates in Grade 2 should be able to cross the
break and play up to a clarion F. Candidates will gain
practice in transitioning smoothly between chalumeau
and clarion registers. Folk songs and arrangements of
popular melodies provide opportunities to demonstrate a
steady rhythmic pulse, a focused and warm tone, mixed
articulations, and a variety of dynamics.
Grade 2 Requirements
List A
Traditional
l Hark, the Herald Angels Sing (arr. James Rae, in
Christmas Jazz: Clarinet UNI)
l Hatikvah (arr. John Davies and Paul Reade, in First
Book of Clarinet Solos FAB)
u
Mairi’s Wedding (Lewis Bridal Song) (arr. Christine
Donkin FHM)
l Shepherd’s Hey (arr. John Davies and Paul Reade, in
First Book of Clarinet Solos FAB)
Marks
Repertoire
one selection from List A
one selection from List B
Technical Requirements
Etudes: two etudes from the Syllabus list
– one from Group 1 and one from Group 2
Technical Tests
– scales
– arpeggios
Ear Tests
Clapback
Intervals
Playback
Sight Reading
Playing
Clapping
50
25
25
30
20
Total possible marks (pass = 60)
100
Beethoven, Ludwig van
l German Dance (arr. Denes Agay, in The Joy of
Clarinet YOR)
Boismortier, Joseph Bodin de
l Brunette (arr. Costel Puscoiu, in Classical Repertoire
for Clarinet, 1 MEL)
10
Byrd, William
u
Wolsley’s Wilde (arr. Jason Noble FHM)
10
3
3
4
10
7
3
Clarke, Jeremiah
u
The King’s March, T 432 (arr. Jason Noble FHM)
Gounod, Charles
l Funeral March of a Marionette (arr. in Rubank Book
of Clarinet Solos, Easy Level RUB)
Handel, George Frideric
u
Bourrée anglaise, from Sonata in G Major, op. 1,
no. 5, HWV 363b (arr. Stephen Chatman FHM)
Theory Co-requisite
None
Harris, Paul
Clarinet All Sorts, 1–3 FAB
u
Computer Game
Summer Sketches B&H
l Coquette (no. 6)
l Donkey Ride (no. 7)
Repertoire
Please see “Examination Repertoire” on p. 9 for important
information regarding this section of the examination.
Candidates must prepare two contrasting selections by two
different composers: one from List A and one from List B.
Please note that all selections requiring piano accompaniment
must be played with piano.
• List A includes rhythmic pieces in a faster tempo.
• List B includes lyrical pieces in a slower tempo.
Harris, Paul, arr.
Clarinet Basics FAB
u
Polka-Dot Rag
Harvey, Paul, arr.
l The Blue Bells of Scotland (in Jazzy Clarinet, 1 UNI)
Joplin, Scott
l I Am Thinking of My Pickaninny Days (arr. Paul
Harris, in Music Through Time, 1 OUP)
Bullets used to denote selections for examination
purposes:
l one selection
u
one selection, found in Clarinet Series, 2014 Edition:
Clarinet Repertoire 2 FHM
Mier, Martha
l Jelly Bean Rag (arr. Jane Sebba, in Jazz, Rags & Blues
for Clarinet ALF)
Sands, John
l Beginner’s Blues (in Jazzy Clarinet, 1 UNI)
l For He’s a Jolly Good Jazzer (in Jazzy Clarinet, 1
UNI)
Schubert, Franz
l Ecossaise (arr. Paul Harris, in Music Through Time, 1
OUP)
Grade 2
20
Schumann, Robert
l The Merry Peasant, op. 68, no. 10 (arr. John Davies
and Paul Reade, in First Book of Clarinet Solos FAB)
Mier, Martha
l Clarinet Blues (arr. Jane Sebba, in Jazz, Rags & Blues
for Clarinet ALF)
l Lazy Days (arr. Jane Sebba, in Jazz, Rags & Blues for
Clarinet ALF)
Smith, John Stafford
l Star Spangled Banner (arr. Jay Arnold, in Clarinet
Solos AMS)
Norton, Christopher
The Microjazz Clarinet Collection, 1 B&H
l Solitary
Sullivan, Arthur
l Poor Wand’ring One!, from The Pirates of Penzance
(arr. Paul Harris, in Music Through Time, 1 OUP)
Parry, Hubert
u
Ode to Newfoundland (arr. Christine Donkin FHM)
Telemann, Georg Philipp
l Gavotte (arr. Manfred Bergen, in Klassische
Vortragsstücke OTT)
u
Gigue, from Quintet in F Major, TWV 44:6
(arr. Jason Noble FHM)
Purcell, Henry
u
Air, from The Double Dealer, Z 592 (arr. James Rae, in
Take Ten UNI)
Schubert, Franz
l The Trout, from Piano Quintet in A Major, D 667
(arr. Denes Agay, in The Joy of Clarinet YOR)
Walton, William
l Puppet’s Dance, from Music for Children (arr. Paul
Harris, in Music Through Time, 1 OUP)
Schumann, Robert
l Melody (arr. Denes Agay, in The Joy of Clarinet YOR)
Weber, Carl Maria von
l Walzer (arr. Manfred Bergen, in Klassische
Vortragsstücke OTT)
Tchaikovsky, Pyotr Il’yich
l None But the Lonely Heart, op. 6, no. 6 (arr. Jay
Arnold, in Clarinet Solos AMS)
List B
Westendorf, Thomas P.
l I’ll Take You Home Again Kathleen (arr. Jay Arnold,
in Clarinet Solos AMS)
Traditional
l Black Is the Color (arr. Denes Agay, in The Joy of
Clarinet YOR)
u
The Huron Carol (arr. Martin van de Ven FHM)
u
Londonderry Air (arr. Harold Birston FHM)
u
Tumbalalaika (arr. Martin van de Ven and Christine
Donkin FHM)
Technical Requirements
Please see “Technical Requirements” on p. 11 for
important information regarding this section of the
examination.
Concone, Giuseppe
l Moderato cantabile (arr. Paul Harris, in Music
Through Time, 1 OUP)
Etudes
Corelli, Arcangelo
l Sarabande (arr. Costel Puscoiu, in Classical Repertoire
for Clarinet, 1 MEL)
Candidates must prepare two etudes from the following
list: one from Group 1 and one from Group 2. All etudes
must be performed on B flat clarinet.
Debussy, Claude
u
Rêverie (arr. Jason Noble FHM)
Bullets used to denote selections for examination
purposes:
l one selection
u
one selection, found in Clarinet Series, 2014 Edition:
Clarinet Etudes Preparatory–4 FHM
Foster, Stephen Collins
l Beautiful Dreamer (arr. Jay Arnold, in Clarinet Solos
AMS; arr. John Davies and Paul Reade, in First Book
of Clarinet Solos FAB)
Group 1
Technical Etudes
Haydn, Franz Joseph
u
Austrian Hymn (Gott erhalte Franz den Kaiser),
Hob. XXVIa: 43 (arr. Jason Noble FHM)
Macdowell, Edward
l To a Wild Rose, op. 51, no. 1 (arr. John Davies and
Paul Reade, in First Book of Clarinet Solos FAB)
Allen, Chris
Progressive Studies for Clarinet, 1 ABR
u
Moto Perpetuo (no. 18)
Mendelssohn, Felix
l Barcarole (arr. Manfred Bergen, in Klassische
Vortragsstücke OTT)
Demnitz, Friedrich
Elementary School for Clarinet, Ic: The Simplest Forms of
Phrasing (Staccato)
u
Etude in D Minor (no. 3)
u
Etude in F Major (no. 2)
21
Grade 2
Endresen, Raymond Milford
Supplementary Studies RUB
l no. 1
Galper, Avrahm
Clarinet Method, 1 WAT
l Early One Morning (no. 47)
l Ländler (no. 36)
Galper, Avrahm
Clarinet Method, 1 WAT
l The Merry Peasant (no. 50)
l Oranges and Lemons (no. 81)
Lazarus, Henry
Lazarus Method for Clarinet, Part 1: Practical Studies on the
Lower Notes
u
Etude in C Major (no. 1 and no. 2)
Hegvik, Ted
Melodic Etudes ETC
u
Prairie Lament
Pearson, Bruce
Standard of Excellence, 1 KJO
l Alouette (no. 116)
l Grandfather’s Whiskers (no. 136)
l Ming Court (no. 83)
Kelley, Daniel E.
l Home on the Range (no. 120, arr. Bruce Pearson, in
Standard of Excellence, 1 KJO)
Rae, James
Forty Modern Studies UNI
l The Big One (no. 8)
l Passing Time (no. 9)
Mosaics, 1 TCL
u
Schnitzel Waltz (no. 32)
Thirty-eight More Modern Studies UNI
l Pieces of Eight (no. 19)
l Staccato Dance (no. 18)
Lazarus, Henry
Lazarus Method for Clarinet, Part 1: Fifty Progressive Duets
u
Etude in F Major (no. 48, Trio)
Polatschek, Victor
Twenty-four Clarinet Studies for Beginners EDW
u
Etude in G Major (no. 1)
Rae, James
Forty Modern Studies UNI
l Forever (no. 10)
l Tumbledown Blues (no. 11)
Mosaics, 1 TCL
u
Beyond the Mist (no. 22)
Style Workout UNI
u
Autumn Clouds (no. 4)
Susato, Tylman
l Ronde (no. 111, arr. Bruce Pearson, in Standard of
Excellence, 1 KJO)
Group 2
Lyrical Etudes
Strauss, Johann
l Roses from the South (Rosen aus dem Süden), op.
388 (no. 104, arr. Bruce Pearson, in Standard of
Excellence, 1 KJO)
Demnitz, Friedrich
Elementary School for Clarinet, II: The Most Common
Dynamic Markings
u
Etude in C Major (no. 1)
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the examination. Candidates
must play all scales and arpeggios from memory, ascending and descending, in all the articulations listed below. All
technical tests must be performed on B flat clarinet.
Scales
Major
Harmonic and Melodic Minor
Major
Keys
G, F
E
Harmonic and Melodic Minor
Arpeggios
Major
Minor
Major
D
Minor
Grade 2
C, B b
G, F
E
C, B b
D
Range
2 octaves
1 octave
2 octaves
1 octave
22
Tempo
q
= 66
q
= 52
Note Values
Articulations
all slurred
all tongued
all slurred
all tongued
Ear Tests
Clapback
Candidates will choose to either clap or tap the rhythm of a short melody after the examiner has played it twice on the piano.
Time Signatures
Approximate Length
three to four measures
Example only
1
2
Intervals
Candidates will be asked to identify the following intervals. The examiner will play each interval once in broken form on
the piano.
or
Candidates may choose to sing or hum the following intervals. The examiner will play the first note once on the piano.
Above a Given Note
major 3rd
perfect 5th
Playback
Candidates will be asked to play back a melody on the clarinet, based on the first five notes of a major scale. The melody
may contain one or more leaps of a 3rd. The examiner will name the key, play the tonic triad once, and play the melody
twice on the piano.
Beginning Note
tonic or dominant
Keys
C, G, F major
Approximate Length
five notes
Example only
1
2
23
Grade 2
Sight Reading
Playing
Candidates will be asked to play a short melody at sight.
Time Signature
Keys
Approximate Length
C, G, F major
eight measures
Clapping
Candidates will be asked to clap or tap a rhythm. A steady pulse and rhythmic precision are expected.
Time Signature
Approximate Length
two measures
Example only
Grade 2
24
Grade 3
Candidates in Grade 3 should be able to play the full
range of the clarion register. Repertoire embraces a range
of character pieces and classics, from the music of Bach
and Handel to contemporary and Klezmer selections.
Candidates will begin to develop technical fluidity
while still maintaining a steady rhythmic pulse, proper
air support, and good quality of sound. There is an
expectation of a greater range of dynamics, phrasing, and
articulations.
Grade 3 Requirements
Repertoire
one selection from List A
one selection from List B
Technical Requirements
Etudes: four etudes from the Syllabus list
– two from Group 1 and two from Group 2
Technical Tests
– scales
– arpeggios
Ear Tests
Clapback
Intervals
Playback
Sight Reading
Playing
Clapping
Total possible marks (pass = 60)
List A
Traditional
l American Songs (arr. Jay Arnold, in Clarinet Solos
AMS)
→ play all three
l Season’s Greetings! (A Medley) (arr. James Rae, in
Christmas Jazz: Clarinet UNI)
→ play all three
Cowles, Colin
u
Branch Line, from Locomotive Suite FEN
Marks
50
25
25
30
20
Gershwin, George
l But Not for Me (arr. Carl Strommen, in Gershwin by
Special Arrangement ALF)
l A Foggy Day (arr. Carl Strommen, in Gershwin by
Special Arrangement ALF)
l I Got Rhythm (arr. Carl Strommen, in Gershwin by
Special Arrangement ALF)
10
Handel, George Frideric
l Bourrée, from Sonata No. 2 in G Major (arr. Costel
Puscoiu, in Classical Repertoire for Clarinet, 1 MEL)
u
Gavotte, HWV 491 (arr. Christine Donkin FHM)
10
3
3
4
10
7
3
100
Harris, Paul
l Dance of the Elegant Elephant (in Music Through
Time, 1 OUP)
u
Ghoulish (in Music Through Time, 3 OUP)
u
Space-age Sonatina (in Going Solo FAB)
Joplin, Scott
u
Peacherine Rag (arr. Forrest Kinney FHM)
Theory Co-requisite
None
Krieger, Johann
l Bourrée (arr. Denes Agay, in The Joy of Clarinet YOR)
Repertoire
Mier, Martha
l Red Rose Rendezvous (Jazz Waltz) (arr. Jane Sebba,
in Jazz, Rags & Blues for Clarinet ALF)
Please see “Examination Repertoire” on p. 9 for important
information regarding this section of the examination.
Mozart, Wolfgang Amadeus
l Menuett, from Eine kleine Nachtmusik, K 525
(arr. Manfred Bergen, in Klassische Vortragsstücke OTT)
l Tema con variazione (arr. Manfred Bergen, in
Klassische Vortragsstücke OTT)
Candidates must prepare two contrasting selections by two
different composers: one from List A and one from List B.
Please note that all selections requiring piano accompaniment
must be played with piano.
• List A includes rhythmic pieces in a faster tempo.
• List B includes lyrical pieces in a slower tempo.
Norton, Christopher
The Microjazz Clarinet Collection, 1 B&H
l It Takes Two
l Registration Day
Bullets used to denote selections for examination
purposes:
l one selection
u
one selection, found in Clarinet Series, 2014 Edition:
Clarinet Repertoire 3 FHM
Purcell, Henry
u
Hornpipe, from Abdelazer, Z 570 (arr. Christine
Donkin FHM)
Reade, Paul, and Tim Gibson
l Theme from Antiques Roadshow (UK) JWL
Schubert, Franz
l Menuett (arr. Manfred Bergen, in Klassische
Vortragsstücke OTT)
25
Grade 3
Gluck, Christoph Willibald
u
Che farò senza Euridice (What Shall I Do Without
Euridice?), from Orfeo ed Euridice (arr. Jason Noble
FHM)
Scott, James
l The Fascinator (arr. John Davies and Paul Reade, in
First Book of Clarinet Solos FAB)
Sullivan, Arthur
u
Major-General’s Song, from The Pirates of Penzance
(arr. Martin van de Ven FHM)
Haydn, Joseph
l Adagio (arr. Manfred Bergen, in Klassische
Vortragsstücke OTT)
Wallen, Errollyn
u
Skip (in Spectrum for Clarinet ABR)
Hovey, Nilo W., and Beldon Leonard
l Song of Spring ALF
l Reflections ALF
List B
Langenus, Gustave
l Chrysalis FIS
Traditional
u
All the Pretty Little Horses (arr. Jason Gray FHM)
l Greensleeves (arr. Costel Puscoiu, in Classical
Repertoire for Clarinet, 1 MEL)
u
Hava Nagila (arr. Martin van de Ven and Forrest
Kinney FHM)
l Londonderry Air (arr. Jay Arnold, in Clarinet Solos
AMS)
l Oh, Shenando’ (arr. John Jay Hilfiger GMM)
Lehár, Franz
l Vilja, from The Merry Widow (arr. Denes Agay, in
The Joy of Clarinet YOR)
Massenet Jules
l Élégie (arr. Jay Arnold, in Clarinet Solos AMS)
Norton, Christopher
The Microjazz Clarinet Collection, 1 B&H
l With Grace
Bach, Johann Sebastian, attr.
u
Minuet, BWV Anh. 132 (arr. Jason Gray FHM)
Ross, William James
l Danny Boy: Meditation on “Londonderry Air” PET
Bizet, Georges
u
Entr’acte, from Carmen (arr. Christine Donkin FHM)
Schumann, Robert
l “***” from Album for the Young, op. 68, no. 21 (arr.
Alan Richardson, in First Book of Clarinet Solos FAB)
Bullard, Alan
Circus Skills SPA
u
Sentimental Serenade
Still, William Grant
Three Songs (arr. Alexa Still INO)
l If You Should Go
Corelli, Arcangelo
l Preludio, from Sonata in A Minor (arr. Costel
Puscoiu, in Classical Repertoire for Clarinet, 1 MEL)
l Sarabande (arr. Denes Agay, in The Joy of Clarinet
YOR)
Tuke, Mr., arr. Paul Harris
Clarinet All Sorts, 1–3 FAB
u
The Wish
Finzi, Gerald
Five Bagatelles B&H
l Carol
Vivaldi, Antonio
u
Largo, from The Four Seasons (arr. Jason Gray FHM)
Foster, Stephen Collins
u
Swanee River (arr. Christopher Norton, in The
Christopher Norton Concert Collection for Clarinet
B&H)
Technical Requirements
Please see “Technical Requirements” on p. 11 for
important information regarding this section of the
examination.
Freedman, Harry
l Vignette CMC
Etudes
Gershwin, George
l Embraceable You (arr. Carl Strommen, in Gershwin
by Special Arrangement ALF)
Candidates must prepare four etudes from the following
list: two from Group 1 and two from Group 2. All etudes
must be performed on B flat clarinet.
Bullets used to denote selections for examination
purposes:
l one selection
u
one selection, found in Clarinet Series, 2014 Edition:
Clarinet Etudes Preparatory–4 FHM
Grade 3
26
Group 1
Technical Etudes
Group 2
Lyrical Etudes
Allen, Chris
Progressive Studies for Clarinet, 1 ABR
u
Latin (no. 30)
Traditional
l Loch Lomond (no. 148, arr. Bruce Pearson, in
Standard of Excellence, 1 KJO)
Endresen, Raymond Milford
Supplementary Studies RUB
l one of nos. 4–6, 8, 11, 14, 17, 18
Beethoven, Ludwig van
l Theme from Symphony No. 9 (no. 131, arr. Bruce
Pearson, in Standard of Excellence, 1 KJO)
Galper, Avrahm
Clarinet Method, 1 WAT
l Over the Break through B flat (no. 107)
l Mixed Slurs and Staccato (no. 152)
l Staccato Study (no. 154)
Endresen, Raymond Milford
Supplementary Studies RUB
l one of nos. 2, 3, 7, 10, 15, 19
Hegvik, Ted
Melodic Etudes ETC
u
The Bear Is Dancing
Galper, Avrahm, arr.
Clarinet Method, 1 WAT
l Blue Bells of Scotland (no. 104)
l Greensleeves (no. 131)
l Mozart Theme (no. 93)
Hovey, Nilo W.
First Book of Practical Studies for the Clarinet BEL
u
Etude in G Minor (no. 26)
Lefèvre, Xavier
Soixante exercises pour clarinette
u
Etude in F Major (no. 5)
Langenus, Gustave
Complete Method for the Boehm Clarinet, 1 FIS
u
Etude in C Major (no. 77)
Lester, Leon
Sixty Rambles FIS
u
Promenade
u
Summer Day
Lester, Leon
Sixty Rambles FIS
l Jolly Fellow
Rae, James
Forty Modern Studies UNI
l Happy Ending (no. 16)
Jazz Scale Studies: Clarinet UNI
l Good News for Some! (no. 6)
Style Workout UNI
u
Strange, but True (no. 8)
Pearson, Bruce
Standard of Excellence, 1 KJO
l Ach! Du Lieber Augustine (no. 133)
l Go for Excellence! (no. 155)
l Just Fine (no. 143)
l Variations on a Theme by Mozart (no. 127)
Rae, James
Forty Modern Studies UNI
l Ted’s Shuffle (no. 15)
Jazz Scale Studies: Clarinet UNI
l Mixin’ It! (no. 5)
Mosaics, 1 TCL
u
The Demon’s Delight (no. 43)
Thirty-eight More Modern Studies UNI
l Straight Five (no. 15)
Sousa, John Philip
l Manhattan Beach March (no. 139, arr. Bruce
Pearson, in Standard of Excellence, 1 KJO)
27
Grade 3
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the examination. Candidates
must play all scales and arpeggios from memory, ascending and descending, in all the articulations listed below. All
technical tests must be performed on B flat clarinet.
Scales
Keys
Major
Harmonic and Melodic Minor
Major
Chromatic
Arpeggios
C, B b
A, B, G
D
on E
Minor
C, B b
A, B, G
Major
D
Major
Range
Tempo
2 octaves
1 octave
2 octaves
2 octaves
1 octave
q
q
= 72
= 52
Note Values Articulations
all slurred
all tongued
2 slurred, 2 tongued
all slurred
all tongued
2 slurred, 1 tongued
1 tongued, 2 slurred
Ear Tests
Clapback
Candidates will choose to either clap or tap the rhythm of a short melody after the examiner has played it twice on the piano.
Time Signatures
Approximate Length
four measures
Example only
1
2
Intervals
Candidates will be asked to identify the following intervals. The examiner will play each interval once in broken form on
the piano.
or
Candidates may choose to sing or hum the following intervals. The examiner will play the first note once on the piano.
Above a Given Note
major 3rd
perfect 5th
perfect octave
Grade 3
Below a Given Note
minor 3rd
perfect 5th
28
Playback
Candidates will be asked to play back a melody on the clarinet, based on the first five notes of a major scale. The melody
may contain leaps of a 3rd and/or a 5th. The examiner will name the key, play the tonic triad once, and play the melody
twice on the piano.
Beginning Note
tonic, mediant, or dominant
Keys
C, G, D, F major
Approximate Length
five notes
Example only
1
2
Sight Reading
Playing
Candidates will be asked to play a short melody at sight.
Difficulty
Time Signatures
Grade 1 repertoire
Keys
Approximate Length
C, G, D, F major
eight to twelve measures
Clapping
Candidates will be asked to clap or tap a rhythm. A steady pulse and rhythmic precision are expected.
