Music Resource Package For Practical Component PDF

Music Resource package for the practical component
Technical work Scales Repertoire Repertoire Stage 2 Stage 3 Jazz Listening lists Texts Contemporary Listening lists Texts
2009/30685[v6]
Music: Resource package for the practical component
Copyright Curriculum Council, 2009 This documentapart from any third party copyright material contained in itmay be freely copied, or communicated on an intranet, for non-commercial purposes by educational institutions, provided that it is not changed in any way and that the Curriculum Council is acknowledged as the copyright owner. Teachers in schools offering the Western Australian Certificate of Education (WACE) may change the document, provided that the Curriculum Councils moral rights are not infringed. Copying or communication for any other purpose can be done only within the terms of the Copyright Act or by permission of the Curriculum Council. Copying or communication of any third party copyright material contained in this document can be done only within the terms of the Copyright Act or by permission of the copyright owners. Disclaimer Any resources such as texts, websites and so on that may be referred to in this document are provided as examples of resources that teachers can use to support their learning programs. Their inclusion does not imply that they are mandatory or that they are the only resources relevant to the course.
INSTRUMENTAL RESOURCE PACKAGE The following practical resource package may be used by schools to assist in the delivery of the practical component. Guidelines for practical school-based assessments and examinations are outlined and additional instrumental documents provide an indication of appropriate performance standards for students in Stage 2 and Stage 3. The information has been provided to the Curriculum Council by instrumental/voice teachers experienced in selecting repertoire for students who may have varying skills and abilities. School-based practical assessment Practical tasks should be programmed through consultation between the instrumental teacher and the classroom teacher. These tasks represent 35% of the practical component and can be assessed using at least two of the performance activities outlined in the syllabus. Course requirements for the instrumental component must include: 1. Course outlinesequence and timing, assessed as stipulated in the syllabus and WACE manual 2. Assessment outlinedetailing coverage of content, assessment types, tasks, weighting and timing for each task 3. Assessment tasks and marking keys 4. Marks bookrecording marks, weighting and collating results of all assessments. A copy of the above instrumental documents must be provided to the classroom teacher for moderation and grading purposes. It is strongly recommended that across a stage, a range of different assessment types be covered. School assessment of portfolio In assessing the portfolio as part of the class assessment, an assessment timeline must be provided to ensure coverage of work across the entire school year. The timeline could coincide with performance students presenting practical assessments in class time. The teacher may also set additional tasks which complement the work being carried out by the candidate. School-based practical examination The school-based practical examination for Stage 2 and Stage 3 is a requirement of the syllabus. In most schools the practical examination for Stage 2 and Stage 3 (15%) is conducted to reflect the requirements of the WACE recital-based external examination. It is strongly recommended that the instrumental teacher or a suitable instrumental specialist be included as a member of the marking panel for the school-based performance examination. If the candidate is completing a portfolio with an external supervisor, it is strongly recommended that this person be included as a member of the examination panel to advise and contribute to the discussion, but not to assess. The requirements determined by the school for the practical examination must reflect the syllabus and the standards indicated in the instrumental resource package and should be determined in consultation with the instrumental teacher/portfolio supervisor. The semester one examination should reflect the practical component (repertoire/portfolio-composition and/or research) completed as part of the final intended recital/portfolio submission e.g. a reduced time allocation for the practical examination or a partial completion of the composition or research portfolio. It is recommended that the same criteria and weighting are used both in class and semester examinations incorporating the performance, research or composition portfolio marking keys.
Practical resources: Technical work Technical works listed are suggestions only. Technical work is not examined in the WACE external examination but can be incorporated within school-based assessment. Technical work should be selected to reflect the students level of instrumental development and to enhance and support repertoire being prepared by the student. Technical work listed for Stage 3 is recommended for students intending to continue their instrumental studies past the conclusion of this course. Repertoire While the pieces listed provide a wide range and scope of repertoire for prepared works, it is expected that instrumental/voice teachers will select repertoire that meets all syllabus requirements and reflects the students skill and ability level. Typical pieces listed are suggestions only. Typical pieces are only an indication of the level of performance required. Repertoire may be selected in addition to or instead of the typical pieces listed. Repertoire with accompaniment must have the accompaniment provided for the WACE external examination. Recorded accompaniment must contain only backing or accompanying material. Recorded accompaniments with a melody line are not permitted. Vocal candidates may select from: Western Art Music, Contemporary, Jazz or Music Theatre. Western Art Music vocal candidates must present at least one song in a language other than English. For pieces where publishers are not stipulated, it is recommended that performers use scores that are as near to the original as possible. Pieces for study at Stage 2 can also be drawn from the lists appropriate for grades 46 and for Stage 3 from grade 5 onwards, as included in current performance syllabuses from accredited music examination boards available within Australia. Repertoire selected from other sources must be of an equivalent standard. Supporting information: External assessment: Practical component examination details and submission process E-circular for submission dates, examination details and relevant updated material WACE manual and LMS (online learning and support), Curriculum Council website. Additional resources: Jazz Recommended listening lists Recommended texts Contemporary Recommended listening lists Recommended texts
TABLE OF CONTENTS
WESTERN ART MUSIC ......................................................................................................7
WIND INSTRUMENTS ...................................................................................................................................7 FLUTE........................................................................................................................................................ 7 CLARINET ............................................................................................................................................... 13 BASS CLARINET .................................................................................................................................... 17 OBOE....................................................................................................................................................... 20 BASSOON ............................................................................................................................................... 24 SAXOPHONE .......................................................................................................................................... 28 BRASS INSTRUMENTS...............................................................................................................................33 HORN ...................................................................................................................................................... 33 TRUMPET ............................................................................................................................................... 36 TROMBONE/BASS TROMBONE/EUPHONIUM .................................................................................... 39 TUBA ....................................................................................................................................................... 43 PERCUSSION ..............................................................................................................................................47 TUNED PERCUSSION............................................................................................................................ 47 DRUM SET .............................................................................................................................................. 52 STRING INSTRUMENTS .............................................................................................................................67 VIOLIN ..................................................................................................................................................... 67 VIOLA ...................................................................................................................................................... 71 VIOLONCELLO ....................................................................................................................................... 75 DOUBLE BASS ....................................................................................................................................... 80 HARPpedal harp .................................................................................................................................. 85 HARPnon-pedal harp ........................................................................................................................... 88 CLASSICAL GUITAR .............................................................................................................................. 91 KEYBOARD..................................................................................................................................................95 ORGAN.................................................................................................................................................... 95 PIANOFORTE ......................................................................................................................................... 99 HARPSICHORD .................................................................................................................................... 103 VOCAL........................................................................................................................................................107 VOICE.................................................................................................................................................... 107 VOICE Music Theatre......................................................................................................................... 114
JAZZ................................................................................................................................117
INSTRUMENTAL SPECIFICATIONS.........................................................................................................117 GENERIC REPERTOIRE...........................................................................................................................119 WIND INSTRUMENTS ...............................................................................................................................121 FLUTE.................................................................................................................................................... 121 CLARINET ............................................................................................................................................. 123 SAXOPHONE ........................................................................................................................................ 125 BRASS INSTRUMENTS.............................................................................................................................127 TRUMPET ............................................................................................................................................. 127 TROMBONE .......................................................................................................................................... 129 PERCUSSION ............................................................................................................................................131 DRUM SET ............................................................................................................................................ 131 STRING INSTRUMENTS ...........................................................................................................................133 GUITAR ................................................................................................................................................. 133 ELECTRIC GUITAR .............................................................................................................................. 135 JAZZ ELECTRIC BASS GUITAR .......................................................................................................... 137 JAZZ DOUBLE BASS............................................................................................................................ 139 KEYBOARD................................................................................................................................................141 PIANO.................................................................................................................................................... 141 VOCAL........................................................................................................................................................145
CONTEMPORARY ..........................................................................................................151
PERCUSSION ............................................................................................................................................151 DRUMSET ............................................................................................................................................. 151 STRING INSTRUMENTS ...........................................................................................................................153 GUITAR ................................................................................................................................................. 153 BASS ..................................................................................................................................................... 155 KEYBOARD................................................................................................................................................157 KEYBOARD........................................................................................................................................... 157 PIANO.................................................................................................................................................... 159 VOCAL........................................................................................................................................................161
LISTENING......................................................................................................................165
JAZZSTAGE 2 ........................................................................................................................................165 PIANO.................................................................................................................................................... 165 VOCAL................................................................................................................................................... 166 TROMBONE .......................................................................................................................................... 167 CONTEMPORARYSTAGE 2 ..................................................................................................................169 DRUMS.................................................................................................................................................. 169 PIANO.................................................................................................................................................... 170 CONTEMPORARYSTAGE 3 ..................................................................................................................171 PIANO.................................................................................................................................................... 171 VOCALS ................................................................................................................................................ 172
SUGGESTED TEXTS......................................................................................................175
DRUM SET JAZZ AND CONTEMPORARY...............................................................................................175 VOCALS CONTEMPORARY .....................................................................................................................176
WESTERN ART MUSIC

