Music Resource Package for Practical Component PDF

Music Resource package for the practical component Technical work

Scales Repertoire Repertoire

INSTRUMENTAL RESOURCE PACKAGE

The following practical resource package may be used by schools to assist in the delivery of the practical component. Guidelines for practical school-based assessments and examinations are outlined and additional instrumental documents provide an indication of appropriate performance performance standards for students in Stage 2 and Stage 3. The information has been provided to the School Curriculum and Standards Authority by instrumental/voice instrumental/voice teachers experienced in selecting repertoire for students who may have varying skills and abilities. School-based practical assessment assessment

Practical tasks should be programmed through consultation between the instrumental teacher and the classroom teacher. These tasks represent 20% of the practical component and can be assessed using at least two of the performance activities outlined in the syllabus. Course requirements for the instrumental component must include:

1. Course outline—sequence outline—sequence and timing, assessed assessed as stipulated stipulated in the syllabus syllabus and WACE manual 2. Assessment outline—deta outline—detailing iling coverage coverage of content, content, assessment assessment types, tasks, weighting weighting and timing for each task 3. Assessment tasks and marking keys 4. Marks book—recording book—recording marks, marks, weighting and collating collating results of all assessments. assessments. A copy of the above above instrumental documents documents must be provided to the classroom classroom teacher teacher for moderation and grading purposes. purposes. It is strongly recommended that across a stage, a range of different assessment types be covered.

Practical resources: Technical work • •

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Technical works listed are suggestions only. Technical work is not examined in the WACE external examination but can be incorporated as part of the school-based assessment. Technical work should be selected to reflect the student’s level of instrumental development and to enhance and support repertoire being prepared by the student. Technical work listed for Stage 3 is recommended for students intending to continue their instrumental studies past the conclusion of this course.

Repertoire

While the pieces listed provide a wide range and scope of repertoire for prepared works, it is expected that instrumental/voice teachers will select repertoire that meets all syllabus requirements and reflects the student’s skill and ability level. Typical pieces listed are suggestions only and provide an indication of the level of performance required. Repertoire may be selected in addition to or instead of the typical pieces listed. Repertoire with accompaniment must have the accompaniment provided for the WACE external examination. Recorded accompaniment must contain only backing or accompanying material. Recorded accompaniments containing the candidate’s part are not permitted. Vocal candidates may select from: Western Art Music, Contemporary, Jazz or Music Theatre. Western Art Music vocal candidates must present at least one song in a language other than English. For pieces where publishers are not stipulated, it is recommended that performers use scores that are as near to the original as possible. Pieces for study at Stage 2 can also be drawn from the lists appropriate for grades 4–6 and •

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Additional resources:

Jazz Recommended listening lists Recommended texts Contemporary Recommended listening lists Recommended texts • •

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Voice: Table outlining vocal stylistic differences across all contexts

TABLE OF CONTENTS

WESTERN ART MUSIC ...................................................................................................... 9 WIND INSTRUMENTS .................................................................................................................................. 9 FLUTE........................................................................................................................................................ 9 CLARINET ............................................................................................................................................... 15 BASS CLARINET .................................................................................................................................... 19 OBOE....................................................................................................................................................... 22 BASSOON ............................................................................................................................................... 26 SAXOPHONE .......................................................................................................................................... 30 BRASS INSTRUMENTS.............................................................................................................................. 34 HORN ...................................................................................................................................................... 34 TRUMPET ............................................................................................................................................... 37 TROMBONE/BASS TROMBONE/EUPHONIUM .................................................................................... 40 TUBA ....................................................................................................................................................... 44 PERCUSSION ............................................................................................................................................. 47 TUNED PERCUSSION............................................................................................................................ 47 DRUM SET .............................................................................................................................................. 52 STRING INSTRUMENTS ............................................................................................................................ 66 VIOLIN ..................................................................................................................................................... 66 VIOLA ...................................................................................................................................................... 70 VIOLONCELLO ....................................................................................................................................... 74 DOUBLE BASS ....................................................................................................................................... 79 HARP—pedal harp .................................................................................................................................. 84 HARP—non-pedal harp ........................................................................................................................... 87