Time Signatures
Approximate Length
four measures
Example only
29
Grade 3
Grade 4
Candidates in Grade 4 should have a well-developed
embouchure as they are introduced to the altissimo register.
The inclusion of longer legato-phrased works assists in the
development of breath control, endurance, and phrasing. A
broad repertoire of traditional classical solos, contemporary,
and Klezmer selections encourage technical fluency,
articulation variety, and seamless crossing of registers using
resonance fingerings.
Grade 4 Requirements
Marks
Repertoire
one selection from List A
one selection from List B
Technical Requirements
Etudes: four etudes from the Syllabus list
– two from Group 1 and two from Group 2
Technical Tests
– scales
– arpeggios
Ear Tests
Clapback
Intervals
Playback
Sight Reading
Playing
Clapping
50
25
25
30
20
Total possible marks (pass = 60)
Theory Co-requisite
None
100
List A
Traditional
l The Carnival of Venice (arr. Nilo W. Hovey and
Beldon Leonard ALF)
l Ungarische Tänze (arr. Manfred Bergen, in Klassische
Vortragsstücke OTT)
Beethoven, Ludwig van
l Deutscher Tanz (Allemande) (arr. Manfred Bergen,
in Klassische Vortragsstücke OTT)
l Minuet in G (arr. Jay Arnold, in Clarinet Solos AMS)
Bohm, Carl
u
Moto perpetuo (Perpetual Motion) (arr. Merle J.
Isaac, in Festival Performance Solos FIS)
Collis, James
Tom Sawyer Suite B&H
l Going Fishing
10
Desmond, Paul
l Take Five (arr. James Rae, in Take Ten UNI)
10
3
3
4
10
7
3
Gershwin, George
l Fascinating Rhythm (arr. Carl Strommen, in
Gershwin by Special Arrangement ALF)
l Strike Up the Band (arr. Carl Strommen, in Gershwin
by Special Arrangement ALF)
Gossec, François-Joseph
l Gavotte (arr. Jay Arnold, in Clarinet Solos AMS)
Gunning, Christopher
u
Tea on the Lawn (in Going Solo FAB)
Repertoire
Harvey, Paul
u
Minuet and Trio, from Suite in Baroque Form RED
Please see “Examination Repertoire” on p. 9 for important
information regarding this section of the examination.
Joplin, Scott
u
The Easy Winners (arr. Forrest Kinney FHM)
Lefèvre, Xavier
u
Rondo, from Sonata No. 1 (arr. David Rowland OUP)
Candidates must prepare two contrasting selections by
two different composers: one from List A and one from
List B. At least one selection must be accompanied. Please
note that all selections requiring piano accompaniment must be
played with piano.
• List A includes rhythmic pieces in a faster tempo.
• List B includes lyrical pieces in a slower tempo.
Mancini, Henry
l The Pink Panther (arr. Arthur Frackenpohl KEN)
Mozart, Wolfgang Amadeus
u
Rondo alla turca (Turkish Rondo), from Sonata in A
Major, K 331 (300i) (arr. Jason Noble FHM)
Norton, Christopher
u
Number Crunching (arr. Harold Birston FHM)
The Microjazz Clarinet Collection, 1 B&H
l Canasta
Bullets used to denote selections for examination
purposes:
l one selection
u
one selection, found in Clarinet Series, 2014 Edition:
Clarinet Repertoire 4 FHM
Rameau, Jean-Philippe
u
Deux menuets (arr. Jason Noble FHM)
→ complete
Robinovitch, Sid
Three Winter Songs CMC
l Sleigh Ride
Grade 4
30
Reubart, Dale
Andante and Scherzo CMC
l Andante
Schumann, Robert
l Zigeunertanz, from Sonata for the Young, op.
118, no. 3 (arr. Manfred Bergen, in Klassische
Vortragsstücke OTT)
Rimsky-Korsakov, Nicolai
u
The Young Prince and the Young Princess, from
Scheherazade, op. 35 (arr. Harold Birston FHM)
Seward, N.H.
l Summer Holiday BEL
Starokadomsky, Mikhail
Five Pieces, op. 22
l Intermezzo (no. 4) (from “Two Pieces” in Solos for the
Clarinet Player SCH)
Rutter, John
u
Pie Jesu (Merciful Jesus), from Requiem (arr. Paul
Harris, in Music Through Time, 4 OUP)
Schubert, Franz
l Theme, from Octet in F Major (arr. John Davies and
Paul Reade, in First Book of Clarinet Solos FAB)
van de Ven, Martin
u
Chalumeau Blues (arr. FHM)
u
Moldavian Fantasy (arr. Jason Gray FHM)
Stamitz, Karl
l Romance, from Concerto No. 3 (in Solos for the
Clarinet Player SCH)
List B
Still, William Grant
Three Songs (arr. Alexa Still INO)
l Bayou Home
l Song for the Lonely
Debussy, Claude
u
Clair de lune (Moonlight), from Suite bergamasque
(arr. Christine Donkin FHM)
Elgar, Edward
u
Nimrod, from Variations on an Original Theme
(“Enigma”), op. 36 (arr. Harold Birston FHM)
Tchaikovsky, Pyotr Il’yich
l Song Without Words (arr. Jay Arnold, in Clarinet
Solos AMS)
u
Waltz, from The Sleeping Beauty, op. 66 (arr. Colin
Cowles, in Popular Ballet Themes FEN)
Fauré, Gabriel
l Après un rêve, op. 7, no. 1 (arr. James Rae, in Gabriel
Fauré Clarinet Album UNI)
Vaughan-Williams, Ralph
Six Studies in English Folk Song S&B
l no. 1 or no. 2
Forsyth, Malcolm
l Caroline’s Tune CMC
Gilbert, Anthony
u
Litany (in Spectrum for Clarinet ABR)
Wilson, Jeffery
Girl Names for Clarinet and Piano CAM
u
Katie
Hovey, Nilo W., and Beldon Leonard
l Clouds in Summer ALF
Technical Requirements
Joplin, Scott
l Pleasant Moments (arr. Marcel G. Frank, in Scott
Joplin Ragtime Classics EDW)
Please see “Technical Requirements” on p. 11 for
important information regarding this section of the
examination.
Meyerbeer, Giacomo
u
Andante pastorale, from Le Prophète
→ unaccompanied
Etudes
Mozart, Wolfgang Amadeus
l Ave Verum, K 618 (arr. Costel Puscoiu, in Classical
Repertoire for Clarinet, 1 MEL)
Candidates must prepare four etudes from the following
list: two from Group 1 and two from Group 2. All etudes
must be performed on B flat clarinet.
Norton, Christopher
The Microjazz Clarinet Collection, 1 B&H
l In a Mellow Mood
Bullets used to denote selections for examination
purposes:
l one selection
u
one selection, found in Clarinet Series, 2014 Edition:
Clarinet Etudes Preparatory–4 FHM
Pentland, Barbara
Phases AVO; CMC
l 1st movement
→ unaccompanied
31
Grade 4
Group 1
Technical Etudes
Group 2
Lyrical Etudes
Demnitz, Friedrich
Elementary School for Clarinet, III: Scale Studies
u
Etude in C Major (no. 1)
l one of nos. 4–6 (in Hite: Melodious and Progressive
Studies, 1 SMP)
Allen, Chris
Progressive Studies for Clarinet, 1 ABR
u
Andante (no. 19)
Endresen, Raymond Milford
Supplementary Studies RUB
l one of nos. 20, 21, 24, 26, 28
Demnitz, Friedrich
Elementary School for Clarinet, III: Scale Studies
u
Etude in A Minor (no. 2)
l no. 3 (in Hite: Melodious and Progressive Studies, 1
SMP)
Galper, Avrahm
Clarinet Method, 2 WAT
l one of nos. 3, 15, 18, 23, 49, 50
Endresen, Raymond Milford
Supplementary Studies RUB
l no. 12 or no. 31
Lefèvre, Xavier
Soixante exercises pour clarinette
u
Etude in C Major (no. 38)
u
Etude in G Minor (no. 52)
Galper, Avrahm
Clarinet Method, 2 WAT
l no. 12 or no. 59
Hovey, Nilo W.
First Book of Practical Studies for Clarinet BEL
u
Etude in D Major (no. 39)
Lester, Leon
Sixty Rambles FIS
l Awkward Dan
l Jim Dandy
l The Juggler
l Lightly By
l Little Waltz
l Lorelei
u
Soft-shoe Dance
l Vignette
Lester, Leon
Sixty Rambles FIS
l Dark Secret
u
Reflections
l Reverie
l Twilight
l Weeping Willow
u
Whole-tone Capers
Rae, James
Forty Modern Studies UNI
l Down to Earth (no. 20)
l Windy Ridge (no. 19)
Jazz Scale Studies: Clarinet UNI
l Don’t Go There! (no. 8)
l Hangin’ Out (no. 9)
Thirty-eight More Modern Studies UNI
l Odd Waltz (no. 22)
u
Swing Five (no. 21)
Grade 4
32
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the examination. Candidates
must play all scales and arpeggios from memory, ascending and descending, in all the articulations listed below. All
technical tests must be performed on B flat clarinet.
Scales
Keys
Harmonic and Melodic Minor
G, D, F, B b
E, B, D, G
Chromatic
on G
Major
Arpeggios
Major
G, D, F, B b
Minor
E, B, D, G
Dominant 7ths of Major Keys
C
Range
Tempo
2 octaves
q
2 octaves
= 76
2 octaves
q
= 56
2 octaves
q
= 76
Note Values
Articulations
all slurred
all tongued
2 slurred, 2 tongued
2 tongued, 2 slurred
all slurred
all tongued
2 slurred, 1 tongued
1 tongued, 2 slurred
all slurred
all tongued
2 slurred, 2 tongued
2 tongued, 2 slurred
Ear Tests
Clapback
Candidates will choose to either clap or tap the rhythm of a short melody after the examiner has played it twice on the piano.
Time Signatures
Approximate Length
two to three measures
Example only
1
2
Intervals
Candidates will be asked to identify the following intervals. The examiner will play each interval once in broken form on
the piano.
or
Candidates may choose to sing or hum the following intervals. The examiner will play the first note once on the piano.
Above a Given Note
major and minor 3rds
perfect 4th
perfect 5th
perfect octave
Below a Given Note
minor 3rd
perfect 5th
perfect octave
33
Grade 4
Playback
Candidates will be asked to play back a melody on the clarinet, based on the first five notes of a major scale. The
examiner will name the key, play the tonic triad once, and play the melody twice on the piano.
Beginning Note
tonic, mediant, or dominant
Keys
C, G, D, F major
Approximate Length
six notes
Example only
Sight Reading
Playing
Candidates will be asked to play a short melody at sight.
Difficulty
Time Signatures
Grade 2 repertoire
Keys
Approximate Length
C, G, D, F, major
eight to twelve measures
Clapping
Candidates will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.
Time Signatures
Approximate Length
four measures
Example only
Grade 4
34
Grade 5
Candidates in Grade 5 are now introduced to standard
contemporary and historical literature written specifically
for the clarinet. Movements from the earliest clarinet
concertos as well as unaccompanied opera and
contemporary solos offer excellent opportunities for
technical development and stylistic awareness. Endurance
and concentration continue to be challenged in these
longer solos.
Grade 5 Requirements
Repertoire
one selection from List A
one selection from List B
Technical Requirements
Etudes: four etudes from the Syllabus list
– two from Group 1 and two from Group 2
Technical Tests
– scales
– arpeggios
Ear Tests
Clapback
Intervals
Playback
Sight Reading
Playing
Clapping
Total possible marks (pass = 60)
List A
Adaskin, Murray
l Vocalise No. 2 CMC
→ unaccompanied
Bach, Johann Sebastian, attr.
l Overture, from Unto Us a Child Is Born, BWV 142
(arr. Norman Heim, in Solo Pieces for the Advanced
Clarinetist MEL)
Marks
Baermann, Carl
u
Tarantella, op. 63, no. 41 (arr. Paul Harris and
Emma Johnson, in Concert Repertoire for Clarinet
FAB)
→ with repeats
50
25
25
30
20
Beethoven, Ludwig van
u
Variations on La ci darem la mano [excerpt]
(arr. Simeon Bellison, in Festival Performance Solos for
Clarinet FIS)
10
Collis, James
Tom Sawyer Suite B&H
l School’s Out!
10
3
3
4
10
7
3
100
Danzi, Franz
u
Potpourri, op. 45, no. 3 (arr. Paul Harris, in Music
Through Time, 4 OUP)
Debussy, Claude
u
Le petit nègre (arr. Sidney Lawton NOV)
Dvořák, Antonín
l Humoresque (arr. Jay Arnold, in Clarinet Solos AMS)
Theory Co-requisite
Basic Rudiments
Endresen, Raymond Milford
Indispensable Folio RUB
l Forest Echo
l Fox Hunt
l Moonlight Serenade
Repertoire
Please see “Examination Repertoire” on p. 9 for important
information regarding this section of the examination.
Gershwin, George
l Nice Work If You Can Get It (arr. Carl Strommen, in
Gershwin by Special Arrangement ALF
Candidates must prepare two contrasting selections by
two different composers: one from List A and one from
List B. At least one selection must be accompanied. Please
note that all selections requiring piano accompaniment must be
played with piano.
• List A includes rhythmic pieces in a faster tempo.
• List B includes lyrical pieces in a slower tempo.
Grieg, Edvard
u
Anitra’s Dance, from Peer Gynt, op. 23 (arr. James
Rae, in Take Another Ten UNI)
Joplin, Scott
l Scott Joplin’s New Rag (arr. Marcel G. Frank, in Scott
Joplin Ragtime Classics EDW)
Bullets used to denote selections for examination
purposes:
l one selection
u
one selection, found in Clarinet Series, 2014 Edition:
Clarinet Repertoire 5 FHM
Lefèvre, Xavier
u
Allegro, from Sonata No. 2 in G Minor (arr. David
Rowland OUP)
Mozart, Wolfgang Amadeus
l Rondo (arr. Manfred Bergen, in Klassische
Vortragsstücke OTT)
35
Grade 5
Noble, John
Cats CRA
l Cotton Pickin’ Kitten
Handel, George Frideric
l The Peace (La paix), from Music for the Royal
Fireworks, HWV 351 (arr. Costel Puscoiu, in Classical
Repertoire for Clarinet, 1 MEL)
Norton, Christopher
The Microjazz Clarinet Collection, 1 B&H
l Showstopper
Harvey, Paul
u
Siciliana, from Suite in Baroque Form RED
Poldini, Ede
l Dancing Doll (La poupée valsante) (arr. Jay Arnold,
in Clarinet Solos AMS)
Lutosławski, Witold
Dance Preludes CHS
u
Dance Prelude No. 4
Vaughan-Williams, Ralph
Six Studies in English Folk Song S&B
l no. 6
Molter, Johann Melchior
u
Adagio, from Clarinet Concerto No. 3 (arr. Pamela
Weston OTT)
Noble, John
Cats CRA
l Purrdendosi
List B
Baermann, Carl
l Adagio (Etude No. 24) (in Solos for the Clarinet Player
SCH)
Norton, Christopher
The Microjazz Clarinet Collection, 1 B&H
l A Cheery Wave
Belkin, Alan
l Petit nocturne CMC
Puccini, Giacomo
l Quando m’en vo (Musetta’s Waltz), from La Boheme
(arr. Richard Stoltzman, in Aria FIS)
Bernstein, Leonard
l Somewhere, from West Side Story (arr. David J.
Elliott, in Bernstein for Clarinet B&H)
Rimsky-Korsakov, Nicolai
l Hymn To the Sun, from The Golden Cockerel (arr. Jay
Arnold, in Clarinet Solos AMS)
Chopin, Frederic
l Nocturne, op. 9, no. 2 (arr. Jay Arnold, in Clarinet
Solos AMS)
Saint-Saëns, Camille
l The Swan, from Le carnaval des animaux (arr. James
Rae, in Take Ten UNI)
Ellington, Duke
l Sophisticated Lady (arr. James Rae, in Take Ten UNI)
van de Ven, Martin
u
Freylach Suite (arr. Jason Gray FHM)
Fasch, Johann Friedrich
u
Largo, from Concerto in B flat Major, FWV L:B1
(arr. Richard Platt NOV)
Wuensch, Gerhard
u
Siciliano, from In modo antico CMC
Fauré, Gabriel
l Le jardin de Dolly, op. 56, no. 3 (arr. James Rae, in
Gabriel Fauré Clarinet Album UNI)
Technical Requirements
Firsova, Elena
u
Alone (in Spectrum for Clarinet ABR)
→ unaccompanied
Please see “Technical Requirements” on p. 11 for
important information regarding this section of the
examination.
Gayfer, James
l The Lake in the Mountains CMC
Etudes
German, Edward
u
Romance
Candidates must prepare four etudes from the following
list: two from Group 1 and two from Group 2. All etudes
must be performed on B flat clarinet.
Giron, Arsenio
Six Studies for Clarinet CMC
l Blue
→ unaccompanied
Bullets used to denote selections for examination
purposes:
l one selection
u
one selection, found in Clarinet Series, 2014 Edition:
Clarinet Etudes 5–8 FHM
Glière, Reinhold
l Chanson, op. 35, no. 3 (in Concert and Contest
Collection RUB)
l Valse triste, op. 35, no. 7 (in Solos for the Clarinet
Player SCH)
Grade 5
36
Group 1
Technical Etudes
Group 2
Lyrical Etudes
Allen, Chris
Progressive Studies for Clarinet, 2 ABR
u
Etude in C Major (no. 38)
Baermann, Carl
Complete Clarinet School, Division 2: Preparatory Studies,
op. 63
u
Etude in C Major (no. 10) (no. 1 in Hite: Melodious
and Progressive Studies, 1 SMP)
l one of nos. 24, 31, 34 (nos. 9, 14, 15 in Hite:
Melodious and Progressive Studies, 1 SMP)
Cunningham, Randall
Twenty-one Chalumeau Studies WWI
u
Polka
Demnitz, Friedrich
Elementary School for Clarinet, III: Scale Studies
u
Etude in A Major (no. 7) (in Hite: Melodious and
Progressive Studies, 1 SMP)
l one of nos. 9, 11–13, 16 (in Hite: Melodious and
Progressive Studies, 1 SMP)
Cunningham, Randall
Intermediate Studies for Clarinet WTC
u
Etude in F Major (no. 3)
Demnitz, Friedrich
Elementary School for Clarinet, III: Scale Studies
l no. 8 or no. 10 (in Hite: Melodious and Progressive
Studies, 1 SMP)
Endresen, Raymond Milford
Supplementary Studies RUB
l one of nos. 29, 30, 33, 35, 36
Galper, Avrahm
Clarinet Method, 2 WAT
l no. 8 or no. 74
Galper, Avrahm
Clarinet Method, 2 WAT
u
Etude in A Minor (no. 20)
l one of nos. 7, 26, 33, 47, 51, 52, 54
Lester, Leon
Sixty Rambles FIS
l Cloudy Sky
l Fond Memories
l Mr. Brahms
Goodman, Benny
Clarinet Method HAL
l one of nos. 45–54, 61–66
Rae, James
Forty Modern Studies UNI
u
Dai’s Surprise (no. 23)
Mosaics, 1 TCL
u
Shifting Winds (no. 65)
u
The Unexpected (no. 50)
Kell, Reginald
Clarinet Staccato from the Beginning B&H
u
Exercise XIV
Lester, Leon
Sixty Rambles FIS
l Hill and Dale
l Major and Minor
l The Search
l Tall Story
l Twinkle Toes
Rae, James
Forty Modern Studies UNI
l Catch It! (no. 21)
l Slavonic Dance (no. 22)
Jazz Scale Studies: Clarinet UNI
l Hard as Nails (no. 12)
l No Joke! (no. 13)
37
Grade 5
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the examination. Candidates
must play all scales and arpeggios from memory, ascending and descending, in all the articulations listed below. All
technical tests must be performed on B flat clarinet.
Scales
Keys
Harmonic and Melodic Minor
A, E, E b , A b
F # , C # , C, F
Chromatic
on E
Major
Arpeggios
Major
A, E, E b , A b
Minor
F # , C # , C, F
Dominant 7ths of Major Keys
F, B b
Range
Tempo
2 octaves
q
= 80
2 octaves
q
= 56
2 octaves
q
= 80
Note Values
Articulations
all slurred
all tongued
2 slurred, 2 tongued
2 tongued, 2 slurred
all slurred
all tongued
2 slurred, 1 tongued
1 tongued, 2 slurred
all slurred
all tongued
2 slurred, 2 tongued
2 tongued, 2 slurred
Ear Tests
Clapback
Candidates will choose to either clap or tap the rhythm of a short melody after the examiner has played it twice on the piano.
Time Signatures
Approximate Length
two to four measures
Example only
1
2
Intervals
Candidates will be asked to identify the following intervals. The examiner will play each interval once in broken form on
the piano.
or
Candidates may choose to sing or hum the following intervals. The examiner will play the first note once on the piano.
Above a Given Note
major and minor 3rds
perfect 4th
perfect 5th
major and minor 6ths
perfect octave
Grade 5
Below a Given Note
major and minor 3rds
perfect 5th
perfect octave
38
Playback
Candidates will be asked to play back a melody on the clarinet, based on the first five notes and the upper tonic of a
major scale. The examiner will name the key, play the tonic triad once, and play the melody twice on the piano.
Beginning Note
tonic, mediant, or dominant
Keys
C, G, D, F major
Approximate Length
seven notes
Example only
Sight Reading
Playing
Candidates will be asked to play a short melody at sight.
Difficulty
Grade 3 repertoire
Time Signatures
Keys
major and minor keys up to two sharps
or two flats
Approximate Length
eight to twelve measures
Clapping
Candidates will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.
Time Signatures
Approximate Length
four measures
Example only
39
Grade 5
Grade 6
Candidates in Grade 6 are introduced to three-octave
scales, which allows for full use of the altissimo register.
Solos are chosen from the standard clarinet repertoire
and include early Classical concertos, and Romantic
and contemporary works, providing candidates the
opportunity to develop chamber music skills. At this level,
there is an expectation of further stylistic awareness, the
continuing development of clean and light articulation,
and a variety of dynamics.