WIND INSTRUMENTS
FLUTE
TECHNICAL WORKSCALESSTAGE 2
Scales Major Eb, F, G and A Harmonic and melodic minor C, D, E and F# = 60, semiquavers Arpeggios Major Eb and A Harmonic minor C, D, E and F# minor Major broken chords F and G Chromatic scale G Dominant 7th of G Articulation (for all items of tech work) All tongued Slurred in pairs 2 slurred, 2 tongued 2 octaves 2 octaves
2 octaves 2 octaves
2 octaves 2 octaves
Scales Major Bb, D, E and Ab Harmonic and melodic minor C#, F, G and B = 60, semiquavers Arpeggios Major Ab and Bb Harmonic minor G, B, C# and F
2 octaves 2 octaves
2 octaves 2 octaves
Major broken chords D and E Chromatic scale Bb Dominant 7th of D Articulation (for all items of tech work) All tongued Slurred in pairs 2 slurred, 2 tongued Double tonguing for major scales 2 octaves 2 octaves
TECHNICAL WORKREPERTOIRE
Tonguing Moyse, De la Sonorite p. 15 Vester, 100 Classical Studies, nos 9, 12 Advanced Mendelssohn, The Hebrides Overture (Fingals Cave) Moyse, 10 Etudes, no.1 Anderses, 24 Exercises, no.2 Articulation patterns Bays, M. Flute Handbook, p. 18 125 Easy Classical Studies, nos 91, 109, 116, 117, 118, 119 Rubank, Selected Studies (Voxman), pp. 5, 13, 14/15, 23, 34, 35 Koehler Studies, no.1, no.5 (Book1) Vester, 100 Classical Studies, nos 7, 13, 21, 22 Advanced Berbiguier, 18 Exercises, no.3 Boehm, 24 Caprices, no.23 Double tonguing Bays, M. Flute Handbook, pp. 2829 125 Easy Classical Studies, no.125 Rubank, Selected Studies (Voxman), pp. 21, 26, 47, 48, 60 50 For Flute (Book 2), Lively Flute Koehler, Studies, no.4 (Book 2) Vester, 100 Classical Studies, nos 17, 91 Advanced Bach, Sonata in C Major 2nd movement Mendelssohn, Scherzo Midsummer Nights Dream Paganini, 24 Caprices, no.5 (1st section only) Paganini, 24 Caprices, no.18 Triple tonguing Bays, M. Flute Handbook, pp. 3031 Rubank, Selected Studies (Voxman), p. 27, 41 Vester, 100 Classical Studies, no.87 Advanced Busser, Prelude and Scherzo Rossini, Overture Semiramide Boehm, 24 Caprices, no.10 Platonov, 20 Studies for Flute, no.10 Reichert, Tagliche Ubungen for Flute Opus 5, no.7
Trills Bays, M. Flute Handbook p. 5152 Rubank, Selected Studies (Voxman) p. 2, 16, 55 50 For Flute (Book 2) Spooky Flute Advanced Bergiguier, 18 Exercises, no.2 Furstenau, 26 Ubungen Exercises Opus 107, no.19 Boehm, 24 Caprices, no.5 Ornamentation 125 Easy Classical Studies, nos 52, 53, 54, 55, 76, 92, 115 Rubank, Selected Studies (Voxman), pp. 8, 10, 17, 22, 30, 38 50 For Flute, (Book 2) Circus Flute Koehler, Studies (Book 2), no.10 Vester, 100 Classical Studies, no.47, 49 Advanced Furstenau, 26 Ubungen Exercises Opus 107, no.16 Paganini, 24 Caprices, no.11 Mixed metre Bays, M. Flute Handbook, p. 47, 49 Rubank, Selected Studies (Voxman), p. 7 50 For Flute (Book 1), Twopenny Flute Advanced Berbiguier, 18 Exercises, no.4 Paganini, 24 Caprices, no.11 Syncopation 125 Easy Classical Studies, nos 56, 57 Vester, 100 Classical Studies, no.40, 41 Advanced Rimsky-Korsakov, Capriccio Espangnol (1V Scena e canto gitano) Borodin, Polotsvian Dances (Allegro vivo) Furstenau, 26 Ubungen Opus 107, no.24 Compound time 125 Easy Classical Studies, nos 9, 27, 36, 81, 83, 86, 87, 89, 96, 97, 98, 102, 106, 110, 124 Rubank, Selected Studies (Voxman), pp. 20, 25, 2829, 40, 50, 51, 56 50 For Flute (Book 2), Fluent Flute Koehler, Studies (Book 2), nos 6 and 7 Advanced Bach, Sonata in E major (3rd movement) Rimsky-Korsakov, Capriccio Espagnol (1V Scena e canto gitano) Stravinsky, The Firebird Suite Paganini, 24 caprices, nos 20 and 23 3rd Octave Bays, M. Flute Handbook, pp. 3442 and 4345 50 For Flute (Book 2) Solitary Flute Koehler, Studies (Book 2), no.10 Advanced Schubert, Rosamunde Overture Tchaikovsky, Chinese Dance Nutcracker Ballet Paganini, 24 Caprices, no.9 (Middle section) and no.23
Low register Bays, M. Flute Handbook, p. 18 Koehler, Studies (Book 1), no.7 Advanced Smetana, Moldau from Ma Vlast Ravel, Bolero Prokofiev, Sonata in D major 3rd movement Intervalsembouchure flexibility 125 Easy Classical Studies, nos 84, 102, 105, 106, 122 Rubank, Selected Studies (Voxman), p. 9, 39 50 For Flute (Book 1) Victorian Flute, (Book 2) Waltzing Flute Koehler, Studies (Book 1), no.6, 15 Vester, 100 Classical Studies, nos 20, 52, 53, 76, 79, 80, 81 Advanced Bizet, LArlesienne (Suite, no.2) Berbiguier, 18 Exercises, no.6 Paganini, 24 Caprices, no.2 Boehm, 24 Caprices, nos 22 and 7 Moyse, 10 Etudes, no.1 Furstenau, 26 Ubungen Opus 107, no.21 Finger dexterity Bays, M. Flute Handbook pp. 22, 23 125 Easy Classical Studies, nos 48, 49, 51, 58, 59, 60, 66, 69, 70, 78, 80, 93, 96, 97, 100, 101, 103, 106, 107, 109, 111, 113, 114, 116, 117, 120, 123 Rubank, Selected Studies (Voxman), p. 3, 24 50 For Flute (Book 2), Agile Flute Koehler, Studies (Book 1), nos 13, 14 (Book 2), nos 4, 9 Advanced Reichert, Tagliche Ubungen, no.1 Finger dexteritychromatic Bays, M. Flute Handbook, p. 47 50 For Flute (Book 1) Thoughtful Flute Koehler, Studies (Book 2), no.7 Advanced Rimsky-Korsakov, Capriccio Espagnol 11 Variazioni Reichert, Tagliche Ubungen for Flute, no.6 Phrasing/Interpretation Bays, M. Flute Handbook, p. 48 Rubank, Selected Studies (Voxman), pp. 31, 32, 33, 36 50 For Flute (Book1) Unhappy Flute, (Book 2) Reflective Flute Koehler, Studies (Book 1), no.13, (Book 2), no.6 Vester, 100 Classical Studies, nos 1, 2, 3, 4, 33, 34, 35, 36, 78 Advanced Bach, Sonata in e minor (3rd movement) Gluck, Orfeo dance of the Blessed Spirits Mozart, Andante Flute Quartet in D Major Paganini, 24 Caprices, no.21 (1st section) Dynamics Bays, M. Flute Handbook, p. 19 50 For Flute (Book 2), Comical Flute, Spooky Flute Koehler, Studies (Book 2), no.3 Moyse, De la Sonorite exercise, no.1 (p. 10) Advanced Poulenc, Sonata (2nd movement)
10 Music: Resource package for the practical component
Legato Bays, M. Flute Handbook, p. 2527 125 Easy Classical Studies, nos 18, 1216, 121 Rubank, Selected Studies (Voxman), pp. 4, 6, 31 (slow), pp. 11, 5859 (fast) 50 For Flute (Book 1) Dreamy Flute, Plaintive Flute Koehler, Studies (Book 1), no.8 (Book 2), no.6 Advanced Poulenc, Sonata (2nd movement) Bach, Sonata in e minor (3rd movement) Ravel, Bolero Berbiguier, 18 Etudies, no.6 Vibrato Bays, M. Flute Handbook, p. 25 Moyse, De la Sonorite exercise, no.1 (p. 10)
REPERTOIRESTAGE 2
Arnold, M. Bach, J.S. Bach, J.S. Berkeley Bolling Boyd, A. Chopin, F. Faure Faure, G. Gaubert Handel, G. Handel, G.F. Handel, G.F. Holley, A. Hyde, M. Kronke, P. McDowell, C. Mozart, W.A. Mozart, W.A. Mozart, W.A. Mozart, W.A. Piazzolla Poulenc Powning, G. Rabboni Reger, M. Roussel Rutter Telemann, G. Telemann, G Telemann, G. Vivaldi, A. Sonatina, Op. 29, 2nd or 3rd movements, Lengnick Polonaise (including Double) and Badinerie of Suite in B minor, BWV 1067, IMC or Peters edition Siciliano of Sonata in E flat, 2nd movement, BWV 1031 Sonatina, 3rd movement Suite for flute and Jazz piano Baroque and Blue Goldfish through Summer Rain Variations on a Theme by Rossini, Theme and Variations Morceau de Concour Sicilienne, Editio Musica or IMC Madrigal Sonata in A minor 1st and 2nd movements Sonata No 4 in C, 1st and 2nd movements. Peters or Barenreiter No 6, Op. 1, No 7 Sonata No 5 in F, (any movement) Peters Birds of Op. al Cage of Gold Evening Under the Hill from 5 Solos for Flute, EMI Sarabande and Gavotte from Suite in Ancient Style, Op. 81, Zimmerman Muisc Hall or Hornpipe from Six Pastiches, Pan Andante in C, K. 315, Boosey and Hawkes Sonata No 1 in B flat K. 10, 1st and 2nd movements, Kalmus, Reinhardt or Barenreiter Concerto in D Major, 2nd movement Sonata in F Major, 1st movement Historie du Tango, Caf Sonata, 2nd movement The Vegetable Suite No 1 (any two movements), Chester Sonata in one movement No1 Romanze Quatre Pieces, Krishna Suite Antique, 1st, 2nd and 3rd movements Sonata in C minor Sonata in G Major, 1st and 2nd movements Sonata in F Major, 1st and 2nd movements Concerto La Notte, 2nd and 3rd movements
The following contains numerous suitable works: 24 Short Concert Pieces (SMC) or Concert and Contest Album (Rubank) Anderson, J. Scherzino, Op. 55, No 6 Boisdeffre Orientale Faure, G. Sicilienne Godard, B. Allegretto or Idylle Joncieres, V. Hungarian Serenade
11
REPERTOIRESTAGE 3
Bach, J.S. Bach, J.S. Bach, J.S. Bach, J.S. Bach, J.S. Berkeley, L. Bloch, E. Bolling, C. Boyd, A. Boyd, A. Busser, H. Chaminade, C. Chopin, F. Cooke, A. Donizetti, G. Doppler, F. Dvorak, A. Faur, G. Franck, C. Gaubert, P. Gluck Handel, G.F. Hindemith, P. Hoffmeister Leclair, J.M. Martin, B. Mouquet, J. Mouquet, J. Mozart, W.A. Mozart, W.A. Mozart, W.A. Negerovich, N. Piazolla, A. Prokofiev, S. Rabboni, G. Rutter, J. Rutter, J. Schubert, F. Schumann, R. Saint-Sans, C. Schocker, G. Vivaldi, A. Sonata in G minor, BWV 1020, 1st movement (Barenreiter) (Chester) (Schirmer) Sonata No 2 in Eb Major BWV 1031, 1st and 2nd or 3rd and 4th movements Sonata in E Major BWV 1035, 1st and 2nd movements Sonata in E minor, 3rd movement Sonata in B minor, 3rd movement Sonatina for Flute/Recorder (Schott) Any two movements from Suite Modale (Broude) Suite No 1, any movement Goldfish through Summer Rain (Faberpoint) Bali Moods Any two movements from Petite Suite (Durand) Concertino Variations on a theme by Rossini (IMC) (Schott) 2nd and 3rd movements of Sonatina (OUP) Sonata Hungarian Pastoral Fantasy Op. 26 1st movement from Sonatina, Op. 100 (IMC) (Schirmer) Fantasie, slow movement Sonata, 3rd movement Madrigal (Enoch) (IMC) (Warner) 1st movement from Concerto (Kalmus) 1st and 2nd movements from Sonata in G, Op. 1, No 5 HWV 363b, (Barenreiter) (Peters as No 3) Acht Stucke, any 2 movements. 1st movement of Sonata in G, Op21/3 (Schott) 1st and 2nd or 3rd and 4th movements from Sonata in G (Schott) Sonata 1st movement Any three movements from Cinq Piece Breve, Op. 39 (Lemoine) 1st and 2nd movements from La Flute de Pan (IMC) (Lemoine) Sonata No 5 in C, K 14 (Barenreiter) (Kalmus) (Reinhardt) 1st or 2nd movement from Concerto in D Major K 314 Concerto in G Major, 2nd or 3rd movement Timepiece (Dorian) Historie du Tango, 1st or 3rd movements Sonata, 3rd movement in D Major, Op. 94 Sonata No.5, in one movement Suite Antique, Jazz Waltz Suite for Flute and Jazz Piano, Baroque and Blue, 1st movement Introduction and Variations on a theme from The Fair Maid of the Mill Theme and variations 1& 3 Any two of 3 Romances, Op. 94 (IMC) Romance Op. 37 (UMP) Regrets and Resolutions Concerto in D Major, Op. 10, No. 3 Il Cardelino 1st and 2nd or 2nd and 3rd movements-
12
CLARINET
Scales Major A, Bb, C and E Harmonic minor C# and F# Harmonic and melodic minor A and G = 60, semiquavers Articulation All slurred All tongued Arpeggios of above major and minor scales. Compass as above. Chromatic scale F Dominant 7th of F 3 octaves 2 octaves
2 octaves 2 octaves 2 octaves
Scales Major Ab, D, Eb and G Harmonic minor B and F Harmonic and melodic minor C and E = 60, semiquavers Articulation All slurred All tongued Two slurred, two tongued Arpeggios of above major and minor scales. Compass as above. Chromatic scale G Dominant 7th of G 3 octaves 2 octaves
2 octaves 2 octaves 2 octaves
13
Triplets Rubank, Intermediate Method, p. 21, no. 4 Rubank,Advanced Method Vol 1, p. 52, no. 12 M. Walton, Note Cruncher Book 2, p. 24, no. 1 Collis, Book 2, p. 29, no.58, p. 15, no. 34 Collis, Book 4, p. 10, no. 13 Collis, Book 6, p. 13, no.13 Advanced Uhl, 48 Studies for Clarinet Book 1, p. 17, no. 12 Rose, C. 40 Studies for Clarinet, p. 7, no. 5 Weston, P. 50 Classical Studies for Clarinet Stark, 24 Studi Di Virtuosismo for Clarinet Rapid slurring semiquavers Rubank, Intermediate Method, p. 45, no. 40 Rubank, Advanced Method, p. 53, no.15 Thurston, F. Passage Studies Book 2 p, 14, no. 8 Advanced Rose, C. 32 Etudes for the Clarinet, p. 13, no. 12 Rose, C. 40 Studies for the Clarinet, p. 3, no. 1 Thurston, F. Passage Studies Book 2, p. 4, no. 2, p. 5, no. 3 Rapid tonguing semiquavers Rubank, Intermediate Method, p. 44 no. 2 Rubank, Advanced Method Volume 1 p. 54, no. 17 Collis, Book 6, p. 23, no. 22 Rose, C. 40 Studies for the Clarinet, p. 14, no. 11 Advanced Uhl, 48 Studies for Clarinet Book 1, p. 24, no. 17 Rose, C. 32 Etudes for the Clarinet, p. 30, no. 30 Thurston, F. Passage Studies Book 2, p. 12, no. 7 McGinnis, Orchestral Excerpts Vol 2, p. 34 Midsummer Nights Dream Voxman, Classical Studies for Clarinet Crossing the break/Alternate fingerings Rubank, Intermediate Method, p. 29, no. 3 Collis, Book 4, p. 26, no. 31, p. 43, no. 51 Walton, M. Note Cruncher Book 2, p. 3 Collis, Book 5, p. 13 no. 14 Rae, J. 40 Modern Studies for Solo Clarinet, p. 22, no. 29 AMEB Grade 3 (Series 2) List A, no. 3 AMEB Grade 4 (Series2) List A, no. 2 Advanced Thurston, F. Passage Studies Book 3, p. 20, no. 11 Rose, C. 32 Etudes for the Clarinet, p. 16, no. 16, p. 28, no. 28, p. 29, no. 29 Uhl, 48 Studies for Clarinet Book 1, p. 28, no. 21 McGinnnis, Orchestral Excerpts, Vol 1, p. 44 Peter and the Wolf Weston, P. 50 Classical Studies for Clarinet Ornaments Rubank, Advanced Method Vol 2, p. 62, no. 3, p. 74, no. 2 AMEB Grade 4 (Series 2), List A no. 1 Collis, Book 2, p. 27, no. 54 Collis, Book 4, p. 38, no. 44 Collis, Book 5, p. 3, no. 3 Advanced Rose, C. 32 Etudes for the Clarinet, p. 2, no. 1, p. 22, no. 22 Weston, P. 50 Classical Studies for Clarinet Thurston, F. Passage Studies Book 3
14
Interval leaps Rubank, Advanced Method Vol 1, p. 57, no. 29 Collis, Book 2, p. 13, no. 31 Uhl, 48 Studies for Clarinet Book 1, p. 30, no. 23 Thurston, F. Passage Studies Book 1, p. 8, no. 5 Thurston, F. Passage Studies Book 2, p. 8, no. 5, p. 19, no. 11 Advanced Lazarus, Method for Clarinet Part 2, p. 249, no. 10 Stark, Arpeggio Studies Thurston, F. Passage Studies Book 3, p. 6, no. 3 Changing rhythms/Syncopation Rae, J. 40 Modern Studies, p. 15, no. 22, p. 24, no. 31, p. 25, no. 32 AMEB Grade 4 (Series 2) List A, no. 1 Rose, C. 32 Etudes for Clarinet, p. 10, no. 9 Uhl, 48 Studies for Clarinet Book 1, p. 16, no. 11 Thurston, F. Passage Studies Book 1, p. 24, no. 17 Collis, Book 4, p. 2, no. 3 Advanced Rose, C. 40 Studies for Clarinet Weston, P. 50 Classical Studies for Clarinet Stark, 24 Studi di Virtuosismo Lazarus, Method for Clarinet Parts 2 and 3 Tone development/Phrasing Collis, Book 5, p. 13, no. 14 Collis, Book 6, p. 20, no. 18, p. 17, no.16 Uhl, 48 Studies for Clarinet Book 1, p. 3, no. 1 Rae, J. 40 Modern Studies for Solo Clarinet, p. 21, no. 28, p. 29, no. 35 Advanced Weston, P. 50 Classical Studies Weston, P. 17 Classical Solos Rose, C. 32 Etudes for Clarinet and 40 Studies for Clarinet (Andante and Adagio studies) Stark, 24 Studi di Virtuosismo Articulation Rubank, Advanced Method For Clarinet Vol 1, p. 49, no. 1, p. 54, no. 17 Collis, Book 4, p. 30, no. 35, p. 33, no. 38, p. 35, no. 40 Collis, Book 5, p. 1 no. 1, p. 44, no. 35 Collis, Book 6, p. 41, no. 39 AMEB Grade 3 (Series 2), List A, no. 2 Rae, J. 40 Modern Studies for Solo Clarinet, p. 20, no. 27 Advanced Thurston, F. Passage Studies Book 2, p. 6, no. 4 Weston, P. 50 Classical Studies Uhl, 48 Studies for Clarinet Book 1 Lazarus, Method Parts 1, 2 and 3 Stark, 24 Studi di Virtuosismo Other study selections Klose, Complete Method Kell, R. 30 Interpretative Studies for Clarinet Kell, R. 17 Staccato Studies for Clarinet Drucker, Orchestral Works Vols 17 Voxman, Studies for the Clarinet Paganini, Dix-Sept Studies Jean Jean, 18 Studies for the Clarinet Bonade, 16 Phrasing Studies
15
REPERTOIRESTAGE 2
Brahms, J. Baermann, C. Corelli, A. Debussy, C. Ferguson, H. Finzi, G. Finzi, G. Handel, G.F. Mendelssohn, F. Molter, J.M. Schumann, R. Stamitz, C. Stravinsky, I. Vanhal, J.B. (Wanhal) Vanhal, J.B. (Wanhal) Weber Allegretto Grazioso Etude No 47 in B flat minor, Schirmer Gigue Four Pieces for Clarinet and Piano, Op. 5. (any two) Four Short Pieces, Pastorale and Burlesque, 3rd and 4th movements Five Bagatelles, Romance , 2nd movement Five Bagatelles, Forlana, 4th movement Three Pieces transcribed by R.Kell, 3 rd movement, Siciliana and Giga Sonata No 1, 2nd movement, Schirmer Concerto No 4, Moderato. London: Chester Music Fantasy Piece No 1, Op. 73 Concerto No 3, 1st, 2nd or 3rd movement Three Solo Pieces No 1 (1918), London: Chester Music Sonata in B flat, first and final movement, Eric Simon Sonata in E flat, first and final movement, Schott Concerto No 1 in f minor (Op. 73), 2nd movement
The following books contain numerous suitable works Christmann, A.H. Solos for the Clarinet with Piano accompaniment, G. Schirmer, in C Clarinet Solos, Volume Three, Ed. King, T. London: Chester Music Concert and Contest Collection, Ed. Voxman, Rubank Contemporary Music for Clarinet, Ed. Wastall, Boosey and Hawkes Eighty Graded Studies for Clarinet Volume 1, Ed. Harris, P., & Davies, J. Faber Music Eighty Graded Studies for Clarinet Volume 2, Ed. Harris, P., & Davies, J. Faber Music Kirelis, R. Master Solos for the Clarinet, Hal Leonard Master Solos, Intermediate Level, Ed. Kirelis, Hal Leonard Masterworks for Clarinet and Piano, Ed. Simon, E. Schirmer Romantic Music for Clarinet, Ed. Wastall, Boosey and Hawkes Soloist Folio, Rubank
REPERTOIRESTAGE 3
Arnold, M. Banks, D. Bernstein, L. Brahms, J. Brahms, J. Cooke, A. Crusell, B. Hindemith, P. Hurlstone Lefevre , F.X. Martinu, B. Mozart, W.A. Poulenc, F. Saint-Sens, C. Schumann, R. Schumann, R. Tartini, G. Weber, C.M. von Weber, C.M. von Weber, C.M. von Weber, C.M. von Sonatina, 1st or 2nd or 3rd movement Prologue and Blues for Two, (to count as one work) from Prologue, Night Piece and Blues for Two Sonata, 1st movement Sonata in E flat, any movement Sonata No. 1, 1st or 2nd or 3rd or 4th movement Sonata in B flat, 1st movement, Novello 1st movement of any concerto, Sikorski edition Sonata, 1st or 2nd or 4th movement Four Characteristic Pieces, 1st or 2nd or 3rd movement Any Sonata, 1st movement, G. Dobree ed., OUP Sonatina, Leduc Concerto in A Major, K. 622, 2nd movement Sonata, 1st movement, Chester Sonata, 1st or 2nd movement Fantasy Pieces, Op. 73, No 2 Fantasy Pieces, Op. 73, No 3 Concertino, 3rd and 4th movements, Boosey and Hawkes Concertino, Op. 26 Grand Duo Concertant, Op.48, 1st or 3rd movement Concerto No 1 in F minor, Op. 73, 1st movement. Theme and Variations, Op. 33, Peters
16
BASS CLARINET
Scales Major A, Bb, C and E Harmonic minor C# F# Harmonic and melodic minor A and G = 60, semiquavers Articulation All slurred All tongued Arpeggios of above major and minor scales. Compass as above. Chromatic scale F Dominant 7th of F 2 octaves 2 octaves
2 octaves 1 octave 2 octaves 2 octaves
Scales Major D and Eb Ab and G Harmonic minor B and F Harmonic and melodic minor C and E = 60, semiquavers Articulation All slurred All tongued Two slurred, two tongued Arpeggios of above major and minor scales. Compass as above. Chromatic scale G Dominant 7th of G 2 octaves 2 octaves
1 octave 2 octaves 2 octaves 2 octaves
17
Crossing the break smoothly Rae, J. 40 Modern Studies , no.18, no. 24 Walton, M. Note Cruncher Book 1, Page 12 Study in D minor, Page 16 Study in B minor Rose, C. 32 Etudes, no. 27 p. 27 Collis, J. Modern Course Book 4, p. 3 no 4 Rhythmic studies Rae, J. 40 Modern Studies, no. 22 Collis, J. Modern Course Book 4, p. 42 no. 48 Voxman, H. Introducing the Alto or Bass Clarinet (Rubank,) p. 26 no. 4 Wastall, P Practice Sessions p. 11 Study no. 2 Rubank, Advanced Vol 2 p. 49 no. 1 Alternate fingerings Walton, M. Note Cruncher Book 1 Study in A major, p. 33 Study in B minor, p. 28 Study in C minor Collis, J. Modern Course Book 2, p. 26 No 52 Collis, J. Modern Course Book 4, p. 43 No 51 Rubank, Advanced Vol 2 p. 50 No 4 Rapid tonguing/Staccato Weston, P. 50 Classical Studies, p. 8, No 11, p. 11 no 17, p. 22 No 29 Walton, M. Note Cruncher Book 1, p. 20 Study in Bb major, p. 34 Study in Bb major Collis, J. Modern Course Book 2, p. 21 no. 44 Collis, J. Modern Course Book 6, p. 23 no. 22 Rubank, Advanced Vol 1 p. 50 No 5 (played as written or down the octave) Interval leaps Walton, M. Note Cruncher Book 1p. 31 Study in E minor Advanced Rubank, Volume 1 p. 56 No 22, p. 57 No 29 Advanced Rubank, Volume 2 p. 51 No 7 Semiquavers Thurston, Passage Studies Book 2 no. 8 Collis, J. Modern Course Book 2, p. 26 no 51 Weston, P. 50 Classical Studies, p. 13 no 20 Wastall, P. Practice Sessions, p. 40 Study no. 8, p. 42 Study no. 10 Rubank, Advanced Vol 1 p. 57 no. 27 Triplets Collis, J. Modern Course Book 2, p. 29 No 58 Collis, J Modern Course Book 4, p. 1 No 1 Advanced Rubank, Vol 2, p. 51 No 6 Chromatic fingering Voxman, H. Introducing the Alto or Bass Clarinet (Rubank,) p. 44 No 5 Walton, M. Note Cruncher Book 2 p. 17 Advanced studies Rhoads, W.E. Ten Solos for Concert and Contest
18
REPERTOIRESTAGE 2
Beon, A, A. German Phillips, G. Prokofiev, S. Johnson Koepke, P. Ostransky, L. Spooner, O. Irish Folksong Andante from Concerto in B flat Major, Concert and Contest Collection for Bb bass clarinet by H, Voxman (Rubank) Pastorale and Bourree, Rubank Recitative and Slow Dance, Rubank Romance and Troika, Concert and Contest Collection for Bb bass clarinet by H, Voxman (Rubank) Woody Contrasts The Buffoon, Rubank Autumn Song, Rubank Chalameau Sonata for Unaccompanied Bass Clarinet in the Low Register, Southern Music Co The Foggy Dew, Rubank
REPERTOIRESTAGE 3
Boni, P. Bozza, E. Cole, K. Davis, W. Eccles, H. Haydn, F.J. Hervig, R. Hoffman, A. Marcello, B. Ostransky, L. Rhoads, W. Tchaikovsky, P.I. Vinter, G. Largo and Allegro, Rubank Ballade Excursions Variations on a Theme of Robert Schumann Sonata in g minor for Bass Clarinet and Piano Divertissement in Bb Major, Concert and Contest collection for Bb bass clarinet by H.Voxman (Rubank) Sonatina, Concert and Contest collection for Bb bass clarinet by H.Voxman (Rubank) Alborada Sonata in G Major for Clarinet and Piano Concertino in D minor, Concert and Contest collection for Bb bass clarinet by H.Voxman (Rubank) Ten Solos, any one, Concert and Contest for Bass Clarinet and Piano, by W Rhoads, Southern Music Co. Sleeping Beauty, Rubank Song and Dance for Clarinets and Piano
19
OBOE
Scales Major A Major D, B flat and E flat Harmonic and melodic minor F sharp and G B and C = 60, semiquavers Articulation All tongued Slurred in pairs Two slurred, two tongued Arpeggios To each major and minor scale stated above. Compass as above. Chromatic scale B Dominant 7th of G 2 octaves 2 octaves
1 octave 2 octaves 1 octave 2 octaves
Tonal exercises using the above scales within the range low Bb to top F. Each note should be held for four beats. Dynamics: p to f to p. *Advanced students using vibrato within sustained scales as before with greater control.
Scales Major Ab major C, E and F major Harmonic and melodic minor A C#, D and F = 60, semiquavers Articulation All slurred All tongued Slurred in pairs Two slurred, two tongued Arpeggios of above major and minor scales. Compass as above. Chromatic scale E Dominant 7th of Bb 2 octaves 2 octaves
20
Tonal exercises using the above scales within the range low Bb to top F. Each note should be held for four beats. Dynamics: p to f to p. *Advanced students using vibrato within sustained scales as before with greater control and musicality. *For those students intending further studies past 3A/3B, this technical work would be a minimum requirement.
Double tonguing Rubank, Advanced Method Vol. 1, p. 32, no.14 Salter, G. 35 Melodic Studies, p. 15 A Scolding and p. 16 The Ogres Waltz Hinke, Elementary Method, p. 20, no.6, p. 21, no.8 and p. 14, no.14 Advanced Lamotte, A. Dix-huit Etudes, p. 20, no.18 Ferling, W. 48 Etudes, p. 4, no.8 Large intervals Rubank, Advanced Method Vol. 1, p. 48, no.12, p. 49, no.17 and p. 53, no.28 Hinke, Elementary Method, p. 13, no.19, p. 14, no.23, p. 17, no.29 and p. 24, no.15 Advanced Salviani, C. Studies for Oboe, p. 2, no.1 and p. 20, no.16 Ferling, W. 48 Etudes, p. 13, no.26 and p. 15, no.30 Lamotte, A. Dix-huit Etudes, p. 10, no.8 Low octave studies Rubank, Advanced Method Vol.1, p. 32, no.15 Salter, G. 35 Melodic Studies, p. 13 A Sunday Outing Trills/Ornaments Rubank, Advanced Method Vol.1 Musical Ornamentation Section (Embellishments) pp. 6065, nos 135 Advanced Ferling, W. 48 Etudes, p. 1, no.1, p. 2, no.3 and p. 3, no.5 A. Lamotte, Dix-huit Etudes, p. 7, no.5, p. 8, no.6, and p. 14, no.12 C. Salviani, Studies For Oboe, p. 6, no.3 Legato playing Rubank, Advanced Method Vol. 1, p. 30, no.12, p. 33, no.16, p. 36, no.20, p. 37, no.21 and p. 42, no.25 G. Salter, 35 Melodic Studies, p. 7 Ties Hinke, Elementary Method Legato Studies Section pp. 4 and 5, nos 18 Advanced A Lamotte, Dix-huit Etudes, p. 11, no.9 J.H. Luft, Vingt-quatre Etudes, p. 10, no.6 C. Salviani, Studies for Oboe, p. 16, no.12 Dynamics Rubank, Advanced Method Vol. 1, p. 30, no.12, p. 35, no.18 and p. 42, nos 24 and 25 Hinke, Elementary Method, p. 26, no.4 Advanced W. Ferling, 48 Etudes, p. 4, no.7 A. Lamotte, Dix-huit Etudes, p. 2, no.1 C. Salviani, Studies For Oboe, p. 14, no.10
21
Compound time Rubank,Advanced Method Vol. 1, p. 32, nos 14+15, p. 33, no.16 and p. 37, no.21 G. Salter, 35 Melodic Studies, p. 9 The Hunt and p. 12 Skippy Hinke, Elementary Method, p. 13, no.20, p. 14, no.21 and p. 16, no.26 Advanced A Lamotte, Dix-huit Etudes, pp. 1216, nos 1014 J. H. Luft, Vingt-quatre Etudes, p. 30, no.17 W. Ferling, 48 Etudes, p. 2, no.3, p. 7, no.13 and p. 12, nos 23 and 24 Mixed metre G. Salter, 35 Melodic Studies, p. 8 Summer Meadow Band parts studied as part of school program often have mixed meter Orchestral excerpts: Stravinsky Rite of Spring and Pulcinella Suite Syncopation Rubank, Advanced Method Vol. 1, p. 23, no.5 and p. 31, no.13 Hinke, Elementary Method, p. 30, no.12 Advanced W. Ferling, 48 Etudes, p. 10, no.19 Finger fluency/dexterity Rubank, Advanced Method Vol. 1, p. 48, no.13 and p. 52, no.26 Hinke, Elementary Method, Scale Studies pp. 2533, nos 118 G. Salter, 35 Melodic Studies, p. 8 Sleepy Harbour, p. 19 The Rooster and p. 20 The Maypole Advanced A. Lamotte, Dix-huit Etudes, p. 4, no.2 and p. 5, no.3 J. H. Luft, Vingt-quatre Etudes, p. 1, no.1 W. Ferling, 48 Etudes, p. 14, no.28 C. Salviani, Studies For Oboe, p. 15, no.11 Phrasing/interpretation Rubank, Advanced Method Vol. 1, p. 30, no.12 and p. 33, no.16 G. Salter, 35 Melodic Studies, studies that teach breathing out and in pp. 1216 Lament, A Sunday Outing, The Slave Market, Andante Mafioso, A Scolding, Cast down and The Ogres Waltz Advanced A. Lamotte, Dix-huit Etudes, p. 7, no.5 W. Ferling, 48 Etudesall of the slow etudes teach musical phrasing through breathing Vibrato Rubank, Advanced Method Vol. 1, p. 30, no.12, p. 33, no.16 and p. 36, no.20 G. Salter, 35 Melodic Studies, p. 7 Ties, and p. 12 Lament Hinke, Elementary Method, p. 8, no.5 and p. 9, no.9 Advanced W. Ferling, 48 Etudesall of the slow etudes can be used for vibrato Staccato Rubank, Advanced Method Vol. 1, p. 31, no.13, p. 32, no.14, p. 35, no.18, p. 46, no.6, p. 49, no.15 and p. 53, no.27 G. Salter, 35 Melodic Studies, p. 9 Gnome, p. 15 A Scolding and p. 16 The Ogres Waltz Hinke, Elementary Method, Staccato Exercises pp. 1824, nos 115 Advanced W. Ferling, 48 Etudes, p. 4, no.8 and p. 12, no.24 C. Salviani, Studies For Oboe, p. 17, no.13
22
Chromatic passage playing Hinke, Elementary Method, p. 38, no.27 Advanced A. Lamotte, Dix-huit Etudes, p. 10, no.8 W. Ferling, 48 Etudes, p. 1, no.2 J. H. Luft, Vingt-quatre Etudes, p. 22, no.13 High octave studies Advanced W. Ferling, 48 Etudes, p. 6, no.12 and p. 7, no.13 J. H. Luft, Vingt-quatre Etudes, any of these studies
REPERTOIRESTAGE 2
Bellini, V. Cimarosa, D. Faur, G. Handel, G. F. Handel, G. F. Handel, G. F. Head, M. Loeillet, J.B. Nielsen, C. Piern, G. Sammartini, G. Sammartini, G. Schumann, R. Telemann, G. F. Concerto in Eb Major, 1st movement Concerto for Oboe and Strings Piece Sonata in G minor Sonata in C minor Sonata in B flat Major Three Pieces: Gavotte and Elegiac Dance, Presto Sonata in C Major Two Fantasy Pieces, Op. 2 Serenade Sonata in G minor Sonata in G Major Three Romances, Op. 94 Sonata in A minor
The following contains numerous suitable works: Oboe Solos AMSCO
REPERTOIRESTAGE 3
Vivaldi, A. Albinoni, T. Marcello, A. Mozart, W.A. Mozart, W.A. Saint-Sans, C. Poulenc, F. Hindemith, P. Rachmaninov, S. Concerto in A minor Concerto in D minor Concerto in C minor Concerto in C Major Oboe Sonata in F Major, transcribed from Oboe Quartet Sonata Sonata Sonata Vocalise
23
BASSOON
Scales Major F, G, A and Eb Harmonic and melodic minor C, D, E and F# = 60, semiquavers Articulation All tongued Slurred in pairs Two slurred, two tongued Arpeggios of above major and minor scales. Compass as above. Chromatic scale B Dominant 7th of G lower 2 octaves 2 octaves
2 octaves 2 octaves
Tonal exercises using the above scales within the range low Bb to top A. Each note to be held for four beats. Dynamic range p to f to p. *Advanced students using vibrato within sustained scales as before with greater musicality.
Scales Major Ab, Bb, D and E Harmonic and melodic minor B, C#, F and G = 60, semiquavers Articulation All slurred All tongued Slurred in pairs Two slurred, two tongued Arpeggios of above major and minor scales. Compass as above. Chromatic scale G Dominant 7th of Bb 2 octaves 2 octaves
2 octaves 2 octaves
Tonal exercises using the above scales within the range low Bb to top Bb. Each note should be held for four beats. Dynamic range p to f to p. *Advanced students using vibrato within sustained scales as before with greater musicality *For those students intending further studies past 3A/3B, this technical work would be a minimum requirement.
24
Double tonguing Rubank, Advanced Method Vol. 1, p. 25, no.10 and p. 45, no.12 J. Weissenborn, Bassoon Studies, p. 4, nos 4 and 5 and p. 6, no.7 Advanced L. Milde, Concert Studies, p. 8, no.4 and p. 19, no.10 Art Of Wind Playing, Exercises on double tonguing Orchestral excerpt: Rossini, William Tell Overture Large intervals Rubank, Advanced Method Vol. 1. p. 39, no.26 and p. 43, no.5 J. Weissenborn, Practical Method, Chapter XII Andante, Chapter XIII Listesso tempo and Chapter XX Moderato Advanced J. Weissenborn, Bassoon Studies, p. 14, no.18, p. 15, no.19 and p. 20, no.25 3rd Octave and/or tenor clef Rubank, Advanced Method Vol. 1, p. 20, no.2a, p. 21, nos 3a and 4a, p. 22, no.5, p. 23, nos 6 and 8, p. 23, nos 6 and 8 and p. 24, no.9 J. Weissenborn, Practical Method, Tenor Clef pages (different for each edition) AMEB Technical Workbook, tenor clef exercises Advanced Rubank, Advanced Method Vol. 1, p. 31, no.16, p. 33, no.19, p. 36, no.22, p. 38, no.24 and p. 40, no.28 L Milde, Concert Studies, most of these studies have difficult tenor clef sections Low octave studies Rubank, Advanced Method Vol. 1, p. 20, no.2, p. 24, no.9, p. 25, no.10 and p. 28, no.14 J. Weissenborn, Practical Method, Chapter XVI Andante (Eb major) and Chapter XVII Listessso tempo Advanced Orchestral excerpts from Tchaikowsky Peter and the Wolf and Symphony, no.6 Trills/Ornamentation Rubank, Advanced Method Vol. 1, pp. 6068 covers trills, grace notes and mordents, ranging from easy to difficult J. Weissenborn, Practical Method, Embellishment section Advanced J. Weissenborn, Practical Method, Chapter XXVI includes 4 pages of difficult studies with a wide range of ornamentation Legato playing Rubank, Advanced Method Vol. 1, p. 20, no.2, p. 31, no.16, p. 36, no.22, p. 51, no.25, p. 52, no.27 and p. 53, no.29 Advanced J. Weissenborn, Concert Studies, p. 3, no.1, p. 4, no.4 and p. 7, no.10 L. Milde, Concert Studies, p. 6, no.3, p. 10, no.5 and p. 18, no.9 Dynamics Rubank, Advanced Method Vol. 1, p. 26, no.11, p. 31, no.17, p. 47, no.17 and p. 48, no.18 Advanced J. Weissenborn, Bassoon Studies, p. 4, no.4 and p. 10, no.15 L. Milde, Concert Studies, p. 10, no.5
25
Compound time Rubank, Advanced Method Vol. 1, p. 20, no.3, p. 23, nos 6 and 8, p. 26, no.11, p. 39, no.22, p. 40, no.28, p. 44, no.10, p. 48, no.18, p. 50, no.24, p. 51, no.26, p. 52, no.27 and p. 53, no.29 Advanced L. Weissenborn, Bassoon Studies, p. 18, no.22, p. 20, no.26 and p. 22, no.28 L. Milde, Concert Studies, p. 14, no.7 Mixed metre Band parts studied as part of school program often have mixed meter Advanced J. Weissenborn, Bassoon Studies, p. 10, no.15 Pivonka, Rhythmic Studies for Bassoon Orchestral excerpts: Stravinsky Rite of Spring and Pulcinella Suite Syncopation Rubank, Advanced Method Vol. 1, p. 36, no.21 and p. 38, no.25 J. Weissenborn, Method for Bassoon, Chapter XXIII Allegro guisto and Chapter XXIV Allegretto (Gno.minor) Advanced Pivonka, Rhythmic Studies L. Milde, Concert Studies, p. 24, no.13 Finger fluency/Dexterity Rubank, Advanced Method Vol. 1, p. 33, no.20, p. 40, no.28, p. 44, no.10, p. 45, no.12, p. 46, no.14, p. 51, no.25, and p. 52, no.27 Advanced J. Weissenborn, Practical Method, any of the Daily Studies L. Milde, Concert Studies, all of these are suitable Phrasing/Interpretation Rubank, Advanced Method Vol. 1, p. 22, no.5, p. 23, no.8, p. 31, no.17, p. 36, no.21 and p. 40, no.28 Advanced Orchestral excerpt: Rimsky-Korsakov Scheherazade Movt 2 Vibrato Any of the studies from Phrasing/Interpretation Staccato Rubank, Advanced Method Vol. 1, p. 25, no.10, p. 15, no.30, p. 32, no.18, p. 37, no.23, p. 38, no.24, p. 39, no.26, p. 42, no.3 and p. 47, no.17 Advanced J. Weisseborn, Bassoon Studies, p. 4, nos 3 and 5, p. 6, nos 7 and 8, p. 18, no.22, p. 22, no.29 and p. 24, no.30 Chromatic passage playing Rubank, Advanced Method Vol. 1, p. 39, no.27 J. Weissenborn, Practical Method, Chapter XIX Moderato Advanced L. Milde, Concert Studies, p. 2, no.1 and p. 22, no.12
26
REPERTOIRESTAGE 2
Baines, F. Bergmann, W. Besozzi Dunhill, T.F. Galliard, J. Gliere, R. Godfrey, F. Hindemith, P. Kerrison, J. Mercy, L. Merci, L. Mozart, W.A. Introduction and Hornpipe Prelude and Fugue Sonata in Bb Major Lyric Suite Six Sonatas, Vol. 1 Humoresque Lucy Long Sonata, 1st movement Suite of Dances Sonata in G Major, Op. 3 Sonata in G minor, 1st movement Concerto in B flat, 2nd movement
REPERTOIRESTAGE 3
Bach, J.C. Telemann, G.P. Mozart, W.A. Weber, C.M. von Drefus, G. Hurlstone, W. Saint-Sans, C. Tansmann, A. Concerto in Bb Major, 3rd movement Sonata in F minor, 3rd and 4th movements Concerto in Bb Major, 3rd movement Concerto in F Major, 2nd movement The Adventures of Sebastian the Fox (any 2 contrasting mts.) Sonata in F Major, 1st or 4th movement Sonata, 1st movement Sonata, 2nd movement
27
SAXOPHONE
Scales Major A C, Eb and F Harmonic minor F# C Harmonic and melodic minor A D = 60, semiquavers Arpeggios of above major and minor scales. Compass as above. Chromatic scale C Dominant 7th of G Articulation (for all items of tech work) All slurred All tongued 2 octaves 2 octaves
1 octave 2 octaves 1 octave 2 octaves 1 octave 2 octaves
Scales Major Ab Bb, D and E Harmonic minor B and F Harmonic and melodic minor G C# = 60, semiquavers Arpeggios of above major and minor scales. Compass as above. Chromatic scale E Dominant 7th of Bb Articulation (for all items of tech work) All slurred All tongued Two slurred, two tongued 2 octaves 2 octaves
1 octave 2 octaves 2 octaves 1 octave 2 octaves
28
Major scales Rubank, Supplementary Studies Rubank, Selected Studies Guy Lacour 50 Etudes Progressives et Faciles Book 1and 2 Howard Harrison Amazing Studies for Saxophone James Rae 20 Modern Studies Luft Etuden Ferling Forty Eight Studies Minor scales Rubank, Supplementary Studies Rubank, Selected Studies Guy Lacour 50 Etudes Progressives et Faciles Book 1and 2 Howard Harrison Amazing Studies for Saxophone James Rae 20 Modern Studies Luft Etuden Ferling Forty Eight Studies Arpeggios, arpeggios in inversions and scales in thirds Rubank, Sup.Studies, nos 21, 23, 26, 34 Guy Lacour Book.1, no.14, 25 Guy Lacour Book.2, no.26, 37,40,47,50 Rubank, Sel.Studies pp. 2, 3, 4, 7, 9, 15, 16, 22, 24, 30 Klose Complete Methode Part 1: pp. 40, 41, 42, 43, 44, 45, 65, 66 Klose Complete Methode Part 2: pp. 12, 13, 30, 36, 37, 38 Dominant 7ths Klose Complete Methode Part 1: p. 48 Whole tone Klose Complete Methode Part 2: pp. 9, 10 Chromatic Rubank, Sup.Studies, no.28, 30 Amazing Studies, no.4, 5 Rubank, Sel.Studies pp. 8, 9, 60 Klose Complete Methode Part 2: pp. 58, 63, 71 Tonguing Staccato Guy Lacour Book 1, no.11, 12, 14, 21, 24 Guy Lacour Book.2, no.26, 31, 37, 42, 44, 49 Rubank, Sup.Studies, no.21, 23, 30, 32 Amazing Studies, no.18, 46, 52, 53, 61 Rubank, Sel.Studies pp. 3, 11, 13 Klose Complete Methode Part 1: pp. 5363, 65, 66, 67 Mixed Guy Lacour Book.1, no.12, 14 Guy Lacour Book.2, no.26, 29, 32, 39, 42, 44, 49 Amazing Studies, no.11, 12, 19, 24, 26, 31, 35, 41, 46, 54, 61, 66 Klose Complete Methode Part 1: pp. 5363, 65, 66, 67 Accenting Rubank, Sup.Studies, no.14, 28, 29 Amazing Studies, no.5, 7, 54, 61 James Rae, no.5, 19, 20 Rubank, Sel.Studies p. 18 Klose Complete Methode Part 1: pp. 5363, 65, 66, 67
29
Extended range Guy Lacour Book.1, no.12, 16, 17, 18, 23, 24 Guy Lacour Book.2, no.26, 28, 29, 31, 32, 33, 37, 39, 41, 42, 45 Rubank, Sup.Studies, no.13, 14, 20, 21, 24, 26, 29, 33, 34, 35, 36 Rubank, Sel.Studies pp. 2, 3, 4, 6 Low register Rubank, Sup.Studies, no.13 Rubank, Sel.Studies pp. 2, 3, 4, 21 Guy Lacour Book.1, no.10, 11, 21, 23, 24 Guy Lacour Book.2, no.31, 32, 42 Klose Complete Methode Part 1: p. 33 Klose Complete Methode Part 2: p. 17 Aria Ornamentation Rubank, Sup.Studies, no.20, 33 Amazing Studies, no.27, 35, 51, 58, 61, 63, 75, 76 Rubank, Sel.Studies pp. 3, 5, 6, 8, 10, 20, 21 Klose Complete Methode Part 1: pp. 35, 36, 64, 67 Klose Complete Methode Part 2: pp. 36, 42, 44 Legato playing Guy Lacour Book.1, no.13, 15, 16, 18, 23, 25 Guy Lacour Book.2, no.30, 33, 36, 38, 40, 41, 43, 47 Rubank, Sel.Studies p. 21 Amazing Studies, no.6, 47, 48, 61, 63 Klose Complete Methode Part 2: pp. 4, 17 Large intervals Rubank, Sup.Studies, no.24 Rubank, Sel.Studies pp. 3, 4, 5, 7, 9, 11, 13, 16, 59 Guy Lacour Book.1, no.21 Guy Lacour Book.2, no.26, 33, 34, 35, 42, 49, 50 Amazing Studies, no.43, 44, 47, 61 Klose Complete Methode Part 1: pp. 17, 18, 19 Klose Complete Methode Part 2: pp. 4, 15, 16, 17 Dynamic control The majority of studies previously mentioned contain ample dynamic contrast Amazing Studies, no.10, 11, 17, 18, 46, 57, 61, 66 Mixed metre Amazing Studies, no.35, 51, 54, 65, 75 James Rae, no.2, 4, 5, 6, 8, 10, 12, 16, 18, 19, 20 Syncopation Guy Lacour Book.1, no.20 Guy Lacour Book.2, no.33 Rubank, Sel.Studies pp. 5 Amazing Studies, no.4, 5, 12, 19, 42 Klose Complete Methode Part 2: pp. 69
30
REPERTOIRESTAGE 2
Alto saxophone Bozza, E. Clerisse, R. Dubois, P.M. Dubois, P.M. Maurice, P. Ostransky, L. Reuff, J. Tenor saxophone Bennett, D. Clerisse, R. Clerisse, R. Lacome, P. Strimer, J. Tomasi, H. Aria, Leduc Serenade Variee, Leduc A La Russe A la franaise Tableaux de Provence, 2nd and 3rd movements: Farandole and La Bohemienne, Lemoine Suite for Alto Saxophone Chanson et Passepied Op. 16, Leduc Concerto in G minor Serenade Variee A LOmbre du Clocher Rigaudon Serenade Chant Corse, London: Chester Music
Alto saxophone collections Voxman Concert and Contest Collection, Rubank Teal, L. Solos for Alto Saxophone, Schirmer Harvey Alto Saxophone Solos Vol 1 and 2 Mule, M. Famous Classical Pieces Vol 1 and 2 Tenor saxophone collections Teal, L. Solos for the Tenor Saxophone Player Harvey Tenor Saxophone Solos Vol 1, London: Chester Music Voxman Concert and Contest Collection Walton The Vivaldi Album
REPERTOIRESTAGE 3
Alto saxophone Dubois, P. Faur, G. Gurewich, J. Ibert, J. Maurice, P. Tcherepnine, A. LEspagnole Pavane Concerto in E minor, 3rd movement Aria Tableaux de Provence 1st and 4th movement Sonatine Sportive, 1st movement
Alto saxophone collections Voxman Concert and Contest Collection Teal, L. Solos for the Alto Saxophone Player Harvey Alto Saxophone Solos Volume 1 + 2 Mule, M. Famous Classical Pieces Volume 1 + 2 Tenor saxophone Hartley, W.S. Ostransky, L. Ravel, M. Singele, J.B. Singele, J.B.
Elegie Ballet Impressions Pice en Forme de Habanera Caprice Op.80 Solo de Concert, Op. 83, Rubank
Tenor saxophone collections Teal, L. Solos for the Tenor Saxophone Player Harvey Tenor Saxophone Solos Vol 1, London: Chester Music Voxman Concert and Contest Collection Walton The Vivaldi Album
31
32
BRASS INSTRUMENTS
HORN
Scales Major Bb, C, Eb and G Harmonic and melodic minor A, C, E and G = 92, quavers Arpeggios of above major and minor scales. Compass as above. Chromatic scales Eb and G Dominant 7th of Eb and G Articulation (for all items of tech work) All slurred All tongued minimum range 1 octave minimum range 1 octave
minimum range 1 octave minimum range 1 octave
Scales Major Ab, A, D and F Harmonic and melodic minor B, D, F and F# = 92, quavers Arpeggios of above major and minor scales. Compass as above. Chromatic scales Ab and D Dominant 7th of Ab and D Articulation (for all items of tech work) All slurred All tongued Two slurred, two tongued minimum range 1 octave minimum range 1 octave
Rhythm/metre studies Anton Horner Articulation Kopprasch 60 Studies (vol 1entry, vol 2 advanced) Rubank, Advanced Method for Horn (Vol 1 entry, vol 2 advanced) Mel Bay Anthology of French Horn Music (Advanced)
33
Intervals Kopprasch 60 Studies (vol 1entry, vol 2 advanced) Rubank, Advanced Method for Horn (Vol 1 entry, vol 2 advanced) Mel Bay Anthology of French Horn Music (Advanced) Scales/Arpeggios Anton Horner Rubank, Advanced Method for Horn Vol 1& 2 AMEB technical work Oskar Franz etudes and Concert Studies Flexibility Rubank, Advanced Method for Horn Vol 1& 2 Range Anton Horner Scale studies Rubank, Advanced Method for Horn Vol 1& 2 (advanced) Mel Bay Anthology of French Horn Music (Advanced) e.g. Bach B minor Mass, Brandenburg 1 de Pre 20 Etudes Stylistic studies Anton Horner Rubank, Advanced Method for Horn Vol 1& 2 (entry and advanced) Mel Bay Anthology of French Horn Music (entry and advanced) Valve/Fingering technique Anton Horner Rubank, Advanced Method for Horn Vol 1& 2 (entry and advanced) Orchestral excerpts Mel Bay Anthology of French Horn Music (entry and advanced) Pottag Hand stopping Horner Rubank, Advanced Method for Horn Vol 1& 2 (entry and advanced) Mel Bay Anthology of French Horn Music (entry and advanced) Transposition Anton Horner (entry) Mel Bay Anthology of French Horn Music (Advanced)
REPERTOIRESTAGE 2
Beethoven, L. van Bradford-Anderson Brahms, J. Butt, J. Cherubini, L. Gliere, R.M. Gounod, C. James, I. Handel, G.F. Mendelssohn, F. Mozart, W.A. Mozart, W.A. Mozart, W.A. Saint-Saens, C. Saint-Saens, C. Strauss, F. Telemann, G. Septet (from: Solos for the horn player Mason Jones), Schirmer March in Canon, Bradford-Anderson, Muriel Scherzo from Serenade in D Op. 11 (from: Solos for the horn player Mason Jones), Schirmer Suite for Horn, Hinrichsen Sonata No 1, (from: Brass French Horn Solo; International) Nocturne, Op. 35, No 10, International 6 Pieces Melodiques Originales, any movement Albert Hall Galop (from: Just Brass Horn Solos), London: Chester Music Sonata in G minor, 1st, 3 rd or 4th movement Symphony No 5, Op. 107, Andante Concerto No 2 in E-flat Major, K. 417, slow movement Concerto No 3 in E-flat Major, K. 447, slow movement Concerto No 4 in E-flat Major, K. 495, slow movement Morceau de Concert, Op. 94, 1st movement Romance Op. 36 Nocturno, Op. 7 Sonata in F minor, 1st, 3rd or 4th movement
34
REPERTOIRESTAGE 3
Abbott, A. Arnold, M. Beethoven, L. van Butterworth, N. Chabrier, E. Cherubini, L. Clerisse, R. Cooke, A. Dukas, P. Francaix, J. Glazunov, A. Jacob, G. Mozart, W.A. Orr, R. Piantoni, L. Rossini, G. Strauss, F. Strauss, R. Vinter, G. Alla Caccia, Arcadia Fantasy for Horn, Faber Sonata in F Major, Boosey & Hawkes Prelude and Scherzo, Chappell Larghetto, Salabert Sonata No 2 Chant sans Paroles, Leduc Rondo in B flat, Schott Villanette, Durand Canon in the Octave, Pierre Noel Reverie, Rubank Concerto for Horn, 2nd movement, Williams Concert Rondo, K 371, Breitkofp and Hartel Serenade, Schott Air de Chasse, Leduc Prelude, Theme and Variations, International Concerto, (movement 2), Universal Concerto in E flat, No 1 Op. 11 Hunter's Moon, Boosey & Hawkes
35
TRUMPET
Scales Major Ab, E, Eb and G Harmonic and melodic minor C, C#, E and F = 92, quavers Arpeggios of above major and minor scales. Compass as above. Chromatic scales F and G Dominant 7th On F and G Articulation (for all items of tech work) All slurred All tongued minimum range 1 octave minimum range 1 octave
Scales Major A, Db, F# and E Harmonic and melodic minor Bb, C#, D# and F# = 92, quavers Arpeggios of above major and minor scales. Compass as above. Chromatic scales A and Bb Dominant 7th of A and Bb Articulation (for all items of tech work) All slurred All tongued minimum range 1 octave minimum range 1 octave
Rhythm/metre studies Arban, Grand Method for Cornet Kopprasch, 60 studies Vizzutti, A. The Allen Vizutti Trumpet Method Book 3 Articulation Koprasch, 60 Studies Concone, The Complete Solfge Schlossberg, Daily Drills and Technical Studies for Trumpet
36
Intervals Koprasch, 60 Studies (easy, advanced) Arban, Grand Method for Cornet Vizzutti, A. Vizutti Advanced Etudes Scales/Arpeggios Arban, Grand Method for Cornet Koprasch, 60 Studies Rubank, Advanced method for trumpet Vol 1 AMEB technical work Flexibility Colin, C. Advanced Lip Flexibilities Davidson, L. Trumpet Techniques Schlossberg, Daily Drills and Technical Studies for Trumpet Arban, Grand Method for Cornet Range Arban, Grand Method for Cornet Vizzutti, A. Vizutti Advanced Etudes Stylistic studies Rubank, Advanced Method for Trumpet Vol 1 Smith, P: Concert Etudes Balasanyan, 20 Studies Arban, Grand Method for Cornet Vizzutti, A. Vizutti Advanced Etudes Advanced Bordogni/Rochut, Etudes Vol 1 Arban, Characteristic Studies Valve/Fingering technique Arban, Grand Method for Cornet Clark, H.L. Technical Studies for Cornet Orchestral excerpts Williams, E.S. Difficult Passages Vols 1&2 Voisin, R. Orchestral excerpts Vols 110 Transposition Bordogni, Etudes for Transposition
REPERTOIRESTAGE 2
Balay, G. Bernstein, L. Boyce, W. Petite pice Concertante, Warner Bros/Belwin Rondo for Lifey, Amberson, Boosey & Hawkes Trumpet Tune (from: Six Trumpet Tunes arr. Norman Richardson), Boosey & Hawkes ed. Bozza, E. Lied, Leduc Code, P. Zanette, Allan Cole, H. Hammersmith Gallop, Schott Corteo Trumpet Music for Beginners. No 22, EMB Elgar, I. Idylle (from: Second Book of Trumpet Solos, arr. Wallace/Miller) Faber Garson, M. & Vizzutti, A. Jazz Etude, 2nd movement (from: Trumpet Solos for the Performing Artist) Alfred Handel, G. F. Sound and Alarm, Solo Album, Boosey & Hawkes Durand OUP Handel, G.F. The Trumpet Shall Sound (from: Old English Trumpet Tunes Book, 2) Oxford Haydn, J. Trumpet Concert, 2nd movement, Schirmer or Boosey & Hawkes or Fischer Hummel, J. N. The Noble Savage (from: Second Book of Trumpet Solos, arr. Wallace/Miller) Faber Monhardt, M. So Soft the Silver Sound and Clear (from: Master Solos Intermediate Level) Hal Leonard
37
Mozart, W.A. Mozart, W.A. Mudge, R. Purcell, H. Rachmaninoff, S. Ropartz, J. G. Stanley, J. Street, A. Tchaikovsky, P. Zehm, F.
Adagio from Serenade in D, arr. Coy, N. Alleluja from Motet: Exulate Jubliate (from: 29 Cornet Solos and 2 encores arr. Walter Beller), Schirmer Trumpet Concerto No 1, Boosey & Hawkes Trumpet Sonata, 1st and 2nd movements (from: Six Trumpet Tunes arr. Norman Richardson) Boosey & Hawkes Vocalise, International Andante and Allegro, Fischer Trumpet Voluntary, YTP Vol 3, OUP Rondino, Boosey & Hawkes ed. Valse Sentimentale, Internationale Sonata Brevis, 1st movement, Schott
REPERTOIRESTAGE 3
Arnell, R. Bach, J. S. Baines, F. Bissell, K.W. Bozza, E. Buesser, H. arr. Clark, H.L. Cook, K. Fiocco, J.H. Gibbons, O. Goedicke, A.F. Hartmann, J. Haydn, J. Hindemith. Hummel, P. Martinu, B. Neruda, G. Peeters, F. Porrino, E. Riisager, K. Senaille, J.B. Zehm, F. Trumpet Allegro, Op.58 no.2, Schott Arioso, Fischer Pastorale, Schott Little Suite, BMI, Canada Badinage, Leduc Andante and Scherzo, International Music Co The Debutante, Warner Bros Impromptu, Hinrichsen Allegro in B flat for Trumpet and Piano, Presser Co Suite, Williams Concert Study, Op. 49, International Music Co or Belwin Facilita Air with Variations, Boosey & Hawkes Trumpet Concerto mvt I or III, B&H or Fischer Trumpet Sonata mvt I, Schott Trumpet Concerto mvt II or III, B&H or International Music Co. Trumpet Sonatina mvt I, Leduc Trumpet Concerto mvt I or II, Musica Rara Trumpet Sonata, Op. 51 mvt I, C F Peters Preludio, Aria E Scherzo, Zerboni Trumpet Concertino mvt III, Hansen, W. Nr 3416 Allegro Spiritoso, Schirmer (from: Solos for the Trumpet Player, arr. Beeler) Cante e Rondo, Schott
38
TROMBONE/BASS TROMBONE/EUPHONIUM
TECHNICAL WORKSCALES STAGE 2
Trombone/euphonium and Bb tuba Scales Major D, Db, Fand Gb Harmonic and melodic minor Bb, B, D and Eb = 92, quavers Arpeggios Of above major and minor scales. Compass as above. Chromatic scales Eb and F Dominant 7th of Eb and F Articulation (for all items of tech work) All slurred All tongued minimum range 1 octave minimum range 1 octave