CONTEMPORARY .......................................................................................................... 145 PERCUSSION ........................................................................................................................................... 145 DRUMSET ............................................................................................................................................. 145 STRING INSTRUMENTS .......................................................................................................................... 149 GUITAR ................................................................................................................................................. 149 BASS ..................................................................................................................................................... 155 PIANO/KEYBOARD................................................................................................................................... 158 VOICE ........................................................................................................................................................ 161 ADDITIONAL LISTENING............................................................................................... 167 JAZZ .......................................................................................................................................................... 167 PIANO/KEYBOARD............................................................................................................................... 167 VOICE .................................................................................................................................................... 167 TROMBONE .......................................................................................................................................... 167 CONTEMPORARY .................................................................................................................................... 168 DRUMS .................................................................................................................................................. 168 CONTEMPORARY .................................................................................................................................... 169 PIANO/KEYBOARD............................................................................................................................... 169 VOICE .................................................................................................................................................... 169 SUGGESTED TEXTS...................................................................................................... 171 DRUM SET — JAZZ AND CONTEMPORARY ......................................................................................... 171 VOICE — CONTEMPORARY ................................................................................................................... 172 VOCAL STYLISTIC DIFFERENCES – CONTEXTS………………………………………174

WESTERN ART MUSIC

WIND INSTRUMENTS FLUTE TECHNICAL WORK—SCALES—STAGE 2 Scales Major

Eb, F, G and A

2 octaves

Harmonic and melodic minor

C, D, E and F#

2 octaves

= 60, semiquavers Arpeggios Major

Eb and A

2 octaves

Harmonic minor

C, D, E and F# minor Major broken chords

F and G

2 octaves

Major broken chords

D and E Chromatic scale

Bb Dominant 7

2 octaves th

of D

2 octaves

Articulation (for all items of tech work)

All tongued Slurred in pairs 2 slurred, 2 tongued Double tonguing for major scales TECHNICAL WORK—REPERTOIRE Tonguing Moyse, De la Sonorite p. 15 Vester, 100 Classical Studies, nos. 9, 12 Advanced

Mendelssohn, The Hebrides Overture (Fingal’s Cave) Moyse, 10 Etudes, no.1 Anderses, 24 Exercises, no.2 Articulation patterns Bays, M. Flute Handbook , p. 18 125 Easy Classical Studies, nos. 91, 109, 116, 117, 118, 119 Rubank, Selected Studies (Voxman) , pp. 5, 13, 14/15, 23, 34, 35

Trills

Bays, M. Flute Handbook p. 51–52 Rubank, Selected Studies (Voxman) pp. 2, 16, 55 50 For Flute (Book 2) Spooky Flute Advanced

Bergiguier, 18 Exercises, no.2 Furstenau, 26 Ubungen Exercises Opus 107 , no.19 Boehm, 24 Caprices, no.5 Ornamentation 125 Easy Classical Studies, nos. 52, 53, 54, 55, 76, 92, 115 Rubank, Selected Studies (Voxman), pp. 8, 10, 17, 22, 30, 38 50 For Flute , (Book 2) Circus Flute Koehler, Studies (Book 2), no.10 Vester, 100 Classical Studies, nos. 47, 49

Advanced

Furstenau, 26 Ubungen Exercises Opus 107 , no.16 Paganini, 24 Caprices, no.11 Mixed metre Bays, M. Flute Handbook , p. 47, 49 Rubank, Selected Studies (Voxman ), p. 7 50 For Flute (Book 1), Twopenny Flute

Advanced

Berbiguier, 18 Exercises, no.4 Paganini, 24 Caprices, no.11

Low register Bays, M. Flute Handbook , p. 18 Koehler, Studies (Book 1), no.7 Advanced

Smetana, Moldau from Ma Vlast Ravel, Bolero Prokofiev, Sonata in D major 3rd movement Intervals—embouchure flexibility 125 Easy Classical Studies , nos. 84, 102, 105, 106, 122 Rubank, Selected Studies (Voxman), pp. 9, 39 50 For Flute ( Book 1) Victorian Flute, (Book 2) Waltzing Flute Koehler, Studies (Book 1), nos. 6, 15 Vester, 100 Classical Studies, nos. 20, 52, 53, 76, 79, 80, 81 Advanced Bizet, L’Arlesienne (Suite, no.2) Berbiguier, 18 Exercises, no.6 Paganini, 24 Caprices, no.2 Boehm, 24 Caprices, nos. 22 and 7 Moyse, 10 Etudes, no.1 Furstenau, 26 Ubungen Opus 107 , no.21 Finger dexterity Bays, M. Flute Handbook pp. 22, 23 125 Easy Classical Studies, nos. 48, 49, 51, 58, 59, 60, 66, 69, 70, 78, 80, 93, 96, 97, 100, 101, 103, 106,