Grade 6 Requirements
List A
Archer, Violet
Four Short Pieces CMC
l Dramatic (no. 3) and Playful (no. 4)
→ unaccompanied
Auber, Daniel
u
Gigue
Bizet, Georges
l Seguidilla, from Carmen (arr. Richard Stoltzman, in
Aria FIS)
Marks
Repertoire
one selection from List A
one selection from List B
Technical Requirements
Etudes: four etudes from the Syllabus list
– two from Group 1 and two from Group 2
Technical Tests
– scales
– arpeggios
50
25
25
30
20
Ear Tests
Clapback
Intervals
Chords
Playback
10
2
3
2
3
Sight Reading
Playing
Clapping
10
7
3
Total possible marks (pass = 60)
100
Cunningham, Randall
Gypsy Moods, op. 6 WWI
u
Dance
Delmas, Marc
u
Promenade
10
Drdla, František
l Serenade (arr. Jay Arnold, in Clarinet Solos AMS)
Dunhill, Thomas
Phantasy Suite, op. 91 B&H
l 4th and 2nd movements
→ play the 4th movement first
Endresen, Raymond Milford
Indispensable Folio RUB
l Air varié
Fasch, Johann Friedrich
u
Allegro, from Concerto in B flat Major, FWV L:B1
(arr. Richard Platt NOV)
→ begin at m. 17
Theory Co-requisite
Intermediate Rudiments
Finzi, Gerald
Five Bagatelles B&H
l Prelude
Repertoire
Gade, Niels W.
Fantasy Pieces, op. 43
l no. 4
Please see “Examination Repertoire” on p. 9 for important
information regarding this section of the examination.
Candidates must prepare two contrasting selections by
two different composers: one from List A and one from
List B. At least one selection must be accompanied. Please
note that all selections requiring piano accompaniment must be
played with piano.
• List A includes rhythmic pieces in a faster tempo.
• List B includes lyrical pieces in a slower tempo.
Gossec, François-Joseph
l Tambourin (arr. Arthur H. Christmann, in Solos for
the Clarinet Player SCH)
→ play thirty-second note line at C, not ossia
Bullets used to denote selections for examination
purposes:
l one selection
u
one selection, found in Clarinet Series, 2014 Edition:
Clarinet Repertoire 6 FHM
Harvey, Paul
u
Prelude, from Suite in Baroque Form RED
Grade 6
Harris, Paul
Visions ABR
u
3rd movement and 4th movement
Jacob, Gordon
Five Pieces for Solo Clarinet OUP
u
Waltz (no. 2)
→ unaccompanied
40
Joplin, Scott
l The Cascades (arr. Marcel G. Frank, in Scott Joplin
Ragtime Classics EDW)
l The Entertainer (arr. Marcel G. Frank, in Scott Joplin
Ragtime Classics EDW)
Debussy, Claude
u
Petite pièce, L 120
Delmas, Marc
l Promenade (in Concert and Contest Collection RUB)
Eatock, Colin
l Prelude to “Ashes of Soldiers” CMC
Koepke, Paul
l Scherzo in C Minor (in Concert and Contest Collection
RUB)
Finzi, Gerald
Five Bagatelles B&H
l Romance
Mozart, Wolfgang Amadeus
l Menuet, from Divertimento in D Major, K 334 (in
Concert and Contest Collection RUB)
Friedman, Daniel E.
l Romance CMC
Rachmaninov, Sergei, arr. Russell Denwood
l Rachmaninov Studies, from Rhapsody on a Theme of
Paganini, op. 43 EMP
→ unaccompanied
→ play up to and including Variation 4
Gade, Niels W.
Fantasy Pieces, op. 43
l Ballade (no. 3) (in Concert and Contest Collection RUB)
→ play up to Allegro molto vivace
Mahon, John
u
Andante, from Clarinet Concerto No. 2 (arr. Elaine
Thomas NOV)
Rae, James
l Situation Comedy (in Take Ten UNI)
Reade, Paul
Suite from “The Victorian Kitchen Garden” JWL
l Exotica and Summer
Mendelssohn, Felix
u
Andante, from Sonata in E flat Major, MVW Q15
Reubart, Dale
Andante and Scherzo CMC
l Scherzo
Miskow, Sextus
l Allegretto Fantasia (in Concert and Contest Collection
RUB)
Vivaldi, Antonio
l Sonata in D Minor (arr. George Belden ALF)
Mozart, Wolfgang Amadeus
l Sonata in E flat Major, K 67 (no. 2, arr. Yona
Ettlinger, in Four Church Sonatas B&H)
Wuensch, Gerhard
u
Prelude, from In modo antico CMC
Nielsen, Carl
u
Fantasy
List B
Pentland, Barbara
Phases AVO; CMC
l 3rd movement
→ unaccompanied
Arnold, Malcolm
Sonatina, op. 29 LEG
l 2nd movement
Reade, Paul
Suite from “The Victorian Kitchen Garden” JWL
l Prelude
Baermann, Carl
l Etude in B flat Minor (no. 47) (in Solos for the
Clarinet Player SCH)
Schumann, Robert
Three Romances, op. 94
l Einfach innig (no. 2) (in Solo Pieces for the Advanced
Clarinetist MEL)
Bassi, Luigi
l Nocturne (in Concert and Contest Collection RUB)
Becker, Jean
l Romance, op. 3 (in Concert and Contest Collection
RUB)
Verhey, Theodore
u
Nocturne, from Concerto in G Minor, op. 47
(arr. Himie Voxman, in Concert and Contest Collection
RUB)
Bellini, Vincenzo
u
Scena, from I Capuleti e i Montecchi
→ unaccompanied
Technical Requirements
Bernstein, Leonard
l Maria, from West Side Story (arr. David J. Elliott, in
Bernstein for Clarinet B&H)
Please see “Technical Requirements” on p. 11 for
important information regarding this section of the
examination.
Bozza, Eugène
l Aria LED
Brahms, Johannes
u
Allegretto grazioso, from Sonata in F Minor,
op. 120, no. 1
41
Grade 6
Etudes
Rae, James
Forty Modern Studies UNI
l Ambiguity (no. 25)
l Now Hear This! (no. 27)
l On the Brink (no. 26)
Jazz Scale Studies: Clarinet UNI
l Mobile Tones (no. 16)
l Second Wind (no. 14)
l The Whole Truth (no. 15)
Thirty-eight More Modern Studies UNI
u
Black Puddin’ Jig (no. 26)
l The Funkmeister (no. 30)
l Hot Noodles (no. 27)
Candidates must prepare four etudes from the following
list: two from Group 1 and two from Group 2. All etudes
must be performed on B flat clarinet.
Bullets used to denote selections for examination
purposes:
l one selection
u
one selection, found in Clarinet Series, 2014 Edition:
Clarinet Etudes 5–8 FHM
Group 1
Technical Etudes
Group 2
Lyrical Etudes
Bach, Johann Sebastian
u
Gigue, from Cello Suite No. 1 in G Major, BWV 1007
Baermann, Carl
Complete Clarinet School, Division 2: Preparatory Studies,
op. 63
l one of nos. 11, 12, 19 (nos. 2, 3, 7 in Hite: Melodious
and Progressive Studies, 1 SMP)
l no. 47 (no. 16 in Hite: Melodious and Progressive
Studies, 1 SMP)
→ mm. 1–51 only
Bach, Johann Sebastian
Cello Suite No. 1 in G Major, BWV 1007
u
Menuet I and Menuet II
Baermann, Carl
Complete Clarinet School, Division 2: Preparatory Studies,
op. 63
u
Romance (no. 14) (no. 4 in Hite: Melodious and
Progressive Studies, 1 SMP)
Cunningham, Randall
Twenty-one Chalumeau Studies WWI
u
Rag
Galper, Avrahm
Clarinet Method, 2 WAT
l no. 44 or no. 65
Demnitz, Friedrich
Elementary School for Clarinet, IV: Chord Studies
u
Etude in E Major (no. 11) (in Hite: Melodious and
Progressive Studies, 1 SMP)
l one of nos. 1, 2, 4 (in Hite: Melodious and Progressive
Studies, 1 SMP)
Elementary School for Clarinet, V: The Most Common
Embellishments
u
Etude in F Major (no. 4)
Lester, Leon
Sixty Rambles FIS
l Enigma
l Long Ago
l Pleasant Journey
l Rhythmette
u
Serenade
Müller, Ivan
Thirty Studies in All Tonalities
u
Etude in F sharp Minor (no. 12) (in Lazarus Method
for Clarinet, Part 2)
Galper, Avrahm
Clarinet Method, 2 WAT
l one of nos. 35, 36, 38, 41, 56, 62, 70, 72
Nocentini, Domenico
Twenty-Four Melodic Etudes (in Hite: Melodious and
Progressive Studies, 1 SMP)
l one of nos. 1, 3, 5, 8, 11, 13
Goodman, Benny
Clarinet Method HAL
l one of nos. 73–83
Lester, Leon
Sixty Rambles FIS
l German Song
l Kangaroo
l Sunny Italy
Rae, James
Forty Modern Studies UNI
l In a Dream (no. 28)
Mosaics, 2 TCL
u
Elegie (no. 8)
u
A Sad Loss (no. 2)
Thirty-eight More Modern Studies UNI
l Coastal Reflections (no. 34)
u
Journeys (no. 28)
Nocentini, Domenico
Twenty-Four Melodic Etudes (in Hite: Melodious and
Progressive Studies, 1 SMP)
l one of nos. 2, 4, 10, 12, 14
Uhl, Alfred
Forty-eight Etudes, 1 OTT
u
Etude in G Major (no. 1)
Grade 6
42
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the examination. Candidates
must play all scales and arpeggios from memory, ascending and descending, in all the articulations listed below. All
technical tests must be performed on B flat clarinet.
Scales
Major
Keys
F
Major
C# , G# , Bb
C, F
on E
Harmonic and Melodic Minor
Major in 3rds
Chromatic
Arpeggios
Major
Major
Minor
Dominant 7ths of Major Keys
E, B, D b
Range
Tempo
3 octaves
2 octaves
= 84
3 octaves
F
3 octaves
C # , G # , Bb
2 octaves
G, D
2 octaves
E, B, D b
q
Note Values Articulations
See p. 11 for required articulations.
Additional articulations
required for this level:
2 slurred, 2 slurred
See p. 11 for required articulations.
q
= 60
Additional articulations
required for this level:
3 slurred, 3 slurred
See p. 11 for required articulations.
q
= 84
Additional articulations
required for this level:
2 slurred, 2 slurred
Ear Tests
Clapback
Candidates will choose to either clap or tap the rhythm of a short melody after examiner has played it twice on the piano.
Time Signatures
Approximate Length
two to four measures
Example only
1
2
Intervals
Candidates will be asked to identify the following intervals. The examiner will play each interval once in broken form on
the piano.
or
Candidates may choose to sing or hum the following intervals. The examiner will play the first note once on the piano.
43
Grade 6
Above a Given Note
major 2nd
major and minor 3rds
perfect 4th
perfect 5th
major and minor 6ths
perfect octave
Below a Given Note
major and minor 3rds
perfect 4th
perfect 5th
minor 6th
perfect octave
Chords
Candidates will be asked to identify the following chords after the examiner has played the chord once in solid (blocked)
form, close position on the piano.
Chords
major and minor triads
Position
root position
Playback
Candidates will be asked to play back a melody on the clarinet, based on a complete major scale (tonic to tonic, mediant
to mediant, or dominant to dominant). The examiner will name the key, play the tonic triad once, and play the melody
twice on the piano.
Beginning Note
tonic, mediant, or dominant
Keys
C, G, D, F major
Approximate Length
nine notes
Example only
Sight Reading
Playing
Candidates will be asked to play a short melody at sight.
Difficulty
Grade 4 repertoire
Time Signatures
Keys
major and minor keys up to three sharps
or three flats
Approximate Length
eight to sixteen measures
Clapping
Candidates will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.
Time Signatures
Approximate Length
four measures
Example only
Grade 6
44
Grade 7
Candidates in Grade 7 should have a well-developed
tone, technical fluency, clean articulations, and stylistic
awareness. Solos include a wide variety of music from
the early concertos of Stamitz, Molter, and Crusell to
the masterworks of Brahms, Spohr, and Schumann.
Contemporary works allow the opportunity to explore
extended techniques. The introduction of orchestral
excerpts offers further musical and technical challenges,
encouraging candidates to listen to recordings and explore
the role of the clarinet in the orchestra.
Grade 7 Requirements
Marks
Repertoire
one selection from List A
one selection from List B
40
20
20
Orchestral Excerpts
three excerpts from the Syllabus list
Technical Requirements
Etudes: four etudes from the Syllabus list
– two from Group 1 and two from Group 2
Technical Tests
– scales
– arpeggios
Ear Tests
Clapback
Intervals
Chords
Playback
Sight Reading
Playing
Clapping
10
Total possible marks (pass = 60)
List A
Badian, Maya
l Yes, It’s Blues Time! CMC
Barnes, Milton
Jewish Dances CMC
l Frelach (no. 3)
Beethoven, Ludwig van
l Sonata in D Major, op. 6 (transc. M. Webster SCH)
Bergson, Michał
l Scene and Air, from Luisa da Montfort, op. 82
(arr. Himie Voxman, in Concert and Contest Collection
RUB)
30
20
Brahms, Johannes
l Hungarian Dance No. 3 (arr. Norman Heim, in Solo
Pieces for the Advanced Clarinetist MEL)
Sonata, op. 120, no. 1
u
4th movement
10
Collis, James
l Festival Solo B&H
Dvořák, Antonín
l no. 1 and no. 2, from Four Romantic Pieces, op. 75
(“A” and “B” arr. Norman Heim, in Solo Pieces for the
Advanced Clarinetist MEL)
10
2
3
2
3
10
7
3
Ferguson, Howard
Four Short Pieces B&H
l Prelude (no. 1) and Scherzo (no. 2)
Génin, Paul-Agricole
u
Cantilène, op. 64
Giron, Arsenio
Six Studies for Clarinet CMC
l Contrasts and Mordents
→ unaccompanied
Three Bagatelles CMC
l no. 2 and no. 3
→ unaccompanied
100
Theory Co-requisite
Advanced Rudiments
Repertoire
Please see “Examination Repertoire” on p. 9 for important
information regarding this section of the examination.
Grovlez, Gabriel
l Lamento et tarentelle LED
Candidates must prepare two contrasting selections by
two different composers: one from List A and one from
List B. At least one selection must be accompanied. Please
note that all selections requiring piano accompaniment must be
played with piano.
• List A includes rhythmic pieces in a faster tempo.
• List B includes lyrical pieces in a slower tempo.
Hermann, Ralph
u
Clarinet on the Town FIS
Hindemith, Paul
Sonate OTT
u
2nd movement
Lefèvre, Xavier
l any one sonata in Five Sonatas OUP
→ complete (three movements)
Bullets used to denote selections for examination
purposes:
l one selection
u
one selection, found in Clarinet Series, 2014 Edition:
Clarinet Repertoire 7 FHM
Kovács, Béla
l Sholem-alekhem, Rov Feidman! DAR
45
Grade 7
Krenek, Ernst
Kleine Suite, op. 28 BAR
l 1st, 2nd, and 5th movements
Wu, Zhang
l Variations on a Northern Chinese Folksong CRA
Wuensch, Gerhard
l Variations for Clarinet and Piano CMC
In modo antico CMC
l 2nd movement: Air and 3rd movement: Gavotte
and Musette
Marcello, Benedetto
Sonata in G Major (arr. Arthur H. Christmann, in Solos for
the Clarinet Player SCH)
l 1st and 2nd movements
Molter, Johann Melchior
Clarinet Concerto No. 3 (arr. Pamela Weston OTT)
u
1st movement
Zuckert, León
l Doina CMC
List B
Morley, Angela
l Harlequin NOV
Adaskin, Murray
l Vocalise No. 1 AVO; CMC
→ unaccompanied
Mozart, Wolfgang Amadeus
l Sonata in C Major, K 336 (no. 4, arr. Yona Ettlinger,
in Four Church Sonatas B&H)
→ with cadenza
Baermann, Heinrich
Clarinet Quintet in E flat Major, op. 23
u
2nd movement (“Adagio for Clarinet,” attr. Richard
Wagner and arr. Arthur H. Christmann, in Solos for
the Clarinet Player SCH)
Murgatroyd, Vernon
l Allegro, op. 14 CMC
Osborn, Sean
l Three Miniatures OSB
→ unaccompanied
Barnes, James
l Autumn Soliloquy SMP
Collis, James
Tom Sawyer Suite B&H
l Jackson’s Island
Pentland, Barbara
Phases AVO; CMC
l 4th movement
→ unaccompanied
Crawley, Clifford
l Solstice CMC
Pilon, Daniel
l Piscoleries AVO; CMC
→ unaccompanied
Crusell, Bernhard
Concerto No. 2 in F Minor, op. 5 (arr. Pamela Weston
UNI)
u
2nd movement
Reade, Paul
Suite from “The Victorian Kitchen Garden” JWL
l Prelude and Spring
Dean, Roger
l Blues Multiple AMC
Reed, Alfred
l Hoe Down, for E flat Clarinet and Piano EDW
Debussy, Claude
l La fille aux cheveux de lin (arr. Graham Mackie, in
Two Pieces for Clarinet and Piano CHS)
Rota, Nino
l Allegro danzante OTT
→ play on either A clarinet or B flat clarinet
Fauré, Gabriel
l Élégie, op. 24 (arr. James Rae, in Gabriel Fauré
Clarinet Album UNI)
Smith, William O.
u
Summer Fancy (in Spectrum ABR)
→ unaccompanied
Fibich, Zdeněk
l Selanka (Pastorale) MAS
Stamitz, Johann
Concerto in B flat Major (arr. Helmut May OTT)
u
3rd movement
→ begin at m. 48; omit mm. 138–161, 291–310
Gade, Niels W.
Fantasy Pieces, op. 43
u
no. 1 and no. 2
Starokadomsky, Mikhail
Five Pieces, op. 22
l At the Brook (no. 5) (from “Two Pieces” in Solos for
the Clarinet Player SCH)
Massenet, Jules
u
Tableau, from Le Cid
→ unaccompanied
Miller, Elma
l Windwalker CMC
→ unaccompanied
Tartini, Giuseppe
Concertino (arr. Gordon Jacob B&H)
l 1st and 2nd movements
Grade 7
46
Mozart, Wolfgang Amadeus
l Andante cantabile, from Piano Sonata in C Major,
K 545 (arr. Guy Dangain and Yvonne Desportes BIL)
Mozart, Wolfgang Amadeus
Symphony No. 39, K 543
u
2nd movement: mm. 54–57, 142–144; 3rd
movement (Trio): mm. 45–52; 4th movement
(Finale): mm. 79–85
Ravel, Maurice
l Pièce en forme de Habanera (transc. Gaston
Hamelin LED)
Rachmaninoff, Sergei
Piano Concerto No. 2, op. 18
u
2nd movement: mm. 12–22
Schumann, Robert
Fantasiestücke, op. 73
u
no. 1
→ play on either A clarinet or B flat clarinet
Tchaikovsky, Pyotr Il’yich
Symphony No. 5, op. 64
u
1st movement: mm. 1–20; 2nd movement:
mm. 67–70
Spohr, Ludwig
Concerto No. 1 in C Minor, op. 26 (“Adagio,” arr. Arthur
H. Christmann, in Solos for the Clarinet Player SCH)
u
2nd movement
Technical Requirements
Tomasi, Henri
l Complainte du jeune Indien (LED)
Please see “Technical Requirements” on p. 11 for
important information regarding this section of the
examination.
Verdi, Giuseppe
l La vita è inferno, from La forza del destino (arr.
Richard Stoltzman, in Aria FIS; arr. Ben Armato, in
Recital Clarinetist FIS)
Etudes
Candidates must prepare four etudes from the following
list: two from Group 1 and two from Group 2. All etudes
must be performed on B flat clarinet.
Orchestral Excerpts
Candidates should be prepared to play three excerpts from
the following list. Candidates should prepare the first
clarinet part unless otherwise indicated. For candidates
who do not have an A clarinet, excerpts written for
A clarinet can be played without transposition on a B flat
clarinet (read as printed), but parts for C clarinet should
be transposed at sight. Candidates are encouraged to listen
to and become familiar with the works from which these
excerpts are taken. The candidate should perform excerpts
in a manner that demonstrates an understanding of the
style and context.
• All orchestral excerpts are included in Clarinet Series,
2014 Edition: Orchestral Excerpts FHM.
• Alternatively, candidates may use standard published
orchestral parts for the specific excerpts. The list below
includes measure numbers for reference.
Bullets used to denote selections for examination
purposes:
l one selection
u
one selection, found in Clarinet Series, 2014 Edition:
Clarinet Etudes 5–8 FHM
Group 1
Technical Etudes
Baermann, Carl
Complete Clarinet School, Division 2: Preparatory Studies,
op. 63
l no. 15 (no. 5 in Hite: Melodious and Progressive
Studies, 1 SMP)
Demnitz, Friedrich
Elementary School for Clarinet, IV: Chord Studies
l one of nos. 3, 6, 10, 13, 16 (in Hite: Melodious and
Progressive Studies, 1 SMP)
Each bulleted item (u) represents one selection for
examination purposes.