Scales Major G, Cb/B, E and D Harmonic and melodic minor E, Ab/G#, C# and B = 92, quavers Arpeggios Of above major and minor scales. Compass as above. Chromatic scales G and Ab Dominant 7th of G and Ab Articulation (for all items of tech work) All slurred All tongued minimum range 1 octave minimum range 1 octave
Rhythm/metre studies Blazhevich Studies Arbans Kopprasch60 studies Advanced Uber
39
Articulation Kopprasch 60 Studies Bordogni/Rochut Etudes Remington Warm Up Studies Paul Tanner Complete Practice Book for Trombone Schlossberg Daily Drills and Technical Studies for Trombone Intervals ArbansComplete Method for Trombone Advanced Kopprasch60 Studies for Trombone Vol 1 and 2 BlazhevichClef Studies Scales/Arpeggios ArbansComplete Method for Trombone Koprasch60 Studies Rubank, Advanced method for trombone/Baritone Vol 1 AMEB technical work Advanced La Fosse Vol 2 Flexibility Charles Colin Advanced Lip Flexibilities Range Remington Warm Up Studies Paul Tanner Complete Practice Book for Trombone Stylistic studies Rubank, Advanced method for trombone/Baritone Vol 1 Advanced Bordogni/Rochut Etudes Vol 1 Arban Characteristic Studies Slide/Valve/Fingering technique ArbansComplete Method for Trombone Allan Ostrander Valve Exercises for Bass Trombone Paul Tanner Complete Practice Book for Trombone Stephanovsky20 Studies for Bass Trombone Orchestral excerpts Keith BrownOrchestral Excerpts for Trombone and Tuba Volumes 1 to 10 Clef studies Fink Tenor and Alto Clef Blazhevich Clef Studies La Fosse Vol 1 Advanced La Fosse Vol 2 and 3 Blazhevich Clef Studies Uber 23 Virtuoso Clef Studies, no.14
40
REPERTOIRESTAGE 2
Trombone Bach J.S. Berlioz, H. Bernstein, L. Bordogni, M. Castrde, J. Curnow, P.J. Dubois, F. Gluck, C.W. Goddard, B. Gounod, C. Gregson, E. Guillmant, A. Hasse, J.A. Horovitz, J. Jacob, G. Jacob, G. Jacques, M. Kopprasch, C. Larsson, L.E. Lovelock, W. Marcello, B. Mozart, W.A. Mozart, W.A. Parker, J. Proctor, S. Ramskill, R. Ridout, A. Rimsky-Korsakov, N. Rimsky-Korsakov, N. Stone, D. Telemann, G.P. Wagenseil, G.C. Bass trombone Defaye, J.M. Jacob, G. Wilder, A. Euphonium Arban, J.B. Fiocco, J. H. Handel, G.F. Jacob, G. Mozart, W.A. Senaille, J.B. White, D. Young, E. Young, E. Prelude in A flat (from 48 Preludes and Fugues, Book 1) Bach for Trombone, arr. Mowat (Bass or treble clef editions: Brass Wind) Recitative and Prayer (from: Grande Symphonie Funbre et Triomphale, Op. 15) (Bass/treble clef edition: Brass Wind) Elegy for Mippy Twenty Four Legato Studies, Nos 117, R King Sonatine for Trombone: 2nd movement, Andante sostenuto, Leduc/UMP Fantasy for Trombone (Bass/treble clef) (Rosehill Music ed.) Cortege, Leduc Che far senza Euridice (Orfeo ed Euridice ). The Baroque Trombone, arr. Wills (Faber ed.) Berceuse de Jocelyn Lend Me Your Aid Divertimento for Trombone, 2nd and 3rd movements, Canzona and Scherzino, Bass/treble clef (Studio Music ed.) Concert Piece Hasse Suite, Rubank Adam-Blues (Novello/Music Sales ed.) Concertino, Emerson Trombone Sonata, 1st movement, Emerson Cantilena (from: Cantilena and Rondo Scherzoso), Bass/Treble (Studio Music ed.) 60 Selected Studies, R. King Concertino Op. 45/7, 2nd movement, Carl Gehrmans Musikforlag Concerto, 2nd movement Sonata in A minor, 1st and 2nd movements, Adagio and Allegro Allegro or Adagio from Serenade in D arr. Coy, N. Serenade for Trombone, arr. Clack, 1st movement, Allegro (Tenor/treble clef & or Brass Wind ed.) Dances with Bears, Jazzed Up Too for Trombone, arr. Parker (Bass or treble clef and/or Brass Wind ed.) Azure (from On your Metal) (Bass or treble clef and/or Brass Wind ed.) Ballad (from Vivaldi to Fats Waller for Trombone) (Bass or treble clef & or Brass Wind ed.) Sonata for solo Trombone, 1st movement (Emerson ed.) Concerto for Trombone, 1st and 2nd movements, Boosey and Hawkes ed. Trombone Concerto, 1st movement, Allegro vivace (Boosey & Hawkes ed.) Variations for Trumpet or Trombone and Piano, Boosey and Hawkes ed. Sonata in F minor for Bassoon or Trombone 3rd and 4th movements, International Concerto 1st or 2nd movements (from: The Classic Trombone). arr. Coy, N. Danse Profane from Deux Danses, Leduc, arr. Knaub Cameos 1st and 2nd movements, Emerson Sonata, 3rd movement, Mentor Music
Fantasie Brillante Aria and Rondo, arr. Frankenpohl, A Sound an Alarm Concertino (Emerson ed.) Concert Aria (Rubank ed.) Introduction and Allegro Spiritoso (Hinrichsen ed.) Lyric Suite Euphonium Sonata, 1st and 2nd movements Euphonium Suite, 2nd movement (R. Smith ed.)
41
REPERTOIRESTAGE 3
Trombone Albrechtsberger, J.G. Bernstein, L. Corelli, A. David, F. Faur, G. Frescobaldi, G. Galliard, J.E. Guillmant, A. Haydn, M. Marcello, B. Pryor, A. Rachmaninov, S. Reiche, E. Saint-Sans, C. Sanders, R.L. Stevens, Halsey Tcherepnine, A. Telemann, G.P. Bass trombone Back, J S arr. Brown Jacob, A. Telemann, G.P. Tomasi, H. Euphonium Capuzzi, G.A. Carnivez, L. Curnow, P.J. Haydn, F. Iannaconne, A. Jacob, A. Rachmaninoff, S. Schumann, R. Telemann, G.P. Tcherepnine, A. Uber, D. Wagner, R. Wagner, R. Young, E. Concerto Mvts 1, 2 or 3, arr. Coy (from: The Classic Trombone) Elegy for Mippy (from: Solos for the Trombone Player), Schirmer Sonata in F Major Concertino Andante 1st or 2nd mvts, International/Carl Fischer/Zimmerman Sicilienne, arr. Brown. IMC Toccata, International Sonata No 1, Warner Bros/International Concert Piece (Morceau Symphonique) Op. 88, (from: Solos for the Trombone Player), Schirmer, or separately: International (BC and Tenor Clef)/Warner Bros (BC) Larghetto, (from: The Classic Trombone), arr. Coy. Haydn, M. Andantino, (from: The Classic Trombone), arr. Coy. Sonata in G minor, IMC Blue Bells of Scotland Vicalise, Schirmer Rondo from Concerto No 2, Schirmer Cavatine Op. 144, Durand Sonata in E flat, 1st movement Sonata for Trombone or Tuba and Piano, Peer International Andante, MP Belaieff Sonata in F minor for Bassoon or Trombone, Mvts 1 and 2, International Prelude or Gigue from Cello Suite in D minorIMC Cameos Mvts 3, 4 or 5, Emerson Fantasia in C minor (from: 12 Fantasias), arr. RaphKalmus Etre pas non Etre, Leduc Andante (from: Concerto for Double Bass), Hinrichsen Introduction, Theme and Variations, Molinaar Rhapsody for Euphonium, Rosehill Aria and Allegro, Rubank Night Song, Tenuto Fantasia for Euphonium Vocalise (from: Solos for the Trombone Player), Schirmer Five Pieces on Folk Style, Op. 102, Ludwig Fantasia in C minor (from: 12 Fantasias), arr. Raph, Kalmus Andante, MP Belaieff Ecnamor, Southern Music Co. O Star of Eve, Boosey and Hawkes Walters Prize Song, Boosey and Hawkes Euphonium Suite, R Smith and Co.
42
TUBA
Eb tuba Scales Major Bb, C Gb and G Harmonic and melodic minor Ab, Eb, E and G = 92, quavers Arpeggios of above major and minor scales. Compass as above. Chromatic scales Ab and Bb Dominant 7th of Ab and Bb Articulation (for all items of tech work) All slurred All tongued minimum range 1 octave minimum range 1 octave
Scales Major A, C E and G Harmonic and melodic minor A, Db, F# and E = 92, quavers Arpeggios of above major and minor scales. Compass as above Chromatic scales C and Db Dominant 7th of C and Db Articulation (for all items of tech work) All slurred All tongued minimum range 1 octave minimum range 1 octave
Rhythm/metre studies Knaub including Blazevich (entrymedium) Articulation Tyrell (entry level) Knaub (entrymedium) Intervals Knaub (medium) Kopprasch (mediumadvanced)
Music: Resource package for the practical component 43
Scales/Arpeggios Tyrell (entry level) Knaub (medium) Langey (medium) Bordogni (medium) AMEB technical work Flexibility Range Langey (high range) Torchinsky: Kopprash (low range) Stylistic studies Bordogni (entry, Medium) Uber: 15 Progressive Studies (medium) Valve/Fingering technique Tyrell (entry level) Knaub (medium) Langey (medium) Bordogni (medium) Torchinsky Kopprash Uber: 15 Progressive Studies Orchestral excerpts Torchinsky: 20th Century Orchestral Excerpts Wekselblatt: Solos for the Tuba Player Keith Brown: Orchestral Excerpts for Trombone and Tuba Volumes 1 to 10
REPERTOIRESTAGE 2
Amos, K. Anon. Arban, J.B. Arnold, M. Bach J.S. Berlioz, H. Berlioz, H. Berlioz, H. Bernstein, L. Blazevich, A. Bordogni, M. Bozza, E. Capuzzi, A. Capuzzi, A. Cimera, J. Defaye, J-M. Defaye, J-M. Frankenpohl, A. Frankenpohl, A. Haddad, D. Handel, G.F. Hartley, W. Heiden, B. Hogg, M. E. Jacob, G. Jacob, G. Langey Compositae (Bass clef and Treble clef ed. CMA Publications 041) Hornpipe No14 (from: First Solos for the Tuba Player) arr. Wekselblatt, H. (Schirmer/Music Sales) Complete Method, Study No1 Fantasy for Tuba Two Bourees (Wekselblatt, H. Solos for the Tuba Player) (Schirmer ed.) Requiem, No.2 Requiem, No.4 Requiem, No.6 Waltz for Mippy III (Wekselblatt, H. Solos for the Tuba Player) (Schirmer ed.) Etudes, Nos 16 Bel Canto Studies, Nos 19 (Robert King ed.) Thme Vari (Leduc/U.M.P. ed.) Andante from Concerto for Double Bass, (Hinrichsen ed.) Andante arr. Catelinet (Bass/treble clef & or Peters H-1474 ed.) Advanced Tuba Studies, Nos 715 Suite Marine, 1st and 4th movements, L'lphant de Mer (Leduc/UMP) Suite Marine, 2nd and 3rd movements, Le Cachelot and Le Requin (Leduc/UMP) Concertino for Tuba and String Orchestra, Robert King Concertino for Tuba: 2nd and 3rd movements, Lento and Allegro (Robert King/U.M.P.) Suite for Tuba (Shawnee Press ed.) Concerto in F minor, transcription, arr. Robert M. Barr, (Ludwig Music Publishing Company) Suite for Unaccompanied Tuba (any three movements) (Elkan-Vogel/U.M.P.) Concerto for Tuba, 2nd movement, Andante Sonatina for Tuba (Complete) (Ensemble Publications/William Elkin) Tuba Suite, No2 Hornpipe (Boosey & Hawkes ed.) Tuba Suite: No4 Bourre (Boosey & Hawkes ed.) The Bass, Grand Studies, Nos 16
44
Lawrence, L. Mozart, W.A. Mozart, W.A. Mozart, W.A. Richardson, A. Senaill, J.B. Telemann, G.P. Telemann, G.P. Tuthill, B. Vaughan-Williams, R. Vivaldi, A. von Weber, C.M. Wagner, R. Wilder, A.
Piece for Tuba and Piano in a minor (from: Master Solos Intermediate level Tuba) Hal Leonard Concerto No 3 for Horn, transcription Romance (from: Solos for the Tuba Player, Wekselblatt, H. ed.) Schirmer Rondo (from: Solos for the Tuba Player, Wekselblatt, H. ed.) Schirmer In the Lowlands (Elkin) Introduciton and Allegro spiritoso for Tuba and Piano, arr. Catelinet (Bass/treble clef ed.; Peters H-853) Adagio and Allegro (from: Trumpet Concerto in D arr. Friedman) Prelude and Allegretto for Tuba and Piano, Southern Music Fantasia for Tuba, Op. 57 (Ensemble Publications/William Elkin) Concerto in F minor for Tuba Allegro, arr. Swanson. Belwin Mills/I.M.P. Der Freischutz, Overture Tannhauser March Sonata for Tuba and Piano (any three movements) (Mentor Music/Emerson)
REPERTOIRESTAGE 3
Arnold, M. Bach, J.S. Barat, J.E. Beversdorf, T. Beach, B. Boda, J. Capuzzi, A. East, H. Easton, I. Gregson, E. Heiden, B. and Hindemith, P. Hogg, M. Handel, G.F. Jacob, G. Marcello, B. Marcello, B.. Nelhybel, V. Presser., W. Ridout, A. Senaill, J.B. Tcherpnine, A. Tomasi, H. Uber, D. Wilder, A. Fantasy for solo Tuba, Op. 102 (Faber) Air and Bourre, Carl Fischer Introduction and Dance, Southern Music Sonata for Tuba and Piano, Interlochen Divertissement for Tuba, Tenuto Pubs Sonatine Andante and Rondo, arr. Catelinet (Bass/treble clef edition: Peters H-1474) Sonatina for Tuba: 1st and 2nd movements (Ricordi/Boosey & Hawkes) Small Mirror (Tuba and CD) Tuba Concerto, complete (Novello/Music Sales) Concerto for Tuba: 1st and 2nd movements or 2nd and 3rd movements, Allegro risoluto Andante or Andante and Vivace (Peer Southern/Williams Elkin) Tuba Sonata Sonatina, Ensemble Pubs/William Elkin. Sound an Alarm Tuba Suite, movements 1, 2, 3, 4, 6, Boosey & Hawkes Sonata No 1 in F, Southern Music Sonata No 5 in C, Southern Music Suite for Tuba and Piano, General Music Suite for Tuba (any two movements), Ensemble Pubs Concertino for Tuba: complete (Emerson) Introduction and Allegro Spiritoso, Hinrichsen Andante, MP Belaieff Etre pas non Etre, Leduc 15 Progressive Etudes for Tuba or Bass Trombone, Touch of Brass pubs Suite No 1 for Tuba, movements 4 and 5, Margun
45
46
PERCUSSION
TUNED PERCUSSION
Tuned percussion Scales Major Bb, D, F and G Harmonic and melodic minor A, E and G Note:
2 octaves 2 octaves
Students are not to roll each tonic = 120
Patterns as below: minimum tempo:
Thirds
Turn around on the tonic. Arpeggios of above major and minor scales in root position only. Compass as above. = 108
Chromatic scale C = 90, four notes to a beat
2 octaves
Scales Major Ab, C, E and E flat Harmonic and melodic minor B, C, D and F Note:
2 octaves 2 octaves
Students are not to roll each tonic
47
Patterns as below: minimum tempo:
= 120
Thirds
Arpeggios of above major and minor scales in root position only. Compass as above. = 108
Chromatic scale C Dominant 7ths of E and E flat, root position only = 120, four notes to a beat
2 octaves 2 octaves
Concepts Fast repetitive scale passages * Sparks: * The Sonata-Solo music for marimba and piano: * Six 2 part inventions arranged by James Moore * George Hamilton GreenXylophone Rags * Graded Music for Tuned Percussion Book IVTrinity Czardas Flight of the Bumble BeeRimsky-Korsakov Black and White RagGeorge Botsford Morris Goldenburg Etudes Abe, K. Prism Albeniz, I. Legenda Beethoven, L, van Spring Sonata Chopin, F. Black Key Etude Gomez, A. Gitano Gomez, A. Marimba Flamenca Gomez, A. and Rifi, M Rain Dance Joyce, K. and Man, K. * Entrata (duet) Joyce, K. and Man, K. * ShichiKarak (duet) Lou Diemer, E. Toccata for Marimba Mayazurni Concerto for Orchestra Peters, M. Galactica Peters, M. Teardrops Peters, M. Starscape Peters, M. Yellow after the Rain Rosano, N. 3 Preludes (prelude in e minor, no.1)
48
Double stops * Sparks: * George Hamilton GreenXylophone Rags Abe, K. Prism Albeniz, I. Legenda Beethoven, L, van Spring Sonata Botsford, G. Black and White Rag Edwards, R. Marimba Dances, 1st movement only Gomez and Rice Mbira Song Gomez, A. Marimba Flamenca Gomez, A. Gitano Gomez, A. and Rifi, M. Rain Dance Joyce, K and Man, K. * Entrata (duet) Joyce, K and Man, K. * Shichi-Karak (duet) Lou Diemer, E. Toccata for Marimba Mayazurni Concerto for Orchestra Monti Czardas Morris Goldenburg Etudes Peters, M. Barcelona Peters, M. Galactica Peters, M. Starscape Peters, M. Teardrops Peters, M. Three Pieces for 3 Mallets Peters, M. Sea Refractions Peters, M. Yellow after the Rain Rosano, N. 3 Preludes (prelude in e minor, no.1) Schmitt, M. Ghanaia Smadbeck, P. Rhythm Song Spears, J. Malletrix (unaccompanied) Tanner, P OId Djenne Tanner, P Her Majesty Ukena, T. Blue Wood Double sticking * Sparks: * The SonataSolo music for marimba and piano: * Six 2 part inventions arranged by James Moore * George Hamilton GreenXylophone Rags Abe, K. Prism Beethoven, L, van Spring Sonata Botsford, G. Black and White Rag Chopin, F. Black Key Etude Edwards, R. Marimba Dances, 1st movement only Gomez, A. Marimba Flamenca Gomez, A. Gitano Joyce, K and Man, K. * Entrata (duet) Joyce, K and Man, K. * Shichi-Karak (duet) Lou Diemer, E. Toccata for Marimba Mayazurni Concerto for Orchestra Monti Czardas Morris Goldenburg Etudes Peters, M. Starscape Peters, M. Yellow after the Rain Peters, M. Galactica Peters, M. Teardrops Smadbeck, P. Rhythm Song Spears, J. Malletrix (unaccompanied) Tanner, P. Her Majesty Tanner, P. OId Djenne
49
Large leaps * The SonataSolo music for marimba and piano: * Six 2 part inventions arranged by James Moore Abe, K. Prism Botsford. G. Black and White Rag Chopin, F. Black Key Etude Edwards, R. Marimba Dances, 1st movement only Joyce, K and Man, K. * Shichi-Karak (duet) Mayazurni Concerto for Orchestra Monti Czardas Morris Goldenburg Etudes Peters, M. Sea Refractions Smadbeck, P. Rhythm Song Spears, J. Malletrix (unaccompanied) Tanner, P. Her Majesty Polyrhythms Abe, K. Joyce, K and Man, K. Joyce, K and Man, K. Schmitt, M. Tanner, P. Prism * Entrata (duet) * Shichi-Karak (duet) Ghanaia OId Djenne
Irregular time signatures Edwards, R. Marimba Dances, 1st movement only Peters, M. Galactica Pitfield Sonata Peters, M. Barcelona Tanner, P. Her Majesty Joyce, K and Man, K. * Shichi-Karak (duet) Smadbeck, P. Rhythm Song Long rolls Albeniz, I. Beethoven, L, van Gomez, A. Gomez, A. Gomez, A. and Rifi, M. Lou Diemer, E. Peters, M. Peters, M. Peters, M. Peters, M. Rosano, N. Schmitt, M. Spears, J. Ukena, T. Legenda Spring Sonata Etude in d minor Marimba Flamenca Rain Dance Toccata for Marimba Teardrops Three Pieces for 3 Mallets Sea Refractions Yellow after the Rain 3 Preludes (prelude in e minor, no.1) Ghanaia Malletrix (unaccompanied) Blue Wood
REPERTOIRESTAGE 2
Keyboard solos Bach, J. S. Gomez, A. Gomez, A. Rife, M. Handel, G.F. Mozart, W.A. Peters, M. Peters, M. Peters, M. Peters, M. Pitfield, T.B. Spears, J. Rimsky-Korsakov, N. Tanner, P. Violin Concerto No 1 in A minor (1st movement), BWV 1041 Marimba Flamenca, Southern Music Company Mbira Song, Southern Music Company Sonata No 3, transcribed Musser/Campbell/Feldstein, Belwin, Warner Brothers 18th Century Theme (from: Sonata in C), arr. Jolliff, A., Rubank Three Pieces for Three Mallets (3 mallets on marimba), Mitchell Peters Teardrops (3 mallets on marimba), Mitchell Peters Galactica (2 mallets on marimba), Mitchell Peters Sea Refractions (4 mallets on marimba), Mitchell Peters Sonata for Xylophone (any movement), ed. Yoichi Hiraoka, Edition Peters 66161 Malletrix, Southern Music Company Flight of the Bumble Bee, Arr. Maxey, L., Southern Music Company Old Djenne (4 mallets on marimba), printed by Paul Tanner
50
Six Bach Two Part Inventions, Arr. James Moore, Kendor Music Inc. Raggedy Ragtime Rags, Meredith Music Publications George Hamilton Greens Xylophone Rags, ed. Eyles, R.,Meredith Music Publications Goldenberg, M. Etudes 139 by Morris Goldenberg, Modern School for Xylophone, Marimba, Vibraphone, Chappell/Hal Leonard Works by Loeillet, Handel, Bernstein, Prokofiev, OReilly and Creston in Solos for the Percussion Player, ed OReilly
Keyboard collections Bach, J.S. Eyles, R. Green, G.H.
REPERTOIRESTAGE 3
Keyboard solos Bach, J. S. Brahms, J. Chopin, F. Edwards, R. Green, G.H. Gomez, A. Gomez, A. Gomez, A. Rife, M. Mayuzumi, T. Mozart, W.A. Peters, M. Pitfield, T.B. Schmitt, M. Smadbeck, P. Tanner, P. Keyboard collections Breuer, H. Friedman, D. Goldenburg, M. Green, G.H. Violin Concerto No 1 in A minor (1st movement), BWV 1041 Hungarian Dance No 5, arr., Quick, Rubank Black Key Etude, Arr. Maxey, L. Southern Music Company Marimba Dances (any movement), Universal Edition ue 29283 Caprice Valsant for Xylophone and Piano, Carl Fischer Music Gitano, Southern Music Company Etude in D minor, Southern Music Company Rain Dance, Southern Music Company Concertino for Xylophone, either 1st or 3rd movement 18th Century Theme form Sonata in C, arr., Jolliffe, Rubank Yellow After The Rain (4 mallets on marimba), Mitchell Peters Sonata for Xylophone (any movement), ed. Yoichi Hiraoka, Edition Peters 66161 Ghanaia, Norsk Musikforlag Rhythm Song, KPP@mostly marimba.com Her Majesty (4 mallets on marimba), printed by Paul Tanner
Mallet Solo Collection, Alfred Publishing Company Mirror From Another (vibraphone) (any solo), Warner Bros. Publications Etudes 1-39 by Morris Goldenberg, Modern School for Xylophone, Marimba, Vibraphone, Chappell/Hal Leonard George Hamilton Greens Xylophone Rags, ed. Eyles, R., Meredith Music Publications
51
DRUM SET
Snare drum 1. 1a Single-stroke double-stroke paradiddle Begin very slowly and gradually accelerate to crotchet = 120
1b
Beat subdivision
2. 2a
Accelerating double-stroke roll Begin very slowly and gradually accelerate to full roll speed (minimum tempo: crotchet = 120)
2b
Beat subdivision
Parradiddle 3. 3a Begin very slowly and gradually accelerate to full speed (minimum tempo: = 120)
52
3b
Beat subdivision
Rolls (students may select either double-stroke or buzz rolls) 4. Long roll = 90
5.
Five stroke
= 108
6.
Seven stroke
= 120
7.
Nine stroke
= 108
Flams 8. Flam = 108
9.
Flam tap
= 108
53
Drag 10. = 108
11.
Single ratamacue
= 76
54
Drum set coordination
1.
= 152
2.
= 152
3.
= 92
4.
= 92
5.
= 152
6.
= 152
55
Rolls 1. Accelerating single-stroke roll: Begin very slowly and gradually accelerate to full roll speed (tempo: 1a = 150-160)
1b
Beat subdivision
2.
Accelerating double-stroke roll: Begin very slowly and gradually accelerate to full roll speed (tempo: = 150-160)
2a
2b
Beat subdivision
3.
Long rolls (buzzed not open rolls) = 90
56
4.
Six stroke roll (tempo: = 130)
5.
Thirteen stroke roll (tempo: = 130)
6.
Seventeen stroke roll (tempo: =130)
Flams 7. Flam accents (tempo: = 120)
8.
Flamacue (tempo: = 96)
9.
Flam tap (tempo: = 60)
57
Drag 10. Single drag tap (tempo: = 116)
11.
Double drag tap (tempo: = 116)
12.
Single ratamacue (tempo: = 88)
13.
Triple ratamacue (tempo: = 88)
Paradiddle 14. Parradiddle Begin very slowly and gradually accelerate to full speed (tempo: 14a = 130)
58
14b
Beat subdivision
15.
Double paradiddle (tempo: = 60)
16.
Flam paradiddle-diddle (tempo: = 60)
17.
Four stroke ruff (tempo: = 120)
59
Drum set coordination Stage 3
1.
= 176
2.
= 176
3.
= 100
4.
= 100
5.
= 176
6.
= 176
60
Snare drum 2A/B3A/B Technical rudiments Single stroke roll Double stroke roll Paradiddle Buzz roll Flams Flam tap Drag Ratamacue Accents Aspects Syncopation Triplet subdivision Changing metre Metric modulation Playing technique Beat displacement
Piece Portraits in rhythm No.1 No.5 2A/B 3A/B Aspects/Rudiments Syncopation Flams Accents Time signature syn 5/9/ stroke rolls Drags Flams 4 stroke ruff Drags/flams, 4 stroke roll, syncopation, changing metre, metric modulation, doubles CM, MM, flams, doubles, 5/9 stroke roll, buzz roll S, TS, CM, MM, BD, flams, drags, 4 stroke roll, buzz rolls, accents 5/7/9/10/11/15 stroke roll, buzz, flams, drags, paradiddle, doubles, double paradiddle, flamadiddle, flam paradiddle-diddle, single/double/triple ratamacue 5/7/9/10/11/15 stroke roll, buzz, flams, drags, paradiddle, doubles, double paradiddle, flamadiddle, flam paradiddle-diddle, single/double/triple ratamacue 5/7/9/10/11/15 stroke roll, buzz, flams, drags, paradiddle, doubles, double paradiddle, flamadiddle, flam paradiddle-diddle, single/double/triple ratamacue Striking position, meter changes, cross rhythms, flams, double strokes, buzz rolls, paradiddles, double paradiddles, inverted paradiddles Double strokes, flam, drags, 4 stroke ruffs, buzz rolls, flamtaps, 5, 7, 9 stroke rolls, cross rhythms, poly rhythms 4 stroke ruffs, drags, flams, meter changes, triplets, syncopation, sextuplets, buzz rolls, sextuplets Orchestral Style and quotation Thieving Magpie Young Persons Guide Bolero Scheherezade Buzz rolls, double stroke rolls, flams, 4 stroke ruffs, sextuplets, double stroke, metre changes
No.26 No.32 Percussion Studio studies for snare drum by Siegfried Fink 46Sonatine All American Drummer Charlie Wilcoxen, no.132 Solo for Percussion Siegfried Fink Alfreds Drum Method Book 1 and 2 American Suite for unaccompanied Snare Drum Guy G Gauthreaux No IV American Suite for unaccompanied Snare Drum Guy G Gauthreaux No V Recital Suite for Solo Snare Drum By William J Schinstire Etude for Snare Drum Arkus Etude, no.9 BentLylloff
61
Timpani Technical aspects to be covered: Cross sticking, pedalling, tuning, cross rhythms, playing techniques (rolls, dampening glissandos, striking position, mallet changes, flipping sticks).
Aspects covered PIECES All Pieces Drums 2A/B 3A/B Pedalling (within piece) Tuning between movement ) X Rhythm/ polyrhythm Playing technique Metric Mod/metre change
X sticking
Sonatina for Timpani, Alan Ridout Sonata for 3 unaccompanied Timpani by Phillip Ramey Ballad for the Dance by Saul Goodman Primal Mood by Mitchell Peters Primal Dance by John OReilly Sonata for Timpani by John Beck Saeta by Elliot Carter Improvisation by Elliot Carter March by Elliott Carter Groovin Timps by Arnold F. Riedhammer Variations DArce McMillan