107, 109, 111, 113, 114, 116, 117, 120, 123 Rubank, Selected Studies (Voxman), pp. 3, 24 50 For Flute (Book 2), Agile Flute Koehler, Studies (Book 1), nos. 13, 14 (Book 2), nos. 4, 9

Legato

Bays, M. Flute Handbook , pp. 25–27 125 Easy Classical Studies , nos. 1–8, 12–16, 121 Rubank, Selected Studies (Voxman), pp. 4, 6, 31 (slow), pp. 11, 58–59 (fast) 50 For Flute (Book 1) Dreamy Flute, Plaintive Flute Koehler, Studies ( Book 1), no.8 (Book 2), no.6 Advanced Poulenc, Sonata (2nd movement) Bach, Sonata in e minor (3rd movement) Ravel, Bolero Berbiguier, 18 Etudies, no.6 Vibrato

Bays, M. Flute Handbook , p. 25 Moyse, De la Sonorite exercise, no.1 (p. 10) REPERTOIRE—STAGE 2

Arnold, M. Bach, J.S. Bach, J.S. Berkeley Bolling Boyd, A. Chopin, F. Faure Faure, G. Gaubert Handel, G.

Sonatina, Op.29, 2nd or 3rd movements, Lengnick Polonaise (including Double) and Badinerie of Suite in B minor, BWV 1067, IMC or Peters edition Siciliano of Sonata in E flat, 2nd movement, BWV 1031 Sonatina, 3rd movement Suite for flute and Jazz piano ‘Baroque and Blue’ Goldfish through Summer Rain Variations on a Theme by Rossini, Theme and Variations Morceau de Concour Sicilienne, Editio Musica or IMC Madrigal Sonata in A minor 1st and 2nd movements st

nd

REPERTOIRE—STAGE 3

Bach, J.S. Bach, J.S. Bach, J.S. Bach, J.S. Bach, J.S. Berkeley, L. Bloch, E. Bolling, C. Boyd, A. Boyd, A. Busser, H. Chaminade, C. Chopin, F. Cooke, A. Donizetti, G. Doppler, F. Dvorak, A. Fauré, G. Franck, C. Gaubert, P. Gluck Handel, G.F. Hindemith, P. Hoffmeister Leclair, J.M. Martinů, B. Mouquet, J.

Sonata in G minor, BWV 1020, 1st movement (Barenreiter) (Chester) (Schirmer) Sonata no.2 in Eb Major BWV 1031, 1st and 2nd or 3rd and 4th movements Sonata in E Major BWV 1035, 1st and 2nd movements Sonata in E minor, 3rd movement Sonata in B minor, 3rd movement Sonatina for Flute/Recorder (Schott) Any two movements from Suite Modale (Broude) Suite no.1, any movement Goldfish through Summer Rain (Faberpoint) Bali Moods Any two movements from Petite Suite (Durand) Concertino Variations on a theme by Rossini (IMC) (Schott) 2nd and 3rd movements of Sonatina (OUP) Sonata Hungarian Pastoral Fantasy Op.26 1st movement from Sonatina, Op.100 (IMC) (Schirmer) Fantasie, slow movement Sonata, 3rd movement Madrigal (Enoch) (IMC) (Warner) 1st movement from Concerto (Kalmus) 1st and 2nd movements from Sonata in G, Op.1, no.5 HWV 363b, (Barenreiter) (Peters as no.3) Acht Stucke, any 2 movements. 1st movement of Sonata in G, Op21/3 (Schott) 1st and 2nd or 3rd and 4th movements from Sonata in G (Schott) ‘Sonata’ 1st movement Any three movements from Cinq Piece Breve, Op.39 (Lemoine)