Ferling, Franz Wilhelm
Forty-eight Studies, op. 31
u
Etude in C Major (no. 6) (no. 2, arr. Cyrille Rose, in
Thirty-two Etudes FIS)
Beethoven, Ludwig van
Symphony No. 2, op. 36
u
2nd movement: mm. 8–16, 24–32
Symphony No. 6, op. 68 (“Pastoral”)
u
1st movement: mm. 33–54, 147–151
Gates, Everett
Odd Meter Etudes ALF
u
Odd Meter Etude No. 5
Mendelssohn, Felix
Die Hebriden, op. 26
u
Overture: mm. 202–217
Klosé, Hyacinthe
u
Etude in A Minor (no. 11, arr. Leon Lester, in The
Advancing Clarinetist FIS)
47
Grade 7
Group 2
Lyrical Etudes
Lester, Leon
Sixty Rambles FIS
l At the Fair
l Merry Pranks
l Tongue Twister
l Winding Way
Bach, Johann Sebastian
u
Courante, from Violin Partita No. 2 in D Minor,
BWV 1004
Nocentini, Domenico
Twenty-Four Melodic Etudes (in Hite: Melodious and
Progressive Studies, 1 SMP)
l one of nos. 15, 17, 18, 20, 21, 24
Baermann, Carl
Complete Clarinet School, Division 2: Preparatory Studies,
op. 63
l one of nos. 18, 37, 46 (nos. 6, 11, 13 in Hite:
Melodious and Progressive Studies, 1 SMP)
l no. 40 [abridged] (no. 12 in Hite: Melodious and
Progressive Studies, 1 SMP)
Rae, James
Forty Modern Studies UNI
l Entanglement (no. 34)
l Helix (no. 29)
l Latin Jive (no. 32)
Jazz Scale Studies: Clarinet UNI
l Diminishing Returns (no. 17)
Mosaics, 2 TCL
u
Text Book Prelude (no. 6)
Thirty-eight More Modern Studies UNI
l Tongue Twister (no. 36)
Demnitz, Friedrich
Elementary School for Clarinet, III: Scale Studies
u
Etude in D Minor (no. 18) (no. 5, arr. Leon Lester, in
The Developing Clarinetist PRE)
Elementary School for Clarinet, IV: Chord Studies
l no. 7 (in Hite: Melodious and Progressive Studies, 1
SMP)
Ferling, Franz Wilhelm
Forty-eight Etudes, op. 31
u
Etude in C Major (no. 5) (no. 1, arr. Cyrille Rose, in
Thirty-two Etudes FIS; p. 2 in Voxman: Selected Studies
RUB)
Sachse, Ernst
100 Etudes
u
Etude in A Minor (no. 5) (arr. Leon Lester, in The
Developing Clarinetist PRE)
Shaw, Artie
Jazz Technic, 2 ALF
l no. 1
Fiorillio, Federigo
Études de violin formant 36 caprices, op. 3
u
Etude in A Minor (no. 22) (no. 24, arr. Cyrille Rose,
in Forty Studies)
Stadler, Anton
Heitere Variationen für Klarinette solo
u
Bald lächeln mir seelige Tage
Lester, Leon
Sixty Rambles FIS
l Fantasy
l Interrupted Song
l The Music Master
l Wistful Thoughts
→ play in A flat Major
Uhl, Alfred
Forty-eight Etudes, 1 OTT
l no. 11
Rae, James
Forty Modern Studies UNI
l Images (no. 31)
l Meditation (no. 35)
Mosaics, 2 TCL
u
Boo! (no. 27)
Uhl, Alfred
Forty-eight Etudes, 1 OTT
u
Etude in F Major (no. 20)
Grade 7
48
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the examination. Candidates
must play all scales and arpeggios from memory, ascending and descending, in all the articulations listed below. All
technical tests must be performed on B flat clarinet.
Scales
Major
Major
Harmonic and Melodic Minor
Major in 3rds
Chromatic
Arpeggios
Major
Keys
E
Range
3 octaves
G, D, B b
on F
2 octaves
3 octaves
E
3 octaves
B, F # , D b
G#, D# , Bb
B, F # , D b
G# , D#, Bb
Major
Minor
Dominant 7ths of Major Keys
A, E b
2 octaves
2 octaves
Tempo
Articulations
See p. 11 for required
articulations.
q
= 100
q
= 66
q
Note Values
Additional articulations
required for this level:
3 slurred, 1 tongued
See p. 11 for required
articulations.
See p. 11 for required
articulations.
= 100
Additional articulations
required for this level:
3 slurred, 1 tongued
Ear Tests
Clapback
Candidates will choose to either clap or tap the rhythm of a short melody after the examiner has played it twice on the piano.
Time Signatures
Approximate Length
four measures
Example only
1
2
Intervals
Candidates will be asked to identify the following intervals. The examiner will play each interval once in broken form on
the piano.
or
Candidates may choose to sing or hum the following intervals. The examiner will play the first note once on the piano.
49
Grade 7
Above a Given Note
major and minor 2nds
major and minor 3rds
perfect 4th
perfect 5th
major and minor 6ths
perfect octave
Below a Given Note
major and minor 3rds
perfect 4th
perfect 5th
minor 6th
major 7th
perfect octave
Chords
Candidates will be asked to identify the following chords after the examiner has played the chord once in solid (blocked)
form, close position on the piano.
Chords
major and minor triads
dominant 7th
Position
root position
root position
Playback
Candidates will be asked to play back a melody on the clarinet, based on a complete major scale (tonic to tonic, mediant
to mediant, or dominant to dominant). The examiner will name the key, play the tonic triad once, and play the melody
twice on the piano.
Beginning Note
tonic, mediant, dominant, or upper tonic
Keys
C, G, D, F, B b major
Example only
Approximate Length
nine notes
Sight Reading
Playing
Candidates will be asked to play a short melody at sight.
Difficulty
Grade 5 repertoire
Time Signatures
Keys
Approximate Length
major and minor keys up to four sharps eight to sixteen measures
or four flats
Clapping
Candidates will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.
Time Signatures
Approximate Length
four measures
Example only
Grade 7
50
Grade 8
Candidates in Grade 8 should perform with a developed
tone, technical fluency, range of articulations, and stylistic
awareness. Repertoire includes many important clarinet
works from the 18th to 21st centuries. Orchestral excerpts
and etudes offer further technical and musical challenges.
At this level, the fundamentals of intonation, tone, breath
support, and finger technique should be well established.
Grade 8 Requirements
Marks
Repertoire
one selection from List A
one selection from List B
40
20
20
Orchestral Excerpts
four excerpts from the Syllabus list
Technical Requirements
Etudes: four etudes from the Syllabus list
– two from Group 1 and two from Group 2
Technical Tests
– scales
– arpeggios
Ear Tests
Intervals
Chords
Cadences
Playback
Sight Reading
Playing
Clapping
10
Total possible marks (pass = 60)
List A
Arnold, Malcolm
Sonatina, op. 29 LEG
l 1st movement
Baker, Michael Conway
u
A Canticle for Ryan, op. 127 [abridged] EVO
Bartók, Béla
l Stick Dance (no. 1), In One Spot (no. 3), and Fast
Dance (no. 6) (arr. Avrahm Galper, in Roumanian Folk
Dances WAT)
Beethoven, Ludwig van
l 4th movement: Rondo, from Violin Sonata in F
Major (“Spring”), op. 24 (arr. Stephan KorodyKreutzer ZIM)
30
20
Bozza, Eugène
l Pulcinella LED
10
Cahuzac, Louis
l Fantaisie variée sur un vieil air champêtre BIL
10
3
2
2
3
10
7
3
Chausson, Ernest
l Andante et Allegro BIL
Cossetto, Emil
Csárdás-Kompositionen OTT
l Lied und Csárdás
Danzi, Franz
Sonate in B flat Major SIM
l 1st movement and 2nd movement [begin at m. 10]
100
Devienne, François
Première sonate LEM
l 1st movement
Deuxième sonate (arr. Laurence Boulay EMT)
l 1st movement
Theory Co-requisites
Advanced Rudiments
Introductory Harmony (recommended)
Repertoire
D’Rivera, Paquito
l Vals Venezolano and Contradanza INO
→ must be played with piano accompaniment
Please see “Examination Repertoire” on p. 9 for important
information regarding this section of the examination.
Dunhill, Thomas
Phantasy Suite, op. 91 B&H
l 1st, 3rd, 5th, and 6th movements
Candidates must prepare two contrasting selections by
two different composers: one from List A and one from
List B. At least one selection must be accompanied. Please
note that all selections requiring piano accompaniment must be
played with piano.
• List A includes rhythmic pieces in a faster tempo.
• List B includes lyrical pieces in a slower tempo.
Guilhaud, Georges
l First Concertino (arr. Himie Voxman RUB)
Handel, George Frideric
l Adagio and Allegro, from Sonata No. 3 in G Major
(arr. Arthur H. Christmann, in Solos for the Clarinet
Player SCH)
Bullets used to denote selections for examination
purposes:
l one selection
u
one selection, found in Clarinet Series, 2014 Edition:
Clarinet Repertoire 8 FHM
Haydn, Franz Joseph
l Andante and Allegro, from Trumpet Concerto, Hob.
VIIe, no. 1 (arr. Norman Heim, in Solo Pieces for the
Advanced Clarinetist MEL)
51
Grade 8
Debussy, Claude
l Syrinx (arr. Stephan Korody-Kreutzer ZIM)
→ unaccompanied
Hoffmeister, Franz Anton
Concerto in B flat Major (arr. Mihláy Hajdu EMB)
u
1st movement
→ begin at m. 64
Delmas, Marc
l Fantaisie Italienne, op. 110 BIL
Kovács, Béla
l Salute, Signore Rossini! DAR
Donizetti, Gaetano
Concertino in B flat Minor (arr. Raymond Meylan PET)
u
1st movement
Krommer, Franz
Concerto in E flat Major, op. 36 BAR
l 1st movement
Pierné, Gabriel
u
Canzonetta in E flat Major, op. 19
Gershwin, George
l My Man’s Gone Now, from Porgy and Bess
(arr. Richard Stoltzman, in Aria FIS)
Rota, Nino
Sonata RIC
l 1st movement
Glick, Srul Irving
Suite Hébraïque No. 1 B&H
l 1st, 2nd, 3rd, and 6th movements
Schubert, Franz
l Sonatina, op. 137, no. 1 (arr. Eric Simon B&H)
Hillborg, Anders
l Prelude SVM
→ unaccompanied
Stadler, Anton
Caprices KUZ
l any one
→ unaccompanied
Honegger, Arthur
l Sonatine for A Clarinet and Piano SAL
Horovitz, Joseph
Sonatina for Clarinet NOV
u
2nd movement
Stamitz, Karl
Concerto No. 3 PET; INT
l 1st movement
→ with cadenza
Jacob, Gordon
Five Pieces for Clarinet OUP
l nos. 1, 3, and 5
→ unaccompanied
Tartini, Giuseppe
Concertino (arr. Gordon Jacob B&H)
l 3rd and 4th movements
Jeanjean, Paul
l Arabesques BIL
u
Clair matin
Templeton, Alec
l Pocket-Size Sonata No. 1 SHA
l Pocket-Size Sonata No. 2 SHA
Kenins, Talivaldis
l Divertimento B&H
Thomas, Ambroise
l Ah pour ce soir… Je suis Titania, from Mignon
(arr. Richard Stoltzman, in Aria FIS)
Larsen, Libby
u
Bee Navigation UNI
→ unaccompanied
Vanhal, Johann Baptist
Sonata in B flat Major INT
l 1st and 2nd movements
Morlock, Jocelyn
Limbo CMC
l 1st movement: The Moon Glows on the Vagrant
Waters
List B
Mozart, Wolfgang Amadeus
Grand Sonate for Clarinet and Piano, after Clarinet
Quintet, K 581 (arr. Franz Xavier Gleichauf EVO)
u
4th movement
Archer, Violet
Sonata for Clarinet and Piano WAT; CMC
l 1st movement
Baermann, Carl
Concerto militaire, op. 6
l 2nd movement (in Solos for the Clarinet Player SCH)
Saint-Saëns, Camille
Sonata in E flat Major for Clarinet and Piano, op. 167
u
1st movement
Berio, Luciano
u
Lied UNI
→ unaccompanied
Strauss, Richard
l Romanze in E flat Major, AV 61 OTT
Stucky, Steven
l Meditation and Dance PRE
Busoni, Ferrucio
l Elegie BRH
Sutherland, Margaret
l Sonata AMC
Grade 8
52
Technical Requirements
Svoboda, Andrew
Four Short Pieces CMC
l nos. 1, 2, and 4
→ unaccompanied
Please see “Technical Requirements” on p. 11 for
important information regarding this section of the
examination.
Weber, Carl Maria von
u
Concertino in E flat Major, op. 26, J 109 (arr. Cyrille
Rose)
Grand duo concertante, op. 48, J 204 (arr. Carl
Baermann)
u
2nd movement
Etudes
Candidates must prepare four etudes from the following
list: two from Group 1 and two from Group 2. All etudes
must be performed on B flat clarinet.
Wuensch, Gerhard
Sonatina for A Clarinet and Piano CMC
l 2nd and 3rd movements
Bullets used to denote selections for examination
purposes:
l one selection
u
one selection, found in Clarinet Series, 2014 Edition:
Clarinet Etudes 5–8 FHM
Orchestral Excerpts
Candidates should be prepared to play four excerpts from
the following list. Candidates should prepare the first clarinet
part unless otherwise indicated. For candidates who do
not have an A clarinet, excerpts written for A clarinet can
be played without transposition on a B flat clarinet (read as
printed),, but parts for C clarinet should be transposed at
sight. Candidates are encouraged to listen to and become
familiar with the works from which these excerpts are taken.
The candidate should perform excerpts in a manner that
demonstrates an understanding of the style and context.
• All orchestral excerpts are included in Clarinet Series,
2014 Edition: Orchestral Excerpts FHM.
• Alternatively, candidates may use standard published
orchestral parts for the specific excerpts. The list below
includes measure numbers for reference.
Group 1
Technical Etudes
Bach, Johann Sebastian
u
Courante, from Cello Suite No. 1 in G Major,
BWV 1007
Baermann, Carl
Complete Clarinet School, Division 2: Preparatory Studies,
op. 63
u
Etude in G Major (no. 43) [excerpt]
l Variations (no. 25) (no. 24 in Hite: Melodious and
Progressive Studies, 1 SMP)
Cavallini, Ernesto
Thirty Caprices FIS
l one of nos. 1, 9, 13, 16, 17
Each bulleted item (u) represents one selection for
examination purposes.
Ferling, Franz Wilhelm
Forty-eight Studies, op. 31
u
Etude in A Minor (no. 8) (no. 4, arr. Cyrille Rose, in
Thirty-two Etudes FIS)
Berlioz, Hector
Symphonie fantastique
u
3rd movement (Scène aux champs): mm. 119–131
Binder, Carl
Ouverture zu Offenbach’s Orpheus in der Unterwelt
u
mm. 35–36 (cadenza)
Ferling, Franz Wilhelm (arr. Cyrille Rose)
Thirty-two Etudes FIS
l one even-numbered etude (except no. 2 or no. 22)
Forty Etudes FIS; SMP
l one of nos. 8, 11, 16, 20, 22, 23, 35
Borodin, Aleksandr
Prince Igor
u
Polovtsian Dance No. 8: mm. 5–20, 29–45, 119–
126; Polovtsian Dance No. 17: mm. 6–14
Brahms, Johannes
Symphony No. 4, op. 98
u
2nd movement: mm. 4–30
Gambaro, Jean Baptiste
Twenty-one Caprices BIL
l one of nos. 1, 2, 5–9, 11, 12, 14, 17, 19, 20 (nos. 1–8,
11, 14, 16, 19, 20 in Hite: Melodious and Progressive
Studies, 2 SMP)
Mendelssohn, Felix
Symphony No. 4, op. 90 (“Italian”)
u
4th movement (Saltarello): mm. 13–30, 255–262
Jeanjean, Paul
Vingt études progressives et mélodiques, 1 LED
l one of nos. 2, 6, 10, 12, 18
Rossini, Gioachino
Il barbiere di Siviglia
u
[c] Overture: mm. 93–115
Kovács, Béla
Hommages DAR
l Hommage à Johann Sebastian Bach
Schubert, Franz
Symphony No. 8, D 759 (“Unfinished”)
u
2nd movement: mm. 66–83
53
Grade 8
Périer, August
Trente études LED
l D’après Dont (no. 18)
l D’après Handel (no. 17)
Ferling, Franz Wilhelm
Forty-eight Studies, op. 31
u
Etude in A Minor (no. 7) (no. 3, arr. Cyrille Rose, in
Thirty-two Etudes FIS)
u
Etude in E Minor (no. 3) (no. 7, arr. Cyrille Rose, in
Thirty-two Etudes FIS)
Rae, James
Forty Modern Studies UNI
l Inside Out (no. 38)
l Nomad (no. 39)
l Oiled Wheels (no. 40)
Jazz Scale Studies: Clarinet UNI
l Speedbird (no. 18)
Mosaics, 2 TCL
u
Mr. Pritchard’s Bad Hair Day (no. 37)
u
Questions and Answers (no. 20)
Thirty-eight More Modern Studies UNI
l Hocus Pocus (no. 38)
Selected Studies for Clarinet (ed. Himie Voxman RUB)
l Etude in A Major (Müller, p. 27)
l Etude in A Minor (Klosé, p. 5)
l Etude in C Major (Mazas, p. 3)
l Etude in C Minor (Gambaro, p. 25) (no. 14 in Hite:
Melodious and Progressive Studies, 2 SMP)
l Etude in D flat Major (Müller, p. 39)
l Etude in E flat Major (Ferling/Rose, p. 23) (no. 24 in
Rose: Thirty-two Etudes FIS)
l Etude in E Major (Mazas, p. 35)
l Etude in F Major (Gambaro, p. 7) (no. 2 in Hite:
Melodious and Progressive Studies, 2 SMP)
l Etude in F sharp Minor (Müller, p. 29)
l Etude in G flat Major (Müller, p. 47)
l Etude in G Major (Kietzer, p. 11)
l Etude in G Minor Allegro (Heinze, p.17)
Ferling, Franz Wilhelm (arr. Cyrille Rose)
Thirty-two Etudes FIS
l one odd-numbered etude (except nos. 9, 25, 27)
→ nos. 1, 11, 19, 21, 23, 29 are also in Selected
Studies RUB
Forty Etudes FIS; SMP
l no. 1
→ tempo should be eighth note = ca 76
l one of nos. 13, 18, 21, 24, 32, 34
Gambaro, Jean Baptiste
Twenty-one Caprices BIL
l one of nos. 10, 15, 18 (in Hite: Melodious and
Progressive Studies, 2 SMP)
Gates, Everett
Odd Meter Etudes ALF
u
Odd Meter Etude No. 9
Harris, Paul
Eighty Graded Studies for Clarinet, 2 FAB
u
Etude No. 60
Jeanjean, Paul
Vingt études progressives et mélodiques, 1 LED
l one of nos. 1, 3, 5, 7, 17
Périer, August
Trente études LED
l D’après J.S. Bach (no. 9)
Shaw, Artie
Jazz Technic, 2 ALF
l one of nos. 2, 4–7, 13, 14
Shaw, Artie
Jazz Technic, 2 ALF
l no. 3
Selected Studies for Clarinet (ed. Himie Voxman RUB)
l Etude in A Major (Ferling/Rose, p. 26) (no. 21 in
Rose: Thirty-two Etudes FIS)
l Etude in B flat Major (Gambaro, p. 14) (no. 10 in
Hite: Melodious and Progressive Studies, 2 SMP)
l Etude in B flat Minor (Luft, p. 40)
l Etude in B Major (Ferling/Rose, p. 42) (no. 29 in
Rose: Thirty-two Etudes FIS)
l Etude in C Minor (Heinze, p. 24)
l Etude in C sharp Minor (Heinze, p. 36)
l Etude in D Major (Mazas, p. 18)
l Etude in D Minor (Ferling/Rose, p. 8) (no. 11 in
Rose: Thirty-two Etudes FIS)
l Etude in E flat Major (Ferling/Rose, p. 22) (no. 23 in
Rose: Thirty-two Etudes FIS)
l Etude in F Minor (Heinze, p. 32)
l Etude in F sharp Minor (Berr, p. 28)
l Etude in G flat Major (Mazas, p. 46)
l Etude in G Minor (Ferling/Rose, p. 16) (no. 19 in
Rose: Thirty-two Etudes FIS)
l Etude in G sharp Minor (Müller, p. 44)
Uhl, Alfred
Forty-eight Etudes, 1 OTT
u
Etude in A Minor (no. 3)
l one of nos. 2, 6, 8, 21
Group 2
Lyrical Etudes
Bach, Johann Sebastian
u
Allemande, from Cello Suite No. 2 in D Minor,
BWV 1008
Baermann, Carl
Complete Clarinet School, Division 2: Preparatory Studies,
op. 63
l Introduction, Theme and Variations (no. 32) (no. 22
in Hite: Melodious and Progressive Studies, 1 SMP)
→ play up to end of Variation 1
Grade 8
54
Wiedemann, Ludwig
Praktische und theoretische Studien für Klarinette, 2
u
Romance (p. 6 in Voxman: Selected Studies RUB)
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the examination. Candidates
must play all scales and arpeggios from memory, ascending and descending, in all the articulations listed below. All
technical tests must be performed on B flat clarinet.
Scales
Keys
Range
Major
Major
Harmonic and Melodic
Minor
E
G, D, A, B, F #
3 octaves
Major in 3rds
Chromatic
Arpeggios
Dominant 7ths of
Major Keys
Diminished 7ths of
Minor Keys
E, B, F # , C # , G # , D #
A, E b , A b
on E
Tempo
2 octaves
Overlapping Arpeggios (Four-note Pattern)
Major
G, D, A, E, B, F #
Minor
E, B, F # , C # , G # , D #
See p. 11 for required
articulations.
= 60
3 octaves
E, A b
F (starting on E n ),
F # (starting on E # ),
G (starting on F # )
q
Note Values Articulations
Additional articulations
required for this level:
1 tongued, 3 slurred
See p. 11 for required
articulations.
2 octaves
q
= 60
2 octaves
q
= 60
Additional articulations
required for this level:
1 tongued, 3 slurred
See p. 11 for required
articulations.
Ear Tests
Intervals
Candidates will be asked to identify the following intervals. The examiner will play each interval once in broken form on
the piano.
or
Candidates may choose to sing or hum the following intervals. The examiner will play the first note once on the piano.
Above a Given Note
major and minor 2nds
major and minor 3rds
perfect 4th
perfect 5th
major and minor 6ths
minor 7th
perfect octave
Below a Given Note
major 2nd
major and minor 3rds
perfect 4th
perfect 5th
minor 6th
major 7th
perfect octave
55
Grade 8
Chords
Candidates will be asked to identify the following chords after the examiner has played the chord once in solid (blocked)
form, close position on the piano.
Chords
major and minor triads
dominant 7th
diminished 7th
Position
root position
root position
root position
Cadences
Candidates will be asked to identify the following cadences by name or symbols. The examiner will play the tonic chord
once, and then twice play a short phrase ending in a cadence.
Name of Cadence
perfect or authentic
plagal
Symbols
V–I
IV–I
Example only
Playback
Candidates will be asked to play back a melody on the clarinet, approximately one octave in range. The examiner will
name the key, play the tonic triad once, and play the melody twice on the piano.
Keys
C, G, D, F, B b major
Approximate Length
nine notes
Example only
Grade 8
56
Sight Reading
Playing
Candidates will be asked to play a short melody at sight.
Difficulty
Grade 6 repertoire
Time Signatures
Keys
Approximate Length
major and minor keys up to five sharps eight to sixteen measures
or five flats
Clapping
Candidates will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.
Time Signatures
Approximate Length
four measures
Example only
57
Grade 8
Grade 9
Candidates in Grade 9 should perform with a welldeveloped sound, technical fluency, and awareness of
historical stylistic elements including contemporary
practices. Repertoire includes significant and
pedagogically vital solos for the developing clarinetist. The
range now comfortably encompasses the altissimo register
and playing should be seamless through the registers.