x x x x x x
x x x x x x x x
x x x
Drum set Trinity Rock School Grade 58 (Drum Kit) (CD) Trinity Guild Hall Grade 58 (Drum Kit) (CD) Trinity Rock School Grade (Drum Kit) (CD) Intermediate Grade 56 Advanced Grade 78 Trinity Guild Hall Grade (Drum Kit) (CD) Grade 56 Advanced Grade 78 Drum charts for backing tracks from top to bottom(Tom Jackson) (CD) Intermediate: Break Out Chart 3 Break Away Chart 3 Spacey Chart 3 Wise Move Chart 3 Acid Groove Chart 2 Tommy Gun Chart 3 Garage Sale Chart 3 Soul Fusion Chart 2 Flash Back Chart 2 Rip it up Chart 2 Alien Chart 2 Freedom Shuffle Chart 2 Reggae Time Chart 3 Easy Swing Chart 2 The Funky Shuffle Chart 2
62
Latin Delite Tropica Latin Spice Go Troppo Advanced: Motown Blues Miles High Acid Groove Soul Fusion Flash Back Rip it up Alien Freedom Shuffle Easy Swing The Funky Shuffle Latin Delite Tropica Latin Spice Go Troppo
Chart 2 Chart 2 Chart 2 Chart 2 Chart 3 Chart 3 Chart 3 Chart 3 Chart 3 Chart 3 Chart 3 Chart 3 Chart 3 Chart 3 Chart 3 Chart 3 Chart 3 Chart 3
Rhythm section drummingFrank Corniola (CD) Intermediate: Rhythm Summary, no.4, no.5, no.7 and no.8 Bon Voyage Highway to Funk Advanced: Rhythm Summary, no.7 and no.9 Early Morning Mist Oakland Drive Quiet Town Graded Course for Drum Kit Book 2 by David Hassell (CD) Intermediate: No.33 (Reggae One Drop) No.43 Rock No.44 5/4 Rock No.45 5/4 Jazz No.46 7/4 Jazz Solos for the Versatile Drummer by Haans Drieberg Intermediate: Solos: no.10, no.11, no.12, no.13, no.14 and no.15 Advanced: Solos: no.16, no.17, no.18, no.19 and no.20 Advanced Drum Kit Solos by Murray Houliff Intermediate: Just for the Funk of It Advanced: Con Fusion Philly Aint it Rich Advanced Funk Studies by Rich Lathan (CD) Intermediate: Solo, no.3 and no.5 Advanced: Solo, no.7 and no.8
63
Multi-percussion Names of working group 2A Two for OneSolos for the Percussion Player by OReilly 2B 3A 3B FireworksSolos for the Percussion Player by OReilly DTKT by Kerryn Joyce Concert Etude by Morris Golden Berg Rare Earth by David Montgomery Sudden Change by Siegfried Fink Multiple Episode, no.1 by Gaetrono Nomad by Tim Gauger
REPERTOIRESTAGE 2
Snare drum solos Beck, J.H. Colgrass, W. Schirmer Emsley, A. Schinstine, W.J. Colonial Capers, Kendor Publishing Two Unaccompanied Solos for Snare Drum, Solos for the Percussion Player Hughs Chilled Red, Rhythmscape Publishing Australia Recital Suite for Solo Snare Drum, Kendor Music
Snare drum collections Cirone, A.J. Portraits in Rhythm (any study), Belwin Mills, Warner Bros. Publications Fink, S. Studies for Snare Drum Vol. 5: The Roll No. 3856, Elite Edition 2805, N. Simrock Goldenberg, M. 12 Progressive Solos for Snare Drum, Chappell/Intersong, Hal Leonard Pub.Co. Wilcoxon, C. The All-American Drummer (any solo from #132 to #150), Ludwig Music Timpani solos Beck, J. Firth, V. Goodman, S. Jones, D. Muczynski, R. OReilly, J. Peters, M. Ramey, P. Ridout, A. Sarcich, P. Whaley, G. Whaley, G.
Sonata for Timpani (any movement), Boston Music Company Solo Impressions for Two Timpani and Piano Solo Impressions for Three Timpani and Piano Ballad for the Dance, Belwin, Warner Bros Publications Sonata for Three Unaccompanied Kettle Drums, Published by Hinrichsen Edition 3 Designs for 3 Timpani, Solos for the Percussion Player, G. Schirmer Primeval Dance, Solos for the Percussion Player, G. Schirmer Tribal Serenade, Mitchell Peters Sonata for Three Unaccompanied Timpani Sonatina for Timpani, 1st or 3rd movements, Boosey and Hawkes Concert Pieces for Timpani, Studio Four Music Statement for Timpani, Kendor or Rubank ed. Studies pp. 3547 Primary Handbook for Timpani, Meredith Music Publications
Multiple percussion solos Beck, J. Istra, Kendor Music Inc. Feldstein, S. Multiple Percussion Music, 1970, Beginning, Alfred Music, New York Feldstein, S. Multiple Percussion Music, 1970, Intermediate, Alfred Music, New York Goldenberg, M. Studies in Multiple Percussion, 1968, Chappell, New York Joyce, K. DTKT, Rhythmscape Publications Kraft, W. French Suite for Percussion Solo, 1962, New Music West OReilly, J. Trinote, Solos for the Percussion Player, G. Schirmer OReilly, J. Fireworks, Solos for the Percussion Player, G. Schirmer Spears, J. Two Episodes (two timpani only), C.L. Barnhouse Co. Tcherepnin, A. Sonatina for Two or Three Timpani, Solos for the Percussion Player, G. Schirmer Weinberger, J. Timpani Concerto, AMP Inc., G. Schirmer Whaley, G. Statement for Timpani Whaley, G. Pieces from his series of books, Huston, Scott, Suite for Solo Timpanist, any one movement
64
Drum set The publications listed are method books containing material and pieces from which students may select Davis Be Bup, Latin, Standards, 3 volumes, J. Abersold Publications, Play along Tapes Fink, S. Drum Set Suite, Houghton & Warrington Essential Styles for Drum and Bass Vols 1 & 2, 1990, Alfred Publications, Comes with CD for play along Houliff, M. Just for the Funk of It La Rosa, M. Rhapsody for Drum Set Miranda, A. Suite for Unaccompanied Drum set OReilly, B. Fireworks (from Solos for the Percussion Player, ed OReilly) Soph, E. Essential Techniques for Drum Set: Book 1, 1986, Meredith Music Publications, Fort Lauderdale, Florida Transcriptions for Drum set, 1987, North Texas Percussion Press, Denton
REPERTOIRESTAGE 3
Snare drum solos Colgrass, W. Delecluse, J. Delecluse, J. Emslie, A. Fink, S. Lylloff, B. Sarcich, P. Schinstine, W.J. Zivkovic, N.J. Two Solos for Unaccompanied Snare Drum, Solos for the Percussion Player, Schirmer Test Claire, Alphonse Leduc Keiskleiriana (any solo), Alphonse Leduc Hughs Chilled Red, Rhythmscape Publishing Australia Snare Drum Suite, Zimmermann, Frankfurt Arhus Etude #9, Wilhelm Hansen Edition, Copenhagen Two Side Drum Solos, Studio Four Music Evocation No. 2, Kendor Music Pezzo da Concerto No. 1, Edition Musica Europa
Snare drum collections Cirone, A.J. Portraits in Rhythm (any study), Belwin Mills, Warner Bros. Publications Fink, S. Studies for Snare Drum Vol. 5: The Roll No. 3856, Elite Edition 2805, N. Simrock Goldenberg, M. 12 Progressive Solos for Snare Drum, Chappell/Intersong, Hal Leonard Pub.Co. Wilcoxon, C. The All-American Drummer (any solo from #132 to #150), Ludwig Music Wilcoxon, C. Modern Rudimental Swing Solos (any solo) Timpani solos Beck, J. Carter, E. Jones, D. Muczynski, R. Peters, M. Reidhammer, A. Ridout, A. Sarcich, P. Sonata for Timpani (any movement), Boston Music Company Eight Pieces for four Timpani, Saeta or March, AMP Hal Leonard Sonata for Three Unaccompanied Kettle Drums, Published by Hinrichsen Edition 3 Designs for 3 Timpani, Solos for the Percussion Player, G. Schirmer Primal Mood, Mitchell Peters Groovin Timps for four Timpani, Alfred Publishing (Australia) Ltd. Sonatina for Timpani, 1st and 3rd movements, Boosey and Hawkes Concert Pieces for Timpani, Studio Four Music
Multiple percussion collections Fink, S. Sudden Change, Musikverlag Zimmermann, Frankfurt Gaetano, M. Multiple Episode No 1 or 3, Studio Four Productions Gauger, T. Nomad, Southern Music Company Kraft, W. French Suite for Percussion Solo, 1962, New Music West Kraft, W. English Suite Multiple Percussion Solo in 7 parts, Warner Bros. Publications Montgomery, D. Rare Earth, Rhythmscape Publications Drum set repertoire Refer to Contemporary and Jazz repertoire lists.
65
66
STRING INSTRUMENTS
VIOLIN
Scales Major Bb and D G Harmonic and melodic minor Bb and D G Bowing: Separate bows, legato
2 octaves 3 octaves 2 octaves 3 octaves
Slurred, one octave per bow
Hook stroke, playing notes twice, and at the point
Spiccato, even quavers, single notes, playing each note twice = 80 Chromatic scales G and A Separate, 12 notes slurred to a bow 2 octaves
Arpeggios to major and minor scales stated above. Compass as above Dominant 7th on G 2 octaves Separate bows and slurred 4 notes to a bow. Diminished 7th on G 2 octaves Separate bows and slurred 4 notes to a bow. Double stops Major 3rds G 6ths Eb 8ve G 1 octave
67
Scales Major Ab and E A and Bb Harmonic and melodic minor Ab and E A and Bb Bowing: Separate bows, legato
Spiccato, even quavers, single notes, playing each note twice = 92 Chromatic scales Bb and B Separate, 12 notes slurred to a bow 2 octaves
Arpeggios to major and minor scales stated above. Compass as above Dominant 7th on A 2 octaves Separate bows and slurred 4 notes to a bow Dim 7th on A 2 octaves Separate bows and slurred 4 notes to a bow Double stops Major 2 octaves, in minims, separate bows, 3rds G 6ths Eb 8ve G
= 60
68
Right handbowing Legato (separate, slurred, detache) Berkley, no.4, no.5 Kayser Op.20, no.33 Kreutzer, no.2, no.4 Mazas Op.36, no.7 Schradieck Book.1, no.4 Sevcik Op.1 Pt. 1, no.29 (various bowings) Sevcik Op.3 var, no.1, no.3, no.6 Articulated Staccato, Spiccato, Martele Berkley, no.10 (M) Mazas Op.36, no.28, no.36 (S) Berkley, no.9 (S) Kayser Op.20, no.33 (S) Kreutzer, no.2, no.3, no.5 variation, no.1, no.10, no.21 (S) Kreutzer, no.5, no.6 (M) Sevcik Op.3 Var, no.2, no.10, no.15, no.18, no.22 (S) Hook stroke(s) Berkley, no.7 Kayser Op.20, no.32 Left handintonation Scales, Arpeggios, Chromatics Berkley, no.8 (A) Flesch, no.21 (A) Galamian-beginning on G and A (A) Kreutzer, no.8, no.10, no.12 (A) Rode Caprices, no.8 (A) Sevcik Op.1 Pt 3, no.1, no.2 (S) Sevcik Op.1 Pt, no.19 (C) Sevcik Op.1 Pt.1, no.22 (A) Sevcik Op.1 Pt.3, no.3, no.4, no.5, no.7 (A) Sevcik Op.1 Pt.3, no.8 (C) Scales 1 octave (major and both minors) 2 octaves 3 octaves Carl Flesch scale system Double stops (3rds, 6ths, octaves) Fiorillo, no.29 Kreutzer, no.24 Kreutzer, no.3239, no.41, no.42 Kreutzer, no.7, no.25 Mazas Op.36, no.27 Sevcik Op.1 Pt.1, no.17 Sevcik Op.1 Pt.1, no.20 Sevcik Op.1 Pt.1, no.2326 Sevcik Op.1 Pt.1, no.27 Sevcik Op.1 Pt.3, no.14 Sevcik Op.9 any
69
Shifting Fiorillo, no.14 Kreutzer, no.11 (slur in 6s or 12s) Kreutzer, no.9utilising octave jumps Schradieck Book.1, no.17, no.19 Sevcik Op.1 Pt. 3, no.9 Sevcik Op.8 any Vibrato Virtuoso TechniqueLouis Kievman, no.XV Ornaments/Trills Kreutzer, no.1522, no.40 (t) Kreutzer, no.23 (cadenza) Mazas Op.36, no.32 (t) Schradieck Book 1, no.20 (t)
REPERTOIRESTAGE 2
Brahms, J. Bohm ,C. Corelli, A. Faure, G. Handel, G.F. Kreisler, F. Schubert, F. Seitz, F. Telemann, G.P. Hungarian Dance No 5 (Schott or Simrock) Bolero (Simrock) Sonata in E No 11, (any movement) (Schott) Berceuse from Dolly (Hamelle) Sonata No.1 in A, 3rd or 4th movement (Schott) Liebesleid (Schott) Sonatina in D Op. 137 No 1, 1st movement (Barenreiter) Student Concerto No 2 in G Op. 13, Allegro non troppo (Schirmer or Bosworth) Sonatina No 4 in A (Schott)
REPERTOIRESTAGE 3
Bach, J.S. Bartok, B. Bartok, B. Brahams, J. Dvorak, A. Elgar, E. Elgar, E. Haydn, J. Kabalevsky, D. Leclair, J.M. Massenet, J. Mozart, W.A. Mozart, W.A. Mozart, W.A. Ravel, M. Stravinsky, I. Wieniawski, H. Six Solo Sonatas and Partitas, BMW 1001-1006, one or two contrasting movements from any one sonata or partita, (Barenreiter or Henle or Peters or International Music Company) Rumanian Folk Dances, arr Szekely, any three movements to count as one work. Universal (VE8474) Sonatina 1915, (arranged Gertler) both movement nos 1 and 2 Editio Musica Budapest Hungarian Dance No 2, arranged Hubay, Augener Slavonic Dance No 1 in G minor, arranged Kreisler Chanson de Martin, op15, no 1- Novello Chanson de Nuit, Op. 15, no 2- Novello Concerto No 2 in G Major, movement 1 or 2 and 3 Violin Concerto, 1st movement Sonata No 3 in D Major, Sarabande and Tambourin, Schirmer Meditation from Thais (arr. Marsick)Fischer Concerto No 1, K207, any movement Concerto No 3, K216, any movement Concerto No 4, K218, any movement Piece en Forme dHabaneraAlphonse Leduc Suite Italienne movements nos 1 and 2 or no 3Boosey and Hawkes Kuyawaik, Muzurka
70
VIOLA
Scales =72 Major Eb and G C Harmonic and melodic minor Eb and G C Bowing: Separate bows, legato
Spiccato, even quavers, single notes, playing each note twice = 72 Chromatic scale C and D 2 octaves Separate bows and 12 notes slurred to a bow. Arpeggios to major and minor scales stated above. Compass as above Dominant 7th on C 2 octaves Separate bows and slurred 4 notes to a bow. Dim 7th on C 2 octaves Separate bows and slurred 4 notes to a bow. Bowing: Separate bows, legato, even quavers, single notes Slurred, 4 notes per bow, even quavers = 60 Double stops 3rds in C 6ths in Ab 8ve in C 1 octave
71
Scales = 92 Major D and A D and Eb Harmonic and melodic minor Db and A C and Eb Bowing: Separate bows, legato
Spiccato, even quavers, single notes, playing each note twice = 80 Chromatic scale Eb and E Separate bows, 12 notes slurred Arpeggios = 60, to major and minor scales stated above. Compass as above Dominant 7th on D Dim 7th on D 2 octaves 2 octaves 2 octaves
Bowing: Separate bows, legato, even quavers, single notes Slurred, 4 notes per bow, even quavers = 60 Double stops 3rds C 6ths Ab 8ve C 2 octaves
72
Right handbowing Legato(separate, slurred, detache) Kayser Op.20, no.33 Kreutzer, no.2, no.4 Mazas Op.36, no.7 Schradieck Bk.1, no.4 Sevcik Op.1 Pt. 1, no.29 (various bowings) Sevcik Op.3 var, no.1, no.3, no.6 Articulated 1. Staccato, Spiccato, Martele Kayser Op.20, no.33 (S) Kreutzer, no.2, no.3, no.5 variation, no.1, no.10, no.21 (S) Kreutzer, no.5, no.6 (M) Sevcik Op.3 Var, no.2, no.10, no.15, no.18, no.22 (S) 2. Hook Stroke(s) Kayser Op.20, no.32 Left handintonation Scales, Arpeggios, Chromatics Flesch, no.21 (A) Galamian-beginning on G and A (A) Kreutzer, no.8, no.10, no.12 (A) Rode Caprices, no.8 (A) Sevcik Op.1 Pt 3, no.1, no.2 (S) Sevcik Op.1 Pt, no.19 (C) Sevcik Op.1 Pt.1, no.22 (A) Sevcik Op.1 Pt.3, no.3, no.4, no.5, no.7 (A) Sevcik Op.1 Pt.3, no.8 (C) Scales 1 octave (major and both minors) 2 octaves 3 octaves Double stops (3rds, 6ths, octaves) Fiorillo, no.29 Kreutzer, no.24 Kreutzer, no.3239, no.41, no.42 Kreutzer, no.7, no.25 Mazas Op.36, no.27 Sevcik Op.1 Pt.1, no.17 Sevcik Op.1 Pt.1, no.20 Sevcik Op.1 Pt.1, no.2326 Sevcik Op.1 Pt.1, no.27 Sevcik Op.1 Pt3, no.14 Sevcik Op.9 any Shifting Fiorillo, no.14 Kreutzer, no.11 (slur in 6s or 12s) Kreutzer, no.9- utilising octave jumps Schradieck Bk.1, no.17, no.19 Sevcik Op.1 Pt. 3, no.9 Sevcik Op.8 any Vibrato Virtuoso Technique-Louis Kievman, no.XV
73
Ornaments/Trills Kreutzer, no.1522, no.40 (t) Mazas Op.36, no.32 (t) Schradieck Bk .1, no.20 (t)
REPERTOIRESTAGE 2
Handel, G.F. Marcello, B. Mendelssohn, F.B. Murrill, H. Rebikoff, V. Rowley, A. Simonetti Tchaikovsky, P.I. Telemann, G.P. Vaughn-Williams, R. Vaughn-Williams, R. Sonata in C (any movement) (Schott) Sonata in G (any movement) (International Music Company) Song without Words, Op. 109 (International Music Company) Four French Nursery Songs (Chester Music) Berceuse and Dance from Chester music for Viola (arr. Forbes) Scherzo, No 2 of Four pieces (Stainer and Bell) Madrigale (from: Viva la Viola) Barcarolle, Opus 37, No 6 from Chester music for Viola (arr. Forbes) Concerto in G, 1st and 2nd, or 3rd and 4th movements (Barenreiter) Fantasia on Greensleeves (OUP) Six Studies in English Folk Song (Stainer and Bell)
REPERTOIRESTAGE 3
Bach, J.S. Bax, A. Beethoven L. Dittersdorf, K.D. Eccles, H. Glazanov, A. Handel, G. Hindemith, P. Hoffmeister, F.A. Holst, G. Jacob, G. Locatelli, P. Marais, M. Milhaud, D. Milhaud, D. Mozart, W.A. Pleyel, I. Schumann, R. Schumann, R. Schumann, R. Telemann G. Vaughan-Williams, R. Vaughan-Williams, R. Three Viola de Gamba Sonatas arranged for Viola, Breitkopf and Hartel, EB 3359 or Peters, P 4286a Legend, Chapell Alla Polacca, arranged Forbes, Scott Sonata in Eb, 1st and 2nd movements, Hofmeister Sonata in G minorany 2 contrasting movements Elegie, Opus 44, Boosey and Hawkes Concerto in B minorany two contrasting movements. Schott Trauermusik Viola Concerto in D Major, 1st movement Lyric movement, OUP Air and Dance, OUP Sonata in G minor, 1st and 2nd movements, IMC Five Old French Dances, any two movements, Chester La Californienne from Quatre Visgaes La Parisienne from Quatre Visgaes, No 4 Adagio K261, arranged Forbes Concerto in D Major, 1st movement, Hinrichsen Marchenbuilder, Op. 113, any one movement, Schirmer Sonata in G Major, 1st and 2nd movements Sonata in D Major, 3rd and 4th movements Concerto in G, any two contrasting movements, Hortus Musicus Ballad form Suite Group 2 OUP Carol and Christmas Dance form Suite Group 1, OUP
74
VIOLONCELLO
Scales Major A and Eb C and D Harmonic and melodic minor A and Eb C and D Bowing: Separate bows, legato = 100
Slurred, one octave per bow = 80
Hook stroke, playing notes twice in the lower half of the bow = 80
Spiccato, even quavers, each note twice = 100
Chromatic scales C and D Separate, 6 notes slurred to a bow = 70
2 octaves
Arpeggios To major and minor scales stated above. Compass as above Bowing: separate bows, legato = 50
75
Slurred, 3 notes per bow = 50
Dominant 7th on low D and G Separate bows, legato Slurred, 4 notes per bow = 60 Dim 7th on low D and G Separate bows, legato Slurred, 4 notes per bow = 60
2 octaves
2 octaves
Scales Major B and F Eb and E Harmonic and melodic minor B and F Eb and E Bowing: Separate bows, legato, = 100
Hook stroke, playing notes twice in the lower half of the bow,
= 100
Spiccato, even quavers, each note twice = 100
76
Chromatic scales E and Ab Separate, 6 notes slurred to a bow = 70
2 octaves
Arpeggios to major and minor scales stated above. Compass as above Bowing: separate bows, legato = 50
Dominant 7th on A and F Separate bows, legato Slurred, 4 notes per bow = 60 Dim 7th on A and F Separate bows, legato Slurred, 4 notes per bow = 60
2 octaves
2 octaves
There are clearly more resources available for training technical skill than those listed below. More advanced students might tackle more demanding, unlisted studies in these books as well as extra resources such as Poppers High School of Cello Playing. The list draws on: J.P. Duport Twenty-One Etudes for the Violoncello S. Lee 40 Melodious & Progressive Studies Op.31 (Books 1 and 2) R. Kreutzer-Silva 42 Studies for Violoncello Popper D. Preparatory Studies Op.76 A. Piatti Violoncello Method (Books 1, 2 and 3) F. Dotzauer 113 Studies P. Such New School of Cello Studies Book 2
77
Aspects of cello playing, such as tone quality, phrasing and finger dexterity, are not listed under separate headings below because they are integral to every item in the list. The following titles have not been itemised for the list. However, they are valuable to all aspects of fundamental skill building: A.W. Benoy & L. Sutton Introduction to Thumb Position Basler-Novsak/Stein Fun with Double-Stops for Young Cellists L. Feuillard Daily Exercises L. Feuillard Studies of the Young Cellist 60 progressive studies for the left hand and bow H. Becker Finger and Bowing Exercises J. Klengel Daily Exercises R. Kreutzer-Silva 42 Studies for Violoncello O. evk Op.1 Thumb Placing Exercises O. evk Op.2 School of Bowing Technics O. evk Op.3 Forty Variations O. evk Op.8 Changes of Position and Preparatory Scale Studies J. StarkerAn Organized Method of String Playing Double stops Dotzauer, nos 16, 21, 28, 37, 40, 63 Lee Op.31 Book 2, no.24 Popper Preparatory Studies, no.8 Compound time Dotzauer, nos 10, 18, 22, 27, 31, 35 and 36 Piatti Book 2, nos 6, 9, 15, 18. 22, 23 and Exercises on Dotted Notes in 6/8 time Triplets Dotzauer, nos 2, 14, 18, 23 Popper Op.76, no.1 Staccato/Spiccato/Detach Dotzauer, no.11, 82 Sebastien Lee Op.31 Book 1, nos 12, 17 and 18 Sebastien Lee Op.31 Book 2, no.25 Such Book II, no.30 String crossings Dotzauer, no.10, 11, 12, 14, 18, 20, 24, 25, 30, 32, 65, 72 Duport, no.4, 5 Kummer Op.57, no.8, 9, 10 Percy such Book 2 (Lower Elementary Grade), nos 4, 6 Popper 15 Easy Studies, no.2 Sebastien Lee Book 1, nos 3, 8, 15 Such Book II, no.4, 6, 11, 28, 33 Chromatics Duport, no.3 Dotzauer, no.67 Popper, no.7 Such Book II, no.6, 4 Arpeggiated patterns Dotzauer, nos 2, 10, 11, 12, 33, 39 Kummer Op.57, no.1 Lee Op.31 Book 1, no.22 Such Book II, no.6 Finger dexterity Dotzauer, nos 7, 21, 34, 40 Feuillard Daily Exercises 1 & 2 Kreutzer 22 Studies, no.11
78
Hook stroke Dotzauer, no.19, 38 Kummer, no.4 Lee Book I, no.14 Piatti Book II page 38 Such Book II, nos 14, 25, 26, 32 Ornamentation Dotzauer, no.22, 73, 74, 78 Lee Op.31 Book 1, no.16, 20 Piatti Book II, no.30 Kreutzer Op.57, nos 12, 15, 16, 17, 20
REPERTOIRESTAGE 2
Bach, J.S. Bach, J.S. Breval, J.B. Corelli, A. De Fesch, W. Faur, G. Marcello, B. Mendelssohn, F. Paradis, M. Popper, D. Romberg, B. Squire, W.H. Tchaikovsky, P. Vivaldi, A. Arioso (Schirmer) Six Solo Suites Sonata in C (Schott) Sonata in D minor, Op5 No 8 (International Music Company) Sonata in D minor, Op. 13 No 4 (Barenreiter) Sicilienne Six Sonatas Song Without Words, Op. 109 Sicilienne Happy Recollections, Op. 64 No. 1 Sonatas Tarentella (Stainer and Bell) Valse Sentimentale Six Sonatas
REPERTOIRESTAGE 3
Bach, J.S. Beethoven, L.van. Beethoven, L.van. Bartok, B. Bruch, M. Bruch, M. Eccles, H. Faur, G. Faur, G. Faur, G. Goltermann, G. Haydn, J. Popper, D. Romberg, B. Saint-Sans, C. Schumann, R. Sculthorpe, P. Senaill, J.B. Telemann G. Van Goens, D. Vivaldi, A. Six Solo Suites Tweleve Variations on Ein Mdchen oder Weibchen from Mozarts Magic Flute Tweleve Variations on a theme from Judas Maccabeus Roumanian Folk Dances Kol Nidrei Prayer Sonata in G minor Berceuse Elergy Aprs un Rve, Elegie Concertos Air and Variations form Sonata in C, International Gavotte Six Sonatas Allegro Appassionato Fantasy Pieces Tailitnama Song Allegro Spiritoso Sonata in A minor Tarantelle Six Sonatas
79
DOUBLE BASS
Scales Major B and Eb E and G Harmonic and melodic minor Eb and B E and G Bowing: Separate bows, legato
Hook stroke, playing notes twice, at the nut and at the point
Spiccato, even quavers, playing each note twice = 80 Arpeggios of the above scales. Compass as above Bowing: Separate bows, legato = 60
= 60 Chromatic scales G and E Bowing: Slurred in 4s 2 octaves
= 60
80
Dominant 7th of E and F Separate bows, legato = 60
2 octaves
Slurred, 4 notes per bow, even quavers = 60
Diminished 7ths of E and F
2 octaves
Bowing: Separate bows, legato, even quavers, single notes Slurred, 4 notes per bow, even quavers = 60
Scales Major Ab, A, E and F Harmonic and melodic minor Ab, A, E and F Bowing: Separate bows, legato
2 octaves 2 octaves
Hook stroke, playing notes twice, at the nut and at the point
Spiccato, even quavers, playing each note twice = 100
81
Arpeggios of the above scales. Compass as above Bowing: Separate bows, legato = 60
Chromatic scales Ab and F Bowing: Slurred in 4s
2 octaves
= 60 Dominant 7ths of A and F Separate bows, legato = 60 2 octaves
Slurred, 4 notes per bow, even quavers = 60
Diminished 7ths of A and F
2 octaves
Bowing: Separate bows, legato, even quavers, single notes Slurred, 4 notes per bow, even quavers = 60
82
Technique Staccato
Examples of studies/pieces/orchestral excerpts Gavotte by Gossec (Vance vol 3) Gavotte from Mignon by A Thomas (Vance vol3) Brandenburg Concerto, no.3 excerptallegro moderato Bille Studies, no.6, 13 and 47 (book 3) Hrabe 86 Etudes (book 1), no.3 Tre Giorni by Pergolesi (Vance Vol 3) Othello exerpt Bottessini Exercises for Double Bass, no.10 Simandl Etudes, no.1, 2 and 3 Rabbath study no1 (book 1)and staccato Rabbath study no3 (book1) Andante con moto and allegro from Symphony, no.5 by Beethoven (Simandl) Marriage of Figaro overturePresto by Mozart Bottesini Exercises for Double Bass, no.8 Bille studies no, 18, 27, 30, 31 and 32 Hebrides overture excerpt by Mendelssohnallegro moderato Simplified Higher Technique by Petracchi (any) Any Rabbath study Vade Mecum by Vance Rabbath exercises p3133 (book2) Petracchi pg9 Mahler symphony, no.1 solo (3rd movement) Shostakovich Symphony, no.5 (1st movement) Rabbath (book2) pg 25 Vade Mecum by Vance (any) Rabbath study, no.16 Rabbath study, no.14 (book2) and double stopping Hrabe study, no.16and slurs Don Jaun excerpts by Strauss Vade Mecum by Vance Spanish Ode by Rabbath Rabbath (book 2) pg 3940, study, no.14 Russian Sailors Dance by R Gliere Rabbath (book 2) pp. 3940, study, no.14 Bille Study, no.34 Rabbath (book 1) studies 1 and 6 Bille Studies (anything from book 3) Mozart Symphony, no.40 (1st movement) Rabbath Study, no.9 Bruckner Symphony, no.8 (allegro moderato) Berlioz Symphony Fantastique (march to the scaffold) Vade Mecum by Vance p. 46 Shostakovich Symphony, no.1 (allegretto)
Legato
Slurs
Finger dexterity
4th position
Shifting
Triplets
Double stopping
Accents/Marcato
Combination bowing
Chromatic
83
REPERTOIRESTAGE 2
Beethoven, L. van. Capuzzi, A. Dragonetti, D. Faure, G. Giovannino, G.B. Keyper, F. Pitfeld, T. Pitfield, T. Rabbath, F. Sonatina in G Major Concerto in D Major, 2nd and 3rd movements Three Waltzes Apres un Reve, trans Zimmermann (IMC) Sonata in F Major Romance and Rondo (Yorke) Sonatina Fantasia Etudes (select one) 15 or 16 or 17 or 18 from New Technique for Double Bass, Book 2 (Leduc)
REPERTOIRESTAGE 3
Bach, J.S. Capuzzi, A. Capuzzi, A. Corelli, A. Dragonetti, D. Eccles, H. Handel, G.F. Jacob, G. Marcello, B. Rabbath, F. Suites for Cello, any movement, Peters Concerto in F, 1st or last movements Concerto in D, 1st or last movements Sonata in D minor, in entirety- International Six Waltzes for double bass alone, any or all (ed. Turetsky)McGinnis and Marx Music Sonata in G minor, any two contrasting movements, International Largo in G Sarabande No 5 in G from Klassische Stucke Book 1, Peters A Little Concerto, any movement(s)Yorke Any Sonata, any two contrasting movements From Solos for the Double Bassist any of Ode dEspagne, Poucha Dass-Liben
84
HARPPEDAL HARP
Scales Major Ab, A, C and F major Harmonic minor A, C#, F and F# 3 octaves, hands together, one octave apart 3 octaves, hands together, one octave apart
Arpeggios To major and minor scales stated above. 3 octaves, hands together, one octave apart, root position, in 3s and in 4s
Dominant 7ths of A and F
3 octaves, hands together, root position
TECHNICAL WORKREPERTOIRESTAGE 2
Arpeggios (ascending, descending and one-handed) Naderman, F.J. Methode de Harpe Vol. 2, (Billaudot), Other study in Arpeggios, p. 17 Salzedo, C. Conditioning Exercises (Schirmer), Exercise I VI Arpeggios (crossing) Salzedo, C. Conditioning Exercises (Schirmer), Exercise VII - IX Voicing Naderman, F.J. Mthode de Harpe Vol. 2, (Billaudot), Second Study of arpeggio with a Song of Thumb (sic) Naderman, F.J. Mthode de Harpe Vol. 1, (Billaudot), Example with Four Parts p.23 Ornamentation Naderman, F.J. Mthode de Harpe Vol. 1, (Billaudot), About the Trill p. 32 Salzedo, C. And Lawrence, L. Method for the Harp, (Shirmer), One hand Trill and Two-hand Trill p. 51 Scales Salzedo, C. Conditioning Exercises, (Schirmer), Exercise X
85
Scales Major Ab, Cb, Eb and Gb major = 72, 4 notes per beat Harmonic minor F and D = 72, 4 notes per beat Melodic minor C and Eb = 66, 4 notes per beat Arpeggios To major and minor scales stated above. 4 octaves, hands together, one octave apart, root position, in 3s and in 4s 4 octaves in semiquavers, hands together, one octave apart 4 octaves in semiquavers, hands together, one octave or a tenth apart
4 octaves in semiquavers, hands together, one octave or a tenth apart
Dominant 7ths of Bb and G
3 octaves, hands together, in root position and inversions
86
Arpeggios (ascending, descending and one hand) Pozzoli, no.16, 20 and 21 Boscha, N. Vingt-Cinq Exercises (Leduc), Etudes Op. 62, nos X, XII or XXIV Arpeggios (crossing: one hand and left over right) Lariviere. Exercices et Etudes pour la Harpe Op. 9, (Leduc), Etude no. 1 Salzedo, C. and Lawrence, L. Method for the Harp, (Shirmer), One-hand Arpeggios Octaves (consecutive, occilating) Pozzoli. no.19, 19bis and 23, Ricordi Boscha, N. Vingt-Cinq Exercises (Leduc), Etudes Op. 62 nos III, VII, XV or X Salzedo, C. and Lawrence, L. Method for the Harp, (Shirmer). Oscillating Movement of the wrist Scales Boscha, N. Vingt-Cinq Exercises, (Leduc), Etudes Op. 62 no. VI Lariviere, Exercices et Etudes pour la Harpe Op. 9 (Leduc), Etude no. 1 Voicing Boscha, N. Vingt-Cinq Exercises (Leduc), Etudes Op. 62 no. VIII or XVII Ornamentation Boscha, N. Vingt-Cinq Exercises (Leduc), Etudes Op. 62 no. XI or XIV Rolling Chords Boscha, N. Vingt-Cinq Exercises (Leduc), Etudes Op. 62 no. XVIII Harmonics Salzedo, C. and Lawrence, L. Method for the Harp, (Shirmer). Cortege
REPERTOIRESTAGE 2
Dussek, J.L. Grandjany, M. Ravel, M. Salzedo, C. Salzedo, C. Six Sonatinas, (any 1st movement), Musica Antiqua Bohemica Pastorale Prelude (arr. Salzedo), Durand Iridescence, Carl Fisher Quietude, Carl Fisher
REPERTOIRESTAGE 3
Britten, B. Grandjany, M. Handel, G.F. Salzedo, C. Thomas, J. Tournier, M. Interlude from Ceremony of Carols Arabesque Musique de Haendel, Passacaille (from: Suite in G minor, HWV432, arr. for harp solo by Tiny Beon) Chanson dans la Nuit or La Desirade Watching the Wheat, Adlais Four Preludes (any two), Leduc
87
HARPNON-PEDAL HARP
(Must have a minimum 34 strings and be fully levered)
Scales Major A, C, Eb and F major Harmonic minor A and C
3 octaves, hands together, one octave apart 3 octaves, hands together, one octave apart
Dominant 7ths of A and F
Arpeggios (ascending descending and one-handed) Salzedo, C. Conditioning Exercises (Schirmer), Exercise I VI Bochsa, R.N.Ch. 50 Lecons Progressives Vol. 1,(rev. Megevand)(Billaudot), nos 9, 19 and 20 Arpeggios (crossing: one hand and left over right) Salzedo, C. Conditioning Exercises (Schirmer), Exercise VII - IX Bochsa, R.N.Ch. 50 Lecons Progressives Vol. 1,(rev. Megevand)(Billaudot), no. 21 from 50 Octaves Bochsa, R.N.Ch. 50 Lecons Progressives Vol. 1,(rev. Megevand)(Billaudot), no. 1 and 3
88
Scales Salzedo, C. Conditioning Exercises (Schirmer), Exercise X Bochsa, R.N.Ch. 50 Lecons Progressives Vol. 1, (rev. Megevand) (Billaudot), no. 7 and 8 Rolling Chords Bochsa, R.N.Ch. 50 Lecons Progressives Vol. 1, (rev. Megevand) (Billaudot), no. 12 and 13 Harmonics Bochsa, R.N.Ch. 50 Lecons Progressives Vol. 1, (rev. Megevand) (Billaudot), no. 14 Ornamentation Bochsa, R.N.Ch. 50 Lecons Progressives Vol. 1, (rev. Megevand) (Billaudot), no. 22 and 23
Scales Major A, Bb and C major = 72, 4 notes per beat Harmonic minor A and C 3 octaves, hands together, one octave apart
3 octaves in semiquavers, hands together, one octave or a tenth apart
Dominant 7ths of Bb and G
89
Arpeggios (ascending, descending and one-handed) Naderman, F.J. Mthode de Harpe Vol. 2, (Billaudot), Other study in Arpeggios, p. 17 Arpeggios (crossing: one hand and left over right) Naderman, F.J. Mthode de Harpe Vol. 1, (Billaudot), Exercises of Cross (sic), p. 39 Octaves Bochsa, R.N.Ch. 50 Lecons Progressives Vol. 1, (rev. Megevand) (Billaudot), nos 15 and 16 Scales Naderman, F.J. Mthode de Harpe Vol. 1, (Billaudot), March, p. 45 Rolling Chords Naderman, F.J. Mthode de Harpe Vol. 1, (Billaudot), Exercises, pp. 5053 Ornametation Bochsa, R.N.Ch. 50 Lecons Progressives Vol. 1, (rev. Megevand) (Billaudot), no. 24
REPERTOIRESTAGE 2
Andres, B. Andres, B. Bach, J.C. Barber, G. Orr, B. Scarlatti, D. Rigaudon and Passepied from Automates, Hortensia La Gimblette Hortensia Presto no. 3 from Pices Classiques pour la Harpe Celtique Vol 5 arr Bouchaud, Billaudot Harp of the Western Wind from Windmill Sketches, Mrs Gail Barber, Texas Prelude no. 2 from Three Diatonic Preludes, OUP Sonata in C No. 1 from Pices Classiques pour la Harpe Celtique Vol 5 arr Bouchaud, Billaudot
REPERTOIRESTAGE 3
Andres, B. Bach, J.C. Beethoven, L.V. Clementi, M. Grandjany, M. O'Carolyn, T. Pitfield, T.B. Renie, H. Bourree, Gigue or Tambourin (any two) from Automates, Hortensia Presto no. 3, Pices Classiques pour la Harpe Celtique Vol 5. arr Bouchaud, Billaudot Danse Villageoise from Pices Classiques pour la Harpe Celtique Vol. 4, Billaudot Rondo de la Sonatine Op. 36 no. 1 from Pices Classiques pour la Harpe Celtique Vol 4, Billaudot Pastorale Durand Concerto no. 39 from Panorama de la Hapre Celtique, arr. Bouchaud, Editions Musicales Transatlantiques Second Ostinato from 11 Minautres, Peters Conte de Noel from Six Pieces Breves, Leduc
90
CLASSICAL GUITAR
Scales Tempo = 120 (perform using quavers) 2 octaves 3 octaves
Major C and E flat E, F and G
Harmonic and melodic minor C sharp and D 2 octaves Chromatic scales E and F 3 octaves
Right-hand fingerings im, mi, ma, am, ia, ai for the above scales Arpeggios Tempo = 120 (perform using crotchets) To major and minor scales stated above. Compass as above Dominant 7th (s) of A and B flat 2 octaves
Scales Tempo = 120 (perform using quavers)
Major F sharp, G, A flat and A 3 octaves Harmonic and melodic minor E, F and F sharp 3 octaves Chromatic scales G B flat 2 octaves 3 octaves
Right-hand fingerings im, mi, ma, am, ia, ai for the above scales Arpeggios Tempo = 120 (perform using crotchets) to major and minor scales stated above. Compass as above Dominant 7ths of Ab and G 2 octaves
91
Concept Tuning and aural awareness Posture and right hand sound production Stage 2 (min. AMEB Grade 4) Tune independent of the Teacher Musicianship and SightReading for GuitaristsOliver Hunt Worlds Favorite Solos For Classic Guitar Vol 43Harvey Vinson Library of Guitar ClassicsJerry Willard. Etudes Simples (Vol 1 & 2)Leo Brouwer Slur, Ornament & Reach Development Aaron Shearer Microestudios 2 Volumes, nos 610 and 1115Abel Carlevaro Complete works of H Villa-Lobos Preludes 2 & 4 ScalesDiatonic Major and minor ScalesAMEB Technical Workbook Stage 3 (min. AMEB Grade 5) Tune accurately independent of teacher Musicianship and SightReading for GuitaristsOliver Hunt Worlds Favorite Solos For Classic Guitar Vol 43Harvey Vinson Library of Guitar ClassicsJerry Willard. Etudes Simples (Two Volumes) Leo Brouwer Slur, Ornament & Reach Development Aaron Shearer Microestudios 2 Volumes, nos 610 & 11 15Abel Carlevaro Complete works of H Villa-LobosOther Preludes and Etudes ScalesDiatonic Major and minor ScalesAMEB Technical Workbook Comments Aural awareness of Major & minor tonality, form, harmonic structure. All of the repertoire presented in these volumes have a number of suitable pieces for developing a wide range of skills and concepts necessary at these stages of Guitar Performance. Teachers can consult the minimum levels of achievement stated in the requirements at the top of this chart.
Apoyando
NB Scales can be configured with any sensible fingering. Many of the pieces contained in the volumes above (under Posture and Right Hand Sound Production) have excellent works to cover Apoyando (Rest-Stroke) Many of the pieces contained in the volumes above (under Posture & Right Hand Sound Production) have excellent works to cover Tirando (Free-Stroke) Advanced P53 AMEB Tech WkBook Left hand slurs
Tirando
AMEB Tech WorkBook pp. 2627 Guiliani Arpeggios
AMEB Tech WkBook p. 39 Guiliani Arpeggios
Left hand Flexibility Strength and stretch Articulation and coordination
AMEB Tech WkBook p. 26 Left hand slurring
AMEB Tech WkBook p. 39 Left hand slurring
A variety of Rhythms & Styles Student Repertoire Series Vol 2Lawrence Ferrara Pieces from Latin America Schwarzberger Afterthoughts (1 & 2)Richard Charlton 5 Exotic StudiesPhilip Houghton
Right Hand Staccato WFS Sor Studies in A pg 28 & Am pg 35. Alternately use Fenando SorThe Complete Studies, Lessons and Exercises for guitarBrian Jeffery
All of the repertoire presented in these volumes have a number of suitable pieces for developing a wide range of skills and concepts necessary at these stages of Guitar Performance. Teachers can consult the minimum levels of achievement stated in the requirements at the top of this chart.
92
Concept Tone quality
Stage 2 (min. AMEB Grade 4) Tone Production on the Classical Guitar John Taylor Pumping NylonScott Tenant (Book and DVD) The Art of Playing Classical Guitar Charles Duncan Playing with others to perform for assessments. Music from intermediate to advanced ensemble works (one player per part). Suitable works by Richard Charlton, Christopher Keane, Rory ODonohue, or any international composers for Guitar ensemble. Duo ConcertanteGiuliani. Divertissement for two guitars Op.38F Sor Guitar ClassicsJerry Willard
Stage 3 (min. AMEB Grade 5) Tone Production on the Classical Guitar John Taylor Pumping NylonScott Tenant (Book and DVD) The Art of Playing Classical Guitar Charles Duncan Playing with others to perform for assessments. Music from intermediate to advanced ensemble works (one player per part). Suitable works by Richard Charlton, Christopher Keane, Rory ODonohue, or any international composers for Guitar Ensemble.
Comments All of the repertoire presented in these volumes have a number of suitable pieces for developing a wide range of skills and concepts necessary at these stages of Guitar Performance. Teachers can consult the minimum levels of achievement stated in the requirements at the top of this chart.
Ensemble participation
93
REPERTOIRESTAGE 2
Classical guitar Bach, J.S. Bach, J.S. Bach, J.S. Barrios, A.M. Brouwer, L. Carcassi, M. Charlton, R. Charlton, R. Chilesotti, O. Coste, N. Dowland, J. Guiliani, M. Houghton, P. Houghton, P. Logy, A. Powlesland, N. Scarlatti, D. Sor, F. Svoboda, P. Tarrega, F. Villa-Lobos, H. Bourre in E minor, Fifth movement from Suite in E minor for Lute, BWV 996 Prelude in D minor, BWV 999 Gavotte I & II Cello Suite no. 6, BWV 1012 Villancico de Navidad, Medallon Antiguo Etudes Simples Series 2 (any one) Opus 60, No 2, 9, 10, 13 Rondeau from Afterthoughts Book 1, Cakewalk from Modern Times (Vol 4 Chantarelle) Berceuse Six Pieces of the Renaissance (any one) Op. 38, No 2 or 20 Melancholy Galliard Maestoso from Three Sonatinas, Opus 71 No 1 Six Short Guitar Solos1. Dompe Drone Dance, 2. The Stream or 4. The Red Gold Fish 5. Exotic Studies4. Phantasy Partita in A minor, Cappricio, Gavotte and Gigue (any two) Cloud Nine (Trinity Grade 6) Five pieces, Larghetto or Aria Minuet and Trio No. 1 from Opus 22 or Minuet and Trio no. 3 from Opus 25 Solos by Svoboda Volume 2Wongaling, Bossa on the Beach, Lunar Silhouette Adelita, Lagrima, Rosita Cinq Preludesno. 3 or 4
REPERTOIRESTAGE 3
Classical guitar Bach, J.S. Bach, J.S. Barrios, A.M. Bennett, R.R. Brouwer, L. Carcassi, M. Charlton, R. Dowland, J. Giuliani, M. Houghton, P. Houghton, P. Lauro, A. Piazzolla, A. Ryan, G. Sanz, G. Sanz, G. Sor, F. Svoboda, P. Tarrega, F. Villa-Lobos, H. Walton, W. York, A. Prelude from Cello Suite No. 1, BWV 1006 Courante or Sarabande from Cello suite no. 3, BWV 1009 Aire de Zamba, Julia Florida Vals, Preludio, Aconquija Impromtus No.1, 3 or 5 Etudes SimplesSeries 2 No VI & VII, Danza Characteristica Opus 60 No. 8, 18 & 20 Afterthoughts No. 2 (any Piece) Melancholy Galliard or Queen Elizabeths Galliard Six Preludes, Opus 83, no. 1, 2, 3, 4 or 5 5 Exotic Studies, no. 5Tremolo Study (Oceana) 6 Short Guitar SolosThe Ancients Quatro Valses Venelano (any one) Verano Portena, Tanguisimo Smoke Rising from Scenes from the Wild West (Trinity Grade 7) Pavanas from Five Pieces (ed. DuarteUniversal) Canarios from 15 diferencias escogidas sobre el CANARIO (ed T. Santos) 20 Sor Studies (ed. SegoviaAlbert), any one Aurora, Celtic Clash Recuerdos de la Alhambra or Cappricho Arabe Cinq Preludes (any one) Five Bagatelles (any one) Faire, Sunday Morning Overcast, Quicksilver
94
KEYBOARD
ORGAN
Scales Manual scales = 84, four notes per beat Major Ab, B and Eb 2 octaves, legato, hands separately and together
Harmonic and melodic minor Ab, B and Eb 2 octaves, legato, hands separately and together Chromatic scales Ab, B and Eb 2 octaves, legato, hands separately and together
Manual contrary motion scales = 60, four notes per beat Major D and Eb Harmonic minor C and F Manual arpeggios Major and minor = 52, four notes per beat (minimum speed) Ab, B and Eb Pedal scales Major C, D and Eb 2 octaves, legato, hands separately and together 2 octaves, legato, hands separately and together 2 octaves, legato, hands separately and together
2 octaves, legato
Harmonic and melodic minor C, D and Eb 2 octaves legato Chromatic scales C, D and Eb 2 octaves legato MM = 75, two notes per beat (minimum speed) Pedal arpeggios Major and minor A, Eb and F 1 octave, legato MM = 65, two notes per beat (minimum speed) Left hand and pedal scales contrary motion Major D and F 1 octave, legato = 70, two notes per beat (minimum speed)
95
Pedal exercises NOTE: Candidates must present one of the four exercises below as a component of their technical work. Bach, J.S. Mendelssohn, F. Peeters, F. Peeters, F. Pedal Exercitum in G minor Pedal part of the 12/8 Variation from Sonata in D minor, Op. 65 No. 6 Pedal Exercise No. 4 in E major (page 49) from Little Organ Book (SummyBirchard Inc. Distributed by Warner Bros.) Pedal Exercise No. 4 (page 42) from Ars Organi Vol. 2 (Schott Frres)
Scales Manual scales = 92, four notes per beat Major A, Db and F# 2 octaves, legato, hands separately and together
Harmonic and melodic minor A, Db and F# 2 octaves, legato, hands separately and together Chromatic scales A, Db and F# 2 octaves, legato, hands separately and together
Manual contrary motion scales = 72, four notes per beat Major E and F Harmonic minor Db and Eb Manual arpeggios Major and minor = 60, four notes per beat Root position A, Db and F# Manual dominant 7ths = 60, four notes per beat Root position A, Db and F# Diminished 7ths = 60, four notes per beat Root position A, Db and F# Pedal scales = 85, two notes per beat 2 octaves, legato, hands separately and together 2 octaves, legato, hands separately and together 2 octaves, legato, hands separately and together 2 octaves, legato, hands separately and together 2 octaves, legato, hands separately and together
96
Major C# and E
2 octaves, legato
Harmonic and melodic minor C# and E 2 octaves, legato Chromatic scales C# and E Pedal arpeggios = 77, two notes per beat Major B, Bb and C# Minor B, Bb and C# 1 octave, legato 1 octave, legato 2 octaves, legato
Left hand and pedal scales contrary motion Major Bb and G 1 octave, legato = 85, two notes per beat Pedal exercises NOTE: Candidates must present one of the three exercises below as a component of their technical work. Bach, J.S. Franck, C. Krebs, J.L. Bars 119 to the end from Fugue in D major, BWV 532 (pedal part only) Pedal solo (Bars 129) from Final in B flat, Op. 21 Prelude in G major, mm. 325 (page 39) from The Organists Manual (Roger E. Davis) (W. W. Norton & Company, New York)
REPERTOIRESTAGE 2
Bach, J.S. Bach, J.S. Bach, J.S. Bach, J.S. Bach, J.S. Bach, J.S. Bach, J.S. Bollmann, L. Clrambault, L-N. Daquin, L-C. Dupr, M. Eben, P. Jongen, J. Jongen, J. Krebs, J.L. Langlais, J. Leighton, K. Mendelssohn, F. Mendelssohn, F. Rheinberger, J.G. Ich ruf' zu dir, BWV 693 Gelobet seiest du, BWV 604 Heut triumphiret Gottes Sohn, BWV 630 In der ist Freude, BWV 615 Meine Seele erhebt den Herren, BWV 648 Prelude and Fugue in E minor, BWV 555 Wir glauben all an einen Gott, BWV 680 Menuet from Suite Gothique Dialogue sur les Grands Jeux from Suite du Premiere Ton Nol Suisse Numbers XXI, XXIV, XXX, XXXVII or XLII from Seventy-nine Chorales, Op. 28 Variation V only from Partita on O Jesu all mein Leben bist du (Universal) Petit Prelude (OUP) Petite Piece (OUP) Trio in A minor (No. 9 from Fifteen Organ Trios, Masters Music Publications Inc.) No. 8 from Neuf Preludes (Leduc) Fanfare from Easy Modern Organ Music (OUP) Andante Religioso from Sonata, No. 4, Op. 65 Andante Tranquillo from Sonata, No. 3, Op. 65 Intermezzo from Sonata, No. 8
97
REPERTOIRESTAGE 3
Bach, J.S. Bach, J.S. Bach, J.S. Bach, J.S. Boellmann, L. Bonnet, J. Brahms, J. Buxtehude, D. Dubois, T. Dupr, M. Dupr, M. Franck, C. Franck, C. Hammond Hindemith, P. Homilius, G. A. Howells, H. Jongen, J. Karg-elert, S. Langlais, J. Langlais, J. Lbeck, V. Mathias, W. Mathias, W. Mendelssohn, F. Merkel, G.A. Messiaen, O. Peeters, F. Reger, M. Rutter, J. Whitlock, P. Ach bleib bei uns, Herr Jesu Christ, BWV 649 First movement only from Concerto No. 1 in A minor after Vivaldi, BWV 593 In dir ist Freude, BWV 615 Valet will ich dir geben, BWV 736 Toccata from Suite Gothique Romance sans paroles, Op. 7 No. 8 (Leduc) Chorale Prelude: O Welt, ich, muss dich lassen, Op. 122 No. 3 Prelude, Fugue and Chaconne, BuxWV 137 Interlude or Postlude-Cantique or Marche-Sortie from Seven Pieces for Organ (Kalmus K 09767) Numbers XLVIII or LIV from Seventy-Nine Chorales, Op. 28 Te lucis ante terminum (No. 5 from Le Tombeau de Titelouze) Cantabile in B Major Pastorale Postlude from The Modern Organist, Volume 1 (Banks) 1st or 2nd movements from Organ Sonata No. 2 Holy God, We Praise Trio in G Major (No. 13 from Fifteen Organ Trios, Masters Music Publications Inc.) Psalm-Prelude No. 2 (Set 1) (Novello) Chant de Mai Wachet auf, ruft uns die Stimme, Op. 65 No. 3 No. 3 (Le Saint Espirit) from Trois Meditations sur la Sainte Trinit (Editions Combre) No. 5 from Neuf Preludes (Leduc) Prelude and Fugue in E Processional from Modern Organ Music (OUP) Toccata Giocosa, Op. 36 No. 2 (OUP reproduced by Allegro Music) Prelude and Fugue in D minor; Prelude in C minor No. 15 from 16 Orgelstcke, Op. 179 (Musik Verlag 1878) Les Bergers from La Nativit (Leduc) Herr Jesus hat ein Gartchen (complete) from 10 Organ Chorales, Op. 39 (Schott) Chorale Prelude Wie schn leuchtet der Morgenstern, Op. 67 No. 49 Toccata in Seven (OUP) Thy Name from 30 Chorale Preludes, Volume 3 Op. 70 Toccata from Plymouth Suite (OUP)
98
PIANOFORTE
ScalesSimilar motion, legato = 84, 4 notes per beat Major B, Eb and F# 4 octaves, hands separately and together, piano or forte
Harmonic and melodic minor B, Eb and F# 4 octaves, hands separately and together, piano or forte Chromatic scales B, Eb and F# 4 octaves, legato, hands separately and together, piano or forte
Scalessimilar motion, staccato = 60, 4 notes per beat Major B and Eb 4 octaves, hands separately and together, mezzo-forte
Harmonic and melodic minor B and Eb 4 octaves, hands separately and together, mezzo-forte Chromatic scales B and Eb 4 octaves, hands separately and together, mezzo-forte
Contrary motion scaleslegato = 60, 4 notes per beat Major B and Eb Harmonic minor B and Eb Arpeggios = 52, 4 notes per beat Major and minor B, Eb and F# 4 octaves, hands separately and together, root position only, mezzo-forte 2 octaves, hands together, mezzo-forte 2 octaves, hands together, mezzo-forte
The following studies may form a part of the technical work component for the pianoforte examination. Berens, H. Khler, L. Macdowell, E. Moszkowsky, M. Nos. 17, 18, 19, 20, 21, 26, 27, 28 or 45 from 46 Exercises for Left hand Alone Op. 89, Book 1 (Schirmer 1031) Nos. 4, 5, 6, 8 or 9 from Short School of Velocity, Op. 242 (Alfred) Alla Tarantella from 12 Etudes for the Development of Technique and Style, Op. 39 Nos. 1, 3, 4, 5 from 20 Short Studies, Op. 91 (Alfred)
99
Scalessimilar motion, legato = 92, 4 notes per beat Major Ab, Db and E 4 octaves, hands separately and together, piano or forte
Harmonic and melodic minor Ab, Db and E 4 octaves, hands separately and together, piano or forte Chromatic scales Ab, Db and E 4 octaves, hands separately and together, piano or forte
Scalessimilar motion, staccato = 72, 4 notes per beat Major Ab 4 octaves, hands separately and together, mezzo-forte
Harmonic and melodic minor Ab and Db 4 octaves, hands separately and together, mezzo-forte Chromatic scales Db and E 4 octaves, hands separately and together, mezzo-forte
Contrary motion scaleslegato = 72, 4 notes per beat Major Ab and Db Harmonic minor Ab and Db Arpeggios = 60, 4 notes per beat Major and minor Ab, Db and E Dominant 7ths = 60, 4 notes per beat of Db and E 4 octaves, hands separately and together, root position only, mezzo-forte Diminished 7ths = 60, 4 notes per beat of Db and E 4 octaves, hands separately and together, root position only, mezzo-forte 4 octaves, hands separately and together, root position only, mezzo-forte 2 octaves, hands together, mezzo-forte 2 octaves, hands together, mezzo-forte
100
TECHNICAL WORKREPERTOIRE STAGE 3