CLARINET TECHNICAL WORK—SCALES—STAGE 2 Scales Major

A, Bb, C and E

2 octaves

Harmonic minor

C# and F#

2 octaves


A and G

2 octaves

= 60, semiquavers Articulation

All slurred All tongued Arpeggios

of above major and minor scales. Compass as above. Chromatic scale

F Dominant 7

of F

3 octaves th

2 octaves

TECHNICAL WORK—REPERTOIRE Triplets

Rubank, Intermediate Method , p. 21, no.4 Rubank, Advanced Method Vol 1, p. 52, no.12 M. Walton, Note Cruncher Book 2 , p. 24, no.1 Collis, Book 2 , p. 29, no.58, p. 15, no.34 Collis, Book 4, p. 10, no.13 Collis, Book 6 , p. 13, no.13 Advanced Uhl, 48 Studies for Clarinet Book 1 , p. 17, no.12 Rose, C. 40 Studies for Clarinet , p. 7, no.5 Weston, P. 50 Classical Studies for Clarinet Stark, 24 Studi Di Virtuosismo for Clarinet Rapid slurring semiquavers Rubank, Intermediate Method, p. 45, no.40 Rubank, Advanced Method, p. 53, no.15 Thurston, F. Passage Studies Book 2, p. 14, no.8 Advanced Rose, C. 32 Etudes for the Clarinet , p. 13, no.12 Rose, C. 40 Studies for the Clarinet , p. 3, no.1 Thurston, F. Passage Studies Book 2, p. 4, no.2, p. 5, no.3 Rapid tonguing semiquavers Rubank, Intermediate Method, p. 44, no.2 Rubank, Advanced Method Volume 1, p. 54, no.17 Collis, Book 6 , p. 23, no.22 Rose, C. 40 Studies for the Clarinet , p. 14, no.11

Interval leaps Rubank, Advanced Method Vol 1, p. 57, no.29 Collis, Book 2 , p. 13, no.31 Uhl, 48 Studies for Clarinet Book 1, p. 30, no.23 Thurston, F. Passage Studies Book 1, p. 8, no.5 Thurston, F. Passage Studies Book 2, p. 8, no.5, p. 19, no.11 Advanced Lazarus, Method for Clarinet Part 2, p. 249, no.10 Stark, Arpeggio Studies Thurston, F. Passage Studies Book 3, p. 6, no.3 Changing rhythms/Syncopation Rae, J. 40 Modern Studies , p. 15, no.22, p. 24, no.31, p. 25, no.32

AMEB Grade 4 (Series 2) List A, no.1 Rose, C. 32 Etudes for Clarinet , p. 10, no.9 Uhl, 48 Studies for Clarinet Book 1, p. 16, no.11 Thurston, F. Passage Studies Book 1, p. 24, no.17 Collis, Book 4, p. 2, no.3 Advanced Rose, C. 40 Studies for Clarinet Weston, P. 50 Classical Studies for Clarinet Stark, 24 Studi di Virtuosismo Lazarus, Method for Clarinet Parts 2 and 3 Tone development/Phrasing Collis, Book 5 , p. 13, no.14 Collis, Book 6 , p. 20, no.18, p. 17, no.16 Uhl, 48 Studies for Clarinet Book 1, p. 3, no.1 Rae, J. 40 Modern Studies for Solo Clarinet , p. 21, no.28, p. 29, no.35


Brahms, J. Baermann, C. Corelli, A. Debussy, C. Ferguson, H. Finzi, G. Finzi, G. Handel, G.F. Mendelssohn, F. Molter, J.M. Schumann, R. Stamitz, C. Stravinsky, I. Vanhal, J.B. (Wanhal ) Vanhal, J.B. (Wanhal ) Weber

Allegretto Grazioso Etude no.47 in B flat minor, Schirmer Gigue Four Pieces for Clarinet and Piano, Op.5 (any two) Four Short Pieces, Pastorale and Burlesque, 3 rd and 4th movements Five Bagatelles, Romance, 2nd movement Five Bagatelles, Forlana, 4th movement Three Pieces transcribed by R.Kell, 3 rd movement, Siciliana and Giga Sonata no.1, 2nd movement, Schirmer Concerto no.4, Moderato. London: Chester Music Fantasy Piece no.1, Op.73 Concerto no.3, 1st, 2nd or 3rd movement Three Solo Pieces no.1 (1918), London: Chester Music Sonata in B flat, first and final movement, Eric Simon Sonata in E flat, first and final movement, Schott Concerto no.1 in f minor (Op.73), 2 nd movement

The following boo ks contain numerous suitable works

Christmann, A.H.