Grade 9 Requirements
Marks
Repertoire
one selection from List A
one selection from List B
40
20
20
Orchestral Excerpts
five excerpts from the Syllabus list
Technical Requirements
Etudes: four etudes from the Syllabus list
– two from Group 1 and two from Group 2
Technical Tests
– scales
– arpeggios
Ear Tests
Intervals
Chords
Cadences
Playback
Sight Reading
Playing
Clapping
10
Total possible marks (pass = 60)
List A
Beethoven, Ludwig van
l Adelaide, op. 46 (arr. Ivan Müller UNI)
Cavallini, Ernesto
l Adagio e tarantella FIS; RIC
→ arr. George Waln KJO is not acceptable
Crusell, Bernhard
l Introduction et air Suédois varié BIL
Donizetti, Gaetano
l Studie PET
→ unaccompanied
Kalliwoda, Johann
l Morceau de salon CHS
30
20
Meister, Georges
l Erwinn Fantasy MOL
10
Mendelssohn, Felix
l Rondo capriccioso, op. 14 (arr. Norman Heim, in
Solo Pieces for the Advanced Clarinetist MEL)
10
3
2
2
3
10
7
3
Mercadante, Saverio
l Concerto in B flat Major BIL
100
Schubert, Franz
l Arpeggione sonata [abridged] (arr. Jack Brymer
JWL)
Rabaud, Henri
l Solo de concours, op. 10 LED
Saint-Saëns, Camille
Sonate, op. 167 CHS; DUR; HEN
l 2nd, 3rd, and 4th movements
Theory Co-requisites
Advanced Rudiments
Basic Harmony or Basic Keyboard Harmony
History 1: An Overview
Schumann, Robert
l Romances, op. 94 HEN
Sonata No. 1 in A Minor, op. 105 (arr. Stephan KorodyKreutzer ZIM)
l 1st movement
Repertoire
Please see “Examination Repertoire” on p. 9 for important
information regarding this section of the examination.
Stanford, Charles Villiers
Three Intermezzi, op. 13 CHS
l any two
Candidates must prepare two contrasting selections by
two different composers: one from List A and one from
List B. At least one selection must be accompanied. Please
note that all selections requiring piano accompaniment must be
played with piano.
• List A includes pieces from the Baroque, Classical, and
Romantic periods.
• List B includes 20th- and 21st-century repertoire.
Waterson, James
l Morceau de concert CHS
Weber, Carl Maria von
l Fantasia and Rondo, from Quintet, op. 34, J 182
(arr. Gustave Langenus FIS)
l Variations on a Theme from the Opera Silvana,
op. 33, J 128 OTT
→ omit Variations 2 and 4
Each bulleted item (l) represents one selection for
examination purposes.
Grade 9
58
List B
Arnold, Malcolm
l Fantasy for Clarinet, op. 87 FAB
→ unaccompanied
Morlock, Jocelyn
Limbo CMC
l 3rd movement: The Moon Turns in Its Clockwork
Dream and 4th movement: In the Dark Pines the
Brutal Wind…
Baker, Michael Conway
l Capriccio CMC
Martinů, Bohuslav
l Sonatina LED
Bax, Arnold
Sonata in B flat Major CHA
l 2nd movement
Mather, Bruce
l Étude pour clarinette seule CMC
→ unaccompanied
Cahuzac, Louis
l Arlequin BIL
→ unaccompanied
l Variations sur un air du pays d’oc LED
Milhaud, Darius
l Duo concertant HEU
Osborne, Willson
l Rhapsody PET
→ unaccompanied
Finzi, Gerald
Five Bagatelles B&H
l Forlana and Fughetta
Palej, Norbert
l Cantilena “Veni Creator Spiritus” CMC
Gershwin, George
Gershwin Preludes (arr. James Cohn ALF)
l complete
→ no. 2 is for A clarinet
Penderecki, Krzysztof
l Three Miniatures PWM
Weiner, Leó
l Peregi verbunk, op. 40 EMB
Guastavino, Carlos
l Tonada y Cueca LAG
Hanson, Howard
l Fantasy FIS
Wilder, Alec
Sonata MRN
l 3rd and 4th movements
Hawkins, John
l Dance, Improvisation and Song CMC
Williams, John
l Viktor’s Tale, from The Terminal HAL
Hindemith, Paul
Sonate OTT
l 3rd and 4th movements
Orchestral Excerpts
Candidates should be prepared to play five excerpts from
the following list. Candidates should prepare the first
clarinet part unless otherwise indicated. For candidates
who do not have an A clarinet, excerpts written for
A clarinet can be played without transposition on a B flat
clarinet (read as printed), but parts for C clarinet should
be transposed at sight. Candidates are encouraged to listen
to and become familiar with the works from which these
excerpts are taken. The candidate should perform excerpts
in a manner that demonstrates an understanding of the
style and context.
• All orchestral excerpts are included in Clarinet Series,
2014 Edition: Orchestral Excerpts FHM.
• Alternatively, candidates may use standard published
orchestral parts for the specific excerpts. The list below
includes measure numbers for reference.
Horovitz, Joseph
Sonatina for Clarinet NOV
l 3rd movement
Huang, An-Lun
l Capriccio for A Clarinet and Piano CMC
Kovács, Béla
l Aria, Theme and Variations after Paganini’s Moses
Fantasia DAR
l Armenian Lament and Dance DAR
Hommages DAR
l After You, Mr. Gershwin! DAR
l Hommage à Béla Bartók
l Hommage à Carl Maria von Weber
→ unaccompanied
Kulesha, Gary
l Attitudes CMC
Each bulleted item (u) represents one selection for
examination purposes.
Levowitz, Adam
l Klezmer Fantasy WWI
Lutosławski, Witold
l Dance Preludes PWM; CHS
59
Grade 9
Beethoven, Ludwig van
Symphony No. 4, op. 60
u
2nd movement: mm. 10–17, 26–34, 81–89
Symphony No. 6, op. 68 (“Pastoral”)
u
1st movement: mm. 83–93, 474–492; 2nd
movement: mm. 68–77; 3rd movement:
mm. 114–133
Symphony No. 9, op. 125
u
[c] 2nd movement: mm. 57–77, 93–117, 180–194
Périer, August
Trente études LED
l D’après Handel (no. 13)
l D’après Paganini (no. 3)
Vingt-deux études modernes LED
l one of nos. 1, 5, 8, 9
Piazzolla, Astor
Tango-études LEM
l no. 1 or no. 3
→ unaccompanied
Brahms, Johannes
Symphony No. 3, op. 90
u
1st movement: mm. 23–27, 36–46; 2nd movement:
mm. 1–22
Stark, Robert
Twenty-Four Virtuosity Studies, op. 51 INT
l one of nos. 1, 5, 15–17
Debussy, Claude
Prélude à l’après-midi d’un faune
u
mm. 30–36, 51–59, 75–79
Uhl, Alfred
Forty-eight Etudes, 1 OTT
l no. 14 or no. 16
Mendelssohn, Felix
Symphony No. 3, op. 56 (“Scottish”)
u
2nd movement: mm. 8–67, 84–96
Group 2
Lyrical Etudes
Rossini, Gioachino
Semiramide
u
Overture: mm. 67–76
Cavallini, Ernesto
Thirty Caprices RIC
l no. 23
Technical Requirements
Jeanjean, Paul
Eighteen Etudes for the Clarinet ALF
l one of nos. 1, 3, 7, 9
Vingt études progressives et mélodiques, 1 LED
l no. 9 or no. 19
Vingt études progressives et mélodiques, 2 LED
l one of nos. 21, 23, 33
Please see “Technical Requirements” on p. 11 for
important information regarding this section of the
examination.
Etudes
Candidates must prepare four etudes from the following
list: two from Group 1 and two from Group 2. All etudes
must be performed on B flat clarinet. Each bulleted item
(l) represents one selection for examination purposes.
Jettel, Rudolf
Der vollkommene Klarinettist, 2 JWL
l no. 4
Périer, August
Trente études LED
l D’après J.S. Bach (no. 30)
Vingt-deux études modernes LED
l no. 4 or no. 16
Group 1
Technical Etudes
Cavallini, Ernesto
Thirty Caprices FIS
l one of nos. 19, 22, 24
Shaw, Artie
Jazz Technic, 2 ALF
l no. 8
Jeanjean, Paul
Vingt études progressives et mélodiques, 1 LED
l no. 20
Vingt études progressives et mélodiques, 2 LED
l no. 34 or no. 36
Jettel, Rudolf
Der vollkommene Klarinettist, 2 JWL
l one of nos. 2, 5, 6, 9, 13, 16
Grade 9
60
Technical Tests
Please see “Technical Tests” on p. 000 for important information regarding this section of the examination. Candidates
must play all scales and arpeggios from memory, ascending and descending, in all the articulations listed below. All
technical tests must be performed on B flat clarinet.
Scales
Major
Major
Keys
Range
C, B b , E b , A b , D b
3 octaves
F, G b
Harmonic and
A, D, G, C, F, B b , E b
Melodic Minor
Major in 3rds
Chromatic
Arpeggios
Dominant 7ths
of Major Keys
E, B, F # , D b
on F
2 octaves
Tempo
q
Note Values Articulations
See p. 11 for required
articulations.
= 60
3 octaves
B, D b , G b
F (starting on E n ),
Diminished 7ths #
F (starting on E # ),
of Minor Keys
G (starting on F # )
2 octaves
q
Additional articulations
required for this level:
1 tongued, 2 slurred, 1 tongued
See p. 11 for required
articulations.
= 60
Additional articulations
required for this level:
1 tongued, 2 slurred, 1 tongued
Overlapping Arpeggios (Four-note Pattern)
Major
Minor
C, F, B b , E b , A b , D b , G b
A, D, G, C, F, B b , E b
2 octaves
q
See p. 11 for required
articulations.
= 60
Additional articulations
required for this level:
1 tongued, 2 slurred, 1 tongued
Ear Tests
Intervals
Candidates will be asked to identify the following intervals. The examiner will play each interval once in broken form on
the piano.
or
Candidates may choose to sing or hum the following intervals. The examiner will play the first note once on the piano.
Above a Given Note
any interval within the octave
Below a Given Note
any interval within the octave except the
augmented 4th/diminished 5th
Chords
Candidates will be asked to identify the following chords and their inversion or position after the examiner has played
the chord once in solid (blocked) form, close position on the piano.
Chords
major and minor triads
dominant 7th
diminished 7th
Position
root position, 1st inversion
root position
root position
61
Grade 9
Cadences
Candidates will be asked to identify the following cadences by name or symbols. The examiner will play the tonic chord
once, and then twice play a short phrase ending in a cadence.
Name of Cadence
perfect or authentic
plagal
imperfect
Symbols
V–I
IV–I
I–V
Example only
Playback
Candidates will be asked to play back the upper part of a two-part phrase on the clarinet. The examiner will name the
key, play the tonic triad once, and play the phrase twice on the piano.
Keys
C, G, D, F, B b major
Approximate Length
two or three measures
Example only
Sight Reading
Playing
Candidates will be asked to play a short melody at sight.
Difficulty
Grade 7 repertoire
Time Signatures
Keys
major and minor keys up to six sharps
or six flats
Approximate Length
twelve to twenty measures
Clapping
Candidates will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.
Time Signatures
Approximate Length
four to six measures
Example only
Grade 9
62
Grade 10
Repertoire
Candidates in Grade 10 will prepare selections of music
encompassing the full range of original works and
transcriptions available to the contemporary clarinetist.
Performances at this level should be sophisticated
and nuanced with expanded awareness of stylistic
practices. There are increased demands on stamina and
concentration, as well as a continued exploration of
contemporary practices.
Please see “Examination Repertoire” on p. 9 for important
information regarding this section of the examination.
Candidates must prepare three contrasting selections: one
from List A, one from List B, and one from List C. Please
note that all selections requiring piano accompaniment must be
played with piano.
•List A includes pieces from the Baroque, Classical, and
Romantic periods.
• List B includes 20th- and 21st-century repertoire.
• List C includes unaccompanied repertoire.
Grade 10 candidates who wish to pursue an ARCT in
Clarinet Performance or Teacher’s ARCT must achieve
either an overall mark of 75 or a minimum of 70 percent
in each section of the Grade 10 examination. Figures in
bold parentheses indicate the minimum number of marks
required to receive 70 percent.
Grade 10 Requirements
Marks
Repertoire
one selection from List A
one selection from List B
one selection from List C
Orchestral Excerpts
five excerpts from the Syllabus list
Technical Requirements
Etudes: four etudes from the Syllabus list
– two from Group 1 and two from Group 2
Technical Tests
– scales
– arpeggios
– overlapping arpeggios
Ear Tests
Intervals
Chords
Cadences
Playback
Sight Reading
Playing
Clapping
Total possible marks (pass = 60)
40 (28)
14
13
13
10 (7)
Each bulleted item (l) represents one selection for
examination purposes. Unless otherwise indicated,
candidates should prepare the complete work.
List A
Burgmüller, Norbert
l Duo for Clarinet and Piano, op. 15 OTT
Crusell, Berhard
Concerto No. 1 in E flat Major, op. 1 MRA; UNI
l 1st and 2nd movements
l 2nd and 3rd movements
Concerto No. 2 in F Minor, op. 5 UNI
l 1st and 2nd movements
l 2nd and 3rd movements
Concerto No. 3 in B flat Major, op. 11 KUZ; UNI
l 1st and 2nd movements
l 2nd and 3rd movements
30 (21)
20
10
10 (7)
2
2
3
3
10 (7)
7
3
100
Küffner, Joseph
l Introduction, Theme and Variations (attr. Carl
Maria von Weber INT)
Mason, Daniel Gregory
Sonata, op. 14 PRE
l any one movement
Mendelssohn, Felix
l Allegro brillant, op. 92 (arr. Michael Webster INT)
Theory Co-requisites
Advanced Rudiments
Intermediate Harmony or
Intermediate Keyboard Harmony
History 1: An Overview
History 2: Middle Ages to Classical
Messager, André
l Solo de concours LED
Rheinberger, Joseph
Klarinettensonate, op. 105a AMA
l any two movements
Please see “Co-requisites and Prerequisites” on p. 8,
“Classification of Official Marks” on p. 74, and
“Supplemental Examinations” on p. 77 for important
details regarding Grade 10 standing for an ARCT
examination application.
Rossini, Gioachino
l Bell raggio lusinghier, from Semiramide (arr. Richard
Stoltzman, in Aria FIS)
→ optional: take the final note down an octave
For information on taking the Grade 10 Clarinet
examination in two separate segments, see “Split Grade 10
Practical Examinations” on p. 77.
63
Grade 10
Stanford, Charles Villiers
Sonata for Clarinet and Piano, op. 129 S&B
l 1st movement
Debussy, Claude
l Prélude à l’après-midi d’un faune (transc. James
Gillespie and Steven Harlos BIL)
Verdi, Giuseppe, arr. Luigi Bassi
l Rigoletto: Fantasia da concerto RIC
Karg-Elert, Sigfrid
Sonata No. 2, op. 139b ZIM
l 2nd movement
Weber, Carl Maria von
l Andante e Rondo ungarese, op. 35, J 158 (arr. James
Cohn XLN)
Concerto No. 1 in F Minor, op. 73, J 114 HEN
l 1st and 2nd movements
→ optional: play Baermann variation and cadenza in
1st movement
l 2nd and 3rd movements
Marquez, Arturo
l Zarabandeo PER
Milhaud, Darius
l Scaramouche SAL
Nimmons, Phil
l Images entre nous CMC
Widor, Charles-Marie
l Introduction et rondo MAS
Osborn, Sean
l Sonata for E flat Clarinet and Piano OSB
Osman, Ali
l Egyptian Ma-wal INO
List B
Arnold, Malcolm
l Sonatina, op. 29 LEG
Poulenc, Francis
l Sonata CHS
Baker, David
Clarinet Sonata LKM
l any two movements
Ross, Don
l The Weather Inside CMC
Welcher, Dan
l Dante Dances ELV
Benjamin, Arthur
l Le tombeau de Ravel B&H
Yi, Chen
l Chinese Ancient Dances PRE
Bentzon, Niels Viggo
Sonata, op. 63 HAN
l 1st and 3rd movements
List C
Bernstein, Leonard
l Sonata B&H
Despic, Dejan
Nine Dances GER
l any four (including no. 9)
Blackwood, Easley
l Sonatina for E flat Clarinet and Piano, op. 38 BLA
Harvey, Paul
Three Etudes on Themes of Gershwin EMP
l I Got Rhythm
Bloch, André
l Denneriana LED
Bolcom, William
l Little Suite of Four Dances for E flat Clarinet and
Piano EDW
Concert-piece EDW
l 2nd, 3rd, and 4th movements
Hodkinson, Sydney
l Scurry (Etude-Intermezzo) PRE
Husa, Karel
Three Studies for Solo Clarinet BAR
l any two
Bowen, York
Sonata, op. 109 EMP
l 2nd and 3rd movements
Kovács, Béla
Hommages DAR
l Hommage à Manuel de Falla
Bozza, Eugène
l Bucolique LED
Messiaen, Olivier
l Abîme des oiseaux, from Quatuor pour le fin du temps
DUR
Busoni, Ferrucio
l Concertino, op. 48, BV 276 BRH
Penderecki, Krzysztof
l Prelude OTT
Cahuzac, Louis
Concertino d’apres un quintette de H. Baermann BIL
l 2nd and 3rd movements
Persichetti, Vincent
l Parable ELV
Crawley, Clifford
Ten-a-penny Pieces CMC
l any five
Grade 10
Scelsi, Giacinto
l Ixor SAL
64
Sutermeister, Heinrich
l Capriccio OTT
Rimsky-Korsakov, Nicolai
Scheherazade, op. 35
u
2nd movement: mm. 162–165 (cadenza); 3rd
movement: mm. 20–24, 70–78; 4th movement:
mm. 190–206
Thomas, Augusta Read
l D(i)agon(als) SCH
Tomasi, Henri
l Sonatine attique LED
Sibelius, Jean
Symphony No. 1, op. 39
u
1st movement: mm. 1–32; 3rd movement:
mm. 27–28, 113–119, 129–148
Turnage, Mark-Antony
Two Memorials OTT
l complete
Technical Requirements
Yi, Chen
l Monologue (Impressions on The True Story of Ah Q)
PRE
Please see “Technical Requirements” on p. 11 for
important information regarding this section of the
examination.
Orchestral Excerpts
Etudes
Candidates should be prepared to play five excerpts from
the following list. Candidates should prepare the first
clarinet part unless otherwise indicated. For candidates
who do not have an A clarinet, excerpts written for
A clarinet can be played without transposition on a B flat
clarinet (read as printed), but parts for C clarinet should
be transposed at sight. Candidates are encouraged to listen
to and become familiar with the works from which these
excerpts are taken. The candidate should perform excerpts
in a manner that demonstrates an understanding of the
style and context.
• All orchestral excerpts are included in Clarinet Series,
2014 Edition: Orchestral Excerpts FHM.
• Alternatively, candidates may use standard published
orchestral parts for the specific excerpts. The list below
includes measure numbers for reference.
Candidates must prepare four etudes from the following
list: two from Group 1 and two from Group 2. All etudes
must be performed on B flat clarinet. Each bulleted item
(l) represents one selection for examination purposes.
Group 1
Technical Etudes
Bozza, Eugène
Quatorze études de mecanisme LED
l one of nos. 1–4, 6, 9–14
Cavallini, Ernesto
Thirty Caprices RIC
l no. 26 or no. 28
Jeanjean, Paul
Eighteen Etudes for the Clarinet ALF
l one of nos. 2, 4, 6, 10, 12, 14, 15, 17
Vingt études progressives et mélodiques, 3 LED
l one of nos. 42, 44, 58
Vingt-cinq études techniques et melodiques pour clarinette LED
l one of nos. 1, 7, 15, 17, 18
Each bulleted item (u) represents one selection for
examination purposes.
Beethoven, Ludwig van
Symphony No. 8, op. 93
u
3rd movement (Trio): mm. 48–81
Violin Concerto, op. 61
u
2nd movement: mm. 11–20
Jettel, Rudolf
Der vollkommene Klarinettist, 2 JWL
l no. 1 or no. 3
Brahms, Johannes
Variations on a Theme by Haydn, op. 56a
u
Variation II: mm. 59–87; Variation IV: mm. 156–
165, 186–204; Variation V: mm. 211–263
Opperman, Kalmen
Virtuoso Velocity Studies FIS
l one of nos. 1–9, 11–16, 18–20, 22
Mendelssohn, Felix
Incidental Music to A Midsummer Night’s Dream, op. 61
u
Scherzo: mm. 1–48, 99–133, 145–153, 379–385
Paganini, Nicolò
14 Capricci (transc. Alamiro Giampieri RIC)
l one of nos. 1 [with all repeats and da capo], 4, 6–9, 13
Rachmaninoff, Sergei
Symphony No. 2, op. 27
u
3rd movement: mm. 6–27
Périer, August
Trente études LED
l D’après Paganini (no. 12)
Vingt-deux études modernes LED
l no. 18
65
Grade 10
Group 2
Lyrical Etudes
Polatschek, Victor
Advanced Studies for the Clarinet SCH
l After Milhaud “Scaramouche” (no. 8)
l After Prokofieff “Overture on Hebrew Themes”
(no. 21)
l After Rimsky-Korsakov “Scheherazade” (no. 3)
l After Schoenberg “Pierrot lunaire” (no. 27)
l After Shostakovich “Symphony No. 1” (no. 5)
l After William Schuman “Symphony No. 3” (no. 17)
Bozza, Eugène
Quatorze études de mecanisme LED
l one of nos. 5, 7, 8
Cavallini, Ernesto
Thirty Caprices RIC
l no. 25
Uhl, Alfred
Forty-eight Etudes, 2 OTT
l one of nos. 28, 37, 39, 42
Jeanjean, Paul
Eighteen Etudes for the Clarinet ALF
l no. 11 or no. 13
Vingt études progressives et mélodiques, 3 LED
l one of nos. 41, 47, 53
Vingt-cinq études techniques et melodiques pour clarinette LED
l one of nos. 2, 5, 6, 8, 11, 22, 25
Zítek, František
Sixteen Modern Etudes for Clarinet, op. 14 RUB
l one of nos. 1, 5, 7, 8, 11, 15
Zítek, František
Sixteen Modern Etudes for Clarinet, op. 14 RUB
l one of nos. 3, 9, 13
Technical Tests
Please see “Technical Tests” on p. 11 for important information regarding this section of the examination. Candidates
must play all scales and arpeggios from memory, ascending and descending, in all the articulations listed below. All
technical tests must be performed on B flat clarinet.
