Clarinet Syllabus
Clarinet Syllabus
Clarinet Syllabus
Clarinet
Classical,Modern&Jazz
ExaminationSyllabus
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13/03/2009version01A
The GUILD
Music & Speech Education System
Australian Guild of Music Education Inc A0010797V
The Australian Guild, Music and Speech Education System can be broadly divided into two sections:
Public Examinations for music and speech/drama students from beginner to advanced (Licentiate and
Fellowship diplomas)
Tertiary Courses with Certificate, Diploma and Advanced Diploma courses for the music industry and
Bachelor of Music degree for advanced music training
The public examinations are administered by The Australian Guild of Music Education, Public Examinations
Division. These examinations cover practical music, music performance, music theory, practical speech and
drama, speech and drama theory, oral communication, spoken language development and choric speaking.
The printed syllabi for each type of examination, together with a wide-ranging series of publications forms a
comprehensive instructional system to aid teachers in developing the skills of their students.
The
examinations provide recognition for the students work and teacher recognition is achieved through the
Australian Guild Teachers Register.
The Creative Skills and Higher Educations programs covering courses in music to Certificate IV (CUS40101),
Diploma (CUS50101) and Advanced Diploma (CUS60101) and Bachelor of Music degree (V0004629) are
provided by the Australian Guild of Music Education, Tertiary Course Division. The AGMED is a Registered
Training Organisation approved to deliver these courses in all States of Australia. All the courses are on the
National Qualifications Register and may be completed by distance education.
Video-tapes and DVDs
ensure that students everywhere receive live instruction. Tapes and DVDs of tutorial centre sessions are
dispatched directly to remote students together with written material.
In the Higher Education Program Bachelor of Music degree, articulation agreements may be arranged with
other Universities for students who wish to continue their studies beyond a first degree. The Bachelor course,
like the others, may be completed by distance education, the Kooyong campus and video material providing
the appropriate contact between tutors and students.
All enquiries to:
AUSTRALIA
www.guildmusic.edu.au
VERSION CONTROL
Reference: 10-0-5 (20090313)
Book Volume Edition
Date
10
0
2
19990101
10
0
3
19930101
10
0
4
19941201
10
0
5
20090313
Change
New edition, completely re-written
Revised
Corrections to 1993 edition
Cover updated plus AGMS changed to AGMED
PHOTOCOPYING PROHIBITED
All rights reserved. No part of this publication may be reproduced, arranged, stored in a retrieval system or transmitted in
any form or by any means, manual, mechanical, photographic, chemical, electronic or otherwise, without the prior
permission of the Australian Guild of Music Education Inc (A0010797V).
Copyright 2004 by Australian Guild of Music Education Inc
The moral rights of the authors are asserted.
AUSTRALIANGUILDOFMUSICEDUCATION
(Incorporating the AGMS)
GUILD
The Australian Guild of music Education is an music education body dedicated entirely to Distant Education and Tertiary Courses (AGMED
(Conservatorium and Faculty of Music) and the AGMED (Public Examination sector) which caters for public examinations in music.
The AGMS was formed in 1969 and has Syllabi in all traditional areas. The Guild was the first body
to evolve an Electronic Organ Syllabus, a Digital Keyboard Syllabus, a Modern Piano Syllabus and
modern Woodwind, Brass and Guitar Syllabi. These modern syllabi have all been very successful.
The Guild still unequivocally leads in these areas.
The AGMED (Public examination sector) through an Australia wide system of Graded examinations aims to
develop music and speech education and skills by promoting uncompromising standards of education in both
performing and teaching. To that end, all AGMED Syllabi whether traditional or contemporary have been
formulated to promote those ideals. AGMED Syllabi have been innovatively enhanced to allow candidates
and teachers full access to a large selection of works in order to progress to their full potential. AGMED
Syllabi offer the concept of OWN CHOICE in any List and in any practical subject area on the basis that no
one person is the same as another.
Many different physical, mental and emotional factors sometimes cause the withdrawal of a candidates
musical interest when confronted with an uncompromising selection of works, as so often happens in many
syllabi.
The official Syllabi of the AGMD are designed to meet the needs of private Teachers, Professional Musicians
and Educational Institutions, as well as to cater for those whose desire is to pursue the study and practice of
their art chiefly for its aesthetic and spiritual values, if not for professional reasons. Because of the character
of the AGMED constitution as revealed in the Articles of Association the body is particularly suited for such
a purpose. Therefore their Lists will be found to be comprehensive, catering for the academically minded, the
performing artist and for those who seek recreation, cultured self expression and the development of a
rewarding and satisfying professional life.
The AGMED conducts many thousands of practical and theory examinations every year throughout Australia,
Singapore, Malaysia and in Sabah and Sarawak in Borneo. Malaysia has centres in Kuala Lumpa, Ipoh
(North), Penang (Nth West) as well as in the Eastern areas of the country. Additionally, Sabah across the
China Sea in North Borneo at Copa, Kinabalu is also a very strong base of Guild activity. Brunei is another
successful Centre. An initiative to commence examinations in mainland China is already under way.
PUBLICATIONS OUT OF PRINT It is inevitable in any Contemporary Syllabus that publications change
and some will go out of print within a space of time. This is unfortunate but a circumstance over which we
have no control.
TERTIARY PROFESSIONAL COURSES
In addition the Guild offer a complete music program to the dedicated student and can offer either by Distance
or attendance a range of professional courses in music all fully accredited.
VET Level courses include Certificate 1-1V, Diploma and Advanced Diploma. The new government Fee
Help scheme is expected to be available in mid year for Diploma and Advanced Diploma students
Higher Education Bachelor of Music program is available and offers immediate access to Government FEE
HELP. This is not Means Tested.
AUSTUDY is available for all courses.
Contact the Guild office 03 9822 3111 or the Dean Mobile 0412 327 665, or write to Guild
451 Glenferrie Road, Kooyong Victoria 3122 AUSTRALIA, or visit our WEB SITE www.guildmusic.edu.au
CLARINET SYLLABUS.
CLASSICAL. MODERN. JAZZ.
CONTENTS.
Page #.
IMPORTANT NOTES FOR TEACHERS AND CANDIDATES.
General Syllabus Notes.
Examination Music.
Own Choice. All Syllabi.
AGMED Examinations.
Memory.
Performance. Modern and Jazz Syllabi only.
Assessment.
Publishers.
Reference Book List.
Scales and Arpeggios. General Notes and Tempo Listing.
Scale and Arpeggio List.
For Classical and Modern Clarinet Syllabi.
Step One. Two. Three.
Grade One.
Grade Two.
Grade Three.
Grade Four.
Grade Five.
Grade Six.
Grade Seven.
Proficiency Certificate.
"
"
"
"
"
"
"
"
"
"
01.
01.
01.
01.
01.
02.
02.
02.
03.
05.
"
"
"
"
"
"
"
"
"
"
06.
06.
06.
07.
07.
07.
08.
08.
09.
09.
ARTICULATION REQUIREMENTS.
" 10.
"
"
"
"
"
"
"
13.
14.
20.
42.
45.
47.
51.
"
"
"
"
"
"
52.
53.
54.
73.
76.
78.
"
"
"
"
"
81.
82.
92.
95.
97.
" 100.
EXAMINATION MUSIC.
All of the chosen music provides a basis for a sound foundation and a pleasing repertoire. A few items in the
Examination Lists are published in a number of alternative versions. Care should be taken to ensure that the
correct edition for the specific Grade standard is obtained.
From GRADE SIX onwards, where there are Four Lists, the Classical Syllabus music should reflect as far as
is possible, the four main periods in musical development: viz:List A.
List B.
List C.
List D.
AGMED EXAMINATIONS.
AGMED examinations provide an excellent goal for students in their music studies. They give a sense of
purpose and direction and can be undertaken in addition to other music activities. They are not meant to be
the only event in a student's musical year. The report provides a reliable assessment of a candidate's progress
and contributes to the student's overall musical development.
MEMORY.
Although not a Grade requirement, the playing of all music from memory is to be encouraged. Memory
work is required in the Associate and Licentiate Diploma practical examinations.
Page 1
ASSESSMENT.
Examiners will consider the following points.
a.
b.
c.
d.
e.
f.
g.
h.
i.
Candidates must use the recognised normal pitch, and in the manipulation of the instrument, should use
minimum finger movement. Candidates must provide their own accompanist who may remain in the
Examination room only whilst performing that task. The teacher may act as accompanist, but not the
Examiner, except in the case of an accompanied sight reading test. The tuning of the instrument is entirely
the responsibility of the candidate, the accompanist or the teacher. The Examiner must not assist in this task.
Candidates must bring their own music stand to the Examination room.
**************************************************************
PUBLISHERS.
Southern Music Company.
International Music Company.
Oxford University Press.
MelBay-Modern Music Craft.
Boosey & Hawkes.
Page 2
SMC.
IMC.
OUP.
MB/MMC.
B & H.
RUDIMENTS.
A Dictionary of Musical Terms.
A Student's Dictionary of Music.
Dictionary of Musical Terms.
General Knowledge for Music Students.
Hints on Working Rudiments Questions.
Modern Chords. A comprehensive Guide.
Questions and Exercises on Rudiments of Music.
Rudiments of Music.
Rudiments of Music.
The Rudiments of Music.
Greening.
W.Lovelock.
Baker.
W.Lovelock.
W.Lovelock.
Lorrel Sheridan.
A.Johnstone.
J.A.Johnstone.
Macpherson.
W.Lovelock.
Williams.
Bell.
Allans.
Allans.
Elkin.
L.S.Pub.
Allans.
Allans.
Williams.
Bell.
HARMONY.
A Guide to Elementary Harmony.
Advanced Harmony For Students.
Harmonisation of Melody at the Keyboard.
Know Your Harmony - Step by Step.
Harmony and Composition.
Harmony and Style. Book 1.
Harmony for Students.
Keyboard Harmony and Improvisation.
Melody and Harmony.
Practical Harmony.
The Harmonization of Bach's Chorales.
Writing Music.
108 Exercises in Harmonisation.
371 Chorals.
E.Thiman.
J.A.Steele.
D.Pilling.
Dulcie Holland.
A.Burnard.
Long.
J.Steele.
K.Simpson.
Macpherson.
Macpherson.
W.Lovelock.
Lawless & Podoliak.
W.Lovelock.
J.S.Bach.
Faber.
Allans.
Forsyth.
Castle.
Allans.
Chester.
Allans.
Lengnick.
Williams.
Williams.
Imp.1092.
WaterLoo.
Elkin.
Any Edition.
COUNTERPOINT.
Free Counterpoint.
Free Counterpoint in Two Parts.
Introduction to Counterpoint.
Practical Free Counterpoint.
Strict Counterpoint. Primer 68.
Studies in Counterpoint.
Two Part Writing.
Two Part Writing-Step by Step.
W.Lovelock.
J.Steele.
Morris.
E.Thiman.
Gladstone.
Macpherson.
W.Lovelock.
Dulcie Holland.
Hammond.
Allans.
OUP.
Faber.
Novello.
Williams.
Imp.1093.
Castle.
Leckie.
Hunt.
Leckie.
S.Macpherson.
W.Lovelock.
A.Warburton.
Allans.
B & H.
Allans.
Williams.
Imp 974.
Longmans.
M.Hyde.
W.Lovelock.
Macpherson.
J.Steele.
Dulcie Holland.
Thiman.
Allans.
Hammond.
Williams.
Allans.
Mod.Mus.
Faber.
MELODY.
A Hundred Melodic Tests.
Construction & Writing Simple Melodies.
Melodies and Their Treatment.
Melody.
Melody Writing.
Melody Writing and Analysis.
FORM.
Examples. Binary, Ternary & Rondo Form Melodies.
Form in Brief.
Form in Music.
Handbook of Musical Form.
Musical Form Explained.
Musical Form for Examination Students.
Page 3
W.Lovelock.
Grout.
Bukofyer.
Einstein.
Mellers.
A.Warburton.
Parry.
D.Ewen.
Lloyd.
Colles.
Bell.
Dent.
Dent.
Dent.
Rockliff.
Longmans.
Novello.
Knopf.
Hamlin.
OUP.
CLARINET.
PART ONE.
Playing The Scales For Clarinet.
The Clarinet.
The Clarinet.
The New Road to Clarinet Playing.
G.Reeves.
G.Rendall.
J.Brymer.
Allans.
Williams & Norgate.
Macdonald & James.
Cramer-Castle.
A.Phillips.
A.Phillips.
Dan Haerle.
Dan Haerle.
Consolidated.
EMI.
EMI.
Studio PR-Castle.
Studio PR-Castle.
SAXOPHONE.
PART ONE.
Adolphe Sax. 1814-1894.
Overtone Practice on the Saxophone.
Saxophone Method. Vol.2.
Studies in High Harmonics.
The Saxophone Bedside Book.
The Technique of the Saxophone.
125 Ans de Musique pour Saxophone.
W.Horwood.
Egon.
Michael Furstner.
M.F.QLD.
Mel Bay-Modern Music Craft.
Ted Nash.
MCA.
P.Harvey.
Fentone 147.
Berklee-Castle.
J.M.Londeix.
Leduc.
Berklee-Castle.
Amsco.
Consolidated.
Mel Bay-Modern Music Craft.
Phillips
EMI.
Amsco.
A.Phillips.
EMI.
Studio.
Dan Haerle.
Studio P/R-Castle.
**************************************************************
Page 4
TEMPO. The suggested scale tempo for each particular grade is to be interpreted as an approximate speed.
Scales and arpeggios must be fluent at all times, and clarity, tone, control and accuracy should never be
sacrificed for excessive tempo. The technical level for each Grade should be duly regarded, although
reasonable tempo modifications are allowable. The metronome indications placed at the beginning of each
Grade requirement are an indication only of the speed required for that particular Grade.
NOTE:- The Classical and Modern Syllabi in this publication HAVE THE SAME SCALES AND
ARPEGGIOS listed for each Step, Grade and also for the Proficiency Certificate, and are interchangeable in
this regard. However, there are small changes in the Jazz syllabus.
Always refer at all times to the appropriate Syllabus for exact requirements.
ARPEGGIOS.
STEPS.
One.
Two.
Three.
One crotchet =
One crotchet =
One crotchet =
MM 80
MM 80
MM 80
MM 80
MM 80
MM 80
One
One
One
One
One
One
One
One
MM 92
MM 120
MM 92/2 Quavers
MM 120/2 "
MM 76/4 Semi Quavers.
MM 84/4 " "
MM 92/4 " "
MM 96/4 " "
MM 92
MM 120
MM 92/2 Quavers.
MM 120/2 "
MM 76/4 Semi Quavers.
MM 84/4 " "
MM 92/4 " "
MM 96/4 " "
GRADES.
One.
Two.
Three.
Four.
Five.
Six.
Seven.
Proficiency.
crotchet =
crotchet =
crotchet =
crotchet =
crotchet =
crotchet =
crotchet =
crotchet =
**************************************************************
Page 5
ARTICULATION. See Pages 11-13 for patterns which will be requested by the Examiner. Always refer to
the appropriate Syllabus.
SCALE and ARPEGGIO RANGE. From GRADE TWO onwards, all scales and arpeggios are to be
played two octaves if possible, unless otherwise indicated.
ARPEGGIOS.
Major.
G.
Ascending and descending.
Scale speed.
One crotchet = MM 80.
ARTICULATION. Tongued only.
Major.
G.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 80.
ARTICULATION. Tongued only.
One octave.
One octave.
ARPEGGIOS.
Major.
F.
Ascending and descending.
Scale speed.
One crotchet = MM 80.
ARTICULATION. Tongued only.
Major.
F.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 80.
ARTICULATION. Tongued only.
One octave.
One octave.
ARPEGGIOS.
Major.
C. G.
Harmonic Minor.
A.
Ascending and descending.
Scale speed.
One crotchet = MM 80.
ARTICULATION. Tongued only.
Major.
C. G.
Minor.
A.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 80.
ARTICULATION. Tongued only.
One octave.
One octave.
ARPEGGIOS.
Page 6
Major.
F. G.
Harmonic Minor.
A. E.
Chromatic.
E.
Ascending and descending.
Scale speed.
One crotchet = MM 92.
ARTICULATION. See Page 11. No 1 a)b)c).
Major.
F. G.
Minor.
A. E.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 92.
ARTICULATION. See Page 12. No 14 a)b).
One octave.
One octave.
One octave.
Major.
C. Bb. D.
Harmonic Minor.
A. G. B.
Melodic Minor.
A.
Chromatic.
E. F or G.
Ascending and descending.
Scale speed.
One crotchet = MM 120.
ARTICULATION. See Page 11. No 1 & 2. a)b)c). 7. 10 b).
ARPEGGIOS.
Major.
C. Bb. D.
Minor.