Studies may form a part of the technical work component for the pianoforte examination. Berens, H. Czerny, C. Khler, L . Moszkowsky, M. Pozzoli, E. any one from 25 Studies for the Left hand Alone, Op. 89 Book 2 (Schirmer 1031) No. 110 or 114 or 118 from 125 Exercises for Passage Playing, Op. 261 (Peters 2404) Nos. 11, 12, 13, 17, 18, 19 or 20 from Short School of Velocity, Op. 242 (Alfred) Nos. 7, 8, 10, 14, 15, 17 from 20 Short Studies, Op. 91 (Alfred) Nos. 5, 9, 10, 13 or 21 from 24 Studi de Facile Meccanismo (Ricordi 427)
REPERTOIRESTAGE 2
Adams, E. H. Alkan, C. Bach, J.S. Bach, J.S. Bailey, K. Bartk, B. Chopin, F. Clementi, M. Debussy, C. Dussek, J.L. Grieg, E. Hutchens, F. Hyde, M. Khachaturian, A. Koh, J.B. Kuhlau, F. Leighton, K. Lindborg, P. Lunsqui, A. Mathias, W. Mendelssohn, F. Mozart, W.A. Norton, C. Oliveira, J.P. Purcell, H. Schumann, R. Sculthorpe, P. Tr, E.-S. Vir, P. Witches in the Wind No. 1 (La Vision) from Quarante-huit Motifs, Op. 63 Courante from French Suite No. 6, BWV 817 No. 1, 8, 9, 11 or 13 from Two-part Inventions Melindas Mini March from Jazzin Around (Kerin Bailey Music) No. 124 (Staccato) or 128 (Stamping Dance) from Mikrokosmos, Volume 5 Prelude in E minor, Op. 28, No. 4 Sonatina, Op. 36, No. 6 (1st or 2nd movement) The Little Nigar Sonatina, Op. 20, No. 1 (complete) Nocturne from Lyric Pieces, Op. 54 No. 4 Two Little Birds or Evening (EMI) Study for Scales and Staccato or Reverie or Woodland Sketch (Allans) No. 6 (Two Funny Aunties Argued) from Album of Childrens Pieces, Volume 2 Piano Peals for Piano with Soundtrack from Spectrum 4 (ABRSM Publications) Sonatina, Op. 55, No. 1 (complete) White Rabbit from Household Pets (Novello) Bg Resonances for Piano with Soundtrack from Spectrum 4 (ABRSM Publications) tornando-se from Spectrum 4 (ABRSM Publications) Dance or Finale from Little Suite for Piano (OUP) Song Without Words, Op. 19 No. 4 Fantasia in D minor, K. 397 Black Sheep of the Family from Lavenders Kind of Blue (Boosey and Hawkes) Looking into the Mirror for Piano with Soundtrack from Spectrum 4 (ABRSM Publications) Prelude from Suite No. 5 in C Major No. 14, 18, 19 or 30 from Album for the Young, Op. 68 No. 2 (Night) from Night Pieces Short Meeting of Dark and Light from Spectrum 4 (ABRSM Publications) Ratri from Spectrum 4 (ABRSM Publications)
REPERTOIRESTAGE 3
Bach, J.S. Bach, J.S. Bach, J.S. Bailey, K Bartk, B. Bartk, B. Beethoven, L, van Beethoven, L, van Brahms, J. Brahms, J. Bridge, F. Chopin, F. Clementi, M. Clementi, M. Clementi, M. Gigue from English Suite No. 4 in F Major Gigue from French Suite No. 6 in E Major No. 2, 4, 6 or 7 from Three-part Sinfonias Toccatina from Six Sketches (Kerin Bailey Music) Finger Exercise (no. 9 from Ten Easy Pieces) No. 135 (Perpetuum Mobile) or No. 139 (Jack-in-the-Box) from Mikrokosmos, Volume 5 Rondo from Sonata in E Major, Op. 14 No. 1 Sonata in B flat Major, Op. 22 (3rd movement only); Rondo in C, Op. 51 No.1 Intermezzo in B flat, Op. 76 No. 4 Intermezzo, Op. 76 No. 4 Rosemary from Three Sketches (Boosey and Hawkes) No. 13, 15 or 22 from Preludes, Op. 28 Sonata, Op. 26 No. 2 (1st movement only) Sonata, Op. 26 No. 3 (Rondo only) Sonata, Op. 36 No. 2 (2nd movement Presto only)
101
Delius, F. Gershwin, G. Grecki, H. Grieg, E. Haydn, J. Kabalevsky, D. Ligeti, G. Liszt, F. Mathias, W. Mendelssohn, F. Mozart, W.A. Mozart, W.A. Poulenc, F. Scarlatti, D. Schubert, F. Schumann, R. Schumann, R. Tcherepin, A. Whiffin, L.
Any Prelude from Three Preludes for Pianoforte (OUP) The Man I Love from Gershwin at the Keyboard (Warner Brothers) Prelude No. 2 (LentoRecitativo) from Four Preludes, Op. 1 Butterfly, Op. 43 No. 1 Sonata in E minor, Hob. XVI34 (1st movement only) Seven Variations on a Ukranian Folk Song, Op. 51 No. 4 All Ungherese En Rve (Nocturne) Second movement from Piano Sonata, Op. 23 (OUP) Op. 85 No. 2 or Op. 19 No. 6 from Songs without Words First movement from Sonata in B flat, K. 570 Variations on Ah, vous, dirai-je, Maman Ariette from Feuillets dalbum (Editions Salabert) Sonata in D Major, K. 416; Sonata in A Major, K. 429 No. 5 or 6 from Moments Musicaux No. 1 (Coloured Leaf) from Bunte Bltter, Op. 99 No. 3 or 6 from Waldszenen, Op. 82; No. 30 from Album for the Young 1, 2 or 3 from Bagatelles, Op. 5 (Heugel) The Polycat Waltz (Australian Music Centre Publications)
102
HARPSICHORD
Scalessimilar motion, legato = 84, 4 notes per beat Major B, Eb and E 3 octaves, hands separately and together
Harmonic and melodic minor B, Eb and E 3 octaves, hands separately and together Chromatic scales B, Eb and E 3 octaves, hands separately and together
Scalescontrary motion, legato = 60, 4 notes per beat Major and harmonic minor D, Eb Arpeggios = 52, 4 notes per beat Major and minor B, Eb and E 3 octaves, hands separately and together, root position only 2 octaves, hands together
Scalessimilar motion, legato = 108, 4 notes per beat Major Bb, C# and F# 3 octaves, hands separately and together
Harmonic and melodic minor Bb, C# and F# 3 octaves, hands separately and together Chromatic scales Bb, C# and F# 3 octaves, hands separately and together
Scalessimilar motion, staccatto = 72, 4 notes per beat Major Bb, C# and F# 3 octaves, hands separately and together
Harmonic and melodic minor Bb, C# and F# 3 octaves, hands separately and together Chromatic scales Bb, C# and F# 3 octaves, hands separately and together
ScalesContrary motion, staccatto = 72, 4 notes per beat