Scales
Major
Major
Harmonic and Melodic
Minor
Keys
G, E, F # , F
all keys
Range
3 octaves
all keys
2 octaves
Major in 3rds
on E, on F, on G b, on G
3 octaves
all keys
2 octaves
Chromatic
Arpeggios
Dominant 7ths of
Major Keys
Diminished 7ths of
Minor Keys
E, B, F # , D b
F (starting on E n ),
F # (starting on E # ),
G (starting on F # )
3 octaves
Tempo
Note Values
Articulations
q
= 76
See p. 11 for required
articulations.
q
= 76
See p. 11 for required
articulations.
q
= 76
See p. 11 for required
articulations.
Overlapping Arpeggios (Four-note Pattern)
Major
Major
Minor
Grade 10
G, E, F # , F
all keys
all keys
3 octaves
2 octaves
66
Ear Tests
Intervals
Candidates will be asked to identify the following intervals. The examiner will play each interval once in broken form on
the piano.
or
Candidates may choose to sing or hum the following intervals. The examiner will play the first note once on the piano.
Above a Given Note
any interval within the octave
Below a Given Note
any interval within the octave
Chords
Candidates will be asked to identify the following chords and their inversion or position after the examiner has played
the chord once in solid (blocked) form, close position on the piano.
Chords
major and minor four-note chords
dominant 7th
diminished 7th
Position
root position, 1st inversion, 2nd inversion
root position
root position
Cadences
Candidates will be asked to identify the following cadences by name or symbols. The examiner will play the tonic chord
once, and then play a short passage twice on the piano, pausing at the end of each cadence in the second playing.
Name of Cadence
perfect or authentic
plagal
imperfect
deceptive (interrupted)
Symbols
V(7) –I
IV–I
I –V
V(7) –VI
Example only
Playback
Candidates will be asked to play back the lower part of a two-part phrase on the clarinet. The examiner will name the
key, play the tonic triad once, and play the phrase twice on the piano.
Keys
C, G, D, F, B b major
Approximate Length
two to four measures
Example only
67
Grade 10
Sight Reading
Playing
Candidates will be asked to play a short melody at sight. Candidates should also be prepared to transpose on B b clarinet
music written for clarinet in C.
Difficulty
Grade 8 repertoire
Time Signatures
Keys
Approximate Length
any major or minor key
twelve to twenty measures
Clapping
Candidates will be asked to clap or tap the rhythm of a melody. A steady pulse and rhythmic precision are expected.
Time Signatures
Approximate Length
four to six measures
Example only
Grade 10
68
ARCT in Clarinet Performance
The ARCT in Clarinet Performance is the culmination
of The Royal Conservatory Certificate Program and is
evaluated as a concert performance. Excellence in every
aspect of performance is expected. Candidates are expected
to perform with confidence, communicating the essence
of the music while demonstrating a command of the
instrument. A detailed understanding of the stylistic and
structural elements of each repertoire selection is expected.
Repertoire
Please see “Examination Repertoire” on p. 9 for important
information regarding this section of the examination.
Candidates must prepare three contrasting selections: one
from List A, one from List B, and one from List C. Please
note that all selections requiring piano accompaniment must
be played with piano. Candidates are expected to select
repertoire in a variety of keys and tempos, representing
three different historical eras.
• List A includes concertos.
• List B includes sonatas and suites.
• List C includes unaccompanied repertoire.
The ARCT Examination
Please see “Co-requisites and Prerequisites” on p. 8,
“Classification of Official Marks” on p. 74, and
“Supplemental Examinations” on p. 77 for important
details regarding the ARCT in Clarinet Performance
examination. Candidates are strongly recommended to
study for at least two years after passing the Grade 10
examination.
ARCT in Clarinet Performance
Requirements
Repertoire
one selection from List A
one selection from List B
one selection from List C
Orchestral Excerpts
eight excerpts from the Syllabus list
Total possible marks (pass = 60)
Theory Prerequisites
Advanced Rudiments
Intermediate Harmony or
Intermediate Keyboard Harmony
History 1: An Overview
History 2: Middle Ages to Classical
Each bulleted item (l) represents one selection for
examination purposes. Unless otherwise indicated,
candidates should prepare the complete work.
Marks
The length of the performance must be between 40 and
50 minutes. The examiner may stop the performance if it
exceeds the allotted time.
70
25
25
20
30
List A
Arnold, Malcolm
l Clarinet Concerto No. 2 FAB
l Concerto for Clarinet and Strings LEG
100
Copland, Aaron
l Concerto B&H
Finzi, Gerald
l Concerto, op. 31 B&H
Francaix, Jean
l Concerto EMT
Theory Co-requisites
History 3: 19th Century to Present
And any two of:
Advanced Harmony or Advanced Keyboard
Harmony
Counterpoint
Analysis
Hoover, Katherine
l Concerto PRE
Liebermann, Lowell
l Concerto, op. 110 PRE
Morawetz, Oskar
l Concerto for Clarinet AEN; CMC
Piano Co-requisite
Grade 6 Piano
Mozart, Wolfgang Amadeus
l Concerto, K 622 BAR; EUL; HEN
Candidates must achieve an Honours standing (70
percent) in order to be awarded an ARCT in Clarinet
Performance Diploma. For descriptions of performance
marks, please see “Marking Criteria for Performance of
Repertoire” on p. 75. An ARCT candidate’s performance of
a work may receive a failing grade for any of the following
reasons:
• repeated breaks in continuity
• substantial omissions
• lack of technical control
• textual inaccuracies
• inappropriate tempo, character, or style
Nielsen, Carl
l Concerto, op. 57 HAN
Shaw, Artie
l Concerto CMP
Spohr, Ludwig
l Concerto No. 1, op. 26 PET
l Concerto No. 2, op. 57 PET
l Concerto No. 3, WoO 19 PET
l Concerto No. 4, WoO 20 PET
69
ARCT in Clarinet Performance
List C
Tomasi, Henri
l Concerto LED
Bassett, Leslie
l Soliloquies MRI
Tower, Joan
l Clarinet Concerto AMP
Berio, Luciano
l Sequenza IXa UNI
Weber, Carl Maria von
l Concerto No. 2 in E flat Major, op. 74, J 118 HEN
Carter, Elliott
l Gra B&H
List B
Denisov, Edison
l Sonate for Clarinet Solo BRH
Babin, Victor
l Hillandale Waltzes MAS
Desportes, Yvonne
l La naissance d’un papillon BIL
Berg, Alban
l Vier Stücke, op. 5 UNI
Donatoni, Franco
l Clair RIC
Bizet, Georges
l Gypsy Dance, from Carmen (arr. Richard Stoltzman,
in Aria FIS)
→ piano should begin at m. 43
Freedman, Harry
l Lines CMC
Blackwood, Easley
l Sonata BLA
Karg-Elert, Sigfrid
l Sonate, op. 110 ZIM
Brahms, Johannes
l Sonata in E flat Major, op. 120, no. 2 HEN; WIE
l Sonata in F Minor, op. 120, no. 1 HEN; WIE
Kovács, Béla
Hommages DAR
l Hommage à Richard Strauss
Castelnuovo-Tedesco, Mario
l Sonata, op. 128 RIC
Larsen, Libby
l Dancing Solo OUP
Chan, Ka Nin
l Three Movements CMC
Mandat, Eric
l Folk Songs CIR
l The Jungle CIR
Debussy, Claude
l Première rhapsodie HEN; DUR
Martino, Donald
l A Set For Clarinet MCG
Francaix, Jean
l Tema con variazioni ESC
Riepe, Russell
l Three Studies on Flight SMP
Ireland, John
l Fantasy-Sonata B&H
Rozsa, Miklos
l Sonata for Clarinet Solo, op. 41 BRD
Jenner, Gustav
l Sonata in G Major for A Clarinet and Piano OTT
Sierra, Roberto
l Cinco bocetos SUB
Morawetz, Oskar
l Sonata CMC
Smith, William O.
l Five Pieces for Clarinet Solo UNI
Muczynski, Robert
l Time Pieces PRE
Stravinsky, Igor
l Three Pieces for Clarinet Solo CHS
Reger, Max
l Sonate, op. 49, no. 1 UNI
l Sonate, op. 49, no. 2 UNI
Tower, Joan
l Wings AMP
Rossini, Gioacchino
l Introduction, Theme and Variations OUP
Weinzweig, John
l Cadenza CMC
Sarasate, Pablo de
l Carmen fantaisie, op. 25 (arr. Nicolas Baldeyrou ACE)
l Zigeunerweisen, op. 20 (arr. Kalmen Opperman FIS)
Widmann, Jörg
l Fantasie OTT
Weber, Carl Maria von
l Grand duo concertante, op. 48, J 204 B&H; OTT
ARCT in Clarinet Performance
70
Orchestral Excerpts
Prokofiev, Sergei
Peter and the Wolf, op. 67
u
[a /b b ] Nervoso: mm. 229–242
Symphony No. 5, op. 100
u
[e b] 4th movement: mm. 41–48, pickup to
m. 60–m. 61
Candidates should be prepared to play eight excerpts from
the following list. Candidates should prepare the first
clarinet part unless otherwise indicated. For candidates
who do not have an A clarinet, excerpts written for
A clarinet can be played without transposition on a B
flat clarinet (read as printed), but parts for C clarinet
should be transposed at sight. The following abbreviations
indicate the type of instrument for which each excerpt
was originally written:
Ravel, Maurice
Boléro
u
[e b] mm. 59–75
Respighi, Ottorino
Pini di Roma
u
[a] 3rd movement (I pini del Gianicolo): mm. 3–33
[b b] B flat clarinet
[a] A clarinet
[c] C clarinet
[e b] E flat clarinet
[bass] bass clarinet
Rimsky-Korsakov, Nicolai
Capriccio espagnole, op. 34
u
[a] 1st movement: mm. 14–27, 41–57; [b b] 3rd
movement: mm. 51–72; 4th movement: mm. 37–45
(cadenza)
The candidates’ selection of excerpts may include a
combination of B flat, A, and C clarinet excerpts, as well
as E flat and/or bass clarinet excerpts.
Shostakovich, Dmitri
Symphony No. 5, op. 47
u
[e b] 2nd movement: mm. 13–24, 45–55, 137–143
Symphony No. 9, op. 70
u
[a] 2nd movement: mm. 1–32; 3rd movement:
mm. 1–17
Violin Concerto No. 1, op. 77
u
[bass] 2nd movement (Scherzo): mm. 1–29, 47–52,
442–555
Candidates are encouraged to listen to and become
familiar with the works from which these excerpts are
taken. The candidate should perform excerpts in a manner
that demonstrates an understanding of the style and
context.
• All orchestral excerpts are included in Clarinet Series,
2014 Edition: Orchestral Excerpts FHM.
• Alternatively, candidates may use standard published
orchestral parts for the specific excerpts. The list below
includes measure numbers for reference.
Strauss, Richard
Don Juan, op. 20
u
[b b] mm. 267–297
Don Quixote, op. 35
u
[bass] Sancho Panza: mm. 139–147, 158–160;
Variation X: mm. 654–664
Till Eulenspiegels lustige Streiche, op. 28
u
[e b] three of:
– (Immer sehr lebhaft) mm. 46–47
– (Volles Zeitmass) mm. 443–500
– (Volles Zeitmass) mm. 528–558
– (Gleichgültig) mm. 582–626
Each bulleted item (u) represents one selection for
examination purposes.
Berlioz, Hector
Symphonie fantastique (épisode de la vie d’un artiste)
u
[c] 5th movement (Songe d’une nuit du sabbat)
[C clarinet in second clarinet part]: mm. 21–30,
447–467
u
[e b] 5th movement (Songe d’une nuit du sabbat):
mm. 40–65
Stravinsky, Igor
Suite de l’oiseau de feu (1919 Version)
u
[a] Variation de l’oiseau de feu: mm. 39–81
Borodin, Aleksandr
Prince Igor
u
[b b] Polovtsian Dance No. 17: mm. 48–55, 234–287
Tchaikovsky, Pyotr Il’yich
Symphony No. 6, op. 74 (“Pathétique”)
u
[a] 1st movement: mm. 54–69, 153–160, 185–199,
325–335
Grofé, Ferde
Grand Canyon Suite
u
[bass] 3rd movement (On the Trail): mm. 61–69,
166–177
Kodály, Zoltán
Dances of Galánta
u
[a] mm. 31–65, 571–578
Teacher’s ARCT
Meyerbeer, Giacomo
Les Huguenots
u
[bass] Trio from act 5: mm. 1–11
For current information on the Teacher’s ARCT
requirements, please visit www.rcmusic.ca.
71
ARCT in Clarinet Performance
Register for an Examination
Examination Sessions and Registration Deadlines
Log in at
www.examinations.
rcmusic.ca
to register.
Exact dates and deadlines can be found online. Register early to avoid disappointment.
Late registrations are subject to an additional fee and may be denied.
Winter Session—register by early November
• practical examinations take place in January
• theory examinations take place in December
Spring Session—register by early March
• practical examinations take place in June
• theory examinations take place in May
Summer Session—register by early June
• practical examinations take place in August
• theory examinations take place in August
Online Registration
All registrations should be submitted using the online registration process. Visit
www.examinations.rcmusic.ca to register.
Examination Fees
Examination fees must be paid at registration using a valid credit card. Current
examination fees may be found at www.examinations.rcmusic.ca.
Examination Centres
Examinations are conducted in more than 300 communities across North America.
Each examination centre has a local Centre Representative who ensures that students
and teachers have a successful examination experience.
Teachers may verify their students’ examination schedules by visiting
www.examinations.rcmusic.ca.
Examination Scheduling
All candidates may
verify their examination
schedules online three
to four weeks after the
registration deadline.
Examination schedules
will not be mailed.
Register for an Examination
Candidates may check for their examination schedules online three to four weeks after
the registration deadline.
Candidates are asked to print the “Examination Program Form” using the “Examination
Scheduling” feature. The program form must be filled out by the candidate and/or
teacher, and brought to the examination centre for presentation to the examiner.
Candidates who, for any reason, are unable to attend an examination should contact the
Centre Representative listed on their Examination Schedule. The Centre Representative
may be able to provide an alternate appointment time.
72
Examination Regulations
Examination Procedures
Candidates must be ready to perform at least fifteen minutes before their scheduled
time. Please note that examination times cannot be exchanged among candidates. Please
contact the Centre Representative if you are unable to attend the examination at the
assigned time.
• Although most examination centres have a tune-up room, the availability of a tuneup room cannot be guaranteed. Examination centres do not provide facilities for
rehearsal with piano.
• Candidates must provide their own collaborative pianist in order for an examination
to proceed. Recorded accompaniments are not permitted.
• A music stand is available in most centres, but the availability of a music stand cannot
be guaranteed.
• Photo ID may be requested before candidates are admitted to the examination room.
• Candidates are asked to list all repertoire and etudes to be performed on the
Examination Program Form and bring it to the examination for presentation to the
examiner.
• Candidates must provide the examiner with an original, published copy of all music
to be performed at the examination.
• If the candidate is performing with music, he or she should bring two original copies
to the examination, one to play from and one to give to the examiner. Collaborative
pianists must play from an original, published copy of the score.
• Photocopied music is not permitted in the examination room unless the candidate
has a letter of permission from the publisher or website. (Please see “Copyright and
Photocopying” on p. 79.)
• Recording devices and cell phones are strictly prohibited in the examination room.
Electronic devices, books, notes, bags, and coats must be left in the area designated
by the Centre Representative.
• Page turners and other assistants are not permitted in the examination room. Waiting
areas are provided for parents, teachers, and assistants. Standing or listening outside
the examination room door is prohibited.
• The candidate’s performance of a repertoire selection or an etude may be interrupted
at the examiner’s discretion once an assessment has been made.
• The examiner will choose a representative sampling of items on the technical
requirements list.
Candidates must
provide their own
collaborative pianist
in order for an
examination to
proceed.
Candidates must
provide the examiner
with an original,
published copy of all
music to be performed
at the examination.
Recording devices and
cell phones are strictly
prohibited in the
examination room.
Credits and Refunds for Missed Examinations
Credits (formerly called “fee extensions”) and refunds are only granted in two specific
situations. Candidates who are unable to attend an examination for medical reasons
or because of a scheduling conflict with a school examination are eligible to request
either an examination credit for the full amount of the examination fee or a fifty percent
refund of the examination fee.
Requests for examination credits or refunds must be made to The Royal Conservatory in
writing and be accompanied by the following documentation:
• for medical reasons—a physician’s letter and the candidate’s examination schedule.
• for direct time conflicts with school examinations—a letter from a school official on
school letterhead and the candidate’s Examination Schedule.
Candidates who, for any reason, are unable to attend an examination should contact the
Centre Representative listed on their Examination Schedule immediately.
73
All requests must be
submitted by mail
or fax within two
weeks following the
examination. Requests
received after this time
will be denied.
Examination Regulations
Examination Credit
An examination credit (formerly called a “fee extension”) may be applied to the fee
of a future examination. Examination credits are valid for one year from the date of
the original scheduled examination. Examination credits can be redeemed when the
candidate registers for his or her next examination. The credit will be automatically
applied during the online registration process. Please note that credits are not transferrable
and may not be extended beyond one year.
Fee Refund
Candidates who know at the time they are applying for an examination credit that they
will not be able to make use of it within the one-year time period may instead apply for
a refund of fifty percent of the examination fee.
Requests for examination refunds or credits must be made to The Royal Conservatory
in writing and be accompanied by the necessary documentation (see above). All requests
must be submitted by mail or by fax within two weeks following the scheduled examination date.
Candidates with Special Needs
The Special Needs
Request Form is
available online at
www.examinations.
rcmusic.ca.
Candidates with special needs should submit a Special Needs Request Form, by mail
or by fax, to The Royal Conservatory before the registration deadline. Each case will be
assessed individually.
Candidates may receive help in and out of the examination room if required. Please note
that helpers must normally remain in the waiting area during the actual examination.
Examination Results
Please note that
results will neither be
mailed nor provided by
telephone.
Candidates and teachers can access examination marks online within approximately four
weeks of the examination date. Access to complete examination results, with comments
and marks, will be available no later than eight weeks after the examination date.
Teachers may access their students’ examination results by visiting
www.examinations.rcmusic.ca.
Official transcripts are available upon written request to The Royal Conservatory and
payment of the requisite fee. (The Official Transcript Request Form may be downloaded
from the website.)
Interpreting Examination Results
All candidates may access their complete, official results (including examiners’
comments) online no later than eight weeks after the examination has taken place. The
examiner’s report explains in general terms how the official mark was calculated, and
provides information to support candidates in their future musical development. The
official mark reflects the examiner’s evaluation of the candidate’s performance during
the examination, which cannot be reconstructed. Appeals are considered only in the
event of a serious procedural irregularity, and only upon completion of the official
Appeals Process.
Classification of Official Marks
First Class Honors with Distinction First Class Honors Honors Pass (Preparatory and Grades 1–10)
Insufficient to Pass
90–100
80–89
70–79
60–69
50–59
Please note: in cases where the total mark would be under 50, the candidate receives the
examiner’s comments only: further preparation is deemed necessary for assessment.
Examination Regulations
74
Marking Criteria for Performance of Repertoire
First Class Honors with Distinction: 90–100
This standing is awarded for exceptional performances that are confident and
communicative, while demonstrating technical command, insightful awareness of style,
and convincing musical interpretation.
First Class Honors: 80–89
This standing is awarded for performances that are musically engaging, show thoughtful
preparation, and demonstrate technical security, stylistic understanding, and musical
awareness. There is quick recovery from any minor slips or brief lapses.
Honors: 70–79
This standing is awarded for performances that are generally secure and fluent, indicate
careful preparation, and reflect some awareness of style and musical understanding.
There may be occasional slips or lapses, with room for further development of technical
control and attention to musical details.
Pass: 60–69
This standing is awarded for performances that exhibit a basic level of preparation.
There may be slips or lapses, loss of continuity, unresolved technical issues, and a lack
of attention to musical details. The examiner’s report will identify areas that require
further study and exploration.
Insufficient to Pass: 50–59
The performance is a work in progress. There are many errors, slips, and stumbles
disturbing the continuity. Although some aspects of the performance may show basic
preparation, a satisfactory performance requires more consistent fluency and attention
to both musical elements and markings in the score.
Marks Below 50
The performance is not yet ready for assessment due to insufficient preparation.
75
Log in at
www.examinations.
rcmusic.ca
to view online results.
Examination Regulations
Table of Marks
Repertoire
List A
List B
List C
Orchestral Excerpts
Technical Requirements
Etudes
Technical Tests
Ear Tests
Clapback
Intervals
Chords
Cadences
Playback
Sight Reading
Playing
Clapping
TOTALS
Prep–
Grade 1
50
25
25
—
—
30
20
10
10
5
—
—
—
5
10
7
3
100
Grades
2–5
50
25
25
—
—
30
20
10
10
3
3
—
—
4
10
7
3
100
Grade
6
50
25
25
—
—
30
20
10
10
2
3
2
—
3
10
7
3
100
Grade
7
40
20
20
—
10
30
20
10
10
2
3
2
—
3
10
7
3
100
Grades
8–9
40
20
20
—
10
30
20
10
10
—
3
2
2
3
10
7
3
100
Grade
10
40 (28)
14
13
13
10 (7)
30 (21)
20
10
10 (7)
—
2
2
3
3
10 (7)
7
3
100
ARCT in Clarinet
Performance
70
25
25
20
30
—
—
—
—
—
—
—
—
—
—
—
—
100
• To qualify for the ARCT examination, Grade 10 candidates must achieve either an
overall mark of 75 or a minimum of 70 percent in each section of the examination.
(In the “Table of Marks,” 70-percent figures are given in bold parentheses.)
• Candidates for the ARCT in Clarinet Performance must achieve an overall mark of 70
in order to pass.
Examination Regulations
76
Supplemental Examinations
Improve an Examination Mark
Candidates seeking to improve their overall Grade 10 mark may take up to two
Supplemental Examinations.
• Supplemental Examinations must be taken within two years of the original
examination.
• Supplemental Examinations are given during regular examination sessions.
• Candidates in Grade 10 may repeat any two sections of a practical examination:
Repertoire, Orchestral Excerpts, Technical Requirements, Ear Tests, or Sight Reading.
• To be eligible for a Supplemental Examination in Grade 10, candidates must achieve a
minimum mark of 65 overall.