A. G. C.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 120.
ARTICULATION. See Page 12. No 14 a)b). 15. b)c).
One octave.
Two octaves.
One octave.
Major.
Ab. Eb. E.
Harmonic Minor.
F. C. C#.
Melodic Minor.
D.
Chromatic.
E.
Ascending and descending.
Scale speed.
One crotchet = MM 92. (2 Quavers.)
ARTICULATION. See Pages 11 & 12. 3 a)b)c). 8 a)b). 11 b).
ARPEGGIOS.
Major.
Ab. Eb. E.
Minor.
F. C. C#. D.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 92. (2 Quavers.)
ARTICULATION. See Page 12. No 16 a)c).
Major.
B. F#. Db.
Harmonic Minor.
G#. Eb. Bb.
Melodic Minor.
E.
Major 3rds.
C.
Chromatic.
Commencing on Low E.
Three octaves.
Ascending and descending.
Scale speed.
One crotchet = MM 120. (2 Quavers.)
ARTICULATION. See Pages 11 & 12. 3 a)b)c). 8 a)b). 11 b).
ARPEGGIOS.
Major.
B. F#. Db.
Minor.
G#. Eb. Bb. E.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 120. (2 Quavers.)
ARTICULATION. See Page 12. No 16 a)c).
SUSTAIN.
Page 7
Major.
E. G.
D. Ab.
Harmonic Minor.
E. G.
D. B.
Melodic Minor.
F.
Melodic Minor.
C.
Major 3rds.
D.
Chromatic.
E. F or F#.
Ascending and descending.
Scale speed.
One crotchet = MM 76. (4 Semiquavers.)
ARTICULATION. See Pages 11 & 12.
4 a)b)e)f). 9 a). 12 b).
Three octaves.
Three octaves.
Three octaves.
Two octaves.
Three octaves.
ARPEGGIOS.
E. G.
Three octaves.
D. Ab.
Minor.
E. G. D. B. F.
Dominant 7th.
In the key of C or G or F.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 76. (4 Semiquavers.)
ARTICULATION. See Page 12. No 17 a)b).
SUSTAIN.
Major.
Major.
F. Three octaves.
Ab. Bb. D.
Harmonic Minor.
F#.
Three octaves.
A. C#. B.
Melodic Minor.
F#.
Three octaves.
A. C#. B.
Major 3rds.
A or Eb.
Chromatic.
From E or F.
Three octaves.
Whole Tone.
C.
Ascending and descending.
Scale speed.
One crotchet = MM 84. (4 Semiquavers.)
ARTICULATION. See Pages 11 & 12.
4 a)b)f). 5. 9 a). 12 b).
ARPEGGIOS.
SUSTAIN.
Page 8
Major.
Db. Bb. F#. B.
Harmonic Minor.
D#. A#. Eb. Ab.
Melodic Minor.
D#. A#. Eb. Ab.
Major 3rds.
E.
H/Minor 3rds.
A.
Whole tone.
E or F.
Chromatic.
F. G or Ab.
Three octaves.
Ascending and descending.
Scale speed.
One crotchet = MM 92. (4 Semiquavers.)
ARTICULATION. See Pages 11 & 12.
4 a)b)f). 6. 9 a). 12 b).
Triple tonguing required at this grade level.
ARPEGGIOS.
Major.
Db. Bb. F#. B.
Minor.
D#. A#. Eb. Ab.
Major Inversion.
Db.
Minor Inversion.
Eb.
Dominant 7th.
In the keys of Db or Bb.
Diminished 7th.
In the keys of Eb or F#.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 92. (4 Semiquavers.)
ARTICULATION. See Pages 12 & 13.
No 17 a)b)d). 19. 20 b). 22 a)b).
Triple tonguing required at this grade level.
SUSTAIN.
Two octaves.
Major.
Eb. F. C#. Bb.
Harmonic Minor.
G. B. Bb. C#.
Melodic Minor.
G. B. Bb. C#
Major 3rds.
C. Db.
Whole tone.
E. G.
Chromatic.
B. Bb or C#.
Ascending and descending.
Scale speed.
One crotchet = MM 96. (4 Semiquavers.)
ARTICULATION. See Pages 11 & 12.
Any pattern given.
ARPEGGIOS.
Major.
Eb. F. C#. Bb.
Minor.
G. B. Bb. C#.
Major Inversion.
Ab.
Minor Inversion.
Bb.
Dominant 7th.
In the keys of F#. Db. Cb.
Diminished 7th.
In the keys of C#. Gb. Cb.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 96. (4 Semiquavers.)
ARTICULATION. See Pages 12 & 13.
Any pattern given.
SUSTAIN.
Page 9
Two octaves.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Page 10
11.
a)
b)
a)
b)
12.
13.
14.
a)
15.
a)
b)
c)
d)
16.
17.
18.
19.
20.
a)
Page 11
b)
c)
b)
21.
a)
b)
c)
a)
b)
c)
d)
a)
b)
c)
d)
a)
b)
c)
d)
a)
b)
c)
d)
22.
23.
24.
25.
26.
etc.
a)
b)
c)
27.
etc.
29.
Page 12
b)
c)
d)
e)
(Duh-Duh-Daht-Daht.)
etc.
PREPARATORY.
Page 14.
STEP TWO.
ELEMENTARY.
" 16.
STEP THREE.
PRELIMINARY.
" 18.
GRADE ONE.
" 20.
GRADE TWO.
" 23.
GRADE THREE.
" 27.
GRADE FOUR.
" 30.
GRADE FIVE.
" 33.
GRADE SIX.
" 36.
GRADE SEVEN.
" 39.
PROFICIENCY CERTIFICATE.
" 42.
ASSOCIATE.
" 45.
LICENTIATE PERFORMER.
" 47.
LICENTIATE TEACHER.
" 50.
FELLOWSHIP DIPLOMA.
" 51.
Teachers have the choice of entering their student(s) at any examination level except for the Associate and
Licentiate Diplomas. Entry to this area is through the Proficiency Certificate. Preliminary and the early grade
examinations are intended to ensure that sound technical foundations are laid, and also to accustom very
young students to examination conditions and demands. No 'system' is insisted upon and any recognised
fingering pattern, scale book or basic Tutor is acceptable in the examination work submitted.
The work in these examinations should not be played excessively quickly, nor yet be unduly retarded.
Examiners will watch for correct instrument position and for a developing embouchure and finger technique.
Accuracy and clarity of tone are important, so therefore all unnecessary movement should be eliminated.
Remember that a relaxed control should always be the aim. Special attention should be given to the
development of technique especially for the playing of scales and exercises. Co-ordination and precision of
control must be encouraged and constantly corrected by the teacher. Indeed, everything must be closely supervised to ensure the correct development of good habits. A sound technique needs to be cultivated right from
the beginning.
*************************************************************
Page 13
20 Marks.
RANGE.
SCALES.
Major.
G.
Ascending and descending.
Scale speed.
One crotchet = MM 80.
ARTICULATION. Tongued only.
One octave.
ARPEGGIOS.
Major.
G.
PATTERN.
G.B.D.G.D.B.G.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 80.
ARTICULATION. Tongued only.
One octave.
PERFORMANCE.
LIST A.
Own Choice.
15 Marks.
No AGMED approval required.
LIST B.
Own Choice.
20 Marks.
No AGMED approval required.
LIST C.
Own Choice.
20 Marks.
No AGMED approval required.
SUGGESTED BOOKS.
A Tune a Day.
Abracadabra. Clarinet.
J. Rutland.
A & C Black.
An excellent Tuitional Book with many small solos suited for Step Levels.
125 Easy Classical Studies.
Teach Yourself Electronic Keyboards.
Hansen House.
For Children Only.
Teach Yourself Electronic Keyboards.
Hansen House.
Classic.
Teach Yourself Electronic Keyboards.
Hansen House.
Old Timers.
NOTE:-
Page 14
When selecting 'Own Choice' examination music, it is necessary that the music chosen for each
List be well contrasted in both mood and tempo to allow the student to display developing skill
and musicianship.
Music which exceeds the recommended range is acceptable.
10 Marks.
To orally read the notes for up to four bars from the Treble Stave. The Examiner will use one of the
examination pieces presented and will point to each note. Note values not required.
EAR TESTS.
8 Marks.
RHYTHM.
To clap or tap a short two bar phrase played twice by the Examiner. No note value smaller than a crotchet.
PITCH.
To state which is the higher or lower of two notes played consecutively by the Examiner in the immediate
range above Middle C.
Not less than an OCTAVE apart.
First time: forte. f Second time: piano. p
GENERAL KNOWLEDGE.
7 Marks.
The candidate will be asked to identify and name the Brace, Bar-lines, Double Bar-line, Stave or Staff,
Clefs, Semibreves, Minims and Crotchets. As found in the repertoire.
*************************************************************
Page 15
20 Marks.
RANGE.
SCALES.
Major.
F.
Ascending and descending.
Scale speed.
One crotchet = MM 80.
ARTICULATION. Tongued only.
One octave.
ARPEGGIOS.
Major.
F.
PATTERN.
F.A.C.F.C.A.F.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 80.
ARTICULATION. Tongued only.
One octave.
PERFORMANCE.
LIST A.
Own Choice.
15 Marks.
No AGMED approval required.
LIST B.
Own Choice.
20 Marks.
No AGMED approval required.
LIST C.
Own Choice.
20 Marks.
No AGMED approval required.
SUGGESTED BOOKS.
A Tune a Day.
Abracadabra. Clarinet.
J. Rutland.
A & C Black.
An excellent Tuitional Book with many small solos suited for Step Levels.
125 Easy Classical Studies.
Teach Yourself Electronic Keyboards.
Hansen House.
For Children Only.
Teach Yourself Electronic Keyboards.
Hansen House.
Classic.
Teach Yourself Electronic Keyboards.
Hansen House.
Old Timers.
NOTE:-
Page 16
When selecting 'Own Choice' examination music, it is necessary that the music chosen for each
List be well contrasted in both mood and tempo to allow the student to display developing skill
and musicianship.
Music which exceeds the recommended range is acceptable.
10 Marks.
A short simple phrase of two (2) bars in 4/4 time or four (4) bars in 3/4 time. Consisting of minims and
crotchets.
EAR TESTS.
8 Marks.
RHYTHM.
To clap or tap a short two bar phrase played twice by the Examiner. No note value smaller than a crotchet.
PITCH.
To state which is the higher or lower of two notes played consecutively by the Examiner in the immediate
range above Middle C.
Not less than an FIFTH apart.
First time: forte. f Second time: piano. p
GENERAL KNOWLEDGE.
7 Marks.
*************************************************************
Page 17
20 Marks.
RANGE.
SCALES.
Major.
C. G.
Harmonic Minor. A.
Ascending and descending.
Scale speed.
One crotchet = MM 80.
ARTICULATION. Tongued only.
One octave.
ARPEGGIOS.
Major.
Minor.
PATTERN.
One octave.
C. G.
A.
C.E.G.C.G.E.C.
G.B.D.G.D.B.G.
A.C.E.A.E.C.A.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 80.
ARTICULATION. Tongued only.
PERFORMANCE.
LIST A.
Own Choice.
15 Marks.
No AGMED approval required.
LIST B.
Own Choice.
20 Marks.
No AGMED approval required.
LIST C.
Own Choice.
20 Marks.
No AGMED approval required.
SUGGESTED BOOKS.
A Tune a Day.
Abracadabra. Clarinet.
J. Rutland.
A & C Black.
An excellent Tuitional Book with many small solos suited for Step Levels.
125 Easy Classical Studies.
Teach Yourself Electronic Keyboards.
Hansen House.
For Children Only.
Teach Yourself Electronic Keyboards.
Hansen House.
Classic.
Teach Yourself Electronic Keyboards.
Hansen House.
Old Timers.
NOTE:-
Page 18
When selecting 'Own Choice' examination music, it is necessary that the music chosen for each
List be well contrasted in both mood and tempo to allow the student to display developing skill
and musicianship.
Music which exceeds the recommended range is acceptable.
SIGHT READING.
Paul Harvey.
Wise Publications.
10 Marks.
A short simple phrase of two (2) bars in 4/4 time or four (4) bars in 3/4 time. Consisting of minims and
crotchets, but may include a semibreve.
EAR TESTS.
8 Marks.
RHYTHM.
To clap or tap a short two bar phrase played twice by the Examiner. No note value smaller than a crotchet.
PITCH.
To state which is the higher or lower of two notes played consecutively by the Examiner. Not less than an
THIRD apart.
First time: forte. f Within the octave above Middle C.
Second time: piano. p Within the octave below Middle C.
NOTE:-
Ear tests in the three Step examinations are basically the same and are designed to
cumulatively train and reinforce the student's listening skills. This concept is further
strengthened in the Grade One Ear Tests.
GENERAL KNOWLEDGE.
7 Marks.
*************************************************************
Page 19
ARPEGGIOS.
20 Marks.
PERFORMANCE.
LIST A.
A Clarinet Primer.
Page 15. Staccato Song.
Page 19. Melody.
Elementary Method for Clarinet.
Lesson 6. No 7 & 8.
Lesson 7. No 5.
Kummer Etudes. With Cassette.
No 2. 3. 5. 12.
Lazarus Method.
Page 30 No 7.
Page 34. No 1.
Learn as You Play Clarinet.
Page 17. Rigaudon.
Page 18. Exercise 2.
Page 19. Ellacombe.
Lesson 6. No 7 and 8.
Lesson 7. No 5.
Thurston Tutor.
Page 14. No 15. 16. 17.
Page 15. No 23.
Page 16. No 25.
Page 19. No 28.
Own Choice.
Page 20
One octave.
One octave.
One octave.
15 Marks.
MB/MMC.
Either one.
Rubank.
Either one.
MB/MMC.Castle.
Any one.
Either one.
B & H.
Any one.
B & H.
Any one.
Beethoven.
Gervaise.
Jack Brymer.
Schumann.
Cramer-Castle.
Edito Musica Budapest.
Weinberger.
Studio PR/Castle.
Purcell.
Pamela Weston.
Schott.
OUP.
J.S.Bach.
No AGMED approval required.
Page 21
20 Marks.
20 Marks.
Cramer-Castle.
Satie.
Dvorak.
Schumann.
Jack Brymer.
Ridout.
Weinberger.
Studio PR/Castle.
Saint Saens.
Pamela Weston.
Schott.
Faber Music.
OUP.
B & H.
Pamela Weston.
Schumann.
Schott.
OUP.
10 Marks.
A short simple phrase with no note shorter than a crotchet. Either eight (8) bars in common time, or eight
(8) bars or more in 2/4 or 3/4 time. In the keys of C, G and F Major only.
EAR TESTS.
8 Marks.
RHYTHM.
To clap or tap a short two bar phrase played twice by the Examiner. No note value smaller than a quaver.
INTERVALS.
To hum or sing and identify any note of the C Major common chord. The candidate can use either letter
names, degree names, solfa or intervals (1.3.5.8) when answering.
PITCH.
To state which is the higher or lower of any two notes played consecutively by the Examiner.
To hum or sing the TONIC at the end of a short unfinished descending melody played by the Examiner.
GENERAL KNOWLEDGE.
7 Marks.
General questions based upon the music performed. Including note and rest values, staff, clefs, accidentals,
time and key signatures. Simple signs and terms found in the examination pieces.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
*************************************************************
Page 22
20 Marks.
RANGE.
E to C. Two and three quarter octaves.
All scales and arpeggios are to be played TWO octaves if possible.
Otherwise ONE octave as indicated.
SCALES.
Major.
C. Bb. D.
Harmonic Minor.
A. G. B.
Melodic Minor.
A.
Chromatic.
E. F or G.
Ascending and descending.
Scale speed.
One crotchet = MM 120.
ARTICULATION. See Page 11. No 1 & 2. a)b)c). 7. 10 b).
ARPEGGIOS.
Major.
C. Bb. D.
Minor.
A. G. C.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 120.
ARTICULATION. See Page 12. No 14 a)b). 15. b)c).
PERFORMANCE.
LIST A.
Page 23
One octave.
Two octaves.
One octave.
15 Marks.
Rubank.
Schirmer.
Beethoven.
MB/MMC.Castle.
B & H.
MB/MMC.
B & H.
Langey.
Pamela Weston.
OUP.
20 Marks.
Clarinet Fancies.
Boston-Chappell.
Ecossaise.
No 9.
Beethoven.
Gavotte.
No 12.
Bach.
Sonata Theme.
No 7.
Mozart.
Classical Album.
B & H.
Hornpipe.
Any one.
Handel.
Melody.
Schubert.
Minuetto.
Mozart.
Siciliana.
Purcell.
St. Anthony Chorale.
Haydn.
Concert Pieces. Vol 2.
Ed.Mus.Budapest.
Sarabande.