Major and harmonic minor C# and Eb Arpeggios = 72, 4 notes per beat Major and minor C#, Eb and F# Dominant 7ths = 72, 4 notes per beat of C# and Bb Diminished 7 ths = 72, 4 notes per beat of C# and Bb
2 octaves, hands together
3 octaves, all inversions, legato, hands separately and together, root position only
3 octaves, legato, hands separately and together, root position only
3 octaves, legato, hands separately and together, root position only
REPERTOIRESTAGE 2
Bach, J.S. Bach, J.S. Bach, J.S. Bach, J.S. Bach, J.S. Byrd, W. Byrd, W. Daquin, L. Gibbons, O. Handel, G.F. Mattheson, J. Paradies Purcell, H. Allemande, BWV 837 from Baroque Keyboard Pieces Book 2 (ABRSM Publications) Menuet, BWV 818 a/5 (Baroque Keyboard Pieces Vol. 3, ABRSM Publications) Menuet: 5th movement from Suite in A minor, BWV 818a. No. 28 from Baroque Keyboard Pieces, Book 3 (ABRSM Publishings) Courante from French Suite No. 6 in E Major Prelude in D, BWV 936: No. 4 from Sechs kleine Prludien The Carmans Whistle (complete) from Early Keyboard Music, Vol. 1 (Schirmer 1559) Victoria from Early Keyboard Music, Vol. 1 (Schirmer 1559) La Mlodieuse (Rondeau) (from 1er livre). The Lord of Salisbury his Pavin from Early Keyboard Music, Vol. 1 (Schirmer 1559) Courante: 2nd movement from Suite in G minor, HWV 452. No. 7 from Handel Klavierwerke, Vol. 3 (Brenreiter Ba 4222) or No. 2 from Handel Selected Keyboard Works, Book 3 (5 Mischellaneious Suites) (ABRSM Publishing) Air (Baroque Keyboard Pieces Vol. 3, ABRSM Publications) Nos. 1, 8, 9, 11 or 13 from Two-part Inventions First or Second movement from Sonata V in F Major A New Ground (Z.682). No. 10 from Purcell Complete Keyboard Music, Book 2 (Chester/Music Sales: special order) or No. 9 from Purcell Miscellaneous Keyboard Pieces (Stainer 7 Bell K22) or No. 11 from Baroque Keyboard Pieces, Book 4 (ABRSM Publishing) Prelude from Suite No. 3 in G Major Menuets 1 and 2 from Baroque Keyboard Pieces, Book 3 (ABRSM Publishing) Tambourin (from Pices de Clavecin). Rameau Complete Keyboard Works, Vol. 1 (Brenreiter BA 6581) From Scarlatti Keyboard Pieces and Sonatas, Vol. 2 (ABRSM Publications) Sonata in G minor, Kp. 8. From Scarlatti Sonatas, Vol. 1 (Heugel LP 31/UMP) Sonata in A, L. 191 Sonata in B minor, L.263 Sonata in D, L 482 Sonata in D, L. S15 Sonata in G minor, L.89 Malle Sijmen, SwWV 323. No. 15 from Sweelinck Smtliche Werke fr Tasteninstrumente, Vo. 4 (Breitkopf & Hrtel EB 8744) No. 47 from 60 Pieces for Aspiring Players, Vol. 1 (ABRSM Publications)
Purcell, H. Rameau, J-P. Rameau, J-P. Scarlatti, D. Scarlatti, D. Scarlatti, D. Scarlatti, D. Scarlatti, D. Scarlatti, D. Scarlatti, D. Sweelinck, J.P. Trk, D.G.
104
REPERTOIRESTAGE 3
Bach, J.S. Bach, J.S. Bach, J.S. Benda, F. Buxtehude, D. Frescobaldi, G. Froberger, J.J. Krall, D. Ligeti, G. Paradies, D. Paradies, D. Paradies, D. Paradies, D. Rameau, J-P. Scarlatti, D. Scarlatti, D. Scarlatti, D. Scarlatti, D. Scarlatti, D. Scarlatti, D. Gigue from English Suite No. 4 in F Major Gigue from French Suite No. 6 in E Major No. 2, 4, 6 or 7 from Three-part Sinfonias First movement from Sonata in G (No. 2 from Six Sonatas, Schott ED 9018/MDS) Canzonetta (complete) in G Major (page 107) from Early Keyboard Music, Vol. 1 (Schirmer 1559) Fuga in G minor (page 59) from Early Keyboard Music, Vol. 1 (Schirmer 1559) Toccata in D minor (page 67) from Early Keyboard Music, Vol. 1 (Schirmer 1559) Toccata Tutta de Salti from Early Keyboard Music, Vol. 1 (Schirmer 1559) Passacaglia Ungherese (Schott ED 6843/MDS) Either movement from Sonata X (from Sonatas Vol. 2) (Schott 6121) 1st movement from Sonata III in E Major Giga (Presto) from Sonata XII Second movement from Sonata VI in A Major La Dauphine (Rameau Complete Keyboard Works Vol. 1 (Barenreiter BA6581) Sonata in A Major, K. 429 Sonata in A, L. 293 from Scarlatti Keyboard Pieces and Sonatas, Vol. 2 (ABRSM Publications) Sonata in D Major, K. 416 Sonata in E flat, L. 111 Sonata in F sharp minor, L. 32 Sonata in F sharp minor, L. 481
105
106
VOCAL
VOICE
All scales to be sung to the octave using solfa or open vowel The student is to sing the following scales in keys suitable for his/her vocal range. Technical requirements Scales Major Major/do pentatonic Aeolian/natural minor Harmonic minor Melodic minor Chromatic scale to the 5th = 80 Arpeggios Major Minor =100 Articulation Legato, staccato Dynamics p, mp, mf, f, crescendo, decrescendo
All scales to be sung to the octave using solfa or open vowel The student is to sing the following scales in keys suitable for his/her vocal range. Technical requirements Scales Scales to be sung to the 9th: Major Major/ do pentatonic Aeolian/natural minor Harmonic minor Melodic minor Scales to be sung to the 8ve: Whole tone Chromatic scale = 80 Arpeggios Scales to be sung to the 10th: Major Minor =100 Articulation Legato, staccato Dynamics p, mp, mf, f, crescendo, decrescendo
107
Studies to be comparable to accredited music examination boards available within Australia Stage 1 A/B Grade 2/3 Stage 1 C/D Grade 3/4 Stage 2 A/B Grade 4/5 Stage 3 A/B Grade 5/6 Recommended texts for studies Western Art Music Amelia Peri Vocalises and Exercises for Beginners Concone Opus 9: 50 Lessons for ... Voice Melba Melba Method Vaccai Practical Method for Voice Michael Diack Vocal Exercises Kenneth Jennings Sing Legato Vocal resonance: Western Art Music (Tone colour: vowels) DIACK: Vocal Exercises Song Studies 16: Intoning Exercises 111: Vowel Exercises 17 Ear training: Western Art Music (Intervals: improvisation: phrasing: ornamentation: syncopation) Melba Method: no.13 for low voice Vaccai Cocone Opus 9 50 Lessons for Medium Voice 17Octaves: 19Arpeggios: 203 key changes Sing Legato: no.6 onwards Registration: Western Art Music (Passagio: tilt: range) Concone: 1range of a tenth: 19wide range and arpeggios Vaccai: 1diatonic scale: up and down over 8veVII Amelia Peri Phonation: Western Art Music (Vowels: consonants: articulation: scat: onset: ornamentations: flexibility: arpeggios) Melba: 9low voice, 10 high voiceflexibility: 12A higharticulation: 11 hightriplets Concone: 16Staccato, messa de voce, slurring: 17articulation: 20marcato: 10flexibility, wide range, marcato, fast Vaccai: 8appoggiatura, accacciatura (ornamentation): 9mordant: 10 gruppetto Breathing: Western Art Music (Phrasing: alignment: breath support: messa di voce: flexibility) Melba Method Vocalises Part 2 low and high voice e.g. no.14AMEB Gd 4largo: 5 high: 6 low phrasing Concone: 13Snatch breath Amelia Periphrasing and dynamics
108
REPERTOIRESTAGE 2
Singingchoral Renaissance Invitation to Madrigals Vol I Byrd, W. Non Nobis Domine, SAB Holborne, W. Change Then For Lo She Changeth, SAB Weelkes, T. Though My Carriage Be But Careless, SAB Invitation to Madrigals Vol II Byrd, W. Deo Gratias, SATB Since First I Saw Your Face, SATB Invitation to Madrigals Vol III Jones, R. Sweet Kate, SSA Morley, T. Though Philomela Lost Her Love, SSA Weelkes, T. Though My Carriage Be But Careless, SSA The Oxford Book of Tudor Anthems (for mixed voice) Farrant, R. Call to Remembrance, SATB Talks If Ye Love Me, SATB Madrigals of the Renaissance, Payson des Pres, J. El Grillo (The Cricket), SATB Dowland, J. Now, O New, I Needs Must Part, SATB The Penguin Part Song Book Arcadelt, J. Ave Maria, SATB Baroque The Oxford Easy Anthem Book Arne Help Me O Lord, SAB Bach, J. All People at This Hour, SATB The Penguin Part Song Book Purcell, H. SATB, SATB (double consort) In Our Deep Vaulted Cell Scheidt, S. O Jesu So Sweet, SATB Anthems for Choirs 3 ed. Philip Ledger, Oxford Uni Press Introit for Easter, arr. Ledger, SSA Choral Music of A Thousand Years Editio Musica Budapest Praetorius, M. In Dulci Jubilo, SA Schein, J. Kikkehihi, SSA Classical period Mozart Anthem Book, pub. Concordia God Is Our Refuge, SATB Choral Music of A Thousand YearsEditio Musica Budapest Haydn, F. Tenebrae factae sunt, SATB Martini, G. Tristis est anima mea, SSA Romantic The Penguin Part Song Book Brahms, J. Abschiedslied, SATB In Stiller Nacht, SATB Liszt, F. Christus ist geboren, SSA Two Part Songs Men's Voices 4 part, Novello Mendelssohn, F. A Festal Greeting, TTBB English Romantic Partsongs, edited by Paul Hillier, Oxford Song Books Bishop, H. Home Sweet Home, SATB Pearsall, R. Who Shall Have My Lady Fair, SATB Mendelssohn, F. DuetsPeter Edition Volkslied Op. 63 No 5 Sop/Mezzo Soprano Grieg, E. Rotmans-Knut, TTBB Album for Male Voices, Op. 30
109
20th Century Popular repertoire Barbershop Classics, Remick Music Corp I'm Forever Blowing Bubbles, TTBB Barbershop Memories, EMI Publishing The Darktown Strutters Ball, TTBB Singingsolo Studies and vocalises Vaccai Concone Diack, M. Diack, M.
Practical Method for Medium Voice (any one of lessons 15) 50 Lessons for The Medium Voice (any one of 18) Vocal Exercises, Medium Voice (any one of 19) Song Studies (any one)
Songs The songs selected should be contrasting in mood and style. The student is encouraged to include one unaccompanied song in his or her programme. Western Art Music vocal candidates must present at least one song in a language other than English. Where a song is originally in a language other than English, it may be presented in either the original language or in an English translation. Though memorisation is not obligatory, it is desirable. The following list is not prescriptive but provides examples of songs of an appropriate standard. Typical songs for male voices Anon. Down Among the Dead Men, c 1700 (Boosey & Hawkes) Arlen, H. If I Only Had A Brain (from: The Wizard of Oz). (United Artists Music) Giordani, G. Caro Mio Ben (Schirmer) Handel, G.F. Where'er You Walk (Schirmer) Haydn, J. Liebes Madchen Hor Mir Zu (Schott) Die Landlust (Peters) Quilter, R. Over the Mountains (from: Three songs from old English popular songs, no.3.) Rodgers & Hammerstein The Surrey with the Fringe On Top (from: Oklahoma) Schonberg, C. Do You Hear the People Sing? (from: Les Miserables) Smith, J.C. The Owl Is Abroad (from: The Tempest) (Boosey and Co Ltd.) Trad. Welsh All Through the Night A Shakespeare Song Book (ed. H.A. Chambers), Blandford Press O Mistress Mine When That I Was and A Little Tiny Boy Trad. Arr. Sharp Scarborough Fair (Novello and Co) Vaughan Williams Linden Lea (Boosey and Hawkes) Typical songs for female voices Arne, T. When Daisies Pied (New Imperial) Brahms, J. Wiegenlied Op. 49 No 4 (Peters) Harrhy, E. An Australian Lullaby (Allan and Co) Mendelssohn, F. On Wings of Song Gruss Op. 19 No 5 (Peters) Volkslied Op. 47 No 4 (Peters) Mozart, W.A. Wiegenlied (Peters) Die Kleine Spinnerin (Peters) Paisiello, G. Nel cor piu non mi sento (Schirmer) Purcell, H. Fairest Isle (Allan and Co) Quilter, R. Over The Mountains (Boosey & Hawkes) Schubert, F. Wiegenlied (Peters) Schumann, R. Volksliedchen (Peters) Marienwurmchen (Peters) Strouse, C. Put on a Happy Face (from: Bye Bye Birdie) Trad. arr. Hughes I Know Where I'm Going (Boosey and Co) Weckerlin arr. Par Un Matin Que Ne Suis-Je La Fougere Trad. The Willow Song (Blandford Press) Franck, Cesar Panis Angelicus, Basic of Singing 6th Edition (current)
110
WESTERN ART MUSIC OR CONTEMPORARY Folk Solo Folk Songs for Solo Singers Book 1Jay Althouse Folk Ensemble Homeward Bound Folk Songs for Solo Singers, Book 2 by Jay Althouse Danny Boy Folk Songs for Solo Singers, Book 2 by Jay Althouse Folk Songs for TwoJay Althouse Hes Gone Away Shenandoah (also as a solo) Just Voices Jazz (SSA/SAT)arrangements by Barrie Carson Turner Novello Youth Chorals: Choral Anthologyfor SATB Choir with Piano Accompaniment The Novello Youth Chorals Classic SoulSSA with Piano Accompaniment
REPERTOIRESTAGE 3
Singingchoral Renaissance Bennett, J. Byrd, W. Byrd, W. Byrd, W. East, M. East, M. Farmer, J. Hilton, J. Morley, T. Morley, T. Morley, T. Morley, T. Morley, T. Morley, T. Weelkes, T. Weelkes, T. Collections
Weep O Mine Eyes, SATB Ave Verum Corpus, SATB Haec dies, SSATTB Upon A Summer's Day How Merrily We Live, SSA How Merrily We Live, TBB Fair Phyllis I Saw, SATB If It Be Love, SSA April Is In My Mistress' Face, SATB Do You Not Know, SAB It Was a Lover and His Lass O Sleep Fond Fancy, SAB See Mine Own Sweet Jewel, TTB Sing We and Chant It, SSATB Hosanna to the Son of David, SSATBB Late In My Rash Accounting, SAB Invitation to Madrigals Vol I Invitation to Madrigals Vol II Invitation to Madrigals Vol III Invitation to Madrigals Vol VI Penguin Part Song Book The Oxford Book of Tudor Anthems (For Mixed Voices) Which Is The Properest Day to Drink, SATB Komm Susser Tod, SATB Vergiss Mein Nicht, SATB Thou Art the Glory Of Their Strength, SATB Inter vestibulum, SATB Landate Dominum, SATB Jubilate Deo, SATB My Dearest My Fairest, SA The Lord My Faithful Shepherd Is, SATB Choral Music of Thousand Years Editio Musica Budapest The Penguin Part Song Book The Oxford Easy Anthem Book Rare Choral Masterpieces Musica Sacra Series Schmitt Hall McGreary Tenebrae factae sunt, SATB Adoramus Te, SATB Ave Verum, SATB. Mozart Anthem Book Concordia Cibaret eos, SATB Kyrie, K221, SATB
Baroque Arne, T. Bach, J S. Bach, J S. Handel, G.F. Perti, G.A. Pitom Purcell, H. Purcell, H. Schutz, H. Collections
Classical Haydn, F.J. Mozart, W.A. Mozart, W.A. Mozart, W.A. Mozart, W.A.
111
Collections Romantic Brahms, J. Elgar, E. Humperdinck, E. Liszt, F Mendelssohn, F. Mendelssohn, F. Mendelssohn, F. Mendelssohn, F. Wesley, S. Collections
Choral Music of a Thousand Years, Edito Musica Budapest The Oxford Easy Anthem Book Liebeslieder Waltzes, SATB As Torrents In Summer, SATB Evening Prayer from Hansel and Gretel, SA Tantum Ergo, SSAA Above All Praise and Majesty, SATB Duets Peters Edition Herbstlied, Op. 63, No 4, S/S Waken Lords and Ladies Fancy, TTB O Sing Unto My Roundelay, SSATB English Romantic Partsongs edited by Hillier Oxford Song Books The Oxford Easy Anthem Book The Penguin Part Song Book Two Lullabies, SSA, Universal Edition Alleluia from a Boy Was Born Dieu! qu'il la fait bon regarder, SATB I Sowed The Seeds Of Love Swansea Town Bobby Shaftoe arr. Langford, SATBB O No John! arr. Woodgate, TBB The Dark Eyed Sailor, SATB The Lover's Ghost, SATB The Spring Time of Year, SATB Concert Choral Collection for TTBB Choral Music of Thousand Years Editio Musica Budapest The Penguin Part Song Book Five English Folk Songs, Williams The King's Singers' Folk Songs, Faber and Faber
20th Century Bennett, R. Britten, B. Debussy, C. Holst, G. Holst, G. Williams, V. Williams, V. Williams, V. Collections
Popular repertoire Barbershop Memories, EMI Publishing Toot Toot Tootsie, TTBB Barbershop Classics, Remick Music Corp Carolina in the Morning Hal Leonard Pop Choral Series Alexander's Rag-time Band arr. Shaw SSA, SATB, SAB Begin the Beguine arr. Shaw SATB, SSA, SAB Boogie Woogie Bugle Boy arr. Lojeski, SSA SINGINGSOLO Typical studies and vocalises Vaccai Practical Method For Medium Voice, any one of lessons 610 Concone 50 Lessons for the Medium Voice, any one from 9 onwards Marchesi 24 Vocalises Op. 2, any one from 4 onwards Typical songs for male voices Brahms, J. Erlaube mir, feins Mdchen, Peters Brahms, J. Sehnsucht, Volkslied, Op. 14 No 8, Peters Brahms, J. Sonntag, Boosey and Hawkes Caldara, A. Sebben Crudele, Schirmer Carissimi, G.G. Vittoria mio core! Schirmer Handel, G.F. Silent Worship, arr. Somervell, Curwen Head, M. Money, O! Boosey and Hawkes James, W.G. Comrades of Mine, Ricordi and Co James, W.G. Bush Night Song, Ricordi and Co Mozart, W.A. When You Find a Maiden Charming, Il Seraglio
112 Music: Resource package for the practical component
Pergolesi, G. Rodgers & Hammerstein Scarlatti, D. Schnberg, C-M. Schubert, F. Telemann, G.P. Williams, V
Attributed to Nina, Schirmer Oh What a Beautiful Morning! Oklahoma O Cessate, Without repeat, Schirmer Stars, Les Miserables An Die Laute, Schott Die Jugend, Schott The Vagabond, Boosey and Hawkes Down By the Sally Gardens, arr. Britten Down By the Sally Gardens, arr. Hughes The Lark in the Clear Air, Trad. Irish, arr. Jones, Allan and Co
Typical songs for female voices Bach, J S Bist du bei mir, Schott Bennett, M. The Birds' Lament, The Aviary, Universal Bernstein, L One Hand, One Heart. West Side Story, Chappell and Co Brahms, J. Da Unten im Tale, Peters Ca the Yowes Trad. Scottish, Dorsey Bros Music Ltd Dowland, J. Come Again Sweet Love, Boosey and Hawkes Dvorak, A. The Lord is my Shepherd, Alfred Lengnick Eriskay Love Lilt, Trad Faur, G. Mai, Hamelle Haydn, J. A Pastoral Song, Peters Haydn, J. The Mermaid's Song Le Gallienne Solveig's Song, Allans Music Aust. Ltd Martini, G. Plaisir d'amour, Allan and Co Pergolesi, G. Se tu M'ami, se sospiri, Schirmer Rodgers & Hammerstein Many a New Day, Oklahoma Schnberg, C-M. On My Own, Les Miserables Schubert, F. Geheimnes Schubert, F. Haiden-Roslein, Augener Schubert, F. Lachen und Weinen, Peters Sondheim, S. Green Finch and Linnet Bird, Sweeney Todd, Revelation Music Publishing Telemann, G.P. Die Jugend, Schott Come You Not From Newcastle, arr. Britten Jeunes Fillettes, Menestrel, arr. Weckerlin Maman Dites-Moi, arr. Weckerlin, Menestral Sweet Polly Oliver, arr. Britten Waly Waly, arr. Britten Basics of Singing 6th Edition (current) Faur, G. L'aurore, Op. posth Franz, R. Im Frhling Gilbert and Sullivan The Moon and I from The Mikado Gounod, C. Ave Maria
113
VOICE MUSIC THEATRE