Split Grade 10 Practical Examinations
Candidates may choose to take the Grade 10 Clarinet examination in two separate
segments: one consisting entirely of Repertoire; the other consisting of Technical
Requirements, including Etudes and Technical Tests, as well as Ear Tests, Sight Reading,
and Orchestral Excerpts. The division of material in the split Grade 10 examination
cannot be altered. However, candidates may choose which segment to take first.
Candidates in Grade
10 must complete the
Grade 10 theory corequisites within five
years of the original
practical examination,
not any subsequent
supplemental
examinations.
Candidates for the split Grade 10 examination must complete all practical examination
requirements within two years of the initial examination segment. Candidates for the
split Grade 10 examination may schedule their examinations within the same session or
in different sessions; however, both segments of the split Grade 10 examination and any
supplemental examinations must be completed within the two-year period. Candidates
who choose the split format must complete both segments before registering for any
supplemental examinations. All theory co-requisites for the Grade 10 examination must
be completed within five years of the initial Grade 10 practical examination segment.
Only candidates who take the complete Grade 10 examination (without the split) will be
eligible to receive a regional gold medal.
Practical Examination Certificates
Certificates are awarded to candidates who successfully complete the requirements for
their grade.
Beginning in Grade 5, certificates are awarded after both the theory co-requisites and
the practical examination for that grade have been successfully completed. Theory corequisites must be completed within five years of the original practical examination.
Medals
The academic year runs from September to August. Each academic year, gold medals are
awarded to candidates who achieve exceptional examination results. No application is
required.
Please note that ARCT
diplomas are awarded
to candidates at the
annual Convocation
ceremony. Candidates
may not use the official
designation “ARCT”
before Convocation.
Gold Medals
Gold medals are awarded by province or region to candidates in Preparatory and Grades
1 to 10 who receive the highest marks for the respective practical examinations. To
be eligible, a candidate must receive a minimum mark of 80 percent in the practical
examination and have completed all the theory co-requisites for the respective grade.
77
Examination Regulations
ARCT Gold Medals
A gold medal is awarded to the graduating ARCT in Clarinet Performance candidate
who receives the highest mark across Canada for the practical examination. To be
eligible, a candidate must receive:
• A minimum of 85 percent in the practical examination
• A minimum of 70 percent in each theory co-requisite examination
A gold medal for excellence in theory is also awarded to the graduating ARCT candidate
who completes the theory examinations listed below with the highest average mark. To
be eligible, a candidate must receive a minimum overall average of 80 percent for the
eight examinations.
Basic Harmony or Basic Keyboard Harmony
Intermediate Harmony or Intermediate Keyboard Harmony
Advanced Harmony or Advanced Keyboard Harmony
Counterpoint
Analysis
History 1: An Overview
History 2: Middle Ages to Classical
History 3: 19th Century to Present
School Credits
The Royal Conservatory examination results can sometimes be used as a credit toward
high school graduation or toward university entrance. In Canada, the policies of
provincial education ministries can be found online under “Candidate Recognition,
Accreditation.” Candidates are advised to discuss the eligibility of their examination
results with their school principal or guidance counselor.
RESPs
Use of Education Funds for Music Studies
Candidates who have a Registered Education Savings Plan (RESP) may be eligible to use
these funds to support private studies in music at the Grade 9, Grade 10, and/or ARCT
levels. Candidates should consult their RESP providers for more information.
Editions
For many repertoire items, the Syllabus listing includes a suggested edition (indicated by
an assigned publisher abbreviation). These editions have been chosen for their quality
and for their availability in North America.
The Royal Conservatory strongly encourages the use of modern editions. These editions
benefit from current scholarship and provide a reliable basis for study and performance.
However, if a student has purchased an online edition or downloaded a free edition
that is in the public domain, they must provide either proof of payment, in the case of
purchased editions, or proof of legal, free download, in the case of online editions in the
public domain.
Editorial markings vary from edition to edition. Examination marks will not be
deducted for altering these editorial suggestions as long as the resulting change is
musically acceptable.
Availability
The Royal Conservatory has made every effort to ensure that the materials listed in
the Clarinet Syllabus, 2014 Edition are in print and available at leading music retailers
throughout North America. If you experience difficulty in obtaining Clarinet music
in your community, you may visit www.frederickharrismusic.com to find a listing of
additional music retailers near you.
Examination Regulations
78
Anthologies and Collections
If a repertoire selection is published in a collection of a composer’s music or in an
anthology containing music by a number of composers, the title of the collection or
anthology is usually included in the Syllabus listing. Individual selections may also be
found in other sources. In order to save space, the words “volume” and “book” have
usually been omitted; a number following a title indicates the number of the volume,
book, or set number in which a selection can be found (for example, Music Through
Time, 1).
Clarinet Series, 2014 Edition
In order to ensure the ready availability of high-quality examination materials, The
Frederick Harris Music Co., Limited has published Clarinet Series, 2014 Edition. This
series includes nine volumes of Clarinet Repertoire (Preparatory through Grade 8) with
recordings; one volume of Clarinet Technique (Preparatory–Grade 10); two volumes
of Clarinet Etudes (Preparatory–Grade 4; Grades 5–8); and one volume of Orchestral
Excerpts (Grades 7–ARCT).
Copyright and Photocopying
Federal and international copyright laws prohibit the use of photocopies without the
permission of the publisher. The use of unauthorized photocopies for examination
purposes constitutes copyright infringement as outlined in the Copyright Act of
Canada. Additional information about federal copyright law is available online through
the Copyright Board of Canada at www.cb-cda.gc.ca.
Please note that
photocopied music
will not be permitted
in the examination
room. Candidates who
bring unauthorized
photocopies to the
examination will not be
examined.
Candidates should bring all music to be performed to the examination. Candidates
who wish to photocopy one page of a selection to facilitate a page turn must do so with
permission from the publisher.
With this notice, The Frederick Harris Music Co., Limited grants permission to festival,
recital, and examination participants to photocopy single pages from their publications
to facilitate a page turn.
79
Examination Regulations
Abbreviations
Names of Publishers
The following abbreviations identify publishers listed throughout the Clarinet Syllabus,
2014 Edition. When no publisher or edition is indicated for a specific piece, the work is
available in several standard editions. For more information, please see “Examination
Repertoire” on p. 9.
ABR
Associated Board of the Royal Schools of
Music
ACE L’association Clarinet Edition
AEN Aeneas Music
AMAAmadeus
AMC Australian Music Centre
AMP Associated Music Publishers, Inc. (Hal
Leonard)
AMSAmsco
AVOAvondale
B&B Bote & Bock
B&H Boosey & Hawkes
BEL Belwin-Mills (Alfred Publishing Co.,
Inc.)
BLA Easley Blackwood
BRDBroude
BRH Breitkopf & Härtel
CAM Camden Music
CHA Chappell & Co., Ltd. (Alfred)
CHS J. & W. Chester Music
CIR Cirrus Music
CMC available from the Canadian Music
Centre
CMP Consolidated Music Publishers (Music
Sales)
CRA Cramer Music
DAR Edition Darok
DVM Deutscher Verlag für Musik
EDW Edward Marks
EMP Emerson Publishing
EMT Éditions Musicales Transatlantiques
ESC Éditions Eschig
ETC Et Cetera Productions (self-published)
EULEulenburg
EVO Evocation Publishing
FAB Faber Music
FEN Fentone Music
FHM The Frederick Harris Music Co., Limited
FIS
Carl Fischer
GER Hans Gerig
GMM Grand Mesa Music
HAN Wilhelm Hansen
HEN G. Henle Verlag
HEU Heugel et Cie
INO International Opus
INT International Music
JOB Editions Jobert
JWL Josef Weinberger Ltd.
KEN Kendor Music Inc.
KJO Neil A. Kjos Music Company KUZ Edition Kunzelmann
LAG Editorial Lagos
LED Alphonse Leduc
LEG Lengnick
LKM Lauren Keiser Music Publishing (Hal
Leonard)
MAS LudwigMasters Publications
MCG McGinnis & Marx
MEL Mel Bay Publications
MOL Molenaar Edition
Examination Regulations
80
MRA Musica Rara (Breitkopf & Härtel)
MRI Merion Music
MRN Margun Music
NOVNovello
OGT Ongaku no tomo sha
OSB Sean Osborn (self-published)
OTT Schott Music GmbH
OUP Oxford University Press
PER Peermusic Classical
PRE Theodore Presser
PWM Polskie Wydawnictwo Muzyczne Edition
REDReedimensions
RIC G. Ricordi
RUB Rubank (Hal Leonard)
S&B Stainer & Bell
SAL Éditions Salabert
SCH G. Schirmer
SHA Shawnee Press
SIMSimrock
SMP Southern Music Company Publications
SPA Spartan Press
STA Staff Music Publishing
SUB Subito Music Corporation
SVM Svensk Musik
TCL Trinity College London
UNI Universal Edition
WAT Waterloo Music Co. (Mayfair Music)
WIE Wiener Urtext
WIS Wise Publications (Music Sales)
WTC The Well-tempered Clarinetist (selfpublished)
WWI Woodwindiana, Inc.
XLN XLNT Music
YOR Yorktown Music Press
ZIMZimmermann
Other Abbreviations and Symbols
arr. arranged by
attr. attributed to
ed. edited by
m., mm.measure(s)
no. number
op. opus
p., pp. page(s)
rev. revised
transc. transcribed by
vol. volume
l represents one selection for examination
purposes
u
selection is published in Clarinet Series,
2014 Edition FHM
The following abbreviations are used to
indicate the type of clarinet:
[b b] B flat clarinet
[a] A clarinet
[c] C clarinet
[e b] E flat clarinet
[bass] bass clarinet
Thematic Catalogues
Opus numbers and Catalogue Numbers
“Opus” (op.) is a term used with a number to designate the position of a given work
in the chronological sequence of works by the composer. However, these numbers are
often an unreliable guide, and may have been assigned by a publisher rather than the
composer. Sometimes a single work will have conflicting opus numbers. Certain genres,
such as operas and other vocal works, were not always assigned opus numbers. For
these reasons, individual works by a number of composers are identified by numbers
assigned in scholarly thematic catalogues. A number of the more important thematic
catalogues are listed below.
Johann Sebastian Bach
Works by J.S. Bach are identified by BWV numbers (for example, Partita No. 2 in D
Minor, BWV 1004). BWV is the abbreviation for Bach-Werke-Verzeichnis, the short title
of the Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian
Bach (Leipzig, 1950), a thematic catalogue of Bach’s complete works originally compiled
by the German music librarian Wolfgang Schmieder.
George Frideric Handel
Works by George Frideric Handel are identified by HWV numbers (for example, Sonata
No. 2 in G Minor, HWV 368). HWV is an abbreviation for Handel-Werke-Verzeichnis. The
full title for this thematic catalogue, compiled by Margaret and Walter Eisen, is HändelHandbuch, gleichzeitig Suppl. zu Hallische Händel-Ausgabe (Kassel: Bärenreiter, 1978–1986).
Franz Joseph Haydn
Works by Haydn are identified by Hoboken numbers (for example, String Quartet in C
Major (“The Bird”), Hob. III:39). Anthony van Hoboken was a Dutch musicologist. His
thematic catalogue, Joseph Haydn: Thematisch-bibliographisches Werkverzeichnis (Mainz, B.
Schott, 1957–1971) divides Haydn’s works into a number of categories that are indicated
by Roman numerals.
Wolfgang Amadeus Mozart
Works by Mozart are identified by K numbers (for example, Symphony No. 25 in
G Minor, K 183). “K” stands for Köchel Verzeichnis first published in 1862. Ludwig
Ritter von Köchel (1800–1877) was an Austrian professor of botany who devoted
his retirement years to collecting all the known works by Mozart. He created a
chronological catalogue in which these works are listed and numbered.
Henry Purcell
Works by Henry Purcell are identified by Z numbers (for example, Minuet in G Major,
Z 651). These numbers were assigned by Franklin B. Zimmerman in his thematic
catalogue of Purcell’s works, Henry Purcell: An Analytical Catalogue of his Music (London:
MacMillan, 1963).
Franz Schubert
Works by Schubert are identified by Deutschnumbers (for example, String Quartet No.
14 in D Minor (“Death and the Maiden”), D 810). These numbers were assigned by Otto
Erich Deutsch (1883–1967) in his thematic catalogue of Schubert’s works, Thematisches
Verzeichnis seiner Werke in chronologischer Folge (Neue Schubert Ausgabe Serie VIII, Bd. 4,
Kassel, 1978).
81
Examination Regulations
Georg Philipp Telemann
Works by Telemann are identified by TWV numbers (for example, Sonata in F Major,
TWV 41:F1). TWV is an abbreviation for Telemann Werkverzeichnis. This thematic
catalogue—Thematisch-Systematisches Verzeichnis seiner Werke: Telemann Werkverzeichnis
(Kassel: Bärenreiter, 1984)—was compiled by Martin Ruhnke.
Anhang
Some catalogue numbers include the prefix Anh. (for example, Notenbuch der Anna
Magdalena Bach, BWV Anh. 114). “Anh.” is an abbreviation for Anhang, a German word
meaning appendix or supplement.
WoO
Some catalogue numbers include the prefix WoO (for example, Sechs Menuette, WoO
10). WoO is an abbreviation for Werk ohne Opuszahl (work without opus number).
These numbers are used to designate works for which the composer did not assign an
opus number.
Examination Regulations
82
Resources
The following texts are useful for reference, teaching, and examination preparation. No
single text is necessarily complete for examination purposes, but these recommended
reading and resource lists are an indispensable source of:
• teaching techniques for all ages and abilities
• tips for interpretation of repertoire
• tools for better sight reading
• advice on fostering talent in young people
• supplemental teaching material to support and enhance the Clarinet Syllabus, 2014
Edition
General Resources
Clarinet Series, 2014 Edition
Clarinet Series, Clarinet Repertoire. 9 vols. (Preparatory–Level 8) with compact discs.
Toronto, ON: The Frederick Harris Music Co., Limited, 2014.
Clarinet Series, Clarinet Studies. 2 vols. (Preparatory–4; 5–8). Toronto, ON: The Frederick
Harris Music Co., Limited, 2014.
Clarinet Series, Clarinet Technique (Preparatory–Level 10). Toronto, ON: The Frederick
Harris Music Co., Limited, 2014.
Clarinet Series, Orchestral Excerpts (Levels 7–ARCT). Toronto, ON: The Frederick Harris
Music Co., Limited, 2014.
Sight Reading and Ear Training
Berlin, Boris, and Andrew Markow. Ear Training for Practical Examinations: Melody
Playback/Singback. 4 vols. (Levels 1–ARCT). Toronto, ON: The Frederick Harris
Music Co., Limited, 1986–1988.
———. Ear Training for Practical Examinations: Rhythm Clapback/Singback. 3 vols. (Levels
1–7). Toronto, ON: The Frederick Harris Music Co., Limited, 1989–1991.
———. Rhythmic Tests for Sight Reading. (Levels 8–ARCT). Miami, FL: Warner Bros.
Publications. First published Toronto: Gordon V. Thompson Music, 1969.
Braaten, Brenda, and Crystal Wiksyk. Sound Advice: Theory and Ear Training (Levels 1–8).
(Online audio tracks at www.soundadvicedirect.com.) Toronto, ON: The Frederick
Harris Music Co., Limited, 2005–2006.
Harris, Paul. Improve your Sight-reading! A Workbook for Examinations. London: Faber,
1994.
Hindemith, Paul. Elementary Training for Musicians. 2nd ed. London: Schott, 1974.
Schlosar, Carol. Comprehensive Ear Training, Professional Series: Exercises Based on the
Examination Requirements of The Royal Conservatory of Music and National Music
Certificate Program. 11 vols. (Levels 1–ARCT). (Book with CD or MIDI.) Toronto,
ON: The Frederick Harris Music Co., Limited. First published Sicamous, BC:
Keystroke Publishing, 1993.
———. Comprehensive Ear Training: Student Series. 11 compact discs (Levels 1−ARCT).
Toronto, ON: The Frederick Harris Music Co., Limited. First published Sicamous,
BC: Keystroke Publishing, 1998.
83
Resources
Official Examination Papers
The Royal Conservatory Examinations Official Examination Papers. 15 vols. Toronto, ON:
The Frederick Harris Music Co., Limited, published annually.
Basic Rudiments
Intermediate Rudiments
Advanced Rudiments
Introductory Harmony
Basic Harmony
Basic Keyboard Harmony
History 1: An Overview
Intermediate Harmony
Intermediate Keyboard Harmony
History 2: Middle Ages to Classical
Counterpoint
Advanced Harmony
Advanced Keyboard Harmony
History 3: 19th Century to Present
Analysis
General Reference Works
Burkholder, J. Peter, Donald J. Grout, and Claude V. Palisca. A History of Western Music.
9th ed. New York: Norton, 2014.
Donington, Robert. The Interpretation of Early Music. New rev. ed. London; Boston: Faber
and Faber, 1989.
Greene, David Mason. Greene’s Biographical Encyclopedia of Composers. Garden City, NY:
Doubleday & Company, Inc., 1985.
Kallmann, Helmut, Gilles Potvin, and Kenneth Winters, eds. Encyclopedia of Music in
Canada. 2nd ed. Toronto, ON: University of Toronto Press, 1992. (Available online
at www.thecanadianencyclopedia.com.)
Kamien, Roger. Music: An Appreciation. 9th ed. Boston: McGraw–Hill, 2008.
Latham, Alison, ed. The Oxford Companion to Music. Oxford: Oxford University Press,
2002.
Machlis, Joseph, and Kristine Forney. The Enjoyment of Music. 11th ed. New York:
Norton, 2011.
Marcuse, Sibyl. Musical Instruments: A Comprehensive Dictionary. New York: Norton,
1975.
Randel, Don Michael, ed. The Harvard Biographical Dictionary of Music. Cambridge, MA:
Harvard University Press, 1996.
———. The Harvard Dictionary of Music. 4th ed. Cambridge, MA: Belknap Press of
Harvard University Press, 2003.
Sadie, Stanley, ed. The New Grove Dictionary of Musical Instruments. 3 vols. London:
Macmillan, 1993.
Sadie, Stanley, and John Tyrell, eds. The New Grove Dictionary of Music and Musicians.
2nd ed., 29 vols. London: Macmillan, 2001. (Also available online.)
Slonimsky, Nicolas, ed. emeritus. Baker’s Biographical Dictionary of Music and Musicians.
Centennial ed. 6 vols. New York: Schirmer, 2001.
Stolba, K. Marie. The Development of Western Music: A History. 3rd ed. Boston: McGraw–
Hill, 1998.
Clarinet Resources
Repertoire Anthologies and Collections
Armato, Ben, ed. Recital Clarinetist. New York: Carl Fischer, 1972.
Arnold, Jay, ed. Clarinet Solos. New York: AMSCO, 1939.
Bernstein, Leonard. Bernstein for Clarinet. Arr. David J. Elliott. London: Boosey &
Hawkes, 1997.
Christmann, Arthur H. ed. Solos for the Clarinet Player. New York: Schirmer, 1964.
Clark, Larry, and Sean O’Laughlin. First Festival Solos. New York: Carl Fischer, 2013.
Davies, John, and Paul Reade. First Book of Clarinet Solos. London: Faber Music, 1983.
Debussy, Claude. Claude Debussy Clarinet Album. Arr. James Rae. London: Universal
Edition, 1995.
Endresen, Raymond Milford. Indispensable Folio for B flat Clarinet and Piano. Chicago, IL:
Rubank, 1939.
Resources
84
Fauré, Gabriel. Gabriel Fauré Clarinet Album. Arr. James Rae. London: Universal Edition,
2002.
Goldstein, Jerome, ed. The Joy of Clarinet. Arr. Denes Agay. New York, NY: Yorktown
Music Press, 1968.
Harris, Paul. Music Through Time. 4 vols. Oxford: Oxford University Press, 1992.
———. Summer Sketches. London: Boosey & Hawkes, 1989.
Harvey, Paul, and John Sands. Jazzy Clarinet. 2 vols. London: Universal Edition, 1989.
Heim, Norman, ed. Mel Bay Presents: Solo Pieces for the Advanced Clarinetist. Pacific, MO:
Mel Bay Publications, 1994.
———. Mel Bay Presents: Solo Pieces for the Beginning Clarinetist. Pacific, MO: Mel Bay
Publications, 1993.
———. Mel Bay Presents: Solo Pieces for the Intermediate Clarinetist. Pacific, MO: Mel Bay
Publications, 1993.
Joplin, Scott. Scott Joplin Ragtime Classics. Arr. Marcel G. Frank. New York: Edward B.
Marks, 1974.
Lamb, Jack, ed. Classic Festival Solos. 2 vols. Miami, FL: Belwin Mills, 1993.
Mier, Martha. Jazz, Rags and Blues for Clarinet. Arr. Jane Sebba. 2 vols. Van Nuys, CA:
Alfred, 1993.
Norton, Christopher. The Microjazz Clarinet Collection. 2 vols. London: Boosey &
Hawkes, 1998–1999.
Puscoiu, Costel, ed. Mel Bay’s Classical Repertoire for Clarinet. 3 vols. Pacific, MO: Mel
Bay Publications, 1998–2000.
Rae, James. Christmas Jazz: Clarinet. London: Universal Edition, 1989.
———, ed. Clarinet Album. Vienna: Universal Edition, 2005.
———. Take Ten. London: Universal Edition, 1992.
Schmidt, Denise, ed. Repertoire Classics for Clarinet. New York: Carl Fischer, 2010.
———. Solos for Clarinet. New York: Carl Fischer, 2001.
Schneider, Willy, ed. Klassische Vortragsstücke. Arr. Manfred Bergen. Mainz: B. Schott’s
Söhne, 1960.
Simon, Eric. Masterworks for the Clarinet and Piano. New York: G. Schirmer, 1951. Rev.
ed. with CD accompaniments, 2011.
Still, William Grant. Three Songs. Arr. Alexa Still. Richmond, VA: International Opus,
1995.
Stoltzman, Richard, arr. Aria. New York: Carl Fischer, 1998.
Strommen, Carl, arr. Gershwin by Special Arrangement. Miami, FL: Warner Bros.
Publications, 2001.
Voxman, Himie, ed. Concert and Contest Collection. Miami, FL: Rubank, 1948.
Weston, Pamela, ed. First Clarinet Album. London: Schott, 1952.
Etudes, Exercises, and Method Books
Allen, Chris. Progressive Studies for Clarinet. 2 vols. London: ABRSM, 1989.