Handel.
Easy Contest and Recital Solos for Clarinet.
Studio PR/Castle.
Bouree. Minuet and Trio.
Either one.
Handel.
Minuet.
Mozart.
Elementary Clarinet Series. Book 2.
Jack Brymer.
Weinberger.
Intermezzo. Op 118. No 2.
Brahms.
Elementary Clarinet Solos. Everybody's Favourite Series. E.F.S.33.
Andante Cantabile.
Either one.
Tschaikowsky.
Consolation.
Mendelssohn.
On Wings of Song.
Mendelssohn.
Scenes from Childhood.
Schumann.
First Book of Clarinet Solos.
Faber Music.
Page 116.
Rondeau.
Either one.
Purcell.
Page 22.
When Daisies Pied.
T.Arne.
First Pieces for Clarinet. Book 2.
OUP.
Gavotte.
Any one.
Bach.
Gavotte.
Boyce.
Minuet.
Boccherini.
Learn as You Play Clarinet.
B & H.
German Dance.
Page 40.
Either one.
Haydn.
Midnight in Tobago. Page 41.
Westall.
Solos For Festival and Fun.
MB/MMC.
Where'er You Walk.
Handel.
The Young Clarinettist. Vol 2.
OUP.
Sheep May Safely Graze.
Bach.
Tunes and Dances.
OUP.
Andante.
Mozart.
Own Choice.
No AGMED approval required.
LIST C.
Clarinet Fancies.
Greensleeves.
Minuet.
Sciciliana.
Romance.
To a Wild Rose.
Clarinet Music For Beginners.
Menuett. No 5.
Menuett. No 9.
Page 24
Any one.
20 Marks.
Boston-Chappell.
Traditional.
Mozart.
Scarlatti.
Beethoven.
MacDowell.
Edito Music Budapest.
Either one.
Marchand.
Rameau.
Page 25
Jack Brymer.
Vinter.
Mendelssohn.
Fentone-Castle.
Offenbach,
Liszt.
Studio PR/Castle.
Sor.
Buttstedt.
Weinberger.
Consolidated.
Stamitz.
Jack Brymer.
Todd.
Weinberger.
Faber Music.
Diabelli.
Reinecke.
Schumann.
Tschaikowsky.
Brahms.
Macdowell.
OUP.
Schubert.
Schirmer.
Bartok.
Chopin.
Schubert.
B & H.
B & H.
Schumann.
Brahms.
Brahms.
Brahms.
Haydn.
Moszkowsky.
MB/MMC.
Offenbach.
Knipper.
Tschaikowsky.
OUP.
Faure.
Grieg.
Brahms.
No AGMED approval required.
10 Marks.
A short passage with no note shorter than a crotchet and with no accidentals. In the keys of C. G. F Major
only. In either 4/4, 3/4 or 2/4 time.
EAR TESTS.
8 Marks.
RHYTHM.
To clap or tap a four (4) bar simple passage played twice by the Examiner in 2/4 time. Undotted minims,
crotchets and quavers.
INTERVALS.
To hum or sing and identify any two notes of the C Major common chord. The Examiner will first play the
chord as an arpeggio before playing the two notes within the compass Middle C-C. The candidate can use
either letter names, degree names, solfa or intervals (1.3.5.8) when answering.
PITCH.
To hum or sing the tonic of a short descending or ascending phrase played by the Examiner.
GENERAL KNOWLEDGE.
7 Marks.
General questions based upon the music performed. Terms, words and signs found in the music. Time and
key signatures, staccato, accent, and all dynamic signs used in the examination pieces.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
*************************************************************
Page 26
20 Marks.
Major.
Ab. Eb. E.
Harmonic Minor.
F. C. C#.
Melodic Minor.
D.
Chromatic.
E.
Ascending and descending.
Scale speed.
One crotchet = MM 92. (2 Quavers.)
ARTICULATION.
ARPEGGIOS.
Major.
Ab. Eb. E.
Minor.
F. C. C#. D.
Ascending and descending.
Arpeggio speed.
ARTICULATION.
PERFORMANCE.
LIST A.
Page 27
15 Marks.
Edito Music Budapest.
Either one
Rubank.
Any one.
Any one.
B & H.
MB/MMC.
Both as one.
B & H.
MM/MMC.
Any one.
Pamela Weston.
OUP.
LIST C.
Page 28
20 Marks.
Zelter.
Mozart.
Chester.
Beethoven.
Fentone-Castle.
Boccherini.
Handel
Mendelssohn.
Music Sales.
Weber.
Beethoven.
B & H.
Beethoven.
Telemann.
Weber.
B & H.
B & H.
Mozart.
Haydn.
P.Weston.
Mozart.
Fentone-Castle.
Handel.
Schirmer.
Baermann.
OUP.
Bach.
Handel.
International.
Handel.
AGMED approval required.
20 Marks.
Fentone-Castle.
Wagner.
Flotow.
Schubert.
Grieg.
Bizet.
Saint Saens.
Music Sales.
Pokorny.
Amsco.
Verdi.
G.Marie.
Grieg.
Faure.
Pierne.
Universal.
Brahms.
Faber Music.
J.Scott.
Schubert.
SIGHT READING.
10 Marks.
A passage of eight (8) bars in 4/4, 3/4 or 2/4 time, in the keys of C, G or F Major. To be played at the
moderate speed of one crotchet = MM 100. No accidentals. But phrasing must be observed.
EAR TESTS.
RHYTHM.
8 Marks.
To clap or tap a simple four bar passage played twice by the Examiner in 3/4 time. Crotchets, quavers and
dotted minims will be used.
INTERVALS.
To hum or sing and identify any of the first FIVE notes of the major scale. The Examiner will first play the
tonic chord of the scale selected, then the five notes of the scale. (Not more than 3 sharps or 3 flats.), before
playing one note and requesting the answer. The test will be given twice. The candidate can use either letter
names, degree names, solfa or intervals (1.2.3.4.5) when answering.
TONALITY.
To hum or sing and then identify as major or minor, a short diatonic phrase of 5-7 notes played twice by
the Examiner. No dotted rhythms used.
GENERAL KNOWLEDGE.
7 Marks.
General questions based on the music performed. All terms, signs, time signatures and key signatures used
in the chosen examination music. In addition, questions on scale formation, tetrachords, tones and
semitones.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
*************************************************************
Page 29
20 Marks.
RANGE.
Low E to F. Three octaves and one note.
All scales and arpeggios are to be played TWO octaves if possible.
Otherwise ONE octave as indicated.
SCALES.
Major.
B. F#. Db.
Harmonic Minor.
G#. Eb. Bb.
Melodic Minor.
E.
Major 3rds.
C.
Chromatic.
Commencing on Low E.
Ascending and descending.
Scale speed.
One crotchet = MM 120. (2 Quavers.)
ARTICULATION. See Pages 11 & 12.
3 a)b)c). 8 a)b). 11 b).
ARPEGGIOS.
SUSTAIN.
Major.
B. F#. Db.
Minor.
G#. Eb. Bb. E.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 120. (2 Quavers.)
ARTICULATION. See Page 12. No 16 a)c).
Single notes selected from the scale of B Major above.
PERFORMANCE.
LIST A.
Page 30
Three octaves.
15 Marks.
Ed.Music Budapest.
Rubank.
Ashley Pub.
C.Rose.
B & H.
B & H.
MB/MMC.
Pamela Weston.
OUP.
LIST C.
20 Marks.
Fentone-Castle.
Bach.
Edito Music Budapest.
Mozart.
Beethoven.
Tartini-Jacob.
Handel.
Rossler.
Corelli.
J.S.Bach.
Telemann.
OUP.
Handel.
J.S.Bach.
J.S.Bach.
Chester.
Beethoven.
Fentone-Castle.
Gretry.
Fischer.
Rose.
AGMED approval required.
Page 31
B & H.
OUP.
Rubank.
International.
MB-MMC.
B & H.
20 Marks.
Cramer-Castle.
Weinberger.
Chester.
Fentone-Castle.
Edito.Mus.Budapest.
Music Sales.
Schirmer.
Music Sales.
Allans.
Schirmer.
B & H.
SIGHT READING.
Drigo.
G. Marie.
Holland.
Berlioz.
P.Carr.
Rachmaninoff.
Allans.
Schott.
Cramer-Castle.
Fuzeau.
Chester.
Mendelssohn.
Fentone-Castle.
Baermann.
Meyerbeer.
AGMED approval required.
10 Marks.
A twelve (12) bar passage in either the key of G. D. F Major or in A Minor in 3/4, 4/4 or 6/8 time. Quavers
and occasional accidentals will be used.
EAR TESTS.
8 Marks.
RHYTHM.
To clap or tap a four bar passage played by the Examiner in 3/4 or 4/4 time. Dotted minims and dotted
crotchets may be used.
INTERVALS.
To hum or sing and identify any of the first SIX notes of the major scale. The Examiner will first play the
tonic chord of the scale selected, then the six notes of the scale. (Not more than 4 sharps or 4 flats.), before
playing one note and requesting the answer. The test will be given twice. The candidate can use either letter
names, degree names, solfa or intervals (1.2.3.4.5.6.) when answering.
TONALITY.
To hum or sing and then identify as major or minor, a short chromatic phrase of 5 - 7 notes played twice by
the Examiner. Dotted rhythms may be used.
GENERAL KNOWLEDGE.
7 Marks.
General questions covering scale formation, tetrachords, tones and semitones, notation, rests, main keys of
the chosen pieces, time signatures, accents and syncopation. The terms and signs found in the examination
pieces. Binary Form. Easy intervals above C. G and F. (Major 3rd, Minor 3rd and Perfect.)
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
*************************************************************
Page 32
20 Marks.
RANGE.
Low E to top G. Three and a quarter octaves.
All scales and arpeggios are to be played TWO octaves.
Otherwise THREE octaves as indicated.
SCALES.
Major.
E. G.
D. Ab.
Harmonic Minor.
E. G.
D. B.
Melodic Minor.
F.
C.
Major 3rds.
D.
Chromatic.
E. F or F#.
Ascending and descending.
Scale speed.
One crotchet = MM 76. (4 Semiquavers.)
ARTICULATION. See Pages 11 & 12.
4 a)b)e)f). 9 a). 12 b).
Three octaves.
Three octaves.
Three octaves.
Three octaves.
ARPEGGIOS.
E. G.
Three octaves.
D. Ab.
Minor.
E. G. D. B. F.
Dominant 7th.
In the key of C or G or F.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 76. (4 Semiquavers.)
ARTICULATION. See Page 12. No 17 a)b).
SUSTAIN.
Major.
PERFORMANCE.
LIST A.
Page 33
15 Marks.
Edito.Mus.Budapest.
Ashley Publications.
C.Rose.
R.Stark.
B & H.
B & H.
Giampieri.
B & H.
Ricordi.
LIST B.
Fischer.
Any one.
Pamela Weston.
Any one.
AGMED approval required.
LIST C.
20 Marks.
Breitkop.
Bach.
Fentone.
Edito Music Budapest.
Hoffmeister.
Edito Music Budapest.
Handel
Mozart.
Haydn.
Rossler.
Crussel.
Carl Stamitz.
Kozeluch.
Weber.
Brahms.
Handel.
Gossec.
Handel.
Bach.
J.S.Bach.
Rubank.
Ellenburg.
B & H.
Chester.
Universal.
Schirmer.
International.
OUP.
Ricordi.
Alla Marcia.
Cooke.
Aria.
Roussel.
Clarinet Cameos Series. Golliwog's Cakewalk.
Debussy.
Clarinet Series.
Jack Brymer.
Moderate Book 2.
Danza Andaluzia.
Granados.
Little Serenade.
Tomlinson.
Difficult Book 2.
Pas De Deux.
Williamson.
Prelude.
Tomlinson.
Classic Clarinet Series.
Le Reve.
Either one.
Muller.
Meditation.
Massenet.
Concert Pieces. Vol 2.
Andante con Variatione es Rondo.
Druschetzky.
Rondo.
Gaal.
Easy Original Clarinet Solos.
Theme and 2nd Variation for Clarinet & Piano. Page 40.
Dubensky.
Jazz Incorporated. Eight Solos for Winds. Piano Accompaniment.
Jumbuck Jive. A Wily Bossa.
Either one.
Kerin Bailey.
Sonatina. 1st Movement.
Richardson.
Sonatine. 2nd Movement.
Milhaud.
Page 34
OUP.
20 Marks.
OUP.
Leduc.
Cramer-Castle.
Weinberger.
Fentone-Castle.
Music Sales.
Music Sales.
B & H.
SIGHT READING.
Verdi.
Tschaikowsky.
Paderewsky.
Delibes.
Fentone-Castle.
Beer.
Procksch.
Adam.
AGMED approval required.
10 Marks.
A passage in a Major key up to two sharps and two flats, or in a minor key up to one sharp or flat. Using
dotted rhythmic patterns, tied notes, chords and simple modulations.
EAR TESTS.
8 Marks.
RHYTHM.
To clap or tap a four bar passage played twice by the Examiner in simple or 6/8 time. No note shorter than
a quaver.
INTERVALS.
To hum or sing and identify any degree of the major scale. The Examiner will first play the tonic chord of
the scale selected, then the entire scale. (Not more than 5 sharps or 5 flats.), before playing one note and
requesting the answer. The test will be given twice. The candidate can use either letter names, degree
names, solfa or intervals (1.2.3.4.5.6.7.8.) when answering.
PITCH.
To hum or sing the higher of two notes played simultaneously by the Examiner within the diatonic scale
octave C-C. The key may be changed to accommodate voice range.
GENERAL KNOWLEDGE.
7 Marks.
General questions covering terms and signs found in the examination pieces, keys and modulations,
intervals including diminished and augmented above the notes D, A and B Flat. Time and accent. Binary
and Ternary form. To be able to demonstrate these forms in the examination pieces. Scale formation and
tetrachords. To recognize Perfect and Plagal cadence examples in the examination music presented.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
*************************************************************
Page 35
16 Marks.
RANGE.
E to A. Three and a half octaves.
All scales and arpeggios are to be played TWO octaves.
Otherwise THREE octaves as indicated.
SCALES.
Major.
ARPEGGIOS.
SUSTAIN.
F.
Three octaves.
Ab. Bb. D.
Harmonic Minor.
F#.
Three octaves.
A. C#. B.
Melodic Minor.
F#.
Three octaves.
A. C#. B.
Major 3rds.
A or Eb.
Chromatic.
From E or F.
Three octaves.
Whole Tone.
C.
Ascending and descending.
Scale speed.
One crotchet = MM 84. (4 Semiquavers.)
ARTICULATION. See Pages 11 & 12.
4 a)b)f). 5. 9 a). 12 b).
Double tonguing required at this grade level.
Major.
Ab. Bb. F. D.
Minor.
F#. C#. A. B.
Dominant 7th.
In the keys of D. A or Eb.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 84. (4 Semiquavers.)
ARTICULATION. See Pages 12 & 13.
No 17 a)b)d). 18. 20 b). 22 a)b).
Double tonguing required at this grade level.
Single notes selected from any of the major scales listed above.
PERFORMANCE.
LIST A.
Page 36
16 Marks.
Edito Music Budapest.
Any one.
Ashley Publications.
R.Stark.
Any one.
Either one.
B & H.
Any one.
Any one.
Langey.
Giampieri.
B & H.
Ricordi.
LIST B.
Rose.
Uhl.
Pamela Weston.
Schott.
OUP.
Any one.
AGMED approval required.
LIST C.
Fischer.
Any one.
16 Marks.
Edito Music Budapest.
Cartellieri.
Spohr.
Schumann.
Weber.
Senaille.
Peters.
Schirmer.
Castle.
Haydn.
Thomas.
Schirmer.
Wagner.
Telemann.
Handel.
B & H.
International.
Ricordi.
J.S.Bach.
AGMED approval required.
16 Marks.
Page 37
Fentone-Castle.
Any one.
Verdi.
Blatt.
Grenser.
Gambaro.
Bellini.
Massenet.
AGMED approval required.
LIST D.
16 Marks.
Trinity.
Mozart.
Schubert.
SIGHT READING.
7 Marks.
A passage in a Major key up to three sharps or three flats, or in a Minor key up to two sharps or flats. In
either simple or compound time. Using semiquavers and syncopation.
EAR TESTS.
7 Marks.
RHYTHM.
To clap or tap a four bar passage played twice by the Examiner in simple or 6/8 time with no note shorter
than a quaver. Moderate tempo.
INTERVALS.
To hum or sing and identify any two notes of the major scale. The Examiner will first play the tonic chord
of the scale selected, then the entire scale. (Not more than 6 sharps or 6 flats.), before playing the two notes
and requesting the answer. The test will be given twice. The candidate can use either letter names, degree
names, solfa or intervals (1.2.3.4.5.6.7.8) when answering.