Technical requirements Scales should be sung from memory in 4 different keys suited to the students vocal range. The starting note (and appropriate chord) will be sounded. The scale will then be sung unaccompanied, using solfa, open vowel, or consonant plus vowel (eg bah) All scales should be sung to the octave, with the exception of the blues which should be sung to the flat third.
All scales should be sung to the octave, with the exception of the blues which should be sung to the flat third. Major (crotchet=100) Major pentatonic scales (crotchet=60) Aeoliannatural minor (crotchet=100) Harmonic minor (crotchet=100) Melodic minor (crotchet=100) Blues (crotchet=60) Chromatic (up to sharpened 5th) Arpeggios to the 8ve The tonic (and chord) will be sounded. Tempo: crotchet=80 Major, minor Arpeggios to the 7th Dominant 7th Articulation Legato Dynamics p, mp, mf, f, crescendo, decrescendo
All scales should be sung to the 9th, with the exception of the blues which should be sung to the flat third. Major (crotchet=100) Major pentatonic scales (crotchet=80) Aeoliannatural minor (crotchet=100) Harmonic minor (crotchet=100) Melodic minor (crotchet=100) Blues (crotchet=80) Chromatic (up to sharpened 5th) Whole tone (crotchet=80) Arpeggios to the 10th The tonic (and chord) will be sounded. Tempo: crotchet=80 Major, minor Arpeggios to the 7th Dominant 7th Articulation Legato Dynamics p, mp, mf, f, crescendo, decrescendo
114
TECHNICAL WORKREPERTOIRE Refer to contextually specific information appropriate to the repertoire selected under the relevant Vocal listings. REPERTOIRESTAGE 2 The Teens Music Theatre Collection Young Womens Edition, Hal Leonard Jacobs, J There Are Worse Things I Could Do Lloyd Weber, A. Memory Lloyd Weber, A. Unexpected Song Musical Theatre Anthology for Teens (Male/Female) Rodgers and Hammerstein Cock-Eyed Optimist (female) Loewe, F. On The Street Where You Live (male) Basics of Singing 6th Edition Loewe, F Loewe, F Annie Get Your Gun Berlin, I. Berlin, I On The Town Bernstein, L. If Ever I Would Leave You Before I Gaze at You Again (Camelot) Maybe I Got Lost in His Arms (female) My Defenses are Down (male) Lonely Town (male)
Grease Volume 23, Hal Leonard Jacobs, J. and Casey, W. Look at Me Im Sandra Dee (female) Summer Nights (male) There Are Worse Things I Could Do (female) Youre the One That I Want (male) REPERTOIRESTAGE 3 The Teens Musical Theatre Collection Young Womens Edition, Hal Leonard Lloyd Weber, A Think of Me Loewe, F. Just You Wait Musical Theatre Anthology for Teens (male/female) Lerch, L. (Arr.) Disneyland (female) I Have Confidence (female) Audition Series, Hal Leonard Andersson; B. Someone Elses Story and Ulvaeus Porter, C. Simons, L. Youre The Top Secret Garden How Could I Ever Know? (female) Winters on the Wing (male) Sweeney Todd Green Finch and Linnet Bird (female) By the Sea (female) Not While Im Around (male) Joanna (male) Civil War Tell My Father Missing You (also in Musical Theatre Anthology for Teens) Jekyll and Hyde (Female) any of the female songs This is the Moment (male)
Sondheim, S.
Wildhorn, F.
Wildhorn, F.
The following information provides support for teachers interpreting the Performance marking key and suitability of dramatic action for the repertoire selected. Dramatic action Drama is action. When you are in role in other words, taking on a character other than your own, as you do when you are in a play or a musical you are enacting something. You are using action and action is the basis of role. Action this dramatic action has a range of dimensions. It can be physical action, where you use the capability of your body through facial expression, posture, gesture and movement, through space and time. For example, a song in a musical might communicate a sense of happiness and this could be shown by the way the character smiles and holds his/her body in anticipation. It can also be psychological action, where you communicate to an audience the thinking and emotional actions of the role. For example, a character might be experiencing a moment of life-changing decision as they realise their long-held belief in something is crumbling. The audience need to go on that emotional journey with the character. Psychological action is often expressed through physical actions. In the example just given, this may be shown by, say, the character moving from looking at the photo of a partner to slowly tearing up the image as the moment of realisation is recognised. Drama is the symbolic representation of action, designed to communicate to an audience. Dramatic action is the focus of creating a role or character in drama. Dramatic action can be subtle. It does not have to be overtly signalled (as in, say, an old-fashioned silent movie). The point of dramatic action is in how it communicates the sense of person, place and purpose of a character in a particular moment of change and transformation. When singing a song in music theatre, there is a sense of a character on a journey. Through dramatic action, this journey is made evident to the audience.
116
JAZZ
INSTRUMENTAL SPECIFICATIONS
Technical work support material (General techniques apply to all jazz instruments: specific examples are given for Saxophone only: specific examples and texts need to be added for other instruments) Jazz supplementary list All technical practices that contribute to performing well on woodwind instruments are relevant to jazz players. In addition, students should know: Articulations Swung quavers and legato phrasing (doo)Niehaus, Lennie, Jazz Conceptions (Basic, Intermediate and Advanced), Snidero, Jazz Conception Series Back TonguingNiehaus, Lennie, Jazz Conceptions (Basic, Intermediate and Advanced) Long/ Short accents
Snidero, Jazz Conceptions Series Bay, William, Mel Bays Complete Jazz Sax Book, Accents and Articulation, pp. 817 Ornaments and effects Jazz Turn, Unit 6, Berg, Chop-Monster 2 Glizzandi, falls, scoops, bends, growls, false fingering, Bay, William, Mel Bays Complete Jazz Sax Book, pp. 1824 Vibrato and Sub-Tone Altissimo Register, Rascher, Top-Tones for the Saxophone, Rousseau, High Tones for Saxophone Nomenclature (chords and scales) Knowledge of chord symbols and related arpeggios scales relevant to chosen pieces. This could include dominant sevenths with altered fifths and extensions. Scales/ modes should include: Ionian Dorian Mixolydian Major Pentatonic Minor Pentatonic Blues Scale Whole Tone Texts include: Haerle, Scales Jazz Improvisation and The Jazz Language Coker, Improvising Jazz Lawn, Jazz Theory and Practice Aebersold, Introductions to all Volumes Language of jazz ii, V-I relevant to chosen repertoire. ii-V-1 Progressions, The Ramon Ricker Improvisation Series (Vol.4), Aebersold, ii-V-1 Progression (Vol3 and Vol16) Knowledge of guide tonestritones, Berg, Unit 17, Chop Monster 2 Knowledge of appropriate patterns and riffs relevant to chosen tunes Texts include: Snidero, Jazz Conceptions Series Baker, David, The Bebop Era Bay, William, Mel Bays Complete Jazz Sax Book Coker, Casale, Campbell, Greene, Patterns for Jazz
117
Play Solo transcriptions Texts include: Charlie Parker Omnibook (available for all pitches) Gordon, Dexter, Jazz Saxophone Solos Hill, Dr Willie, Approaching the Standards (three volumes, available for all pitches), Snidero, Jazz Conceptions Series Mintzer, Bob, 14 Blues and Funk Etudes Blues Solos Conventions Knowledge of Chorus Form Ensemble etiquette Develop aural skills (start to play repertoire from memory) Sight Reading
118
GENERIC REPERTOIRE
The generic jazz repertoire listed below, is applicable for the jazz instruments listed in this resource package. This provides students with the ability to study repertoire either using a recorded backing accompaniment or performing as part of an ensemble. At least 75% of the repertoire must demonstrate an ability to solo and/or demonstrate stylistically appropriate improvisational techniques. STAGE 2 The focus should be on mainly blues in (at least) 2 keys, and modal tunes. The focal point should be on tunes with slow harmonic rhythm with a few other key centre type tunes. Autumn Leaves Blue Bossa Blues in Bb (Tenor Madness, Blue Monk, Freddie Freeloader) Blues in Eb (The Sidewinder) Blues in F (Nows the Time) Blues in G (All Blues) Bye Bye Blackbird Cantaloupe Island Caravan Chameleon Dont Get Around Much Anymore Fly Me to the Moon Impressions (So What) Little Sunflower Mack the Knife Perdido St Thomas Satin Doll September in the Rain Softly as in a morning Sunrise Summertime Sweet Georgia Brown S'wonderful Take the a Train Watermelon Man Weaver of Dreams When Sunny Gets Blue When the Saints go Marching In STAGE 3 A Child is Born All of Me Blues in Eb (Sandu) Blues in Fbebop blues (Birdlike, Au Privave, Barbados) Blues in F minor (Afro Blue) Blues in G (All Blues) But Not For Me Days of Wine and Roses DriftinHerbie Hancock Doxy Everybody's PartyJohn Scofield & Pat Metheny Georgia on my Mind Honeysuckle Rose I Got Rhythm Jitterbug Waltz Killer Joe Maiden Voyage Mercy, Mercy, Mercy Milestones (New) Misty My Favorite Things Night and Day Quiet Nights (Corcovado) Red BarronBilly Cobham Song for my Father Smoke Gets In Your Eyes The ChickenJaco Pastorius Work Song
120
WIND INSTRUMENTS
FLUTE
Generic Jazz: Stage 2 generic scales Ranges and tempos to be arranged by instrumental specialists. All scales to be in swing 8th notes (legato) only. Ionian (12 keys) Aeoliannatural/relative minor (all sharp 6 keys) Blues (12 keys) Dorian (all 12 keys) Mixolydian (all flat 6 keys) C Major (Ionian) scale
ArpeggiosMaj7, min7, Dom7 (12 keys) CMAJ7
Generic Jazz: Stage 3 generic scales Ranges and tempos to be arranged by instrumental specialists. All scales to be in swing 8th notes (legato) only. Ionian modes Dorian modes Mixolydian modes Aeolian modes Jazz minor scales Major pentatonic scales Blues scales In all 12 keys C Major (Ionian) scale
C Major Pentatonic scale
Arpeggios:
Ma7, Mi7, Dom7, Min/Maj7 in all 12 keys
CMin/Maj7
121
Studies and piecesStage 2 and Stage 3 Improvisation Aebersold, J. Turnaround and Cyclic Progressions, Record and Book Kit, Studio P.R, USA The following suggested titles are by Jamey Aebersold, (Jamey Aebersold Jazz Inc.) The IIV7I Progression (Vol 3) Salsa latin jazz (Vol 64) All Time Standards (Vol 25 ) Jazz Bossa Novas (Vol 31) Charlie Parker (All Bird) (Vol 6) Bergonzi, J. Inside Improvisation, Volume 3: Jazz Line, Advance Music, USA Crooke, H. How to Improvise, Advance Music, Germany Haerle, D. The Jazz Language, Studio P.R, USA Kane, B. Constructing Melodic Jazz ImprovisationConcert Key Edition for Piano/Guitar/Flute, Published by Jazz Path Publishing Schnyder, D. Crossing Over Essentials for Jazz and Classical Flute, Second Floor Music Technique and style (transcriptions) Snidero, J. Jazz Conception Medium-Advanced, Advance Music (Author unknown) Solos for Jazz Flute, All That Jazz, Carl Fischer Osland M. The Music of Nestor Torres: Solo Transcriptions and Performing Artist Master Class CD, Alfred Publishing Technical work Adler, M. Jazz Flute Etudes (Advanced Studies in Improvisation), Houston Publishing, Inc. Bay, W, Mel Bay's Complete Jazz Flute Book, Mel Bay Publications, Inc. Haerle, D, Scales for Jazz Improvisation, Alfred Publishing Company Keller, G. Jazz Chord/Scale Handbook, Advance Music Rae, J. Jazz Flute Studies, Faber Music Ltd. (Author Unknown) Jazz Scale StudiesFlute, Universal Edition Sight reading Kane, Brian (2004) Creative Jazz Sightreading, Jazz Path Publishing, USA Parker, Charlie (1978) The Charlie Parker OmnibookI C edition, Alfred Publishing Company Any suitable transcriptions by Herbie Mann or Hubert Laws NB All technical, tone and technique work specified in the classical syllabus is also applicable to this jazz syllabus NB For repertoire Stage 2 and Stage 3 refer to generic repertoire
122
CLARINET
Generic Jazz: Stage 3 Generic scales Ranges and tempos to be arranged by instrumental specialists. All scales to be in swing 8th notes (legato) only. Ionian modes Dorian modes Mixolydian modes Aeolian modes Jazz minor scales Major pentatonic scales Blues scales In all 12 keys C Major (Ionian) scale
Arpeggios:
CMin/Maj7
123
Studies and piecesStage 2 and Stage 3 Scale and arpeggio technical work Bay, William (1995) Mel Bays Jazz Clarinet Book, Mel Bay Publications Bettoney-Baermann Method for Clarinet, Book 3, Cundy-Bettony, Carl Fischer Inc Hearle, Dan (1975) Scales for Jazz Improvisation, Alfred Publishing Co., Inc Klose, H. Complete Method, Alphonse Leduc Rae, James (2006) Jazz Scale Studies, Universal Edition General technical work - studies Holcombe, Bill (1992) 24 Jazz Studies for Clarinet, Musicians Publications ONeill, John (2007) Developing Jazz Technique for Clarinet, Schott Rae, James (1996) Progressive Jazz Studies, Faber Music Technique and Stylistic Development Daniels Eddie; Osland, Miles (2005) The Music of Eddie Daniels, Warner Brothers De Franco, Buddy The Buddy De Franco Collection, Artists Transcriptions, Hal Leonard Parker, Charlie (1978) Charlie Parker Omnibook, Atlantic Music Corp Smith, Bill (2009) Jazz Clarinet, Parkside Publications Snidero, Jim Jazz Conceptions, Advance music Improvisation The following suggested titles by Jamie Aebersold, Jamie Aebersold Jazz, Inc The II-V7-I Progression (Vol 3) Turnarounds, Cycles, & II V7s (Vol 16) Major and Minor (Vol 24) Maiden Voyage ( Vol 54) All-Time Standards ( Vol 25) Baker, David (1988) Jazz Improvisation, Alfred Publishing Company Crooke, Hal (1991) How to Improvise, Advance Music Hearle, Dan (1980) The Jazz Language, Alfred Publishing Co., Inc
NB For repertoire Stage 2 and Stage 3 refer to generic repertoire
124
SAXOPHONE
Scales and arpeggios to be performed 1 octave at crotchet = 96 bpm, legato in swing 8th notes (quavers) to the 9th degree.
Arpeggios:
CMin/Maj7
Scales and arpeggios to be performed 1 octave at crotchet = 96 bpm, legato in swing 8th notes (quavers) to the 9th degree.
125
Studies and piecesStage 2 and Stage 3 Improvisation Aebersold, Jamey (1979), Turnaround and Cyclic Progressions, Record and Book Kit, Studio P.R, USA Baker, D. (1976), Jazz Improvisation, Music Workshop Publications, USA Bergonzi, J. (1994), Inside Improvisation, Volume 1: Melodic Structures, Advance Music, USA Bergonzi, J (1998), Inside Improvisation, Volume 3: Jazz Line, Advance Music, USA Crooke, H. (1991). How to Improvise, Advance Music, Germany Haerle, Dan (1980), The Jazz Language, Studio P.R, USA Scale and arpeggio technical work Kynaston, Trent (1984) Daily Studies For All Saxophones, Alfred Publishing, USA Haerle, Dan (1983) Scales for Jazz Improvisation, Alfred Publishing Company Keller, Gary (2002), Jazz Chord/Scale Handbook, Advance Music Sight reading Kane, Brian (2004) Creative Jazz Sightreading, Jazz Path Publishing, USA Fishman, Greg (2008) Jazz Saxophone Duets, Greg Fishman Jazz Studios Parker, Charlie (1978) The Charlie Parker Omnibook, Alfred Publishing Company Hunter, Randy (2008) Level Three Jazz Etudes, Randy Hunter Jazz NB For repertoire Stage 2 and Stage 3 refer to generic repertoire
126
BRASS INSTRUMENTS
TRUMPET
Generic Jazz: Stage 3 Generic Scales Ranges and tempos to be arranged by instrumental specialists. All scales to be in swing 8th notes (legato) only. Ionian modes Dorian modes Mixolydian modes Aeolian modes Jazz minor scales Major pentatonic scales Blues scales In all 12 keys C Major (Ionian) scale
Arpeggios:
CMin/Maj7
127
Studies and piecesStage 2 and Stage 3 Scale and arpeggio technical work Kase, ChrisTwenty-first Century Technique McNiel, JohnThe Art of Jazz Trumpet Shew, BobbyExercises and Etudes (Balquhidder Music) General technical work Articulation ArbanComplete Method for Trumpet/Cornet (Carl Fischer ed.) Frink, Laurie and McNiel, JohnFlexus (OmniTone press) McNiel, JohnThe Art of Jazz Trumpet Intervals ArbanComplete Method for Trumpet/Cornet Frink, Laurie and Mcniel, JohnFlexus (OmniTone press) Flexibility Colin, CharlesAdvanced Lip Flexibilities Frink, Laurie and McNiel, JohnFlexus (OmniTone press) Schlossberg, MaxDaily Drills Range Brisbois, BudTrumpet Today Macbeth, CarltonOriginal Louis Maggio System for Brass (Charles Colin Music) Tone ArbanComplete Method for Trumpet/Cornet (Carl Fischer ed.) Concone, Guiseppe (Korak, John ed.)The Complete Solfeggi (Balquihidder Music) Stamp, JamesWarm-ups and Studies Repertoire/Stylistic development Improvisation Aebersold, Jamey (1979) Turnaround and Cyclic Progressions, (Jamey Aebersold Jazz) Aebersold, Jamey (1991) Maiden Voyage14 easy to play Jazz Songs (Jamey Aebersold Jazz) Baker, David (1988) Jazz Improvisation: (Alfred Publishing Company) Crooke, Hal. (1991) How to Improvise: (Advance Music) Haerle, Dan (1980) The Jazz Language, (Studio P.R.) Herrman, SteveAmazing PhrasingTrumpet Style, sight reading, and conceptual development Coker, Jerry (1997 Complete Method for Improvisation: Alfred Publishing Company Herrman, SteveAmazing PhrasingTrumpet Parker, CharlieThe Charlie Parker Omnibook Snidero, JimJazz ConceptionsTrumpet Voisin, RogerDevelop Sight Reading NB For repertoire Stage 2 and Stage 3 refer to generic repertoire
128
TROMBONE
Generic Jazz: Stage 2 generic scales Ranges and tempos to be arranged by instrumental specialists. All scales to be in swing 8th notes (legato) only. Ionian (12 keys) Aeoliannatural/relative minor (all sharp 6 keys) Blues (12 keys) Dorian (all 12 keys) Mixolydian (all flat6 keys) C Major (Ionian) scale
Arpeggios:
CMin/Maj7
129
Studies and piecesStage 2 and Stage 3 Scale and arpeggio technical work ArbansComplete Method for Trombone Haerle, Dan (1983) Scales for Jazz Improvisation, Alfred Publishing Company (examples in Treble Clef) Keller, Gary (2002), Jazz Chord/Scale Handbook, Advance Music (examples in treble Clef) Rubank, Advanced method for trombone/Baritone Vol 1 General technical work Articulation ArbansComplete Method for Trombone Bordogni/RochutMelodious Etudes for Trombone Kopprasch60 Studies for Trombone Tanner, PaulComplete Practice Book for Trombone Intervals ArbansComplete Method for Trombone Tanner, PaulComplete Practice Book for Trombone Flexibility Colin, Charles Advanced Lip Flexibilities Tanner, PaulComplete Practice Book for Trombone Range Tanner, PaulComplete Practice Book for Trombone Tone ArbansComplete Method for Trombone Bordogni/RochutMelodious Etudes for Trombone Tanner, PaulComplete Practice Book for Trombone Repertoire/Stylistic development Improvisation Aebersold, Jamey (1979) Turnaround and Cyclic Progressions, Record and Book Kit: Jamey Aebersold Jazz, USA Aebersold, Jamey (1991) Maiden Voyage14 easy to play Jazz Songs, Record and Book Kit: Jamey Aebersold Jazz, USA Baker, David (1988) Jazz Improvisation: Alfred Publishing Company: Second edition, USA Crooke, Hal. (1991) How to Improvise: Advance Music, Germany Haerle, Dan (1980) The Jazz Language, Studio P.R, USA Style, Sight reading, and conceptual development Brandao, Fernando (2006) Brazilian and Afro-cuban Jazz Conception-trombone: Advance Music, USA Coker, Jerry (1997 Complete Method for Improvisation: Alfred Publishing Company Parker, Charlie (1978) The Charlie Parker Omnibook, Alfred Publishing Company Snidero, Jim (1996) Jazz Conceptions21 solo etudes, Trombone: Advance Music, USA Snidero, Jim (2003) Intermediate Jazz Conception for Trombone: Advance Music, USA NB For repertoire Stage 2 and Stage 3 refer to generic repertoire
130
PERCUSSION
DRUM SET
Jazz and Contemporary Books/Resources http://www.pas.org/resources/rudiments/rudiments.html Master Studies, Morello, Joe Modern drummer Publications Stick Control for the Snare Drummer, Stone, George L George B. Stone & Son Inc. The ASll American Drummer, 150 Rudimental Solos, Wilcoxen, Charles Ludwig Music Publishing Co. Musical Studies for the Intermediate Snare Drummer, Whaley, Garwood Drum Concepts and Techniques, Erskine, Peter 21st Century Music The Art of Bop Drumming, Riley, John Manhatten Music The Drummers Handbook, Tarr, Chris Currently Unpublished Hand technique Rudiments All 40 Rudiments as prescribed by the Percussive Arts Society To the beginner tempo (see attached form) Morello, Master Studies Dynamics, pp. 52, 53 8th notes with Flams, pp. 8689 Stone, Stick Control, pp. 57 Snare drum studies WilcoxenExercises, no.1, no.20 Garwood Whaley, pp. 320 Coordination/time Jazz time keeping Syncopation, p. 38 Right hand plays the jazz ride cymbal rhythm Left hand plays the melody, hi-hat on beats 2 and 4 Riley, pp. 18 and 19, 22 and 23, 26 and 27, 28 and 29 Rock and funk patterns Erskine, pp. 43 to 55 Latin and shuffle patterns Riley, pp. 5660 Brushes, p. 48 Coordination hands to feet Tarr p. 152Groups of 2, 3 and 4 with Subdivisions e & f. Hi-Hat ostinato 1
131
Rudiments Single Stroke Roll Single Stroke Four Single Stroke Seven Multiple Bounce Roll (Buzz) Triple Stroke Roll Double Stroke Roll Five Stroke Roll Six Stroke Roll Seven Stroke Roll Nine Stroke Roll Ten Stroke Roll Eleven Stroke Roll Thirteen Stroke Roll Fifteen Stroke Roll Seventeen Stroke Roll Single Paradiddle Double Paradiddle 6/8 Triple Paradiddle Paradiddle Diddle Flam Flam Accent Flam Tap Flamaque Flam Paradiddle Single Flammed Mill Flam Paradiddle Diddle Pataflafla Swiss Army Triplet Inverted Flam Taps Flam Drag Drag Single Drag Tap Double Drag Tap Lesson 25 Single Dragadiddle Drag Paradiddle #1 6/8 Drag Paradiddle #2 4/4 Single Ratamacue Double Ratamacue Triple Ratamacue
Tempos for Rudiments 1C/D = 60 =70 =70 =120 =44 =54 =54 =50 =38 =50 =50 =50 =50 =50 =50 =80 = 48 =72 = 48 =120 = 60 =56 =60 =60 =60 = 32 =36 =36 =36 =56 =70 =66 =40 =56 =50 = 36 =52 =52 =32 =52
2A/B 72 126 132 120 66 80 84 78 55 78 78 78 78 78 78 124 72 112 70 192 86 78 90 86 90 48 56 60 55 78 116 108 54 78 80 54 74 74 48 74
3A/B 76 136 140 120 78 92 96 86 65 86 86 86 86 86 86 136 80 124 82 224 100 90 100 94 98 54 62 70 65 88 130 120 62 90 92 62 82 82 54 82
NB For repertoire Stage 2 and Stage 3 refer to generic repertoire
132
STRING INSTRUMENTS
GUITAR
Arpeggios:
CMin/Maj7
133
Studies and piecesStage 2 and Stage 3 Improvisation Aebersold, Jamey (1979), Turnaround and Cyclic Progressions, Record and Book Kit, Studio P.R, USA Aebersold, Jamey Volume 21, USA Bergonzi, J. (1994), Inside Improvisation, Volume 1: Melodic Structures, Advance Music, USA Crooke, H. (1991), How to Improvise, Advance Music, Germany Haerle, Dan (1980), The Jazz Language, Studio P.R, USA Scale and arpeggio technical work Haerle, Dan (1983) Scales for Jazz Improvisation, Alfred Publishing Company Joe Pass, Guitar Chords (1986) Mel Bay Publications, Inc. Modern method for guitarBerklee Press USA Sight reading Classical Studies for Pick style Guitar. Berklee Press, USA Melodic Rhythms for GuitarBerklee Press USA Guitar Method Book 12 by Gary Turner and Brenton WhiteProgressive Publishing
REPERTOIRESTAGE 2
The focus should be on mainly blues in (at least) 2 keys, and modal tunes. The focal point should be on tunes with slow harmonic rhythm with a few other key centre type tunes. Blue Bossa Blues in Bb Blues in Eb Blues in F Blues in G (Tenor Madness, Blue Monk, Freddie Freeloader) (The Sidewinder) (Nows the Time) (All Blues) Cantaloupe Island Caravan Dont Get Around Much Anymore Impressions (So What) Little Sunflower St Thomas Softly as in a morning Sunrise Sweet Georgia Brown The Chicken Watermelon Man
REPERTOIRESTAGE 3
All of Me Autumn Leaves Blues in Eb (Sandu) Blues in Fbebop blues (Birdlike, Au Privave, Barbados) Blues in F minor (Afro Blue) Blues in G (All Blues) Doxy Georgia on my Mind Honeysuckle Rose Killer Joe Maiden Voyage Mercy, Mercy, Mercy Milestones (New) Misty Perdido Satin Doll Song for my Father When the Saints Go Marching In Work Song
134
ELECTRIC GUITAR
Arpeggios:
CMin/Maj7
135
Studies and piecesStage 2 and Stage 3 Scales HaerleScales for Jazz Improvisation Patitucci60 Melodic Etudes Arpeggios and patterns ReidThe Evolving Bassist RickerNew Concepts in Linear Improvisation Scale patterns Coker/Casale/Campbell/Greene (for bass clef)Patterns for Jazz Walking lines ReidThe Evolving Bassist Time, groove and stylistic concepts Dr LicksStanding in the Shadows of Motown PatitucciUltimate Play-along for Bass Sight reading ApplemanReading Contemporary Electric Bass Rhythms Patitucci60 Melodic Etudes
136
JAZZ ELECTRIC BASS GUITAR

Generic Jazz: Stage 2 generic scales
Ranges and tempos to be arranged by instrumental specialists. All scales to be in swing 8th notes (legato) only.
Ionian (12 keys) Aeoliannatural/relative minor (all sharp 6 keys) Blues (12 keys) Dorian (all 12 keys) Mixolydian (all flat6 keys)
C Major (Ionian) scale
ArpeggiosMaj7, min7, Dom7 (12 keys)

CMAJ7
Generic Jazz: Stage 3 generic scales Ionian modes Dorian modes Mixolydian modes Aeolian modes Jazz minor scales Major pentatonic scales Blues scales In all 12 keys
Arpeggios:
CMin/Maj7
137
Studies and piecesStage 2 and Stage 3 Scales Patitucci60 Melodic Etudes HaerleScales for Jazz Improvisation Arpeggios and patterns RickerNew Concepts in Linear Improvisation ReidThe Evolving Bassist Scale patterns Coker/Casale/Campbell/Greene (for bass clef)Patterns for Jazz Walking lines ReidThe Evolving Bassist Time, groove and stylistic concepts PatitucciUltimate Play-along for Bass Dr LicksStanding in the Shadows of Motown Sight reading ApplemanReading Contemporary Electric Bass Rhythms Patitucci60 Melodic Etudes
138
JAZZ DOUBLE BASS

Ionian (12 keys) Aeoliannatural/relative minor (all sharp 6 keys) Blues (12 keys) Dorian (all 12 keys) Mixolydian (all flat 6 keys)
ArpeggiosMaj7, min7, Dom7 (12 keys)

CMAJ7
Ionian modes Dorian modes Mixolydian modes Aeolian modes Jazz minor scales Major pentatonic scales Blues scales In all 12 keys
Arpeggios:
CMin/Maj7
139
Studies and piecesStage 2 and Stage 3 Scales Patitucci60 Melodic Etudes HaerleScales for Jazz Improvisation Arpeggios and patterns RickerNew Concepts in Linear Improvisation ReidThe Evolving Bassist Scale patterns Coker/Casale/Campbell/Greene (for bass clef)Patterns for Jazz Walking lines ReidThe Evolving Bassist Time, groove and stylistic concepts PatitucciUltimate Play-along for Bass Sight reading Patitucci60 Melodic Etudes REPERTOIRESTAGE 2 Blues in F (Nows the Time) Blues in Bb (Tenor Madness, Blue Monk, Freddie Freeloader) Blues in Eb (The Sidewinder) Blues in G (All Blues) Blue Bossa Cantaloupe Island Caravan Dont Get Around Much Anymore Impressions (So What) Little Sunflower Softly as in a morning Sunrise St Thomas Sweet Georgia Brown The Chicken Watermelon Man REPERTOIRESTAGE 3 All of Me Autumn Leaves Blues in G (All Blues) Blues in Eb (Sandu) Blues in F minor (Afro Blue) Doxy Georgia on my Mind Honeysuckle Rose Killer Joe Maiden Voyage Mercy, Mercy, Mercy Milestones (New) Misty Perdido Satin Doll Song for my Father When the Saints Go Marching In Work Song
140
KEYBOARD
PIANO
Arpeggios:
CMin/Maj7
141
Studies and piecesStage 2 and Stage 3 Technical exercises Technical Exercises for the Intermediate to Professional Jazz Musician by Jordon Ruwe ISBN: 0793555981 Jazz Hanon by Leo Alfassy ISBN 0825622239 The Jazz Piano Book by Mark Levine ISBN 0961470151 Hanon ABRSM Sight reading Creative Jazz Sight Reading by Brian J Kane ISBN 0-9760977-0-2 The Ultimate Jazz Fake Book by Herb Wong ISBN 0881889792 Improvisation How to Improvise: An Approach to Practicing Improvisation by Hal Crook David N. BakerHow to Play Bebop, volumes 1, 2 and 3 Jamey Abersoldii, V7 I progressions
REPERTOIRESTAGE 2
Autumn Leaves Blue Bossa Blues in Bb (Blue Monk) Blues in Bb (Freddie Freeloader) Blues in Bb (Tenor Madness) Blues in Eb (The Sidewinder) Blues in F (Nows the Time) Blues in G (All Blues) Bye Bye Blackbird Cantaloupe Island Caravan Chameleon Dont Get Around Much Anymore Fly Me to the Moon Impressions (So What) Little Sunflower Perdido Satin Doll Softly as in a Morning Sunrise St Thomas Summertime Sweet Georgia Brown Watermelon Man Weaver of Dreams When Sunny Gets Blue The New Real Book: Vol 1 Sher Music Co. The New Real Book: Vol 1 Sher Music Co. The Real BookSixth Edition (C Instruments) From the Easy Jazz Combo Series for first/second year players Jamey Aebersold, Volume 8Sonny Rollins Vol 106 Published by James Aebersold Jazz Charlie Parker Omnibook by Charlie Parker (PaperbackJan 1, 1978) The Real BookSixth Edition (C Instruments) The New Real Book: Vol 3 Sher Music Co. Vol 11 Published by Jamey Aebersold Jazz The New Real Book: Vol 2 Sher Music Co. The Real Book: Vol 2Sixth Edition (C Instruments) The New Real Book: Vol 1 Sher Music Co. The New Real Book: Vol 2 Sher Music Co. The Real BookSixth Edition (C Instruments) The New Real Book: Vol 1 Sher Music Co. The New Real Book: Vol 2 Sher Music Co. The New Real Book: Vol 1 Sher Music Co. The Real Book: Vol 2Sixth Edition C Instruments) The Real Book: Vol 2Sixth Edition (C Instruments) Vol 25 Published by Jamey Aebersold Jazz Vol 39 Published by Jamey Aebersold Jazz Vol 11 Published by Jamey Aebersold Jazz The New Real Book: Vol 1 Sher Music Co. The Real BookSixth Edition (C Instruments)
142
REPERTOIRESTAGE 3
A Child is Born All of Me Au Privave, Barbados Blues in Eb Blues in F minor (Afro Blue) Blues in Fbebop blues Byrdlike Blues in G (All Blues) But Not For Me Days of Wine and Roses Doxy Driftin Everybodys Party Georgia on my Mind Honeysuckle Rose I Got Rhythm Jitterbug Waltz Killer Joe Maiden Voyage Mercy, Mercy, Mercy Milestones (New) Misty Night and Day Red Barron Smoke Gets in Your Eyes Song for my Father The Chicken Work Song Vol 91 Published by Jamey Aebersold Jazz The Real Book Vol 1Sixth Edition (C Instruments) Charlie Parker Omnibook by Charlie Parker (PaperbackJan 1, 1978) Sandu: The New Real Book: Vol.1 Sher Music Co. The Real Book Vol 2Sixth Edition (C Instruments) The Real Book Vol 2Sixth Edition C Instruments) The Real BookSixth Edition (C Instruments) The Real Book Vol 2Sixth Edition (C Instruments) The Real Book Vol 1Sixth Edition (C Instruments) The Real Book Vol 2Sixth Edition (C Instruments) Herbie Hancock John Scofield and Pat Metheny The Real Book Vol 2Sixth Edition (C Instruments) Vol 71 Published by Jamey Aebersold Jazz Vol 47 Published by Jamey Aebersold Jazz Vol 72 Published by Jamey Aebersold Jazz The Real Book Vol 2Sixth Edition (C Instruments) The New Real Book: Vol 3 Sher Music Co. The New Real Book: Vol 1 Sher Music Co. Vol 50 Published by Jamey Aebersold Jazz The Real Book Vol 1Sixth Edition (C Instruments) Vol 51 Published by Jamey Aebersold Jazz Bill Cobham Vol 55 Published by Jamey Aebersold Jazz The Real Book Vol 1Sixth Edition (C Instruments) Jaco Pastorius The Real BookSixth Edition (C Instruments)
143
144
VOCAL
Technical requirements Scales should be sung from memory in 4 different keys suited to the students vocal range. The starting note (and appropriate chord) will be sounded. The scale will then be sung unaccompanied. The student may use syllables of their own choice, however it is advisable to use syllables such as: doo ba; dee ba; da ba etc. Solfa can also be used. Dynamic variations remain: mezzo forte, mezzo piano and/or with crescendo and decrescendo. All scales should be sung to the ninth degree or the flat third where appropriate (blues and minor pentatonic).
Generic Jazz: Stage 2 generic scales All scales to be in swing 8th notes (legato) only Major (Ionian) (crotchet=100) Major pentatonic scales (crotchet=60) Aeoliannatural/relative minor (crotchet=100) Blues (crotchet=60) Dorian (crotchet=60) Mixolydian (crotchet=60) Chromatic (up to sharpened 5th) C Major (Ionian) scale
Arpeggios The tonic (and chord) will be sounded. Arpeggios should be sung from memory up to the seventh degree of the arpeggio. Tempo: crotchet=80 Maj7, min7, Dom7 CMAJ7
Improvisation Demonstrate improvisation skills over Blues form Adlibbing over chorus Melodic improvisation in verse over song where appropriate
Generic Jazz: Stage 3 generic scales All scales to be in swing 8th notes (legato) only Major (Ionian) (crotchet=100) Dorian (crotchet=60) Mixolydian (crotchet=60) Aeoliannatural/relative minor (crotchet=100) Jazz minor (melodic minor ascending) (crotchet=100) Major pentatonic scales (crotchet=100) Minor pentatonic (crotchet=60) Blues (crotchet=80) Chromatic (full octave)
145
Arpeggios The tonic (and chord) will be sounded. Arpeggios should be sung from memory up to the seventh degree of the arpeggio. Tempo: crotchet=80 Maj7, min7, Dom7 CMAJ7
Improvisation Demonstrate improvisation skills over Blues form Adlibbing over chorus Melodic improvisation in verse over song where appropriate
Scat singing and vocalese Anita Wardell Al Jarreau Bobby McFerrin Eddie Jefferson Ella Fitzgerald Jon Hendricks Kurt Elling Lambert, Hendricks and Ross Mark Murphy Sarah Vaughan Jazz and Contemporary Jim Snidero Jazz Conceptions Aebersold Guide for Jazz and Scat Vocalists Bob Stoloff Rhythm Etudes Seth Riggs Singing for the Stars Anne Peckham Contemporary Singer Michelle Weir Vocal Improvisations Trinity Exams Rock School NB: Some studies from Western Art Music are recommended for Jazz and Contemporary singers as well. Ear training: Jazz and Contemporary (improvisation) (Intervals: improvisation: phrasing: ornamentation: syncopation) Bob Stoloff: Diatonic exercises and the rest of the book!! Jim Snidero: tracks 16 (maybe 7): to understand chord progressions jazz phrasing Aebersold: Guide to Jazz and Scat Vocalists prac. procedures for memorising chord progression soloing ear training intervals
146
Phonation: Jazz/Contemporary (Vowels: consonants: articulation: scat: onset: ornamentation: flexibility: arpeggios) Jazz Conception Jim Snidero: Groove Blues, Amen, A DollDiction, Scatall have written scat syllables Michele Weir Vocal Improvisation: scat syllables that pertain to particular rhythms Registration: Jazz/Contemporary (Passagio: tilt: range) Seth Riggs Singing for the Stars: Ex 1Bubbling and trilling Patterns: working through the mix (passagio) Anne Peckham Contemporary Singervarious exercises Rock School Syllabus Breathing: Jazz/Contemporary (more phrasing) (Phrasing: alignment: breath support: messa di voce: flexibility) Jazz Singers Handbook: Sections 5 & 6Colouring melody and phrasing Rhythm EtudesBob Stoloff14 Counting Exercises Vocal resonance: Jazz/Contemporary (Tone colour: vowels) Listening to particular styled singers
REPERTOIRESTAGE 2
Students are required to prepare six songs, with at least one from each of the five Jazz styles: Ballad, Blues, Jazz Standard and Latin. Ballad Body and Soul Lover Man Misty My Funny Valentine Blues Goin to Chicago Nows the Time Stormy Monday Why dont cha do right? Jazz standard All of Me Autumn Leaves Bye Bye Blackbird Dont Get Around Much Anymore God Bless the Child Honeysuckle Rose How High the Moon I Got Rhythm Impressions It Dont Mean a Thing (if it aint got that swing) Lullaby of Birdland Softly As in a Morning Sunrise Stormy Weather Summertime Take the A-train Time after Time What Is This Thing Called Love? Latin How Insensitive Meditation One Note Samba Quiet Nights of Quiet Stars Slightly Out of Tune Desifinado
147
Additional All of Me Alright, OK You Win AMEB Contemporary & Popular Music (CPM) Step 2 AMEB CPM Step 3 Autumn Leaves But Not for Me Feelin Good Fly Me to the Moon Georgia on my Mind Honeysuckle Rose How Insensitive It Had To Be You Its Only a Papermoon Love is Here to Stay Nice Work if You Can Get it Nows the time (with lyrics: based on the Eddie Jefferson version) September Song Stormy Monday Sugar (with lyrics) Sweet Georgia Brown The Nearness of You
REPERTOIRESTAGE 3
Students are required to prepare six songs, with at least one from each of the five Jazz styles: Ballad, Blues, Jazz Standard and Latin. Ballad Body and Soul Lover Man Misty My Funny Valentine Blues Goin to Chicago Nows the Time Stormy Monday Why dont cha do right? Jazz standard All of Me Autumn Leaves Bye Bye Blackbird Dont Get Around Much Anymore God Bless the Child Honeysuckle Rose How High the Moon I Got Rhythm Impressions It Dont Mean a Thing (if it aint got that swing) Softly As in a Morning Sunrise Stormy Weather Summertime Take the A-train Time after Time What Is This Thing Called Love? Latin How Insensitive Meditation One Note Samba Quiet Nights of Quiet Stars
148
Additional A Nightingale Sang in Berkeley Square Almost Like Being in Love Beyond the Sea Blue Skies Corcovado Cry Me a River Dindi East of the Sun and West of the Moon Lullaby of Birdland Misty Moanin (with lyrics: refer to versions recorded by Sarah Vaughan and Anita Wardell) My Funny Valentine On the Street Where You Live One Note Samba Round Midnight Route 66 So Nice (Summer Samba) Softly as in a Morning Sunrise Someone to Watch Over Me Stardust Take the A-Train You Dont Know What Love is
149
150
CONTEMPORARY
Improvisationall instruments listed within the resource package Cantoloupe Island Cissy Strut Mercy, Mercy, Mercy Red Barron Watermelon Man
PERCUSSION
DRUMSET
TECHNICAL WORK
Drum set 1/8th Note Weckl Play-along Book 1 Shuffle Weckl Play-along Book 1 Slow Blues Reggae Drum set technical work All 40 PAS Rudiments at level 1 minus 15% Contemporary drums technical work Hand technique (Stage 2) All 40 PAS rudiments at Introduction Tempos (See attached form) Morello, Master Studies Dynamics pp. 52, 53 Hand technique (Stage 3) All 40 PAS rudiments at Beginner Tempos (See attached form) Morello, Master Studies 8th notes with Flams pp. 8689 Stone, Stick Control pp. 57 Snare drum studies Garwood Whaley pp. 320 Snare drum studies WilcoxonExercises pp. 120 Coordination/time Jazz time keeping (Stage 2) Syncopation p. 38 Right hand plays the jazz ride cymbal rhythm Left hand plays the melody, hi-hat on beats 2 and 4 Jazz time keeping (Stage 3) Riley pp. 18 & 19, 22 & 23, 26 & 27, 28 & 29 Rock and funk patterns Stage 2 Erskine pp. 4345 New Breed System 2 reading 1A Stage 3 Erskine pp. 4655 New Breed System 2 reading 2A
151
Coordination hands to feet Tarr, p. 152Groups of 2, 3 and 4 with Subdivisions e. Hi-Hat ostinato 1 (Stage 2) Tarr, p. 152Groups of 2, 3 and 4 with Subdivisions e. & f. Hi-Hat ostinato 1 (Stage 2) Latin and shuffle patterns (Stage 3) Riley pp. 5660 Brushes p. 48
REPERTOIRESTAGE 2
Aeroplane Been a lonely time Black Velvet Cantoloupe Island Fire I shot the Sherriff Layla 1/8th Note Smooth Shuffle Stormy Monday Sunshine of your love This love Walk this way Watermelon Man Red Hot Chilli Peppers Led Zepplin Alannah Myles Herbie Hancock Jimmy Hendrix Bob Marley Eric Clapton (New Version) Weckl Play-along Book 1 Santana Weckl Play-along Book 1 Allman brothers Cream Maroon 5 Aerosmith Herbie Hancock
REPERTOIRESTAGE 3
1/16th 50 Ways to Leave Your Lover Babylon Sisters Chameleon Cissy Strut Cold Shot Cruisin I Got a Woman If I Never See Your Face Again Late in the Evening Mercy, Mercy, Mercy Red Barron The Favourite Walking on the moon Whats Going On Weckl Play-along Book 2 Paul Simon Steely Dan Herbie Hancock The Meters Stevie Ray Vaughan DAngelo Ray Charles (John Meyer Version) Maroon 5 with Rihanna Paul Simon Joe Zawinul Billy Cobham DIG Police Marvin Gaye (Donny Hathaway Live)
152
STRING INSTRUMENTS
GUITAR
Scales and arpeggios to be played in all keys Scales Tempo: Quarter note=80 (play as eighths) Dorian Aeolian Mixolydian Major pentatonic Minor pentatonic Jazz minor Blues scale Arpeggios Tempo: Quarter note=70 (play as eighths) Major Major 7th Minor 7th Dominant 7th Guitar technical work All Major, Minor, Dorian, Aolian, Blues, Major and Minor pentatonic Tempo: Quarter note 90 (play as eighths) Arpeggios Major Minor dominant Tempo: Quarter note 80 (play as eighths) GUITAR
Scales and arpeggios to be played in all keys Scales Tempo: Quarter note=90 Aeolian Mixolydian Ionian Dorian Major pentatonic Minor pentatonic Jazz minor Blues scale Arpeggios Tempo: Quarter note=80 Major 9th Minor 9th Dominant 9th Minor/major 9th
Scales/ modes Left hand slur exercises (play guitar with Steely Dan, Pumping Nylon) Rock School Trinity Syllabus Scales and Exercises for Guitar and Plectrum Guitar by Trinity Guildhall Technical Exercises as prescribed by CPM steps 14 and Trinity Rock School Grades Debutgrade 8 Progressive SeriesGuitar Method Books 1 and 2: Rock Guitar Books 1 and 2 Berlee Guitar SeriesVol 1and 2 by William Leavitt Contemporary Guitar for Western Australian Schools by Dean Blanchard
153
Arpeggios Sweep pick/ alternate picking Major, minor, 7ths, min 7 b5, diminished, dominant, 9ths Chords Diatonic scales chordschord progressions (key specific) Major and minor keys Bar chordsPowerchords Compingstyles with appropriate voicings: Jim Kelly, Guitar Workshop, Berklee Press Alfreds Master Track Series Left hand technical exercisesGuitar Fitness Sight reading Sight Reading Melodies Vol 1 by Brent Block W.Leavitt Mel Bay Hal Leonard Progressive Sight Reading for Electric Guitar (Levels 18) Improvisation 101 must know Rock Licks: Hal Leonard 101 must know Blues Licks: Hal Leonard 101 must know Jazz Licks: Hal Leonard
REPERTOIRESTAGE 2
All along the Watchtower Black Night Brown Sugar Crossroads Hold the Line House of the Rising Sun In a Gadda da Vida Johnny B Good La Grange My Happiness Red House School Days Smoke on the Water Sunshine of you love Yesterday Bob DylanHendrix Deep Purple Rolling Stones Cream Toto Animals Iron Butterfly Chuck Berry ZZ Top Powder Finger Hendrix Chuck Berry Deep Purple Cream Tthe Beatles
REPERTOIRESTAGE 3
Back in Black Black Magic Woman Foxy Lady Guitar Boogie Little Wing Message in a Bottle Money for Nothing Pride and Joy She will be loved Stairway to heaven Texas Flood Waiting on the world to Change While My Guitar Gently Weeps AC/DC Santana Jimmy Hendrix Chuck Berry Jimmy Hendrix Police Dire Straits Stevie Ray Vaughan Maroon 5 Led Zepplin Stevie Ray Vaughan John Meyer George Harrison
154
BASS
Scales Tempo: Quarter note=60 Major Dorian Aeolian Mixolydian Major pentatonic Minor pentatonic Jazz minor Blues scale Arpeggios Tempo: Quarter note=60 Major 9th Minor 9th Dominant 9th Min/Maj 9th