Baermann, Carl. Complete Clarinet School, op. 63. Ed. Gustave Langenus. 5 vols. New
York: Carl Fischer, 1918.
———. Foundation Studies for Clarinet. Ed. David Hite. San Antonio, TX: Southern
Music Company, 1990.
Bennett, Ned. A New Tune a Day for Clarinet. DVD ed. Boston: Boston Music Company,
2006.
———. Absolute Beginners: Clarinet. London, New York, NY: Wise Publications, 2011.
Bodegraven, Paul van. Adventures in Clarinet Playing. Great Neck, NY: Staff Publishing
Company, 1957.
Bozza, Eugène. Quatorze études de mecanisme. Paris: Leduc, 1948.
Caravan, Ronald L. Preliminary Exercises and Etudes in Contemporary Techniques for
Clarinet. Oswego, NY: Ethos Publications, 1979.
Cavallini, Ernesto. Thirty Caprices. Ed. Alamiro Giampieri. Ricordi, 1981.
Clark, Larry. I Used to Play Clarinet. New York: Carl Fischer, 2011.
Corley, Paula. So You Want to Play the Clarinet. n.p.: Clarinet City, 2011.
Cunningham, Randall. Fifteen Advanced Etudes for Clarinet. Bloomington, IN:
Woodwindiana, 1999.
85
Resources
———. Tongue Twisters. Bloomington, IN: Woodwindiana, 2005.
———. Twenty-one Chalumeau Studies for Clarinet. Bloomington, IN: Woodwindiana,
1999.
Davies, John, and Paul Harris, eds. Eighty Graded Studies for Clarinet. 2 vols. London:
Faber, 1986.
Demnitz, Friedrich. Elementary School for Clarinet (Elementarschule für Klarinette).
Frankfurt: Peters, 1985.
Endresen, Raymond Milford. Supplementary Studies. Chicago, IL: Rubank, 1934.
Galper, Avrahm. Clarinet Method. 2 vols. Waterloo, ON: Waterloo Music, 1995.
———. Upbeat Scales and Arpeggios. Pacific, MO: Mel Bay Publications, 2004.
Gambaro, Vincenzo. Twenty-one Caprices for Clarinet. Ed. Alamiro Giampieri. Milan:
Ricordi, 2001.
Gay, Eugène. Méthode Progressive et Complète. 2 vols. Paris: Editions Billaudot, 1932.
Giron, Arsenio. Six Studies for Clarinet. Toronto, ON: Canadian Music Centre, 1990.
Goodman, Benny. Clarinet Method. New York: Arc Music Group. Distributed by Hal
Leonard, 1989.
Hamelin, Gaston. Scales and Exercises for the Clarinet. Paris: Alphonse Leduc, 1946.
Harris, Paul. Paul Harris’s Clarinet Basics: A Method for Individual and Group Learning.
London: Faber, 1998.
Hegvik, Ted. Melodic Etudes: A Lyric Approach to the Clarinet. Edmonds, WA: Et Cetera
Productions, 2004.
Herfurth, C. Paul, and Hugh M. Stuart. A Tune A Day for Clarinet. 2 vols. Boston: Boston
Music Co., 1942–1953. Distributed by Hal Leonard Corporation.
Hite, David L., ed. Melodious and Progressive Studies. 2 vols. San Antonio, TX: Southern
Music Corporation, 1968–1971.
Hovey, Nilo W. First Book of Practical Studies for Clarinet. Melville, NY: Belwin Mills,
1943.
Jeanjean, Paul. Eighteen Etudes for the Clarinet. New York: Alfred, 1940.
———. Vade-mecum du Clarinetist. Paris: Alphonse Leduc, 1927.
———. Vingt études progressives et mélodiques. 3 vols. Paris: Alphonse Leduc, 1928–1929.
———. Vingt-cinq études techniques et melodiques pour clarinette. 2 vols. Paris: Alphonse
Leduc, 1958.
Jettel, Rudolf. Der vollkommene Klarinettist (The Accomplished Clarinetist). 3 vols. Vienna:
Josef Weinberger, 1951–1954.
———. Klarinetten-Schule. 3 vols. Vienna: Doblinger, 1949.
———. Preliminary Studies to “Der vollkommene Klarinettist” (The Accomplished Clarinetist).
3 vols. Vienna: Josef Weinberger, 1959–1960.
———. Zehn Etüden für Klarinette, zur Ausbildung der virtuosen Technik. Vienna:
Doblinger, 1983.
Kell, Reginald. Clarinet Staccato from the Beginning. London: Boosey & Hawkes, 1968.
———. Seventeen Staccato Studies for Clarinet. New York: International Music Company,
1958.
Klosé, Hyacinthe. Klosé Celebrated Method for Clarinet. ed. Simeon Bellison. New York:
Carl Fischer, 1946.
Kovács, Béla. Hommages. Leverkusen, Germany: Edition Darok, 1994.
Kroepsch, Fritz. 416 Exercises for the Clarinet. ed. Eric Simon. 4 vols. New York:
International Music Company, 1957.
Langenus, Gustave. Complete Method for the Boehm Clarinet. 3 vols. New York: Carl
Fischer, 1915–1923.
Lazarus, Henry. Lazarus Method for Clarinet. New York: Carl Fischer, 1946.
Lefèvre, Xavier. Soixante exercises pour clarinette. Milan: Ricordi, 1953.
Lester, Leon. Sixty Rambles for Clarinet. New York: Carl Fischer, 1963.
Mandat, Eric P. Finger-Food Etudes for Clarinet. Carbondale, IL: Cirrus Music, 2002.
Opperman, Kalmen. Advanced Velocity Studies. New York: Carl Fischer, 1998.
———. Elementary Velocity Studies. New York: Carl Fischer, 1999.
———. Intermediate Velocity Studies. New York: Carl Fischer, 1999.
———. Virtuoso Velocity Studies. New York: Carl Fischer, 1999.
Pearson, Bruce. Standard of Excellence, Comprehensive Band Method: Clarinet. 2 vols. San
Diego, CA: Neil A. Kjos Music Company, 1993.
Resources
86
Périer, August. Trente études. Paris: Alphonse Leduc, 1930.
———. Vingt études de virtuosité. Paris: Alphonse Leduc, 1932.
———. Vingt études faciles et progressives. Paris: Alphonse Leduc, 1935.
———. Vingt-deux études modernes. Paris: Alphonse Leduc, 1930.
Polatschek, Victor. Advanced Studies for the Clarinet. New York: G. Schirmer, 1947.
———. Twenty-four Clarinet Studies for Beginners. New York: Edward B. Marks Music
Corporation, 1948.
Rae, James. Forty Modern Studies in Rhythm and Interpretation for Solo Clarinet. London:
Universal Edition, 1991.
———. Mosaics: Clarinet. 2 vols. London: Trinity College London, 2011.
———. Style Workout for Solo Clarinet: Studies in Classical, Jazz, Rock and Latin Styles.
London: Universal Edition, 2004.
———. Thirty-eight More Modern Studies for Clarinet. Vienna/New York: Universal
Edition, 2011.
———. Twelve Modern Etudes. Vienna/New York: Universal Edition, 1999.
Rose, Cyrille, arr. Forty Etudes. Ed. Jean and David Hite. San Antonio, TX: Southern
Music Company, 2000.
———, arr. Thirty-two Etudes. Ed. Melvin Warner. New York: Carl Fischer, 2002, 2009.
Shaw, Artie. Jazz Technic. 2 vols. Miami, FL: Warner Bros. Publications, 1995.
Stark, Robert. Practical Staccato School for Clarinet. 3 vols. Berlin: Simrock, 1909.
———. Twenty-Four Virtuosity Studies, op. 51. New York: International Music Company,
1959.
Stiévenard, Émile. Practical Study of the Scales for Clarinet. New York: G. Schirmer, 1909.
Thurston, Frederick J. Passage Studies. 3 vols. London: Boosey & Hawkes, 1947.
Uhl, Alfred. Forty-eight Etudes. 2 vols. Mainz: B. Schott’s Söhne, 1940.
Voxman, Himie, ed. Classical Studies for Clarinet. Chicago, IL: Rubank, 1948.
———. Selected Studies for Clarinet. Chicago, IL: Rubank, 1942.
Jazz Clarinet Methods
Bay, William. Complete Jazz Clarinet Book. Pacific, MO: Mel Bay Publications, 1995.
O’Neill, John. The Jazz Method for Clarinet. 2 vols. Mainz: Schott, 1993.
Rae, James. Jazz Scale Studies: Clarinet. Vienna/New York: Universal Edition, 2006.
Smith, Bill. Jazz Clarinet. Seattle, WA: Parkside Publications, 1993.
Snidero, Jim. Easy Jazz Conception: Clarinet. Germany: Advance Music, 2000.
———. Intermediate Jazz Conception: Clarinet. Germany: Advance Music, 2005.
———. Jazz Conception: Clarinet. Germany: Advance Music, 1996.
Klezmer Clarinet Methods and Anthologies
Curtis, Mike, arr. Klezmer Repertoire. 2 vols. Germany: Advance Music, 1996.
Galay, Daniel. Klezmer Tunes With a Classical Touch. 2 vols. Tel Aviv: Or-tav Music
Publications, 1998.
Puwalski, Tom. The Clarinetist`s Guide to Klezmer. n.p.: Zephyr Publishing, 2001.
Sapoznik, Henry. The Compleat [sic] Klezmer. Cedarhurst, NY: Tara Publications, 1987.
Statman, Andy. Learn To Play Klezmer Music. Woodstock, NY: Homespun Tapes, DVD
Edition, 2006.
Orchestral Excerpts
Armato, Ben. The Opera Clarinetist. Ardsley, NY: Reed Wizard, 1996.
Bloch, Kalman. The Orchestral Clarinet. 3 vols. Boston: Boston Music Company/Clarion
Music Association, 1987–1990.
Bonade, Daniel. The Complete Daniel Bonade. Ed. Larry Guy. Stony Point, NY: Rivernote
Press, 2007.
Combs, Larry. Orchestral Excerpts for Clarinet. (on CD). Tempe, AZ: Summit Records,
1994.
Giampieri, Alamiro, ed. Difficult Passages and Solos for Clarinet and Bass Clarinet. 2 vols.
Milan: Ricordi, 1963.
Hadcock, Peter. Orchestral Studies for the E-Flat Clarinet. Cherry Hill, NJ: Roncorp, 1981.
87
Resources
Hepp, Heinz, and Albert Rohde, eds. Orchester Probespiel (Test Pieces for Orchestral
Auditions) Clarinet. Frankfurt: C.F. Peters, 1991.
Merrer, Jacques. Orchestral Excerpts for Sopranino Clarinet. 7 vols. Paris: International
Music Diffusion, 2001–2010.
The Orchestral Musician’s CD-ROM Library. 12 vols. Milwaukee, WI: CD Sheet Music.
Distributed Hal Leonard Corporation, 2003–2007.
Strauss, Richard. Orchestral Excerpts from Symphonic Works for Clarinet. Ed. Franz
Bartholomey. 3 vols. New York: International Music Company, 1985.
Temple-Savage, Richard. 581 Difficult Passages from the Symphonic Repertoire for Clarinet.
3 vols. London: Boosey & Hawkes, 1947.
Wagner, Richard. Orchestral Excerpts from Operas and Concert Works for Clarinet and Bass
Clarinet. Ed. F. Hinze. New York: International Music Company, 1947.
Reference Books
General Guides to Clarinet Playing and Instruction
Campione, Carmine. Campione On Clarinet. Fairfield, OH: John Ten-Ten Publishing, 2001.
Etheridge, David. A Practical Approach to the Clarinet. 3 vols. Norman, OK: Woodwind
Educators’ Press, 2008–2009.
Gibson, John. Advanced Intonation Techniques for Clarinets. (Comes with CDs, at either
A=440 or A=442 pitch.) Vancouver, WA: JB Linear Music, 2006.
Gingras, Michelle. Clarinet Secrets. Lanham, MD: Scarecrow Press, 2004.
———. More Clarinet Secrets. Lanham, MD: Scarecrow Press, 2011.
Guy, Larry. The Daniel Bonade Workbook, Second Edition. Stony Point, NY: Rivernote
Press, 2005.
———. Embouchure Building for Clarinetists, 10th Edition. Stony Point, NY: Rivernote
Press, 2011.
———. Hand and Finger Development for Clarinetists. Stony Point, NY: Rivernote Press,
2007.
———. Intonation Training for Clarinetists. Stony Point, NY: Rivernote Press, 1996.
Hadcock, Peter. The Working Clarinetist. Ed. Bruce Ronkin, Aline Benoit, and Marshall
Burlingame. Cherry Hill, NJ: Roncorp, 1999.
Klug, Howard. The Clarinet Doctor. Bloomington, IN: Woodwindiana, 1997.
Pino, David. The Clarinet and Clarinet-Playing. Mineola, NY: Dover Publications, 1980;
1998.
Rehfeldt, Philip. New Directions for Clarinet. Lanham, MD: Scarecrow Press, 1992; 2003.
Ridenour, Thomas. Clarinet Fingerings. Denton, TX: Ridenour, 1986; 2000.
———. The Educator’s Guide to the Clarinet, Second Edition. Denton, TX: Ridenour, 2000.
Schmidt, Robert. A Clarinetist’s Notebook, vols 2–4. Ithaca, NY: self-published, 1971–
1984.
Sims, Alan. 303 Clarinet Fingerings. Queen’s Temple Publications, 1991.
Spring, Robert S. Circular Breathing: A Method. Malibu, CA: Windplayer Publications, 2006.
Stein, Keith. The Art of Clarinet Playing. Secaucus, NJ: Summy-Birchard, 1958.
Stubbins, William Harold. The Art of Clarinetistry. Ann Arbor, MI: Guillamme Press,
1974.
Wehle, Reiner. Clarinet Fundamentals. 3 vols. Mainz: Schott, 2008.
History of the Clarinet and Clarinetists
Fricke, Heike, et al. Catalogue of the Sir Nicholas Shackleton Collection. Edinburgh:
Edinburgh University Collection of Historical Musical Instruments, 2007.
Hoeprich, Eric. The Clarinet. New Haven, CI; London: Yale University Press, 2008.
Kycia, Carol-Anne. Daniel Bonade: A Founder of the American Style of Clarinet Playing.
Captiva, FL: Captiva Publications, 1999.
Lawson, Colin, ed. The Cambridge Companion to the Clarinet. Cambridge: Cambridge
University Press, 1995.
———. The Early Clarinet, A Practical Guide. Cambridge: Cambridge University Press,
2000.
———. The History of the Clarinet in Words and Music. (2 CD set). London: Clarinet
Classics, 2000.
Resources
88
Newhill, John P. The Basset Horn and Its Music. 3rd ed. Berkshire: Rosewood
Publications, 2003.
Rice, Albert R. The Baroque Clarinet. Oxford: Oxford University Press, 1992.
Weston, Pamela. Clarinet Virtuosi of the Past. UK: Emerson Edition, 1971; 2002.
———. More Clarinet Virtuosi of the Past. UK: Emerson Edition, 1977; 2002.
———. Yesterday’s Clarinetists: A Sequel. UK: Emerson Edition, 2002.
Reeds, Repairs, and Maintenance
Bourque, David. Working the Single Reed. (DVD). Toronto, ON: BCL Enterprises, 2005.
Bowen, Glen H. Making and Adjusting Clarinet Reeds. Madison, WI: Bowen. 1980; 2000.
Grabner, Walter. Making Clarinet Reeds By Hand. Highland Park, IL: ClarinetXpress,
1999.
Guy, Larry. Selection, Adjustment and Care of Single Reeds. Stony Point, NY: Rivernote
Press, 1997.
Karlsson, Heather. Care and Feeding of Your Clarinet. Carollton, TX: H.Karlsson
Woodwinds, 2008.
Opperman, Kalmen. Handbook of Making and Adjusting Single Reeds. Rev. Ed. Oyster Bay,
NY: M. Baron Company Inc., 1956; 2002.
Schmidt, Robert. A Clarinetist’s Notebook, Vol. 1. Ithaca, NY: self-published, 1971.
Vázquez, Ronald V. A Book for the Clarinet Reed-Maker. Annapolis, MD: RV Publications,
1993.
Bass Clarinet Resources
Baermann, Carl. Baermann for the Alto and the Bass Clarinet. Ed. William E. Rhoads: San
Antonio, TX: Southern Music Company, 1963.
Davenport, Michael, ed. Contest Album for Bass Clarinet. 2nd ed. Tacoma, WA: Alea
Publishing, 2002.
Drapkin, Michael, ed. Symphonic Repertoire for the Bass Clarinet. 3 vols. Cherry Hill, NJ:
Roncorp, 2003–2006.
Rhoads, William E. Advanced Studies from the Works of Julius Weissenborn. San Antonio,
TX: Southern Music Company, 1973.
———. Eighteen Selected Studies for Alto and Bass Clarinet. San Antonio, TX: Southern
Music Company, 1963.
———. Etudes for Technical Facility for Alto and Bass Clarinet. San Antonio, TX: Southern
Music Company, 1965.
———. Ten Solos for Concert and Contest. San Antonio, TX: Southern Music Company,
1968.
———. Thirty-five Technical Studies for Alto and Bass Clarinet. San Antonio, TX: Southern
Music Company, 1962.
———. Twenty-one Foundation Studies for Alto and Bass Clarinet. San Antonio, TX:
Southern Music Company, 1965.
Rice, Albert R. From the Clarinet d’Amour to the Contra-Bass. Oxford: Oxford University
Press, 2009.
Spaarnay, Harry. The Bass Clarinet: A Personal History. Madrid: Periferia Music, 2011.
Volta, Jean-Marc. The Bass Clarinet (Method). Paris: International Music Diffusion, 1996.
———. Fingering Chart for Bass Clarinet. Paris: International Music Diffusion, 1992.
Voxman, Himie, ed. Concert and Contest Collection for Bass Clarinet. Miami, FL: Rubank,
1973.
Web Resources
Alea Publishers: www.bassclarinet.org
Clarinet Cache: www.clarinetcache.com
European Clarinet Association: www.europeanclarinetassociation.org
International Clarinet Association: www.clarinet.org
Musical Chairs (Clarinet Jobs): www.musicalchairs.info/clarinet/jobs
The Clarinet Pages: www.woodwind.org/clarinet
Van Cott Information Services, Inc.: www.vcisinc.com
World Clarinet Alliance: www.wka-clarinet.org
89
Resources
Frequently Asked Questions
Practical Examinations
What is a practical examination?
A practical examination is an assessment of repertoire, etudes, technique, ear training,
and sight reading for a musical instrument, voice, or speech arts and drama.
How can I obtain permission to photocopy an out-of-print selection
that I find in a library or receive from a teacher?
Contact the publisher to request permission to make an authorized photocopy. Contact
information for most publishers can be found online or obtained from a music retailer.
Some music retailers can obtain authorized photocopies through a special online
service.
Can I photocopy a page of music to facilitate a page turn?
You may photocopy a single page once you have obtained permission from the
publisher.
With this notice, The Frederick Harris Music Co., Limited grants permission to festival,
recital, and examination participants to photocopy single pages from their publications
to facilitate a page turn.
How do I choose the best edition for a piece?
The best editions often have minimal editorial markings. These editions, often called
Urtext, are available from most music retailers. If you are unsure about the best edition,
ask your music retailer for suggestions.
Should candidates follow repeat signs? Da capo markings?
Candidates should observe da capo markings at an examination performance. Repeat
signs should usually be ignored; however, repeat signs should be observed if indicated
in a footnote below the music in Clarinet Series, 2014 Edition or if indicated in the
Clarinet Syllabus, 2014 Edition.
Why are teachers and parents not allowed in the room during
practical examinations?
Practical examinations provide a unique opportunity for candidates to perform in a
highly focused, one-on-one environment, without distraction.
Where can I find recordings of examination repertoire?
Clarinet Series, 2014 Edition includes compact discs containing both performance and
piano accompaniment tracks for Clarinet Repertoire from Preparatory to Grade 8.
A compact disc is included with the purchase of each Clarinet Repertoire book.
What do I do if I have an emergency situation on the day of my
examination and I need to cancel?
Contact the Examination Centre Representative listed on your Examination Schedule by
phone as soon as possible.
Frequently Asked Questions
90
Theory Co-requisites
What is a theory co-requisite?
A theory co-requisite is a theory examination that must be completed before or within
five years of the practical examination if the candidate wishes to receive a certificate for
the practical examination. Candidates are encouraged to begin theory studies as early as
possible.
Do I have to take theory examinations if I don’t need a clarinet
examination certificate?
You may take a Clarinet examination at any grade except ARCT without fulfilling theory
requirements. If you later decide that you would like to receive a certificate, you have
five years from the date of the clarinet examination to fulfill the theory requirements.
Candidates must complete prerequisite examinations in theory at least one session prior
to attempting the ARCT in Clarinet Performance or the Teacher’s ARCT.
Where can I find sample theory examination papers?
Official Examination Papers are published annually by The Frederick Harris Music Co.,
Limited to aid with examination preparation. Each book includes three examinations
from the previous December, May, and August examination sessions plus an additional
examination created for extra practice. Editions for three academic years are available at
any given time and may be purchased from your local music retailer.
91
Frequently Asked Questions
Practical Examination
Day Checklist for
Candidates
Before You Leave Home
___ Plan to arrive 15 minutes early.
___ Complete your Examination Program Form.
___ Bring original copies of all the music being performed in the examination.
___ Mark the pieces being performed with a paper clip or a “sticky note.”
___ Bring an additional copy of any repertoire you are not performing from memory.
Points to Remember
•
•
•
•
Photo ID may be requested before a candidate is admitted to the examination room.
Photocopied music is prohibited unless authorized by the publisher.
Recording devices are strictly prohibited in the examination room.
Electronic devices, books, notes, bags, and coats must be left in the area designated
by the Centre Representative.
• Parents, other family members, friends, and teachers must wait in the designated
waiting area.
• Standing or listening outside the examination room door is prohibited.
• The performance of repertoire may be interrupted by the examiner when an
assessment has been made.
What to Expect from a Clarinet Examination
• A friendly, professional atmosphere.
• The undivided attention of an examiner.
• An objective assessment of your performance of repertoire, etudes, technique, ear
tests, and sight reading.
• The examiner’s written evaluation online within eight weeks of the examination.
After the Examination
Access your examination marks and examiner comments through the “Examination
Results” link on The Royal Conservatory website (www.examinations.rcmusic.ca)
approximately eight weeks after the examination.
Practical Examination Day Checklist for Candidates
92

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