PITCH.
To hum or sing the higher or lower of two notes played simultaneously by the Examiner within the diatonic
scale octave C-C. The key may be changed to accommodate voice range.
HARMONY. To identify as MAJOR or MINOR, triads played in root position by the Examiner. These
will be played twice if necessary.
GENERAL KNOWLEDGE.
6 Marks.
Questions covering the form and structure of the selected pieces. Advanced questions on intervals,
including compound, inverted, diatonic or chromatic. Ornaments and abbreviations, terms, keys and
modulations found in the chosen examination music. Knowledge of, and recognition of Plagal, Perfect and
Interrupted cadences within the examination music performed.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
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Page 38
16 Marks.
RANGE.
Low E to top A. Three and a half octaves.
All scales and arpeggios are to be played a minimum TWO octaves. Three octaves if possible.
Major.
Db. Bb. F#. B.
SCALES.
Harmonic Minor.
D#. A#. Eb. Ab.
Melodic Minor.
D#. A#. Eb. Ab.
Major 3rds.
E.
H/Minor 3rds.
A.
Whole tone.
E or F.
Chromatic.
F. G or Ab.
Three octaves.
Ascending and descending.
Scale speed.
One crotchet = MM 92. (4 Semiquavers.)
ARTICULATION. See Pages 11 & 12.
4 a)b)f). 6. 9 a). 12 b).
Triple tonguing required at this grade level.
ARPEGGIOS.
Major.
Db. Bb. F#. B.
Minor.
D#. A#. Eb. Ab.
Major Inversion.
Db.
Minor Inversion.
Eb.
Dominant 7th.
In the keys of Db or Bb.
Diminished 7th.
In the keys of Eb or F#.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 92. (4 Semiquavers.)
ARTICULATION. See Pages 12 & 13.
No 17 a)b)d). 19. 20 b). 22 a)b).
Triple tonguing required at this grade level.
SUSTAIN.
F or G major scale played in minims.
Two octaves.
PERFORMANCE.
LIST A.
Page 39
16 Marks.
G.Langenus.
B & H.
B & H.
Giampieri.
Ricordi.
Rose.
Fischer.
Pamela Weston.
OUP.
AGMED approval required.
Arr. G.Reeves.
Both as one work.
16 Marks.
Carl Stamitz.
Peters.
Mozart.
B & H.
Kozeluch.
Eulenberg.
Rossler.
Rubank.
Weber.
Ricordi.
Paganini.
Albert.
D.Scarlatti.
International.
J.S.Bach
Ricordi.
AGMED approval required.
16 Marks.
Jack Brymer.
Ridout.
Weiner.
Gerald Finzi.
Any two.
Both as one work.
Either one.
Mendelssohn.
Martin.
Starokadomsky.
Ross Edwards.
Weinberger.
Ed.Mus.Budapest.
B & H.
Schirmer.
B & H.
Schirmer.
Faber.
Fentone-Castle.
Baermann.
Yost.
AGMED approval required.
LIST D.
16 Marks.
Semiramide Overture.
Scherzo from Midsummer Night's Dream.
Symphony No 8.
Page 40
Trinity.
Rossini.
Mendelssohn.
Dvorak.
7 Marks.
A passage in a Major key up to four sharps or four flats, or in a Minor key up to three sharps or three flats.
In any simple or compound time. Modulations and accidentals must be expected.
EAR TESTS.
7 Marks.
RHTYHM.
To clap or tap a substantial four bar passage played twice by the Examiner. Dotted crotchet, quavers and
semiquavers used.
INTERVALS.
The Examiner will play the Tonic chord of a suitable key and then play three notes consecutively within
the scale octave. The test will be given twice before the answer is requested. The candidate can use either
letter names, degree names, solfa or intervals (1.2.3.4.5.6.7.8) when answering.
PITCH.
To hum or sing the higher or lower notes of a Major or Minor Triad played in Root position by the
Examiner.
To hum or sing a phrase of 7 - 9 notes, either diatonic or chromatic after it has been played twice by the
Examiner.
HARMONY.
To identify as Major, Minor, Augmented or Diminished, Triads played in Root position by the Examiner.
GENERAL KNOWLEDGE.
6 Marks.
1.
2.
Questions covering the form and structure of the pieces played. Keys and modulations.
3.
4.
Cadences. Perfect, Plagal, Imperfect and Interrupted. Knowledge of, and recognition within the
examination music performed.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
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Page 41
16 Marks.
RANGE.
Low E to top A. Three and a half octaves.
All scales and arpeggios are to be played a minimum TWO octaves. Three octaves if possible.
SCALES.
ARPEGGIOS.
Major.
Eb. F. C#. Bb.
Harmonic Minor.
G. B. Bb. C#.
Melodic Minor.
G. B. Bb. C#
Major 3rds.
C. Db.
Whole tone.
E. G.
Chromatic.
B. Bb or C#.
Ascending and descending.
Scale speed.
One crotchet = MM 96. (4 Semiquavers.)
ARTICULATION. See Pages 11 & 12.
Any pattern given.
Major.
Eb. F. C#. Bb.
Minor.
G. B. Bb. C#.
Major Inversion.
Ab.
Minor Inversion.
Bb.
Dominant 7th.
In the keys of F#. Db. Cb.
Diminished 7th.
In the keys of C#. Gb. Cb.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 96. (4 Semiquavers.)
ARTICULATION. See Pages 12 & 13.
Any pattern given.
Major 3rds.
Harmonic Min. 3rds.
Chromatic.
ARTICULATION.
ARPEGGIOS.
SUSTAIN.
PERFORMANCE.
Page 42
Any key.
Any key.
Commence on any note.
See Pages 11 & 12.
Any pattern given.
Major Inversions.
Any key.
Minor Inversions.
Any key.
Dominant 7th.
Any key.
Dominant Inversion. Any key.
Diminished 7th.
Any key.
Dim.7th Inversions. Any key.
ARTICULATION. See Pages 12 & 13. Any pattern given.
Any Major or Minor scale (both forms) in minims.
Two octaves.
LIST B.
16 Marks.
G.Langenus.
Fischer.
Ashley Publications.
Any one.
R.Stark.
D'Elia.
Giampieri.
Concerto No 1. In C Minor.
Concerto No 1.
Concertino.
Concertino. Op 26.
21 Pieces for Clarinet. No 16 or 20.
Own Choice.
LIST C.
1st Mov.
1st Mov.
LIST D.
Both as one.
Ricordi.
Ricordi.
AGMED approval required.
16 Marks.
Spohr.
Peters.
Weber.
Ricordi and B & H.
Tartini-Jacob.
B & H.
Weber.
B & H.
J.S.Bach.
Ricordi.
AGMED approval required.
Fischer.
16 Marks.
16 Marks.
The candidate will present two contrasting movements from two different compositions.
Select from two different music periods.
Own Choice.
AGMED approval required.
SIGHT READING.
7 Marks.
A substantial modulatory passage of up to four sharps or four flats, either in a Major or a Minor key. In any
simple or compound time. Fluency expected.
Page 43
7 Marks.
RHYTHM.
To clap or tap a substantial four bar passage played twice by the Examiner. Dotted rhythms and
semiquavers will be used.
PITCH.
To hum or sing the middle or lower note of a major or minor triad played in root position by the
Examiner.
To hum or sing a two bar phrase played twice by the Examiner in a key to suit the candidate. Either
chromatic or diatonic, including one or two quaver groups.
HARMONY.
To identify a Triad as Major or Minor when played in root position or 1st inversion by the Examiner.
CADENCES.
To name the cadences in a passage in a major key, played by the Examiner, with slight pauses at the
cadence points. The passage will consist of a four phrase melody of which only the four cadences will be
harmonised.
GENERAL KNOWLEDGE.
6 Marks.
1.
Background of the composers and of the works performed. Period from which the music derives.
2.
Questions on Form, Keys, Modulation, Cadences and the musical characteristics of the examination
music performed.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
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Page 44
DIPLOMA EXAMINATIONS.
ASSOCIATE DIPLOMA. AAGM. Pre-requisite. AGMED Proficiency Certificate.
NOTE:- Candidates cannot enter for this ASSOCIATE DIPLOMA within 12 months of receiving the
Proficiency Certificate.
Minimum age. 15 years.
General conditions are as for all other AGMED Diploma Examinations. Refer to the AGMED Handbook.
This examination, which consists of TWO parts, Practical and Theoretical, is a pre-requisite examination
for the AGMED Licentiate Diploma.
PART ONE:- THEORETICAL. (Honours. 90 marks and above.)
All candidates must obtain a minimum pass of 70 marks in the AGMED Grade SEVEN (or higher)
Theory of Music Examination.
NO EXEMPTION CAN BE GRANTED FROM THIS CONDITION.
The examination must be passed within a three year period of the first entry for the PART TWO practical
examination. (Or in the reverse order.) See the AGMED Handbook for requirements.
****************************************************
PERFORMANCE.
The full program must be representative of four different composers and styles. Complete works must be
performed. A concert standard of performance will be expected.
A recital program of at least 30 minutes duration is mandatory. It is therefore possible that the candidate
will find it necessary to select more than one work from a List to provide a program of the required
length.
The listed pieces can be used or replaced with works of a similar standard and style. It is necessary to
submit the planned ASSOCIATE program to the AGMED for approval.
MEMORY. At least ONE LIST is to be performed from memory. Any additional memory work by the
candidate is optional.
LIST A.
Page 45
20 Marks.
Ed.Mus.Budapest.
Kozeluch.
Handel.
Weber.
Weber.
O.U.P.
International.
Ashley Publications.
R.Stark.
Any one.
AGMED approval required.
20 Marks.
LIST C.
Mini Concerto.
Sonata.
Sonata. 1st & 4th Movements.
Sonata in F Minor.
Op 120. No 1.
Sonata in Eb.
Op 120. No 2.
Own Choice.
LIST D.
20 Marks.
Gordon Jacob.
B & H.
Arnold Bax.
Chappell.
Hindemith.
Schott.
Brahms.
Schirmer.
Brahms.
Schirmer.
AGMED approval required.
Own Choice.
In a contrasting style to the previous three List choices.
OR Orchestral Extracts of own choice of a professional standard of difficulty.
OR Any modern clarinet solo may be submitted by the candidate.
Not more than two contrasting movements of Suites need be presented.
SIGHT READING.
20 Marks.
AGMED approval required.
EAR TESTS.
7 Marks.
7 Marks.
RHYTHM. To clap or tap a substantial four bar phrase played twice by the Examiner. Dotted rhythms,
semiquavers and triplets will be used. Simple time signatures or in 6/8 time. The candidate will also be
asked to state the time signature and to name the notes in any portion of the passage played separately.
INTERVALS. To recognise and name intervals formed by two notes played together within the compass
of an octave.
HARMONY. To recognise and name Major, Minor, Augmented and Diminished Triads played by the
Examiner in Root position or in 1st Inversion.
CADENCES. To recognise and name the four cadences in a passage in simple chordal form, played
twice by the Examiner with short pauses at the end of each cadence point. The key will be stated and the
tonic chord will be sounded before the passage is played.
GENERAL KNOWLEDGE.
1.
2.
6 Marks.
Background of the composers and of the works performed. The Period from which they derive.
Questions on the Form, Key, Modulations and the musical characteristics of the examination music
performed.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
*************************************************************
Page 46
****************************************************
PERFORMANCE.
The full program must be representative of four different composers and styles. Complete works must be
performed. A concert standard of performance will be expected.
A recital program of at least 40 minutes duration is mandatory. It is therefore possible that the candidate
will find it necessary to select more than one work from a List to provide a program of the required
length.
The listed pieces can be used or replaced with works of a similar standard and style. It is necessary to
submit the planned LICENTIATE program to the AGMED for approval.
MEMORY. At least ONE LIST is to be performed from memory. Any additional memory work by the
candidate is optional.
LIST A.
Page 47
20 Marks.
Spohr.
Bonsel.
Copland.
Gerald Finzi.
Veale.
Carl Stamitz.
Ricordi/Breitkoph.
Ricordi and B & H.
Peters.
Donemus.
B & H.
B & H.
OUP.
Peters.
Sonata.
Sonata.
Sonata in F Minor.
Sonata in Eb.
Sonata in F# Minor.
Sonata in Bb.
Own Choice.
LIST C.
Op 120. No 1.
Op 120. No 2.
Op 49. No 2.
Op 107.
20 Marks.
Arnold Bax.
Hindemith.
Brahms.
Brahms.
Reger.
Reger.
LIST D.
20 Marks.
Schott.
Horovitz.
Chester.
Any Edition.
Berg.
UE 7485.
Chagrin.
Augener.
Rossini.
Any Edition.
B & H.
Pfeiffer.
Ed.Kroll(L.Hin).
Debussy.
Durand.
Csaba Deak.
Chester.
Stravinsky.
Chester.
AGMED approval required.
Own Choice.
In a contrasting style to the previous three List choices.
OR Orchestral Extracts of own choice of a professional standard of difficulty.
OR Any modern clarinet solo may be submitted by the candidate.
Not more than three contrasting movements of Suites need be presented.
SIGHT READING.
EAR TESTS.
Chappell.
Schott.
Schirmer.
Schirmer.
Bote & Block.
Bote & Block.
AGMED approval required.
20 Marks.
AGMED approval required.
7 Marks.
7 Marks.
RHYTHM. To clap or tap a substantial four bar phrase, with or without an anacrusis, played twice by the
Examiner. Dotted rhythms, triplets and any time signature will be used. The candidate will also be asked
to state the time signature and to name the note values in any portion of the passage played separately.
PITCH. To sing or play from memory the lower part of a passage in two part harmony consisting of four
bars in simple time. The key will be stated and the key chord sounded before being played not more than
three times by the Examiner.
HARMONY. To recognise and name Major, Minor, Diminished and Augmented Triads played in Root
position, 1st Inversion and 2nd Inversion by the Examiner.
CADENCES. To recognise and name the four cadences in a passage played by the Examiner in
Pianoforte style. The key will be stated and the tonic chord sounded before the passage is played.
Occasional inversion of cadence will be used.
Page 48
GENERAL KNOWLEDGE.
6 Marks.
1.
Background of the composers and of the works performed. The Period from which they derive.
2.
Questions on the Form, Key, Modulations and the musical characteristics of the examination music
performed.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
*************************************************************
PRE-REQUISITE.
All candidates for this Diploma must at the date of entry hold the Associate Diploma of the AGMED in the
same subject. However, other Diplomas of equal status MAY be accepted at the discretion of the AGMED
Director of Music and AGMED Council approval. Documentary evidence in this case must then be submitted
with the entry form.
It is recommended that considerable personal development occurs before entering for this Diploma.
Candidates must have maturity and extensive teaching experience. In addition, candidates must have attained a
minimum age of 19 years.
The examination is designed to demonstrate a teacher's ability over a wide musical background in reference to
teaching from the earliest levels through to Grade V11 and Proficiency level. Therefore a very deep
understanding and knowledge of the teaching technique and repertoire in relation to the chosen instrument is
absolutely essential.
This LICENTIATE TEACHERS Diploma examination is in TWO PARTS. Both parts must be passed with a
minimum of 70 marks.
Page 49
****************************************************
PERFORMANCE.
An executant examination on the candidate's chosen instrument and a practical practical demonstration of
teaching principles.
The full program must be representative of four different composers and styles. Complete works must be
prepared. A reasonable concert standard of performance will be expected.
A recital program of at least 30 minutes duration is mandatory. It is therefore possible that the candidate
will find it necessary to select more than one work for a List to provide a program of the required length.
It is necessary to submit the planned LICENTIATE program to the AGMED for approval.
15 Marks.
15 Marks.
15 Marks.
15 Marks.
7 Marks.
7 Marks.
6 Marks.
20 Marks.
This section of the LAGM(TD) examination requires that a candidate has a wide, active and general
musical background, and has the ability to demonstrate the various skills required in relation to the
teaching of the chosen instrument or subject.
Candidates must submit to the Examiners a comprehensive teaching folio listing their teaching repertoire
from the particular Syllabus from and inclusive of Steps, (If they are included in the Syllabus), Grade One
through to Proficiency level. Written comments attached to each work must clearly give an indication that
the candidate is aware of the musical requirements and technical difficulties in the listed works. Written
comments must include practise methods to overcome both observed and potential faults.
The candidate will be required to give a demonstration lesson to the Examiners using material from the
particular Syllabus from and inclusive of Steps, (If they are included in the Syllabus), Grade One through
to Proficiency level.
Candidates will be asked to explain and demonstrate methods for the teaching of phrasing, interpretation
and style. To further discuss these aspects in relation to the use of the chosen instrument or subject.