Scales Tempo: Quarter note=70 Ionian Major Dorian Aeolian Mixolydian Lydian Wholetone Major pentatonic Minor pentatonic Jazz minor Blues Scale Dominant eight note scales Harmonic minor scales Arpeggios Tempo: Quarter note=80 Major 9th Minor 9th Dominant 9th Min/Maj 9th Minor 7b5
REPERTOIRESTAGE 2
All along the Watchtower Bob DylanHendrix Black Night Deep Purple Crossroads Cream Hold the Line Toto House of the Rising Sun Animals I feel good In a Gadda da Vida Iron Butterfly My Happiness Powder Finger Natural Woman Patitucci/Weckl Latin Play-along (Book 1) Red House Hendrix Signed Sealed Delivered Smoke on the Water Deep Purple Stormy Monday Sunshine of you love Cream Talk to your Daughter
155
REPERTOIRESTAGE 3
Back in Black AC/DC Black Magic Woman Santana Little Wing Hendrix Master Blaster Message in a Bottle Police Midnight at the Oasis Money for Nothing Dire Straits Patitucci/Weckl Play-along Straight 1/8ths (Book 2) She will be loved Maroon 5 Stairway to heaven Led Zepplin Tell Me Something Good Waiting on the world to Change John Meyer You Send Me
156
KEYBOARD
KEYBOARD
All of the following scales over 4 octaves in 12 keys Tempo: MM 70 (8th note16th note) Major scales Mixolydian modes Aeolian modes Jazz minor scales Major pentatonics Minor pentatonics Dorian modes Blues scales Chromatic C, F, Bb and Eb Arpeggios All of the following arpeggios over four octaves in twelve keys Tempo: MM 60 (8th note triplet16th note)
All of the following scales over 4 octaves in 12 keys Tempo: MM 80 (8th note16th note) Major scales Mixolydian modes Aeolian modes Jazz minor scales Major pentatonics Minor pentatonics Dorian modes Blues scales Chromatic C, F, Bb and Eb Arpeggios All of the following arpeggios over four octaves in twelve keys Tempo: MM 70 (8th note triplet16th note) Major (root position, first and second inversion) Minor (root position, first and second inversion) Dominant 7th (root position, first, second and third inversion) Major 7th (root position, first, second and third inversion)
REPERTOIRESTAGE 2
12 Bar BluesKeys A, E, F, and C (Sittin' On) The Dock of the Bay At Last Bridge Over Troubled Water Chameleon Dr John Honesty How Deep Is Your Love How Sweet it Is (to be loved by you) I Heard it Through the Grapevine Moondance My Cherie Amour Natural Woman Rikki Don't Lose that Number Song for Guy/Candle in the Wind Stormy Monday Otis Redding Mack Gordon and Harry Warrensung by Etta James Paul Simon Herbie Hancock Billy Joel Bee Gees James Taylor Marvin Gaye Van Morrisson Stevie Wonder Steely Dan Elton John
157
Superstition Tell Me Something Good Watermelon Man What's Going On
Stevie Wonder Herbie Hancock Marvin Gaye
*** Please note that repertoire is best learned via a combination of printed and recorded sources. Students should be mentored and encouraged to devise their own piano/keyboard arrangements of selected repertoire based on the chord progression, melody, rhythmic structures and form. Improvisation should also be encouraged even if it is not present in the original recording or score.
REPERTOIRESTAGE 3
12 Bar BluesKeys Bb, D, Eb, G and Ab A Whiter Shade of Pale Procol Harum Cantaloupe Island Herbie Hancock Daniel Elton John Dont You Worry About a Thing Stevie Wonder Georgie Porgie Toto Josie Steely Dan Just the Way You Are Billy Joel Killing Me Softly Roberta Flack Master Blaster Stevie Wonder Midnight at the Oasis Minute by Minute Doobie Brothers Sir Duke Stevie Wonder Spain Chick Corea Spinning Wheel Blood, Sweat and Tears Superstition Stevie Wonder Takin it to the Street Doobie Brothers This Masquerade George Benson You Send Me You've Got a Friend James Taylor *** Please note that repertoire is best learned via a combination of printed and recorded sources. Students should be mentored and encouraged to devise their own piano/keyboard arrangements of selected repertoire based on the chord progression, melody, rhythmic structures and form. Improvisation should also be encouraged even if it is not present in the original recording or score.
158
PIANO
Generic scales. All scales to be in swing 8th notes (legato) only Tempo: Quarter note=80 in 16th notes2 octaves Ionian (12 keys) Aeoliannatural/relative minor (G, D, A, E, B, F#) Blues (12 keys) Minor pentatonic (12 keys) Mixolydian (F, Bb, Eb, Ab, Db, Gb) Arpeggios Tempo: Quarter note=60 in 16th notes2 octaves Major 7th Minor 7th Dominant 7th (12 keys) Stage 2 Equivalent standard to Trinity Rock Grade 5/6
Tempo: Quarter note=90 in 16th notes2 octaves Ionian (12 keys) Aeolian (12 keys) Blues (12 keys) Minor pentatonic (12 keys) Mixolydian (12 keys) Jazz minor Arpeggios Tempo: Quarter note=70 in 16th notes2 octaves Major 7th Minor 7th Dominant 7th (12 keys) Minor 7th b5 (12 keys) Stage 3 Equivalent standard to Trinity Rock Grade 7/8
TECHNICAL WORKREPERTOIRESTAGE 3 Scale and arpeggio technical work

Chords and Progressions for Jazz and Popular Keyboard by Kenneth Baker (Music Sales Corporation) Jrgen Moser, Discovering Rock PianoVolume 2 (Schott) The Jazz piano bookMark Levine (Sher Music) The Pop Piano Book (Harrison Music Education Systems) General technical work and texts Boogie-Woogie, Hanon (Music Sales) Charles Hanon, The Virtuoso PianistSixty Exercises (Warner Bros) Fast Forward: Boogie Woogie PianoBill Worrall (Wise Publications) Jazz Improvisation Volume 2: Jazz Rhythm and the Improvised Line (Music Sales) Mark Boling, The Jazz Theory Workbook (Advance Music) The Manual of Scales, Broken Chords and Arpeggios for Piano (ABRSM Publishing)
159
REPERTOIRESTAGE 2
12 Bar BluesKeys A, E, F, and C At Last Bridge Over Troubled Water Chameleon Honesty How Deep Is Your Love How Sweet It Is (to be loved by you) I Heard It Through the Grapevine Moondance My Cherie Amour Rikki Don't Lose That Number (Sittin' On) The Dock of the Bay Song For Guy/Candle in the Wind Watermelon Man What's Going On Mack Gordon and Harry Warrensung by Etta James Paul Simon Herbie Hancock Billy Joel Bee Gees James Taylor Marvin Gaye Van Morrisson Stevie Wonder Steely Dan Otis Redding Elton John Herbie Hancock Marvin Gaye
*** Please note that repertoire is best learned via a combination of printed and recorded sources. Students should be mentored and encouraged to devise their own piano/keyboard arrangements of selected repertoire based on the chord progression, melody, rhythmic structures and form. Improvisation should also be encouraged even if it is not present in the original recording or score.
REPERTOIRESTAGE 3
12 Bar BluesKeys Bb, D, Eb, G and Ab A Whiter Shade of Pale Procol Harum Cantaloupe Island Herbie Hancock Daniel Elton John Dont You Worry About a Thing Stevie Wonder Georgie Porgie Toto Josie Steely Dan Just The Way You Are Billy Joel Killing Me Softly Roberta Flack Minute By Minute Doobie Brothers Sir Duke Stevie Wonder Spain Chick Corea Spinning Wheel Blood, Sweat and Tears Superstition Stevie Wonder Takin it to the Street Doobie Brothers This Masquerade George Benson You've Got a Friend James Taylor *** Please note that repertoire is best learned via a combination of printed and recorded sources. Students should be mentored and encouraged to devise their own piano/keyboard arrangements of selected repertoire based on the chord progression, melody, rhythmic structures and form. Improvisation should also be encouraged even if it is not present in the original recording or score.
160
VOCAL
Technical requirements Scales should be sung as straight time rather than swung, but may incorporate some syncopation. Scales should be sung from memory in 4 different keys suited to the students vocal range. The starting note (and appropriate chord) will be sounded. The scale will then be sung unaccompanied. The student may use syllables of their own choice, however it is advisable to use syllables such as: doo ba; dee ba; da ba etc. Solfa can also be used. Dynamic variations remain: mezzo forte, mezzo piano and/or with crescendo and decrescendo. All scales should be sung to the ninth degree or the flat third where appropriate (blues and minor pentatonic).
Scales Major (crotchet=100) Major pentatonic (crotchet=60) Mixolydian (crotchet=60) Dorian (crotchet=60) Jazz minor (melodic minor ascending) crotchet=100 Blues (crotchet=60) Chromatic (up to sharpened 5th) Arpeggios To be played in the following keys. The tonic (and chord) will be sounded. Arpeggios should be sung from memory up to the seventh degree of the arpeggio. Tempo: crotchet=80. Straight time/feel Major 7th Minor 7th Dominant 7th Improvisation Demonstrate improvisation skills over Blues form Adlibbing over chorus Melodic improvisation in verse over song where appropriate
Scales Major (crotchet=100) Major pentatonic (crotchet=100) Minor pentatonic (crotchet=60) Mixolydian (crotchet=60) Dorian (crotchet=60) Jazz minor (melodic minor ascending) (crotchet=100) Blues (crotchet=80) Chromatic (full octave) same format as the Jazz context Arpeggios To be played in the following keys. The tonic (and chord) will be sounded. Arpeggios should be sung from memory up to the seventh degree of the arpeggio. For Stage 3, arpeggios should be sung as per the Stage 3 Jazz context. Tempo: crotchet=80. Straight time/feel Major 7th Minor 7th Dominant 7th Improvisation Demonstrate improvisation skills over Blues form Adlibbing over chorus Melodic improvisation in verse over song where appropriate
161
Jazz and Contemporary Jim Snidero Jazz Conceptions Aebersold Guide for Jazz and Scat Vocalists Bob Stoloff Rhythm Etudes Seth Riggs Singing for the Stars Anne Peckham Contemporary Singer Michelle Weir Vocal Improvisations Trinity Exams Rock School NB: Some studies from Western Art Music are recommended for Jazz and Contemporary singers as well. Ear training: Jazz and Contemporary (improvisation) (Intervals: improvisation: phrasing: ornamentation: syncopation) Bob Stoloff: Diatonic exercises and the rest of the book!! Jim Snidero: tracks 16 (maybe 7): to understand chord progressions jazz phrasing Aebersold: Guide to Jazz and Scat Vocalists prac. Procedures for memorising chord progression soloing ear training intervals Phonation: Jazz/Contemporary (Vowels: consonants: articulation: scat: onset: ornamentation: flexibility: arpeggios) Jazz Conception Jim Snidero: Groove Blues, Amen, A DollDiction, Scatall have written scat syllables Michele Weir Vocal Improvisation: scat syllables that pertain to particular rhythms Registration: Jazz/Contemporary (Passagio: tilt: range) Seth Riggs Singing for the Stars: Ex 1Bubbling and trilling Patterns: working through the mix (passagio) Anne Peckham Contemporary Singervarious exercises Rock School Syllabus Breathing: Jazz/Contemporary (more phrasing) (Phrasing: alignment: breath support: messa di voce: flexibility) Jazz Singers Handbook: Sections 5 & 6Colouring melody and phrasing Rhythm EtudesBob Stoloff14 Counting Exercises Vocal resonance: Jazz/Contemporary (Tone colour: vowels) Listening to particular styled singers Listening to particular styled singers
162
REPERTOIRESTAGE 2
Songs can be performed in key appropriate to vocal range Aint No Sunshine Amazed Because You Loved Me Dont Know Why Down Under Evergreen Everything I Do, I Do it For You Father and Son Feel Heaven Here Comes the Sun Hero How Do I Live I Believe I Can Fly I Feel Good I Say a Little Prayer Just the Way You Are Lean on Me Life is a Rollercoaster Mama Mia People Get Ready Sorry Seems to be the Hardest Word Stand By Me Stormy Monday Superstition Thank You The Wind Beneath My Wings We Will Rock You When I Fall in Love When You Say Nothing At All Wonderwall Youve Got a Friend Anthologies Folk Songs for Solo Singers Book 1 Folk ensemble Folk Songs for Two Hes Gone Away Shenandoah Bill Withers Lonestar Celine Dion Norah Jones Colin Hay and Roy Stakert Barbra Streisand and Paul. Williams Bryan Adams Cat Stevens Robbie Williams Bryan Adams The Beatles Walter Afanasieff and Mariah Carey Leann Rimes R Kelly James Brown Aretha Franklin Billy Joel Bill Withers Ronan Keating ABBA VariousCurtis Mayfield/Eva Cassidy Elton John Ben E. King Various Stevie Wonder Dido Larry Henley and Jeff Silbar Freddie MercuryQueen Victor Young (music) and Edward Heyman (lyrics) Ronan Keating Oasis VariousCarol King/James Taylor/Brand New Heavie Jay Althouse Jay Althouse
REPERTOIRESTAGE 3
Angels A Womans Worth Beautiful Cant Fight the Moonlight Come Away With Me Crazy Little Thing Called Love Crocodile Rock Dannys All Star Joint Every Breath You Take Fallin Fields of Gold I Heard it Through the Grapevine Imagine Little Wing Put Your Records On Signed, Sealed, Delivered Robbie Williams Alicia Keys Christine Aguilera Leann Rimes Norah Jones Queen Elton John Ricki Lee Jones Sting/The Police Alicia Keys Various Marvin Gaye John Lennon Jimi Hendricks Corrine Bailey-Rae Stevie Wonder
163
Springfield Take Another Piece of my Heart Now Baby The Greatest Love of All Your Song Additional Aint Nobody Cant Buy Me Love Crazy in Love Hallelujah Lady Marmalade Let Me Entertain You Livin on a Prayer Please Dont Ask Me Simply the Best Some Kind of Wonderful/ Super Duper Love That Dont Impress Me Much Time After Time Torn Under The Bridge Yellow You Are Not Alone
Beverley Knight VariousJanis Joplin/Dusty Valerie/Amy Winehouse George Benson/Dolly Parton/Whitney Houston Elton John Chaka Khan The Beatles Beyonce Jeff Buckley VariousPatti Labelle/Christine Aguilera Robbie Williams Bon Jovi John Farnham Tina Turner Joss Stone Shania Twain VariousCindi Lauper/Phil Collins Natalie Umbriglia Red Hot Chilli Peppers Coldplay Michael Jackson
164
LISTENING
JAZZSTAGE 2
PIANO
Ahmad Jamal Art Tatum Bill Evans Bud Powell Chick Corea Count Basie Duke Ellington Hank Jones Herbie Hancock McCoy Tyner Red Garland Teddy Wilson Thelonius Monk Tommy Flanagan
165
VOCAL
Blues and early jazz Bessie Smith Billy Holiday Ma Rainey MainstreamModern jazz artists Abbey Lincoln Al Jarreau Anita ODay Anita Wardell Betty Carter Bobby McFerrin Carmen McRae Chet Baker Claire Martin Diana Krall Dianne Reeves Dinah Washington Eddie Jefferson Ella Fitzgerald Frank Sinatra Jane Monheit Joe Williams Jon Hendricks June Christy Kurt Elling Lambert Hendricks and Ross Mark Murphy Mel Torme Nancy Wilson Nat King Cole Nina Simone Norma Winstone Peggy Lee Sarah Vaughan Shirley Horn Stacey Kent Tierney Sutton Scat singing Anita Wardell Al Jarreau Bobby McFerrin Eddie Jefferson Ella Fitzgerald Jon Hendricks Kurt Elling Lambert, Hendricks and Ross Mark Murphy Sarah Vaughan Latin Astrud Gilberto Bebel Gilberto Elaine Elias Elis Regina Gal Costa Joao Gilberto Fusion/Crossover Flora Purim Tania Maria
166
TROMBONE
Adrian Mears Al Grey Bill Watrous Carl Fontana Conrad Herwig Curtis Fuller Frank Rosolino Jack Teagarden James Morrison Jimmy Knepper JJ Johnson John Alred Julien Priester Lawrence Brown Ray Anderson Robin Eubanks Slide Hampton Steve Davis Steve Turre Trummy Young Urbie Green Wycliffe Gordon
167
168
CONTEMPORARYSTAGE 2
DRUMS
Alanis Morrisette Bob Marley Bonnie Raitt Cream DAngelo Donny Hathaway Earth Wind and Fire Herbie Hancock James Brown James Taylor Jill Scott Jimmy Hendrix John Mayer Trio Led Zepplin Mshell Ndegeocello Marvin Gaye Michael Jackson Paul Simon Ray Charles Robben Ford Sly and the Family Stone Steely Dan Stevie Ray Vaughan Stevie Wonder Sting The Beatles The Blues Brothers The Doobie Brothers The Meters The Police Toto Tower of Power Jagged Little Pill Legend Luck of the Draw Disraeli Gears Voodoo Live Greatest Hits Headhunters Live at the Apollo, Volume 2 Live Experience Are you satisfied? Live IV Peace beyond Passion Whats Going On Thriller Graceland The Genius of Ray Charles Talk to your daughter Fresh Aja Couldnt Stand the Weather Songs in the key of life 10 Summoners Tales Abbey Road Briefcase full of Blues The Best of the Doobie Brothers The Best of the Meters Reggatta De Blanc IV Back to Oakland
169
PIANO
Billy Joel Booker T. Jones Chick Corea Derek Sherinian Dr John Eddie Van Halen Elton John Gregg Giuffria Harry Connick Jr Herbie Hancock Jens Johansson Joey DeFrancesco Jonathan Cain John Lord Johnnie Johnson Jon Oliva Keith Emerson Kevin Moore Mats Olausson Ray Charles Ray Manzarek Rick Wakeman Russ Ferante Sascha Onnen Stevie Wonder Tony MacAlpine
170
CONTEMPORARYSTAGE 3
PIANO
Billy Joel Booker T. Jones Chick Corea Derek Sherinian Dr John Eddie Van Halen Elton John Gregg Giuffria Harry Connick Jr Herbie Hancock Jens Johansson Joey DeFrancesco Johnnie Johnson John Lord Jonathan Cain Jon Oliva Keith Emerson Kevin Moore Mats Olausson Ray Charles Ray Manzarek Rick Wakeman Russ Ferante Sascha Onnen Stevie Wonder Tony MacAlpine
171
VOCALS
Classic and contemporary Soul/Motown/Funk/R&B Adele Alicia Keys Al Green Amy Winehouse Angie Stone Aretha Franklin Beverley Knight Beyonce Bill Withers Brand New Heavies Chaka Khan Chrisina Aguilera Corine Bailey-Rae DAngelo Donny Hathaway Duffy Dusty Springfield Erykah Badu Gladys Knight India Arie James Brown Jamiroquai Jason Mraz Jill Scott Jocylyn Brown Joss Stone Justin Timberlake Lauren Hill Lisa Stansfield Maria Carey Marvin Gaye Mary J Blige Maxwell Michael Jackson/Jackson 5 Musiq Soul Child Oleta Adams Otis Redding Patti Labelle Ray Charles Seal Stevie Wonder Whitney Houston Rock and Roll/Rock/Indie/Pop Rock Alanis Morrisette Blondie Bon Jovi Coldplay David Bowie Eric Clapton Jeff Buckley Jimi Hendricks John Lennon John Mayer Lenny Kravitz Oasis Prince Queen Red Hot Chilli Peppers Robbie Williams
172
Scissor Sisters The Beatles The Police The Rolling Stones Tom Jones Pop/Folk/Acoustic/Country Bjork Carol King Cat Stevens Celine Dion Elton John Eva Cassidy George Michael James Taylor Joni Mitchell Katie Noonan Missy Higgins Norah Jones Paul Simon Ricki Lee Jones Shania Twain Simon and Garfunkel The Bee Gees Tracy Chapman
173
174
SUGGESTED TEXTS
DRUM SET JAZZ AND CONTEMPORARY
Books/resources Drum Concepts and Techniques, Erskine, Peter. 21st Century Music http://www.pas.org/resources/rudiments/rudiments.html Master Studies, Morello, Joe. Modern drummer Publications Musical Studies for the Intermediate Snare Drummer, Whaley, Garwood Stick Control for the Snare Drummer, Stone, George L, George B. Stone & Son Inc. The All American Drummer, 150 Rudimental Solos, Wilcoxon, Charles. Ludwig Music Publishing Co The Art of Bop Drumming, Riley, John. Manhattan Music The Drummers Handbook, Tarr, Chris. Currently unpublished The New Breed, Chester, Gary. Modern Drummer Publications Ultimate Play-along for Drums Level One, Volume One, Weckl, Dave. Manhattan Music Ultimate Play-along for Drums Level One, Volume Two, Weckl, Dave. Manhattan Music
175
VOCALS CONTEMPORARY
Instrumental specifications for Contemporary voice Recommended texts for studies Anne Peckham The Contemporary Singer Anne Peckham Vocal Workouts for the Contemporary Singer Bob Stoloff Scat Judy Niemack Hear it and Sing it! Exploring Modal Jazz Kim Chandler Funky n 4 Fun Challenging Riffs CD Kim Chandler Funky n Fun 13 Vocal Exercise CDs Maribeth Bunch Dayme The Performers Voice Mark Baxter The RockNRoll Singers Survival Manual Seth Riggs Singing for the Stars Ear training (Intervals; phrasing; ornamentation (licks and agility exercises), syncopation, improvisation) Judy Niemack Hear it and Sing it! (Interval exercises over the modes) Judy Niemack Hear it and Sing it (Call and response exercises to develop aural ability and improvisation skills) Phrasing Listening to various artists (from early blues and roots to current artists) to develop phrasing and feel appropriate to different contemporary styles. It is recommended that students become familiar with the vocal style and phrasing of classic blues and rhythm and blues artists such as BB King; Ray Charles etc. as a foundation for more contemporary styles. Ornamentation Anne Peckham Kim Chandler Syncopation Bob Stoloff The Contemporary Singer (various exercises based on minor pentatonic scales) Development of vocal agility and licks Fun n Funky CDs 1 and 2Agility and licks exercises. Also tracks on both CDs for creative jam/open improvisation Scat (designed for jazz singers but there are great exercises for developing rhythmic precision, articulation and syncopation for all contemporary vocalists. Good exercises for vocalising large intervals
Phonation (Vowels, consonants; articulation; scat; onset; flexibility; arpeggios) Anne Peckham The Contemporary Singervarious exercises for coordinated onsets Bob Stoloff Scatvarious exercises to develop articulation skills and scat language Judy Niemack Hear it and Singvarious exercises to develop flexibility, articulation, vowels and scat singing Kim Chandler Funky n Fun CDs 1 and 2 (vowels, consonants, articulation, flexibility and arpeggios Kim Chandler Funky n Fun CD 3 (scales and arpeggios) Maribeth Bunch Dayme The Performers Voicevarious exercises Seth Riggs Singing for the Stars Breathing (Phrasing; alignment; breath support; messa di voce; flexibility) Judy Niemack Hear it and Singvarious exercises for improving flexibility Kim Chandler Funky n Fun CDs 1 and 2various breathing exercises Maribeth Bunch Dayme The Performers Voicevarious exercises (alignment and breathing)
176
Registration (Passagio: tilt, range) Anne Peckham Judy Niemack Kim Chandler Seth Riggs
The Contemporary Singervarious exercises Hear it and SingTrack 7 (range) Funky n Fun 2 Track 6 (twang) Singing for the Starsexercises to help develop coordination through the vocal range
Vocal resonance Also refer to texts recommended for Western Art Music (Tone colour; vowels) Anne Peckham The Contemporary Singervarious exercises Judy Niemack Hear it and Sing exercises 1-4 Kim Chandler Funky n Fun CD 1Track 9 Kim Chandler Funky n Fun CD 2Track 5 Maribeth Bunch Dayme The Performers Voicevarious exercises Suggested texts Repertoire All Time Standards: Vol 25 Autumn Leaves: Vol 44 (All Levels) Ballads: Vol 32 Body and Soul17 Jazz Classics: Volume 41 (All Levels) It Had To Be You: Vol 107 Jamey Abersold Play-along series Jazz Bossa Novas: Vol 31 Standards in Singers Keys: Vol 24 Sugar: Vol 49 Swing, Swing, Swing: Vol 39 (All Levels) The New Real Book Volumes 13 (C Version) The Standards Real Book (C Version) Styling and phrasing Dr Gloria Cooper and Don Sickler: Jazz Phrasing Listening to various artists Michele Weir: Jazz Singers HandbookThe Artistry and Mastery of Singing Jazz Vocal improvisation Bob Stoloff: Blues Scatitudes Bob Stoloff: Scat! Vocal Improvisation Techniques (CD included) Dan Haerle: Scales for Jazz Improvisation: A Practice Method for All Instruments Dan Hearle: The Jazz Language Denis Diblasio: Guide for Jazz and Scat Vocalists Hal Crook: READY, AIM, IMPROVISE! Exploring the Basics of Jazz Improvisation Hal Crook: How to Improvise: An Approach To Practicing Improvisation Jerry Coker: Patterns for Jazz: Treble Clef Judy Niemack: Hear it and Sing it! Exploring Modal Jazz (CD included) Michele Weir: Vocal Improvisation (CD included) Oliver Nelson: Patterns for Improvisation Vocal technique Judy Niemack: Hear it and Sing it! Great vocal warm ups and technique exercises Maribeth Bunch Dayme: The Performers Voice Seth Riggs: Singing for the Stars; A Complete Program for Training the Voice
177

Music Resource Package For Practical Component PDF

Enviado por

Dados do documento

Descrição original:

Título original

Direitos autorais

Formatos disponíveis

Compartilhar este documento

Compartilhar ou incorporar documento

Opções de compartilhamento

Você considera este documento útil?

Este conteúdo é inapropriado?

Direitos autorais:

Formatos disponíveis

Music Resource Package For Practical Component PDF

Enviado por

Direitos autorais:

Formatos disponíveis

Music Resource package for the practical component

Music: Resource package for the practical component

Music: Resource package for the practical component

Music: Resource package for the practical component

Music: Resource package for the practical component

Music: Resource package for the practical component

Music: Resource package for the practical component

WESTERN ART MUSIC

Music: Resource package for the practical component

Music: Resource package for the practical component

Music: Resource package for the practical component

Music: Resource package for the practical component

Music: Resource package for the practical component

2 octaves 2 octaves 2 octaves

2 octaves 2 octaves 2 octaves

Music: Resource package for the practical component

Music: Resource package for the practical component

Music: Resource package for the practical component

Music: Resource package for the practical component

2 octaves 1 octave 2 octaves 2 octaves

1 octave 2 octaves 2 octaves 2 octaves

Music: Resource package for the practical component

Music: Resource package for the practical component

Music: Resource package for the practical component

1 octave 2 octaves 1 octave 2 octaves

1 octave 2 octaves 1 octave 2 octaves

Music: Resource package for the practical component

Music: Resource package for the practical component

Music: Resource package for the practical component

The following contains numerous suitable works: Oboe Solos AMSCO

Music: Resource package for the practical component

Music: Resource package for the practical component

Music: Resource package for the practical component

Music: Resource package for the practical component

Music: Resource package for the practical component

1 octave 2 octaves 1 octave 2 octaves 1 octave 2 octaves

1 octave 2 octaves 2 octaves 1 octave 2 octaves

Music: Resource package for the practical component

Music: Resource package for the practical component

Music: Resource package for the practical component

Music: Resource package for the practical component

Music: Resource package for the practical component

minimum range 1 octave minimum range 1 octave

minimum range 1 octave minimum range 1 octave

Music: Resource package for the practical component

Music: Resource package for the practical component

Music: Resource package for the practical component

minimum range 1 octave minimum range 1 octave

minimum range 1 octave minimum range 1 octave

Music: Resource package for the practical component

Music: Resource package for the practical component

Music: Resource package for the practical component

minimum range 1 octave minimum range 1 octave

TECHNICAL WORKSCALES STAGE 3

minimum range 1 octave minimum range 1 octave

Music: Resource package for the practical component

Music: Resource package for the practical component

Music: Resource package for the practical component

Music: Resource package for the practical component

minimum range 1 octave minimum range 1 octave

minimum range 1 octave minimum range 1 octave

Music: Resource package for the practical component