Page 50
Candidates will be expected to demonstrate any technical work and exercises prescribed for the particular
instrumental examination in the AGMED Syllabus. Also to discuss common student errors and to suggest
means for their correction.
THEORY.
The candidate will be aurally examined in the basic theoretical principles of teaching and performance.
PRACTICAL.
The candidate will be expected to discuss and demonstrate the various techniques and control used on the
chosen instrument by the examination candidate.
Candidates will be asked to outline the reasons for Music Education and to discuss with the Examiners
the philosophy inherent in this concept.
General questions on the History of Music, musical styles and different techniques used on the chosen
instrument in the performance of these styles.
To demonstrate to the Examiner's satisfaction a comprehensive knowledge of the history and construction
of the chosen instrument and its relationship to music and to the repertoire.
NOTE:- The Teaching Principles paper is a written extension of the above Viva Voce examination.
*************************************************************
*************************************************************
Page 51
PREPARATORY.
Page 14.
STEP TWO.
ELEMENTARY.
" 16.
STEP THREE.
PRELIMINARY.
" 18.
GRADE ONE.
" 53.
GRADE TWO.
" 55.
GRADE THREE.
" 58.
GRADE FOUR.
" 61.
GRADE FIVE.
" 64.
GRADE SIX.
" 67.
GRADE SEVEN.
" 70.
PROFICIENCY CERTIFICATE.
" 73.
ASSOCIATE.
" 76.
LICENTIATE PERFORMER.
" 78.
LICENTIATE TEACHER.
" 79.
FELLOWSHIP DIPLOMA.
" 51.
PERFORMANCE.
Candidates may use piano, organ or guitar for accompaniment. For the Proficiency Certificate and Diploma
level examinations, a small combination is acceptable.
Musical and technical control of the selected pieces must adequately meet styling demands. In Binary Form
pieces a minimum of 2 choruses is required. Individualism and improvisational ability is to be encouraged in all
Grades and Diplomas.
NOTE:- SEE 'IMPORTANT NOTES FOR TEACHERS AND CANDIDATES' ON PAGE 1.
COMPLETE SCALE and ARPEGGIO LIST. For this Syllabus.
See Pages 6- 9.
REFERENCE BOOKS.
See Page 3.
ARTICULATION REQUIREMENTS.
STEP EXAMINATIONS. For requirements, please refer to the Classical Syllabus. Page 14.
STEP ONE.
STEP TWO.
STEP THREE.
Page 52
Preparatory.
Elementary.
Preliminary.
ARPEGGIOS.
20 Marks.
One octave.
One octave.
One octave.
PERFORMANCE.
LIST A.
LIST B.
15 Marks.
Wise Publications.
B & H.
Paul Harvey.
Wise Publ.
Castle Music.
20 Marks.
Page 53
SIGHT READING.
20 Marks.
Chappell.
Warner Bros.
Hansen.
Wise Publications.
No AGMED approval required.
10 Marks.
A short simple phrase with no note shorter than a crotchet. Either eight (8) bars in common time, or eight
(8) bars or more in 2/4 or 3/4 time. In the keys of C, G and F Major only.
EAR TESTS.
8 Marks.
RHYTHM.
To clap or tap a short two bar phrase played twice by the Examiner. No note value smaller than a quaver.
INTERVALS.
To hum or sing and identify any note of the C Major common chord. The candidate can use either letter
names, degree names, solfa or intervals (1.3.5.8) when answering.
PITCH.
To state which is the higher or lower of any two notes played consecutively by the Examiner.
To hum or sing the TONIC at the end of a short unfinished descending melody played by the Examiner.
GENERAL KNOWLEDGE.
7 Marks.
General questions based upon the music performed. Including note and rest values, staff, clefs, accidentals,
time and key signatures. Simple signs and terms found in the examination pieces.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
*************************************************************
Page 54
20 Marks.
Major.
C. Bb.
D.
Harmonic Minor.
A. G. B.
Melodic Minor.
A.
Chromatic.
E. F or G.
Ascending and descending.
Scale speed.
One crotchet = MM 120.
ARTICULATION. See Page 11. No 1 & 2. a)b)c). 7. 10 b).
ARPEGGIOS.
One octave.
Two octaves.
Major.
C. Bb.
D.
Minor.
A. G. C.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 120.
ARTICULATION. See Page 12. No 14 a)b). 15. b)c).
One octave.
PERFORMANCE.
LIST A.
Page 55
15 Marks.
Paul Harvey.
Riccordi.
Wise Publications.
MB/MMC.
B & H.
Paul Harvey.
Jimmy Dorsey.
Riccordi.
Big 3 Publication.
Castle Music.
Clarinet Solos.
Cielito Lindo.
Either One.
Cradle Song.
Intermediate Pieces. W.F.S. No. 31.
Come Back to Sorrento.
Any one.
Dark Eyes. Santa Lucia.
Playin' Easy Clarinet. Hallelujah.
The Complete Clarinet Player. Omnibus Edition.
Book 1.
Amazing Grace. Unaccompanied.
Money, Money, Money.
Any one.
Yellow Submarine.
The Young Clarinet Player. Book 11.
Any one piece.
Top 40 Real Clarinet Solos.
Don't Get Around Much Any More.
Any one.
Perdido; Satin Doll. Sermonette.
Take The 'A Train. The Preacher.
41 Big Hits From the Big Band Era.
Blue and Sentimental. Caravan.
Any one.
I'm Getting Sentimental Over You.
It Don't Mean a Thing. Mood Indigo. Moonglow.
Night and Day. Oh' Lady Be Good. Secret Love.
Softly, As in the Morning Sunrise.
Solitude. The Man I Love.
Own Choice.
LIST C.
Amsco Publications.
Fernandez.
Brahms.
I.M.P.
Paul Harvey.
Watters.
Wise Publ.
Wise Publications.
Hansen.
Warner Bros.
Clarinet Magic.
For Once In My Life. Till.
Any one.
If You Go Away. Lost in France. Moon River.
Speak Softly. Try To Remember. The Old Fashioned Way;
Lennon and McCartney For Clarinet.
All My Loving. And I Loved Her So.
Any one.
Carry That Weight. Hey Jude. I Will.
Lucy In The Sky With Diamonds. Michelle.
Norwegian Wood. Ob-la-di Ob-la-da. Rocky Raccoon.
She's Leaving Home. Tell Me What You See.
MicroJazz For Clarinet. No 1 & 2.
Both as one.
Playin' Easy Clarinet.
Birdie Song. Brown Girl in the Ring.
Any one.
Song Sung Blue.
Return of the Jedi & 20 Music Gems.
A Touch of Class. All The Way.
Any one.
Could I Have This Dance? Ewok Celebration.
High Hopes. Love The World Away. Luke & Leia.
Secret Love. Star Wars;.That's All. The Tender Trap.
Top 40 Real Clarinet Solos.
A Taste of Honey. Ballerina.
Any one.
Candy Man. Feelings. From Me To You. The One I Love.
I Left My Heart in San Francisco. There's a Place.
10 Famous Pop Songs for Clarinet.
Its Impossible. Michelle.
Either one.
Own Choice.
Page 56
20 Marks.
20 Marks.
Chappell.
Wise Publications.
C.Norton.
B & H.
IMP.
Warner Bros.
Hansen.
Wise Publications.
No AGMED approval required.
10 Marks.
A short passage with no note shorter than a crotchet and with no accidentals. In the keys of C. G. F Major
only. In either 4/4, 3/4 or 2/4 time.
EAR TESTS.
8 Marks.
RHYTHM.
To clap or tap a four (4) bar simple passage played twice by the Examiner in 2/4 time. Undotted minims,
crotchets and quavers.
INTERVALS.
To hum or sing and identify any two notes of the C Major common chord. The Examiner will first play the
chord as an arpeggio before playing the two notes within the compass Middle C-C. The candidate can use
either letter names, degree names, solfa or intervals (1.3.5.8) when answering.
PITCH.
To hum or sing the tonic of a short descending or ascending phrase played by the Examiner.
GENERAL KNOWLEDGE.
7 Marks.
General questions based upon the music performed. Terms, words and signs found in the music. Time and
key signatures, staccato, accent, and all dynamic signs used in the examination pieces.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
*************************************************************
Page 57
20 Marks.
ARPEGGIOS.
Major.
Ab. Eb. E.
Harmonic Minor.
F. C. C#.
Melodic Minor.
D.
Chromatic.
E.
Ascending and descending.
Scale speed.
One crotchet = MM 92. (2 Quavers.)
ARTICULATION. See Pages 11 & 12.
3 a)b)c). 8 a)b). 11 b).
Major.
Ab. Eb. E.
Minor.
F. C. C#. D.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 92. (2 Quavers.)
ARTICULATION. See Page 12. No 16 a)c).
PERFORMANCE.
LIST A.
Page 58
15 Marks.
Riccordi.
Wise Publications.
MB/MMC.
B & H.
Riccordi.
Big 3 Pub.
Warner Bros.
LIST B.
Castle Music.
20 Marks.
Clarinet Magic.
Chappell.
Stranger on The Shore. Solitude.
Either one.
Clarinet Solos.
Amsco Publications.
Beautiful Dreamer.
Any one.
Stephen Foster.
Dixie. Oh Susanna.
Intermediate Pieces. W.F.S. 31. Country Gardens.
The Complete Clarinet Player. Omnibus Edit. Unaccomp.
Paul Harvey.
Wise Publ.
Book 1.
All My Loving.
Any one.
I'd Like To Teach the World to Sing. Strangers in the Night.
Book 2.
Drink To Me Only With Thine Eyes.
Book 3.
The Coffee Song. Spanish Eyes. Yesterday.
Top 40 Real Clarinet Solos.
Hansen.
Maple Leaf Rag. Muskrat Ramble.
Any one.
Night Train. That's a Plenty. The Entertainer. What I Did for Love.
41 Big Hits from the Big Band Era.
Warner Bros.
Ain't Misbehavin'. Begin The Beguine.
Any one.
Blues In The Night. Body and Soul. Fly Me To The Moon. Get Happy.
It Had to be You. I Let a Song Go Out of My Heart. Star Dust.
It's Only a Paper Moon. Jersey Bounce. Love For Sale. What's New.
Mean To Me. On The Sunny Side of the Street. Sophisticated Lady.
Own Choice.
AGMED approval required.
LIST C.
Clarinet Magic.
And I Love You So. As Time Goes By.
Any one.
Didn't We. Mississippi. Only You. Send In The Clowns.
Where Do I Begin. Windmills of Your Mind.
Jazz Incorporated. Eight Solos for Winds. Piano Accompaniment.
Little Brown Feet.
Either one.
Kerin Bailey.
Moonlight Air.
Kerin Bailey.
Lennon and McCartney for Clarinet.
Anyone Item. Except for those listed for Grade two.
MicroJazz For Clarinet.
C.Norton.
No 3 & 4. No 5 & 6. No 7 & 8. No 9.
Any one.
Playin' Easy Clarinet.
Tomorrow. Y Viva Espana.
Either one.
Return of the Jedi & 20 Music Gems.
Chariots of Fire. Missing.
Any one.
Love Theme from Superman 111. New York, New York. Nine To Five.
Theme from Superman. We May Never Love Like This Again.
The Young Clarinettist. Book 111.
Bright Eyes. I Write The Songs.
Any one.
Something.
Page 59
20 Marks.
Chappell.
Music Sales.
Wise Publications.
B & H.
I.M.P.
Warner Bros.
Wise Publications.
SIGHT READING.
Hansen.
Wise Publications.
10 Marks.
A passage of eight (8) bars in 4/4, 3/4 or 2/4 time, in the keys of C, G or F Major. To be played at the
moderate speed of one crotchet = MM 100. No accidentals. But phrasing must be observed.
EAR TESTS.
8 Marks.
RHYTHM.
To clap or tap a simple four bar passage played twice by the Examiner in 3/4 time. Crotchets, quavers and
dotted minims will be used.
INTERVALS.
To hum or sing and identify any of the first FIVE notes of the major scale. The Examiner will first play the
tonic chord of the scale selected, then the five notes of the scale. (Not more than 3 sharps or 3 flats.), before
playing one note and requesting the answer. The test will be given twice. The candidate can use either letter
names, degree names, solfa or intervals (1.2.3.4.5) when answering.
TONALITY.
To hum or sing and then identify as major or minor, a short diatonic phrase of 5-7 notes played twice by
the Examiner. No dotted rhythms used.
GENERAL KNOWLEDGE.
7 Marks.
General questions based on the music performed. All terms, signs, time signatures and key signatures used
in the chosen examination music. In addition, questions on scale formation, tetrachords, tones and
semitones.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
*************************************************************
Page 60
20 Marks.
ARPEGGIOS.
SUSTAIN.
Major.
B. F#. Db.
Harmonic Minor.
G#. Eb. Bb.
Melodic Minor.
E.
Major 3rds.
C.
Chromatic.
Commencing on Low E.
Ascending and descending.
Scale speed.
One crotchet = MM 120. (2 Quavers.)
ARTICULATION. See Pages 11 & 12.
3 a)b)c). 8 a)b). 11 b).
Major.
B. F#. Db.
Minor.
G#. Eb. Bb. E.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 120. (2 Quavers.)
ARTICULATION. See Page 12. No 16 a)c).
Single notes selected from the scale of B Major above.
PERFORMANCE.
LIST A.
Three octaves.
15 Marks.
Clarinet A La Carte.
Unaccompanied.
Paul Harvey.
Riccordi.
No 3. Grapefruit Cocktail.
Either one.
No 6. Egg and Chips.
Graded Clarinet Solos.
Wise Publications.
Sometimes When We Touch.
Any one.
Summer.(The First Time). What Are You Doing the Rest of Your Life.
Jazz Clarinet Studies.
MB/MMC.
Page 29. Choctaw Bridge and Arathea.
Both as one work.
Page 33. Latin Rock. West Side Slide.
" " "
"
Page 34. Boogie and Blues Bop.
" " "
"
Pets. Unaccompanied.
Paul Harvey.
Riccordi.
No 3. Papageno The Cat.
Either one.
No 4. The Armorous Tortoise.
Saxophone Method.
Jimmy Dorsey.
Big 3 Pub.
Page 44. No 4. Page 45. No 6.
Any one.
Page 49. No 14.
Supersound. Best in Pops. Stairway To Heaven.
Warner Bros.
80 Years of Popular Music. Stage and Screen. Clarinet.
Warner Bros. Publ.
The Rose. Unaccompanied.
Own Choice.
AGMED approval required.
Page 61
LIST C.
20 Marks.
Chappell.
Amsco Publ.
Irish Jig.
Tschaikowsky.
Paul Harvey.
Wise Publ.
Wise Publications.
Warner Bros.
20 Marks.
Page 62
10 Marks.
A twelve (12) bar passage in either the key of G. D. F Major or in A Minor in 3/4, 4/4 or 6/8 time. Quavers
and occasional accidentals will be used.
EAR TESTS.
8 Marks.
RHYTHM.
To clap or tap a four bar passage played by the Examiner in 3/4 or 4/4 time. Dotted minims and dotted
crotchets may be used.
INTERVALS.
To hum or sing and identify any of the first SIX notes of the major scale. The Examiner will first play the
tonic chord of the scale selected, then the six notes of the scale. (Not more than 4 sharps or 4 flats.), before
playing one note and requesting the answer. The test will be given twice. The candidate can use either letter
names, degree names, solfa or intervals (1.2.3.4.5.6.) when answering.
TONALITY.
To hum or sing and then identify as major or minor, a short chromatic phrase of 5 - 7 notes played twice by
the Examiner. Dotted rhythms may be used.
GENERAL KNOWLEDGE.
7 Marks.
General questions covering scale formation, tetrachords, tones and semitones, notation, rests, main keys of
the chosen pieces, time signatures, accents and syncopation. The terms and signs found in the examination
pieces. Binary Form. Easy intervals above C. G and F. (Major 3rd, Minor 3rd and Perfect.)
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
*************************************************************
Page 63
20 Marks.
RANGE.
Low E to top G. Three and a quarter octaves.
All scales and arpeggios are to be played TWO octaves.
Otherwise THREE octaves as indicated.
SCALES.
Major.
E. G.
D. Ab.
Harmonic Minor.
E. G.
D. B.
Melodic Minor.
F.
C.
Major 3rds.
D.
Chromatic.
E. F or F#.
Ascending and descending.
Scale speed.
One crotchet = MM 76. (4 Semiquavers.)
ARTICULATION. See Pages 11 & 12.
4 a)b)e)f). 9 a). 12 b).
Three octaves.
Three octaves.
Three octaves.
Three octaves.
ARPEGGIOS.
E. G.
Three octaves.
D. Ab.
Minor.
E. G. D. B. F.
Dominant 7th.
In the key of C or G or F.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 76. (4 Semiquavers.)
ARTICULATION. See Page 12. No 17 a)b).
SUSTAIN.
Major.
PERFORMANCE.
LIST A.
Page 64
15 Marks.
Wise Publications.
Wise Publications.
Benny Goodman.
Consolidated.
Paul Harvey.
Riccordi.
Jimmy Dorsey.
Big 3 Publ.
Paul Harvey.
Wise Publ.
Carolina Moon.
Any one.
Fiddler On The Roof.
Getting To Know You.
Book 3.
Greensleeves.
28 Top Hits for Clarinet. Unaccompanied.
The Dream is Still Alive.
30 Super Gold Clarinet Pops. Hooked on Classics.
Own Choice.
LIST B.
Castle.
AGMED approval required.
LIST C.
20 Marks.
Ed.Thea King.
Rimsky-Korsakoff.
Chester Music.
Amsco Publ.
Tschaikowsky.
Godard.
Irish Folk Song.
Beethoven.
Consolidated.
Campbell-Connely.
Warner Bros.
20 Marks.
Page 65
10 Marks.
A passage in a Major key up to two sharps and two flats, or in a minor key up to one sharp or flat. Using
dotted rhythmic patterns, tied notes, chords and simple modulations.
EAR TESTS.
8 Marks.
RHYTHM.
To clap or tap a four bar passage played twice by the Examiner in simple or 6/8 time. No note shorter than
a quaver.
INTERVALS.
To hum or sing and identify any degree of the major scale. The Examiner will first play the tonic chord of
the scale selected, then the entire scale. (Not more than 5 sharps or 5 flats.), before playing one note and
requesting the answer. The test will be given twice. The candidate can use either letter names, degree
names, solfa or intervals (1.2.3.4.5.6.7.8.) when answering.
PITCH.
To hum or sing the higher of two notes played simultaneously by the Examiner within the diatonic scale
octave C-C. The key may be changed to accommodate voice range.
GENERAL KNOWLEDGE.
7 Marks.
General questions covering terms and signs found in the examination pieces, keys and modulations,
intervals including diminished and augmented above the notes D, A and B Flat. Time and accent. Binary
and Ternary form. To be able to demonstrate these forms in the examination pieces. Scale formation and
tetrachords. To recognize Perfect and Plagal cadence examples in the examination music presented.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
*************************************************************
Page 66
16 Marks.
Major.
ARPEGGIOS.
SUSTAIN.
PERFORMANCE.
F.
Three octaves.
Ab. Bb. D.
Harmonic Minor.
F#.
Three octaves.
A. C#. B.
Melodic Minor.
F#.
Three octaves.
A. C#. B.
Major 3rds.
A or Eb.
Chromatic.
From E or F.
Three octaves.
Whole Tone.
C.
Ascending and descending.
Scale speed.
One crotchet = MM 84. (4 Semiquavers.)
ARTICULATION. See Pages 11 & 12.
4 a)b)f). 5. 9 a). 12 b).
Double tonguing required at this grade level.
Major.
Ab. Bb. F. D.
Minor.
F#. C#. A. B.
Dominant 7th.
In the keys of D. A or Eb.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 84. (4 Semiquavers.)
ARTICULATION. See Pages 12 & 13.
No 17 a)b)d). 18. 20 b). 22 a)b).
Double tonguing required at this grade level.
Single notes selected from any of the major scales listed above.
Four Lists required. A. B. C. D.
Memory work is encouraged, but is not essential.
Refer to 'OWN CHOICE'.
Page 2.
Music which exceeds the recommended range is acceptable.
LIST A.
16 Marks.
Clarinet Solos.
Ah! So Pure.
Any one.
Flotow.
Barcarolle.
Offenbach.
Chanson Trist. Op 40. No 2.
Tschaikowsky.
Dancing Doll.
Poldini.
Elegie.
Massenet.
Orientale. Op 50.
Cesare Cui.
Valse Triste.
Creative Reading Studies For Saxophone.
Page 31. No 1. Page 34. No 2.
Either one.
Jazz Masters.
Benny Goodman.
Page 13. After You've Gone.
Any one.
Page 14. Who? Page 20. Sing Me a Swing Song. Page 40. Dinah 11.
Page 67
Amsco Publ.
Berklee.
Consolidated.
LIST B.
16 Marks.
LIST C.
16 Marks.
Page 68
Music Sales.
I.M.P.
Warner Bros.
Wise Publications.
Consolidated.
Hansen.
Hansen.
LIST D.
16 Marks.
Trinity.
Mozart.
Schubert.
SIGHT READING.
7 Marks.
A passage in a Major key up to three sharps or three flats, or in a Minor key up to two sharps or flats. In
either simple or compound time. Using semiquavers and syncopation.
EAR TESTS.
7 Marks.
RHYTHM. To clap or tap a four bar passage played twice by the Examiner in simple or 6/8 time with no
note shorter than a quaver. Moderate tempo.
INTERVALS. To hum or sing and identify any two notes of the major scale. The Examiner will first play
the tonic chord of the scale selected, then the entire scale. (Not more than 6 sharps or 6 flats.), before
playing the two notes and requesting the answer. The test will be given twice. The candidate can use either
letter names, degree names, solfa or intervals (1.2.3.4.5.6.7.8) when answering.
PITCH. To hum or sing the higher or lower of two notes played simultaneously by the Examiner within
the diatonic scale octave C-C. The key may be changed to accommodate voice range.
TONALITY and CADENCE. To identify whether a phrase played by the Examiner is in a major or a
minor key, and if the end cadence is Plagal (1V-1), Perfect (V-1) or Interrupted (V-VI)>
HARMONY. To identify as MAJOR or MINOR, triads played in root position by the Examiner. These
will be played twice if necessary.
GENERAL KNOWLEDGE.
6 Marks.
Questions covering the form and structure of the selected pieces. Advanced questions on intervals,
including compound, inverted, diatonic or chromatic. Ornaments and abbreviations, terms, keys and
modulations found in the chosen examination music. Knowledge of, and recognition of Plagal, Perfect and
Interrupted cadences within the examination music performed.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
*************************************************************
Page 69
16 Marks.
RANGE.
Low E to top A. Three and a half octaves.
All scales and arpeggios are to be played a minimum TWO octaves. Three octaves if possible.
SCALES.
Major.
Db. Bb. F#. B.
Harmonic Minor.
D#. A#. Eb. Ab.
Melodic Minor.
D#. A#. Eb. Ab.
Major 3rds.
E.
H/Minor 3rds.
A.
Whole tone.
E or F.
Chromatic.
F. G or Ab.
Three octaves.
Ascending and descending.
Scale speed.
One crotchet = MM 92. (4 Semiquavers.)
ARTICULATION. See Pages 11 & 12.
4 a)b)f). 6. 9 a). 12 b).
Triple tonguing required at this grade level.
ARPEGGIOS.
Major.
Db. Bb. F#. B.
Minor.
D#. A#. Eb. Ab.
Major Inversion.
Db.
Minor Inversion.
Eb.
Dominant 7th.
In the keys of Db or Bb.
Diminished 7th.
In the keys of Eb or F#.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 92. (4 Semiquavers.)
ARTICULATION. See Pages 12 & 13.
No 17 a)b)d). 19. 20 b). 22 a)b).
Triple tonguing required at this grade level.
SUSTAIN.
F or G major scale played in minims.
Two octaves.
PERFORMANCE.
LIST A.
16 Marks.
Clarinet Solos.
Angel's Serenade.
Any one.
Ave Maria.
Clarinet Polka.
Habanera. From Carmen.
Humoreske. Op 101. No 7.
Hymn To The Sun.
Melody in F.
Serenade.
Serenade.
Clarinet Solos. Volume 2.
Menuetto. Quartet in C Minor. Op 4.
Either one.
Allegretto from 'The Seasons'
Creative Reading Studies For Saxophone - Viola.
Page 46. No 6. Page 51. No 7.
Either one.
Page 70
Amsco Publ.
Braga.
Franz Schubert.
Dziadunio
Bizet.
Anton Dvorak.
Rimski-Korsakoff.
Anton Rubenstein.
Franz Drdla.
Franz Schubert.
Ed.Thea King.
Crusell.
Glazounov.
Chester Music.
Berklee.
16 Marks.
Wise Publications.
Wise Publications.
Any one.
Hansen.
Any one.
Shapiro - Bernstein.
Either one.
AGMED approval required.
LIST C.
16 Marks.
Page 71
Balent.
Cole Porter.
Warner Bros.Inc.
I.M.P.
Wise Publications.
Either one.
Warner Bros.
Either one.
Hansen.
Any one.
Wise Publication.
Shapiro - Bernstein.
Either one.
AGMED approval required.
LIST D.
Orchestral Extracts for Clarinet.
The candidate is to prepare all of the following extracts.
1. Semiramide Overture.
2. Scherzo from Midsummer Night's Dream.
3. Symphony No 8.
Trinity.
Rossini.
Mendelssohn.
Dvorak.
SIGHT READING.
7 Marks.
A passage in a Major key up to four sharps or four flats, or in a Minor key up to three sharps or three flats.
In any simple or compound time. Modulations and accidentals must be expected.
EAR TESTS.
7 Marks.
RHTYHM. To clap or tap a substantial four bar passage played twice by the Examiner. Dotted crotchet,
quavers and semiquavers used.
INTERVALS. The Examiner will play the Tonic chord of a suitable key and then play three notes
consecutively within the scale octave. The test will be given twice before the answer is requested. The
candidate can use either letter names, degree names, solfa or intervals (1.2.3.4.5.6.7.8) when answering.
PITCH. To hum or sing the higher or lower notes of a Major or Minor Triad played in Root position by
the Examiner.
To hum or sing a phrase of 7 - 9 notes, either diatonic or chromatic after it has been played twice by the
Examiner.
HARMONY. To identify as Major, Minor, Augmented or Diminished, Triads played in Root position by
the Examiner.
GENERAL KNOWLEDGE.
6 Marks.
1.
2.
Questions covering the form and structure of the pieces played. Keys and modulations.
3.
4.
Cadences. Perfect, Plagal, Imperfect and Interrupted. Knowledge of, and recognition within the
examination music performed.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
*************************************************************
Page 72
16 Marks.
RANGE.
Low E to top A. Three and a half octaves.
All scales and arpeggios are to be played a minimum TWO octaves. Three octaves if possible.
SCALES.
ARPEGGIOS.
Major.
Eb. F. C#. Bb.
Harmonic Minor.
G. B. Bb. C#.
Melodic Minor.
G. B. Bb. C#
Major 3rds.
C. Db.
Whole tone.
E. G.
Chromatic.
B. Bb or C#.
Ascending and descending.
Scale speed.
One crotchet = MM 96. (4 Semiquavers.)
ARTICULATION. See Pages 11 & 12.
Any pattern given.
Major.
Eb. F. C#. Bb.
Minor.
G. B. Bb. C#.
Major Inversion.
Ab.
Minor Inversion.
Bb.
Dominant 7th.
In the keys of F#. Db. Cb.
Diminished 7th.
In the keys of C#. Gb. Cb.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 96. (4 Semiquavers.)
ARTICULATION. See Pages 12 & 13.
Any pattern given.
Major 3rds.
Harmonic Min. 3rds.
Chromatic.
ARTICULATION.
ARPEGGIOS.
SUSTAIN.
PERFORMANCE.
Page 73
Any key.
Any key.
Commence on any note.
See Pages 11 & 12.
Any pattern given.
Major Inversions.
Any key.
Minor Inversions.
Any key.
Dominant 7th.
Any key.
Dominant Inversion. Any key.
Diminished 7th.
Any key.
Dim.7th Inversions. Any key.
ARTICULATION. See Pages 12 & 13. Any pattern given.
Any Major or Minor scale (both forms) in minims.
Two octaves.
LIST A.
LIST B.
16 Marks.
Amsco Publ.
Any one.
Rimski-Korsakoff.
Brahms.
Chopin.
Franz Drdla.
Moszkowski.
Russian Gypsy Folk Song.
Any one.
Offenbach.
Bocherini.
Schubert.
Any one.
Bach.
Vivaldi.
Beethoven.
Dvorak.
Grieg.
Mozart.
Beethoven.
Fentone.
Portland.
LIST C.
16 Marks.
LIST D.
16 Marks.
Page 74
7 Marks.
A substantial modulatory passage of up to four sharps or four flats, either in a Major or a Minor key. In any
simple or compound time. Fluency expected.
EAR TESTS.
7 Marks.
RHYTHM. To clap or tap a substantial four bar passage played twice by the Examiner. Dotted rhythms
and semiquavers will be used.
PITCH. To hum or sing the middle or lower note of a major or minor triad played in root position by the
Examiner.
To hum or sing a two bar phrase played twice by the Examiner in a key to suit the candidate. Either
chromatic or diatonic, including one or two quaver groups.
HARMONY. To identify a Triad as Major or Minor when played in root position or 1st inversion by the
Examiner.
CADENCES. To name the cadences in a passage in a major key, played by the Examiner, with slight
pauses at the cadence points. The passage will consist of a four phrase melody of which only the four
cadences will be harmonised.
GENERAL KNOWLEDGE.
6 Marks.
1.
Background of the composers and of the works performed. Period from which the music derives.
2.
Questions on Form, Keys, Modulation, Cadences and the musical characteristics of the examination
music performed.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
*************************************************************
Page 75
DIPLOMA EXAMINATIONS.
ASSOCIATE DIPLOMA. AAGM. Pre-requisite. AGMED Proficiency Certificate.
NOTE:- Candidates cannot enter for this ASSOCIATE DIPLOMA within 12 months of receiving the
Proficiency Certificate.
Minimum age. 15 years. General conditions are as for all other AGMED Diploma Examinations. Refer to
the AGMED Handbook.
This examination, which consists of TWO parts, Practical and Theoretical, is a pre-requisite examination
for the AGMED Licentiate Diploma.
PART ONE:- THEORETICAL. (Honours. 90 marks and above.)
All candidates must obtain a minimum pass of 70 marks in the AGMED Grade SEVEN (or higher)
Theory of Music Examination.
NO EXEMPTION CAN BE GRANTED FROM THIS CONDITION.
The examination must be passed within a three year period of the first entry for the PART TWO practical
examination. (Or in the reverse order.) See the AGMED Handbook for requirements.
****************************************************
PERFORMANCE.
*
*
*
*
The full program must be representative of four different composers and styles. Complete works must be
performed. A concert standard of performance will be expected.
A recital program of at least 30 minutes duration is mandatory. It is therefore possible that the candidate
will find it necessary to select more than one work from a List to provide a program of the required
length.
The listed pieces can be used or replaced with works of a similar standard and style. It is necessary to
submit the planned ASSOCIATE program to the AGMED for approval.
MEMORY. At least ONE LIST is to be performed from memory. Any additional memory work by the
candidate is optional.
LIST A.
Unaccompanied.
LIST B.
20 Marks.
Berklee.
20 Marks.
Page 76
LIST C.
LIST D.
20 Marks.
ALTERNATIVE LIST D.
Orchestral Extracts of own choice of a professional standard of difficulty.
SIGHT READING.
7 Marks.
EAR TESTS.
7 Marks.
RHYTHM. To clap or tap a substantial four bar phrase played twice by the Examiner. Dotted rhythms,
semiquavers and triplets will be used. Simple time signatures or in 6/8 time. The candidate will also be
asked to state the time signature and to name the notes in any portion of the passage played separately.
INTERVALS. To recognise and name intervals formed by two notes played together within the compass
of an octave.
HARMONY. To recognise and name Major, Minor, Augmented and Diminished Triads played by the
Examiner in Root position or in 1st Inversion.
CADENCES. To recognise and name the four cadences in a passage in simple chordal form, played
twice by the Examiner with short pauses at the end of each cadence point. The key will be stated and the
tonic chord will be sounded before the passage is played.
GENERAL KNOWLEDGE.
6 Marks.
1.
Background of the composers and of the works performed. The Period from which they derive.
2.
Questions on the Form, Key, Modulations and the musical characteristics of the examination music
performed.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
*************************************************************
Page 77
****************************************************
PERFORMANCE. Four Lists required. A. B. C. D.
Refer to 'OWN CHOICE'. Page 2.
*
The full program must be representative of four different composers and styles. Complete works must be
performed. A concert standard of performance will be expected.
A recital program of at least 40 minutes duration is mandatory. It is therefore possible that the candidate
will find it necessary to select more than one work from a List to provide a program of the required
length.
It is necessary to submit the planned OWN CHOICE LICENTIATE PROGRAM to the AGMED for
approval.
MEMORY. At least ONE LIST is to be performed from memory. Any additional memory work by the
candidate is optional.
Unaccompanied.
LIST A.
LIST B.
LIST C.
LIST D.
SIGHT READING.
EAR TESTS.
GENERAL KNOWLEDGE.
Page 78
20 Marks.
20 Marks.
20 Marks.
20 Marks.
7 Marks.
7 Marks.
6 Marks.
PRE-REQUISITE.
All candidates for this Diploma must at the date of entry hold the Associate Diploma of the AGMED in the
same subject. However, other Diplomas of equal status MAY be accepted at the discretion of the AGMED
Director of Music and AGMED Council approval. Documentary evidence in this case must then be submitted
with the entry form.
It is recommended that considerable personal development occurs before entering for this Diploma.
Candidates must have maturity and extensive teaching experience. In addition, candidates must have attained a
minimum age of 19 years.
The examination is designed to demonstrate a teacher's ability over a wide musical background in reference to
teaching from the earliest levels through to Grade V11 and Proficiency level. Therefore a very deep
understanding and knowledge of the teaching technique and repertoire in relation to the chosen instrument is
absolutely essential.
This LICENTIATE TEACHERS Diploma examination is in TWO PARTS. Both parts must be passed with a
minimum of 70 marks.
****************************************************
PERFORMANCE. Four Lists required. A. B. C. D.
Refer to 'OWN CHOICE'. Page 2.
*
An executant examination on the candidate's chosen instrument and a practical practical demonstration of
teaching principles.
The full program must be representative of four different composers and styles. Complete works must be
prepared. A reasonable concert standard of performance will be expected.
A recital program of at least 30 minutes duration is mandatory. It is therefore possible that the candidate
will find it necessary to select more than one work from a List to provide a program of the required
length. It is necessary to submit the planned OWN CHOICE LICENTIATE PROGRAM to the
AGMED for approval.
MEMORY. At least ONE LIST is to be performed from memory. Any additional memory work by the
candidate is optional.
Page 79
15 Marks.
15 Marks.
15 Marks.
15 Marks.
7 Marks.
7 Marks.
6 Marks.
20 Marks.
This section of the LAGM(TD) examination requires that a candidate has a wide, active and general
musical background, and has the ability to demonstrate the various skills required in relation to the
teaching of the chosen instrument or subject.
Candidates must submit to the Examiners a comprehensive teaching folio listing their teaching repertoire
from the particular Syllabus from and inclusive of Steps, (If they are included in the Syllabus), Grade One
through to Proficiency level. Written comments attached to each work must clearly give an indication that
the candidate is aware of the musical requirements and technical difficulties in the listed works. Written
comments must include practise methods to overcome both observed and potential faults.
The candidate will be required to give a demonstration lesson to the Examiners using material from the
particular Syllabus from and inclusive of Steps, (If they are included in the Syllabus), Grade One through
to Proficiency level.
Candidates will be asked to explain and demonstrate methods for the teaching of phrasing, interpretation
and style. To further discuss these aspects in relation to the use of the chosen instrument or subject.
Candidates will be expected to demonstrate any technical work and exercises prescribed for the particular
instrumental examination in the AGMED Syllabus. Also to discuss common student errors and to suggest
means for their correction.
THEORY.
The candidate will be aurally examined in the basic theoretical principles of teaching and performance.
PRACTICAL.
The candidate will be expected to discuss and demonstrate the various techniques and control used on the
chosen instrument by the examination candidate.
Candidates will be asked to outline the reasons for Music Education and to discuss with the Examiners
the philosophy inherent in this concept.
General questions on the History of Music, musical styles and different techniques used on the chosen
instrument in the performance of these styles.
To demonstrate to the Examiner's satisfaction a comprehensive knowledge of the history and construction
of the chosen instrument and its relationship to music and to the repertoire.
NOTE:-
The Teaching Principles paper is a written extension of the above Viva Voce examination.
Page 80
" 83.
GRADE FIVE.
" 85.
GRADE SIX.
" 87.
GRADE SEVEN.
" 90.
PROFICIENCY CERTIFICATE.
" 93.
ASSOCIATE.
" 96.
LICENTIATE PERFORMER.
" 98.
LICENTIATE TEACHER.
" 99.
FELLOWSHIP DIPLOMA.
" 52.
6.
7.
This Syllabus commences at Grade Four and diverges at that point from the Modern Clarinet Syllabus.
The style demanded by this Syllabus is essentially that of individualized Jazz with extensive use of
extemporisation expected.
It is recommended that candidates complete Grades One, Two and Three of the Modern or Classical
Clarinet Syllabus before commencing in this highly specialised study stream.
All Pre-requisites are the same as for all AGMED Practical and Theoretical examinations.
Refer to the General Regulations in the AGMED Handbook.
Theory examination requirements for this Syllabus are basically the same as for all AGMED Theory
examinations.
However, questions may be included in the appropriate paper to reflect the specialised scale and chord
knowledge required in these examinations.
It is recommended that students contemplating this Syllabus seek out the professional services of a highly
skilled Jazz musician.
NOTE:- It is essential that 'IMPORTANT NOTES FOR TEACHERS AND CANDIDATES' be read at
the beginning of this book of Syllabi.
Refer to Page 4 for REFERENCE BOOKS for this syllabus.
PERFORMANCE.
Candidates may use piano, organ or guitar for accompaniment. For Grade Seven, the Proficiency Certificate
and Diploma level examinations, a small combination is acceptable.
One copy of each item must be given to the Examiner upon entry to the examination room.
Doubling upon other instruments is permissable only in the Diploma Division of this Syllabus.
Musical and technical control of the selected pieces must adequately meet styling demands. In Binary Form
pieces a minimum of 2 choruses is required. Individualism and improvisational ability is to be encouraged in
all Grades and Diplomas.
Page 81
20 Marks.
Major.
B. F#. Db.
Harmonic Minor.
G#. Eb. Bb.
Melodic Minor.
E.
Natural Minor.
A.
Pentatonic.
C.
Major 3rds.
C.
Chromatic.
Commencing on Low E.
Ascending and descending.
Scale speed.
One crotchet = MM 120. (2 Quavers.)
ARTICULATION. See Pages 11 & 12.
3 a)b)c). 8 a)b). 11 b).
ARPEGGIOS.
SUSTAIN.
Three octaves.
Major.
B. F#. Db.
Minor.
G#. Eb. Bb. E.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 120. (2 Quavers.)
ARTICULATION. See Page 12. No 16 a)c).
Single notes selected from the scale of B Major above.
PERFORMANCE.
LIST A.
LIST B.
MB/MMC.
ACCOMPANIED.
Page 82
15 Marks.
20 Marks.
Studio.
MB/MMC.
AGMED approval required.
LIST C.
20 Marks.
IMPROVISATION:- The candidate is expected to play the chosen piece once as written. Play it a
second time with embellishments or simple improvisation.
Mon Ami Sidney.
Festival Blues.
Transposition required.
Passport To Paradise.
"
"
Petite Fleur.
"
"
Any one.
32 Standards for Bb Instruments.
Arrivederci Roma.
Any one.
If I had You. Mean To Me. When the Saints Go Marching In.
Own Choice.
Sydney Bechet.
Campbell - Connell.
SIGHT READING.
10 Marks.
A twelve (12) bar passage in either the key of G. D. F Major or in A Minor in 3/4, 4/4 or 6/8 time. Quavers
and occasional accidentals will be used.
EAR TESTS.
8 Marks.
RHYTHM. To clap or tap a four bar passage played by the Examiner in 3/4 or 4/4 time. Dotted minims
and dotted crotchets may be used.
INTERVALS. To hum or sing and identify any of the first SIX notes of the major scale. The Examiner
will first play the tonic chord of the scale selected, then the six notes of the scale. (Not more than 4 sharps
or 4 flats.), before playing one note and requesting the answer. The test will be given twice. The candidate
can use either letter names, degree names, solfa or intervals (1.2.3.4.5.6.) when answering.
TONALITY. To hum or sing and then identify as major or minor, a short chromatic phrase of 5 - 7 notes
played twice by the Examiner. Dotted rhythms may be used.
GENERAL KNOWLEDGE.
7 Marks.
General questions covering scale formation, tetrachords, tones and semitones, notation, rests, main keys of
the chosen pieces, time signatures, accents and syncopation. The terms and signs found in the examination
pieces. Binary Form. Easy intervals above C. G and F. (Major 3rd, Minor 3rd and Perfect.)
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
*************************************************************
Page 83
20 Marks.
RANGE.
Low E to top G. Three and a quarter octaves.
All scales and arpeggios are to be played TWO octaves.
Otherwise THREE octaves as indicated.
SCALES.
Major.
E. G.
D. Ab.
Harmonic Minor.
E.
D.
Melodic Minor.
F.
C.
Natural Minor.
D.
Pentatonic.
G.
Blues.
C. F.
Modal.
Beginning on C. Ionian. Dorian or Lydian.
Major 3rds.
D.
Chromatic.
E. F or F#.
Ascending and descending.
Scale speed.
One crotchet = MM 76. (4 Semiquavers.)
ARTICULATION. See Pages 11 & 12.
4 a)b)e)f). 9 a). 12 b).
ARPEGGIOS.
Major Inversions.
D.
Minor Inversion.
A.
Major 6th.
C6.
Sevenths.
D7. Bb7.
Major 7th Inv.
C7.
Diminished.
C. G.
Augmented.
C. F.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 76. (4 Semiquavers.)
ARTICULATION. See Page 12. No 17 a)b).
SUSTAIN.
PERFORMANCE.
Three octaves.
Three octaves.
Three octaves.
Three octaves.
Musical and technical control of the selected pieces must adequately meet styling demands. In Binary Form
pieces a minimum of 2 choruses is required. Individualism and improvisational ability is to be encouraged.
Three choruses required in List C.
Page 84
LIST B.
15 Marks.
Sonny Rollins.
Consolidated.
Charlie Parker.
Atlantic.
ACCOMPANIED.
20 Marks.
LIST C.
UNACCOMPANIED IPROVISATION.
20 Marks.
Play a suitable Blues composition as written. Then play 3 choruses with own improvisations
Own Choice.
AGMED approval required.
SIGHT READING.
10 Marks.
A passage in a Major key up to two sharps and two flats, or in a minor key up to one sharp or flat. Using
dotted rhythmic patterns, tied notes, chords and simple modulations.
EAR TESTS.
8 Marks.
RHYTHM. To clap or tap a four bar passage played twice by the Examiner in simple or 6/8 time. No note
shorter than a quaver.
INTERVALS. To hum or sing and identify any degree of the major scale. The Examiner will first play the
tonic chord of the scale selected, then the entire scale. (Not more than 5 sharps or 5 flats.), before playing
one note and requesting the answer. The test will be given twice. The candidate can use either letter names,
degree names, solfa or intervals (1.2.3.4.5.6.7.8.) when answering.
PITCH. To hum or sing the higher of two notes played simultaneously by the Examiner within the diatonic
scale octave C-C. The key may be changed to accommodate voice range.
TONALITY and CADENCE. To identify whether a phrase played by the Examiner is in a major or a
minor key, and if the end cadence is Plagal (1V-1) or Perfect (V-1).
GENERAL KNOWLEDGE.
7 Marks.
General questions covering terms and signs found in the examination pieces, keys and modulations,
intervals including diminished and augmented above the notes D, A and B Flat. Time and accent. Binary
and Ternary form. To be able to demonstrate these forms in the examination pieces. Scale formation and
tetrachords. To recognize Perfect and Plagal cadence examples in the examination music presented.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
Page 85
16 Marks.
RANGE.
Low E to A. Three and a half octaves.
All scales and arpeggios are to be played TWO octaves.
Otherwise THREE octaves as indicated.
SCALES.
F.
Three octaves.
Ab. Bb. D.
Harmonic Minor.
F#.
Three octaves.
A. C#. B.
Melodic Minor.
F#.
Three octaves.
A. C#. B.
Pentatonic.
D.
Blues.
G. A.
Modal.
Beginning on G. Mixolydian or Dorian.
Major 3rds.
A or Eb.
Chromatic.
From E or F.
Three octaves.
Whole Tone.
C.
Ascending and descending.
Scale speed.
One crotchet = MM 84. (4 Semiquavers.)
ARTICULATION. See Pages 11 & 12.
4 a)b)f). 5. 9 a). 12 b).
Double tonguing required at this grade level.
ARPEGGIOS.
Major Inversion.
A.
Minor Inversion.
D.
Major 6th.
Eb6.
Minor 6th.
Cm6.
Seventh.
A7. Ab7.
Major 7th Inv.
D7.
Diminished.
F. F#.
Augmented.
D. E.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 84. (4 Semiquavers.)
ARTICULATION. See Pages 12 & 13.
No 17 a)b)d). 18. 20 b). 22 a)b).
Double tonguing required at this grade level.
SUSTAIN.
Single notes selected from any of the major scales listed above.
Major.
PERFORMANCE.
Musical and technical control of the selected pieces must adequately meet styling demands. In Binary Form
pieces a minimum of 2 choruses is required. Individualism and improvisational ability is to be encouraged.
Three choruses required in List C.
Page 86
LIST A.
16 Marks.
LIST B.
ACCOMPANIED.
16 Marks.
LIST C.
IMPROVISATION. ACCOMPANIED.
16 Marks.
LIST D.
16 Marks.
SIGHT READING.
7 Marks.
A passage in a Major key up to three sharps or three flats, or in a Minor key up to two sharps or flats. In
either simple or compound time. Using semiquavers and syncopation.
Page 87
7 Marks.
RHYTHM. To clap or tap a four bar passage played twice by the Examiner in simple or 6/8 time with no
note shorter than a quaver. Moderate tempo.
INTERVALS. To hum or sing and identify any two notes of the major scale. The Examiner will first play
the tonic chord of the scale selected, then the entire scale. (Not more than 6 sharps or 6 flats.), before
playing the two notes and requesting the answer. The test will be given twice. The candidate can use either
letter names, degree names, solfa or intervals (1.2.3.4.5.6.7.8) when answering.
PITCH. To hum or sing the higher or lower of two notes played simultaneously by the Examiner within
the diatonic scale octave C-C. The key may be changed to accommodate voice range.
TONALITY and CADENCE. To identify whether a phrase played by the Examiner is in a major or a
minor key, and if the end cadence is Plagal (1V-1), Perfect (V-1) or Interrupted (V-VI)>
HARMONY. To identify as MAJOR or MINOR, triads played in root position by the Examiner. These
will be played twice if necessary.
GENERAL KNOWLEDGE.
6 Marks.
Questions covering the form and structure of the selected pieces. Advanced questions on intervals,
including compound, inverted, diatonic or chromatic. Ornaments and abbreviations, terms, keys and
modulations found in the chosen examination music. Knowledge of, and recognition of Plagal, Perfect and
Interrupted cadences within the examination music performed.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
*************************************************************
Page 88
16 Marks.
RANGE.
Low E to top A. Three and a half octaves.
All scales and arpeggios are to be played a minimum TWO octaves. Three octaves if possible.
SCALES.
Major.
Db. Bb. F#. B.
Harmonic Minor.
D#. A#. Eb. Ab.
Melodic Minor.
D#. A#.
Natural Minor.
C#.
Pentatonic.
F.
Blues.
E.
Modal.
Beginning on A. Aolean or Locrian.
Major 3rds.
E.
H/Minor 3rds.
A.
Whole tone.
E or F.
Chromatic.
F. G or Ab.
Three octaves.
Ascending and descending.
Scale speed.
One crotchet = MM 92. (4 Semiquavers.)
ARTICULATION. See Pages 11 & 12.
4 a)b)f). 6. 9 a). 12 b).
Triple tonguing required at this grade level.
ARPEGGIOS.
Major.
Db. Bb. F#. B.
Minor.
D#. A#. Eb. Ab.
Major Inversions.
Bb.
Minor Inversions.
Eb.
Major 6th.
A6.
Major 6th.Inv.
C6.
Seventh.
Eb7. Bb7.
Seventh Inversion. G7.
Diminished.
A. E.
Dim. Inversion.
B.
Augmented.
G+.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 92. (4 Semiquavers.)
ARTICULATION. See Pages 12 & 13.
No 17 a)b)d). 19. 20 b). 22 a)b).
Triple tonguing required at this grade level.
SUSTAIN.
PERFORMANCE.
Two octaves.
Musical and technical control of the selected pieces must adequately meet styling demands. In Binary Form
pieces a minimum of 2 choruses is required. Individualism and improvisational ability is to be encouraged.
Page 89
LIST A.
Creative Reading Studies for Saxophone - Viola.
Page 34. No 2. Page 51. No 7.
Either one.
Jazz Masters Series.
(Music For Millions. Series. 200/040200 Bb Edition.)
On Impulse.
Omnibook. Bb.
Ballade. Chi Chi.
Any one.
Laird Baird. Parker's Mood.
Own Choice.
LIST B.
Berklee.
Sonny Rollins.
Consolidated.
Charlie Parker.
Atlantic.
ACCOMPANIED.
16 Marks.
LIST C.
Studio.
MB/MMC.
Mullatto Music.
AGMED approval required.
IMPROVISATION. ACCOMPANIED.
16 Marks.
LIST D.
MB/MMC.
Howard Snell.
Hansen.
Sidney Bechet.
16 Marks.
SIGHT READING.
7 Marks.
A passage in a Major key up to four sharps or four flats, or in a Minor key up to three sharps or three flats.
In any simple or compound time. Modulations and accidentals must be expected.
EAR TESTS.
7 Marks.
RHTYHM. To clap or tap a substantial four bar passage played twice by the Examiner. Dotted crotchet,
quavers and semiquavers used.
Page 90
GENERAL KNOWLEDGE.
6 Marks.
1.
2.
Questions covering the form and structure of the pieces played. Keys and modulations.
3.
4.
Cadences. Perfect, Plagal, Imperfect and Interrupted. Knowledge of, and recognition within the
examination music performed.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
*************************************************************
Page 91
16 Marks.
ARPEGGIOS.
Major.
Eb. F. C#. Bb.
Harmonic Minor.
G. B. Bb. C#.
Melodic Minor.
G. B. Bb. C#
Natural Minor.
Eb.
Natural Minor 3rds.
D.
Major 3rds.
Eb. Ab.
Pentatonic.
A.
Blues.
B.
Modal.
Beginning on B. Lydian. Phrygian or Dorian.
Whole tone.
E. G.
Chromatic.
B. Bb or C#.
Ascending and descending.
Scale speed.
One crotchet = MM 96. (4 Semiquavers.)
ARTICULATION. See Pages 11 & 12.
Any pattern given.
Major.
Eb. F. C#. Bb.
Minor.
G. B. Bb. C#.
Major Inversion.
Ab.
Minor Inversion.
Bb.
Dominant 7th.
In the keys of F#. Db. Cb.
Diminished 7th.
In the keys of C#. Gb. Cb.
Dominant Inversion. Db. F#.
Dim.7th Inversions.
Gb. Cb.
Ascending and descending.
Arpeggio speed.
One crotchet = MM 96. (4 Semiquavers.)
ARTICULATION. See Pages 12 & 13.
Any pattern given.
SUSTAIN.
Page 92
Major 3rds.
Any key.
Harmonic Min. 3rds. Any key.
Major Inversions.
Any key.
Minor Inversions.
Any key.
Dominant 7th.
Any key.
Dominant Inversion. Any key.
Diminished 7th.
Any key.
Dim.7th Inversions. Any key.
Any Major or Minor scale (both forms) in minims.
Musical and technical control of the selected pieces must adequately meet styling demands. In Binary Form
pieces a minimum of 2 choruses is required. Individualism and improvisational ability is to be encouraged.
LIST A.
16 Marks.
LIST B.
ACCOMPANIED.
LIST C.
16 Marks.
Studio Publications.
Howard Snell.
Loesser-Lane.
Burke-Heusen.
Johnny Richards.
Johnny Richards.
De Franco.
Hansen.
MB/MMC.
IMPROVISATION. UNACCOMPANIED.
16 Marks.
LIST D.
16 Marks.
Candidates will be given a melody to develop and improvise into a Jazz item.
A short period will be allowed for the candidate to prepare.
SIGHT READING.
7 Marks.
A substantial modulatory passage of up to four sharps or four flats, either in a Major or a Minor key. In any
simple or compound time. Fluency expected.
Page 93
7 Marks.
RHYTHM. To clap or tap a substantial four bar passage played twice by the Examiner. Dotted rhythms
and semiquavers will be used.
PITCH. To hum or sing the middle or lower note of a major or minor triad played in root position by the
Examiner.
To hum or sing a two bar phrase played twice by the Examiner in a key to suit the candidate. Either
chromatic or diatonic, including one or two quaver groups.
HARMONY. To identify a Triad as Major or Minor when played in root position or 1st inversion by the
Examiner.
CADENCES. To name the cadences in a passage in a major key, played by the Examiner, with slight
pauses at the cadence points. The passage will consist of a four phrase melody of which only the four
cadences will be harmonised.
GENERAL KNOWLEDGE.
6 Marks.
1.
Background of the composers and of the works performed. Period from which the music derives.
2.
Questions on Form, Keys, Modulation, Cadences and the musical characteristics of the examination
music performed.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
*************************************************************
Page 94
DIPLOMA EXAMINATIONS.
JAZZ SYLLABUS.
ASSOCIATE DIPLOMA. AAGM. Pre-requisite. AGMED Proficiency Certificate.
NOTE:- Candidates cannot enter for this ASSOCIATE DIPLOMA within 12 months of receiving the
Proficiency Certificate.
Minimum age. 15 years.
General conditions are as for all other AGMED Diploma Examinations. Refer to the AGMED Handbook.
This examination, which consists of TWO parts, Practical and Theoretical, is a pre-requisite examination
for the AGMED Licentiate Diploma.
****************************************************
PERFORMANCE. Four Lists required. A. B. C. D.
Refer to 'OWN CHOICE'. Page 2.
*
*
*
*
The full program must be representative of four different composers and styles. Complete works must be
performed. A concert standard of performance will be expected.
A recital program of at least 30 minutes duration is mandatory. It is therefore possible that the candidate
will find it necessary to select more than one work from a List to provide a program of the required
length.
The listed pieces can be used or replaced with works of a similar standard and style. It is necessary to
submit the planned ASSOCIATE program to the AGMED for approval.
MEMORY. At least ONE LIST is to be performed from memory. Any additional memory work by the
candidate is optional.
LIST A.
20 Marks.
Page 95
20 Marks.
ALTERNATIVE LIST B.
An own arrangement of an evergreen of Jazz.
LIST C.
20 Marks.
LIST D.
20 Marks.
Candidates will prepare, and then submit to the AGMED for approval, an own composition(s) with
accompaniment for Piano, Organ, Guitar or small combination. Candidates will be expected to demonstrate
their improvisational skills during the performance. The works must be submitted at least SIX weeks prior to
the examination.
SIGHT READING.
7 Marks.
EAR TESTS.
7 Marks.
RHYTHM. To clap or tap a substantial four bar phrase played twice by the Examiner. Dotted rhythms,
semiquavers and triplets will be used. Simple time signatures or in 6/8 time. The candidate will also be
asked to state the time signature and to name the notes in any portion of the passage played separately.
INTERVALS. To recognise and name intervals formed by two notes played together within the compass
of an octave.
HARMONY. To recognise and name Major, Minor, Augmented and Diminished Triads played by the
Examiner in Root position or in 1st Inversion.
CADENCES. To recognise and name the four cadences in a passage in simple chordal form, played
twice by the Examiner with short pauses at the end of each cadence point. The key will be stated and the
tonic chord will be sounded before the passage is played.
GENERAL KNOWLEDGE.
6 Marks.
1.
Background of the composers and of the works performed. The Period from which they derive.
2.
Questions on the Form, Key, Modulations and the musical characteristics of the examination music
performed.
The outline given, is a guide to the candidate. The Examiner may choose to ask any reasonable question
relative to the grade in order to reach an assessment.
*************************************************************
Page 96
****************************************************
PERFORMANCE. Four Lists required. A. B. C. D.
Refer to 'OWN CHOICE'. Page 2.
*
The full program must be representative of four different composers and styles. Complete works must be
performed. A concert standard of performance will be expected.
A recital program of at least 40 minutes duration is mandatory. It is therefore possible that the candidate
will find it necessary to select more than one work from a List to provide a program of the required
length.
It is necessary to submit the planned OWN CHOICE LICENTIATE PROGRAM to the AGMED for
approval.
MEMORY. At least ONE LIST is to be performed from memory. Any additional memory work by the
candidate is optional.
LIST A.
UNACCOMPANIED.
LIST B.
LIST C.
LIST D.
SIGHT READING.
EAR TESTS.
GENERAL KNOWLEDGE.
Page 97
20 Marks.
20 Marks.
20 Marks.
20 Marks.
7 Marks.
7 Marks.
6 Marks.
PRE-REQUISITE.
All candidates for this Diploma must at the date of entry hold the Associate Diploma of the AGMED in the
same subject. However, other Diplomas of equal status MAY be accepted at the discretion of the AGMED
Director of Music and AGMED Council approval. Documentary evidence in this case must then be submitted
with the entry form.
It is recommended that considerable personal development occurs before entering for this Diploma.
Candidates must have maturity and extensive teaching experience. In addition, candidates must have attained a
minimum age of 19 years.
The examination is designed to demonstrate a teacher's ability over a wide musical background in reference to
teaching from the earliest levels through to Grade V11 and Proficiency level. Therefore a very deep
understanding and knowledge of the teaching technique and repertoire in relation to the chosen instrument is
absolutely essential.
This LICENTIATE TEACHERS Diploma examination is in TWO PARTS. Both parts must be passed with a
minimum of 70 marks.
****************************************************
PERFORMANCE. Four Lists required. A. B. C. D.
Refer to 'OWN CHOICE'. Page 2.
*
*
*
An executant examination on the candidate's chosen instrument and a practical practical demonstration of
teaching principles.
The full program must be representative of four different composers and styles. Complete works must be
prepared. A reasonable concert standard of performance will be expected.
A recital program of at least 30 minutes duration is mandatory. It is therefore possible that the candidate
will find it necessary to select more than one work from a List to provide a program of the required
length. It is necessary to submit the planned OWN CHOICE LICENTIATE PROGRAM to the
AGMED for approval.
MEMORY. At least ONE LIST is to be performed from memory. Any additional memory work by the
candidate is optional.
LIST A.
LIST B.
LIST C.
LIST D.
SIGHT READING.
EAR TESTS.
GENERAL KNOWLEDGE.
Page 98
15 Marks.
15 Marks.
15 Marks.
15 Marks.
7 Marks.
7 Marks.
6 Marks.
20 Marks.
This section of the LAGM(TD) examination requires that a candidate has a wide, active and general
musical background, and has the ability to demonstrate the various skills required in relation to the
teaching of the chosen instrument or subject.
Candidates must submit to the Examiners a comprehensive teaching folio listing their teaching repertoire
from the particular Syllabus from and inclusive of Steps, (If they are included in the Syllabus), Grade One
through to Proficiency level. Written comments attached to each work must clearly give an indication that
the candidate is aware of the musical requirements and technical difficulties in the listed works. Written
comments must include practise methods to overcome both observed and potential faults.
The candidate will be required to give a demonstration lesson to the Examiners using material from the
particular Syllabus from and inclusive of Steps, (If they are included in the Syllabus), Grade One through
to Proficiency level.
Candidates will be asked to explain and demonstrate methods for the teaching of phrasing, interpretation
and style. To further discuss these aspects in relation to the use of the chosen instrument or subject.
Candidates will be expected to demonstrate any technical work and exercises prescribed for the particular
instrumental examination in the AGMED Syllabus. Also to discuss common student errors and to suggest
means for their correction.
THEORY.
The candidate will be aurally examined in the basic theoretical principles of teaching and performance.
PRACTICAL.
The candidate will be expected to discuss and demonstrate the various techniques and control used on the
chosen instrument by the examination candidate.
Candidates will be asked to outline the reasons for Music Education and to discuss with the Examiners
the philosophy inherent in this concept.
General questions on the History of Music, musical styles and different techniques used on the chosen
instrument in the performance of these styles.
To demonstrate to the Examiner's satisfaction a comprehensive knowledge of the history and construction
of the chosen instrument and its relationship to music and to the repertoire.
NOTE:- The Teaching Principles paper is a written extension of the above Viva Voce examination.
****************************************************
Page 99
J. Rutland.
A & C Black.
An excellent Tuitional Book with many small solos suited for Step Levels.
Hansen House.
Hansen House.
Hansen House.
GRADE BOOKS.
A Clarinet Primer.
Alla Marcia.
Aria.
Below The Break. First Album For Clarinet.
Capriccio For Clarinet.
Clarinet Cameo Series.
Clarinet Fancies.
Clarinet Music For Beginners.
Clarinet Quintet.
Clarinet Series.
Easy Book 1.
Moderate Book 2.
Difficult Book 2.
Advanced Book 2.
Clarinet Series. Elementary Book 2.
Clarinet Solos. Vol 111.
Classic Clarinet Series.
Classical Album.
Classical Repertoire For Clarinet. Vol 1. Vol 2.
Collection of Studies For Clarinet.
Complete Method For Clarinet. Vol 3.
Concert Pieces. Vol 2. Vol 3.
Concertante.
Concertino in Eb.
Concertino.
Concerto.
Concerto.
Concerto.
Concerto.
Concerto.
Concerto. No 3.
Concerto in Eb.
Concerto in A. KV 622.
Concerto in C Minor.
Concerto in Eb. Clarinet & Orch.
Concerto in Eb.
Concerto for Bb Clarinet and Strings.
Concerto No 1. In C Minor.
Concerto No 1.
Concerto No 2.
Concertino.
Concertino. Op 26.
Dance Piece.
Page 100
Cooke.
Roussel.
Sutermeister.
Faure.
Mozart.
Jack Brymer.
MB/MMC.
OUP.
Leduc.
Cramer-Castle.
Schott.
Cramer-Castle.
Boston-Chappell.
Edito Music Budapest.
B & H.
Weinberger.
Jack Brymer.
Jack Brymer.
Zelter.
Fentone-Castle.
Eberl.
G.Langenus.
Horovitz.
Rossler.
Tartini-Jacob.
Bonsel.
Copland.
Veale.
Carl Stamitz.
Gerald Finzi.
Carl Stamitz.
Rossler.
Mozart.
Crussel.
Kozeluch.
Rossler.
Handel.
Spohr.
Weber.
Weber.
Tartini-Jacob.
Weber.
Paul Carr.
Weinberger.
Weinberger.
Chester.
B & H.
Edito.Mus.Budapest.
Edito Music Budapest.
Fischer.
Edito Music Budapest.
Chester.
Rubank.
B & H.
Donemus.
B & H.
OUP.
B & H.
Peters.
Rubank.
Breitkop.
Ellenburg.
Rubank.
O.U.P.
Peters.
Ricordi and B & H.
Ricordi.
B & H.
B & H.
Cramer-Castle.
Page 101
Studio PR/Castle.
Consolidated.
Weinberger.
Rubank.
Universal.
Faber Music.
Schott.
Benoy and Bryce.
OUP.
Schirmer.
B & H.
OUP.
UE 7485.
International.
Schirmer.
Augener.
Rubank.
Castle.
Any Edition.
International.
Music Sales.
MB/MMC.Castle.
B & H.
B & H.
Allans.
B & H.
Ashley Pub.
Schirmer.
MB/MMC.
B & H.
Ricordi.
Albert.
Ed.Kroll(L.Hin).
B & H.
Durand.
Studio.
Schott.
B & H.
B & H.
MB/MMC.
Schirmer.
Chappell.
Chester.
Schott.
Schirmer.
Schirmer.
Bote & Block.
Bote & Block.
Novello.
B & H.
D.Scarlatti.
D.Scarlatti.
Arnold.
Richardson.
Lovelock.
F.Reizenstein.
Milhaud.
Csaba Deak.
Szalowski.
Telemann.
Milhaud.
Paul Harvey.
Holland.
Ross Edwards.
Schott.
P.Carr.
Stravinsky.
International.
International.
Lengnick.
B & H.
Chappell.
B & H.
Durand.
Chester.
Omega.
B & H.
Wise Publications.
Allans.
B & H.
Faber.
OUP.
OUP.
OUP.
Cramer-Castle.
International.
Chester.
B & H.
B & H.
OUP.
Fuzeau.
MM/MMC.
Chester.
Ricordi.
Rachmaninoff.
D'Elia.
Fentone-Castle.
Ricordi.
Fischer.
Uhl.
Pamela Weston.
Schott.
OUP.
J. Rutland.
A & C Black.
An excellent Tuitional Book with many small solos suited for Step Levels.
Hansen House.
Hansen House.
Hansen House.
GRADE BOOKS.
Beatle's Themes and Variations - Clarinet.
Below The Break.
Best of The Big Bands.
Clarinet A La Carte. Unaccompanied.
Clarinet Magic.
Clarinet Solos.
Page 102
Wise Publications.
Frazer.
Balent.
Paul Harvey.
Cramer.
Warner Bros.Inc.
Riccordi.
Chappell.
Amsco Publications.
Page 103
Howard Snell.
Stan Ayeroff.
Berklee.
Studio.
MB/MMC.
MB/MMC.
Hansen.
Consolidated Music.
Sonny Rollins.
Consolidated.
De Franco.
Sydney Bechet.
Charlie Parker.
MB/MMC.
Alain Pierson Publ.
Atlantic.
Mulatto Music.
Campbell - Connell.
Page 104
Page 105