Solos for the Clarinet with Piano accompaniment, G. Schirmer, in C Clarinet Solos, Volume Three, Ed. King, T. London: Chester Music Concert and Contest Collection, Ed. Voxman, Rubank Contemporary Music for Clarinet, Ed. Wastall, Boosey and Hawkes Eighty Graded Studies for Clarinet Volume 1, Ed. Harris, P., & Davies, J. Faber Music Eighty Graded Studies for Clarinet Volume 2, Ed. Harris, P., & Davies, J. Faber Music Kirelis, R. Master Solos for the Clarinet, Hal Leonard Master Solos, Intermediate Level, Ed. Kirelis, Hal Leonard Masterworks for Clarinet and Piano, Ed. Simon, E. Schirmer Romantic Music for Clarinet, Ed. Wastall, Boosey and Hawkes

BASS CLARINET TECHNICAL WORK—SCALES—STAGE 2 Scales Major

A, Bb, C and E

2 octaves

Harmonic minor

C# F#

1 octave 2 octaves


A and G

2 octaves


All slurred All tongued Arpeggios


F Dominant 7

of F

2 octaves th

2 octaves

TECHNICAL WORK—REPERTOIRE Crossing the break smoothly Rae, J. 40 Modern Studies , no.18, no.24 Walton, M. Note Cruncher Book 1 , Page 12 Study in D minor, Page 16 Study in B minor Rose, C. 32 Etudes, no.27, p. 27 Collis, J. Modern Course Book 4, p. 3, no.4 Rhythmic studies Rae, J. 40 Modern Studies, no.22 Collis, J. Modern Course Book 4 , p. 42, no.48 Voxman, H. Introducing the Alto or Bass Clarinet (Rubank,) p. 26, no.4 Wastall, P Practice Sessions p. 11, Study no.2 Rubank, Advanced Vol 2 p. 49, no.1 Alternate fingerings Walton, M. Note Cruncher Book 1 Study in A major, p. 33 Study in B minor, p. 28 Study in C minor Collis, J. Modern Course Book 2 , p. 26, no.52 Collis, J. Modern Course Book 4 , p. 43, no.51 Rubank , Advanced Vol 2 p. 50, no.4 Rapid tonguing/Staccato Weston, P. 50 Classical Studies, p. 8, no.11, p. 11, no.17, p. 22, no.29 Walton, M. Note Cruncher Book 1 , p. 20 Study in Bb major, p. 34 Study in Bb major Collis, J. Modern Course Book 2, p. 21, no.44 Collis, J. Modern Course Book 6, p. 23, no.22 Rubank, Advanced Vol 1 p. 50, no.5 (played as written or down the octave) Interval leaps Walton, M. Note Cruncher Book 1 —p. 31 Study in E minor


Beon, A, A. German Phillips, G. Prokofiev, S. Johnson Koepke, P. Ostransky, L. Spooner, O. Irish Folksong

Andante from Concerto in B flat Major, Concert and Contest Collection for Bb bass clarinet by H, Voxman (Rubank) Pastorale and Bourree, Rubank Recitative and Slow Dance, Rubank Romance and Troika, Concert and Contest Collection for Bb bass clarinet by H, Voxman (Rubank) Woody Contrasts The Buffoon, Rubank Autumn Song, Rubank Chalameau Sonata for Unaccompanied Bass Clarinet in the Low Register, Southern Music Co The Foggy Dew, Rubank


Boni, P. Bozza, E. Cole, K. Davis, W. Eccles, H. Haydn, F.J. Hervig, R. Hoffman, A. Marcello, B. Ostransky, L.

Largo and Allegro, Rubank Ballade Excursions Variations on a Theme of Robert Schumann Sonata in g minor for Bass Clarinet and Piano Divertissement in Bb Major, Concert and Contest collection for Bb bass clarinet by H.Voxman (Rubank) Sonatina, Concert and Contest collection for Bb bass clarinet by H.Voxman (Rubank) Alborada Sonata in G Major for Clarinet and Piano Concertino in D minor, Concert and Contest collection for Bb bass clarinet by H.Voxman (Rubank)

OBOE TECHNICAL WORK—SCALES—STAGE 2 Scales Major

A Major D, B flat and E flat

1 octave 2 octaves


F sharp and G B and C

1 octave 2 octaves


All tongued Slurred in pairs Two slurred, two tongued Arpeggios

To each major and minor scale stated above. Compass as above. Chromatic scale

B Dominant 7

of G

2 octaves th

2 octaves

Tonal exercises using the above scales within the range low Bb to top F. Each note should be held for four

beats. Dynamics: p to f to p. Advanced students using vibrato within sustained scales as before with greater control and musicality. * For those students intending further studies past 3A/3B, this technical work would be a minimum * requirement.

TECHNICAL WORK—REPERTOIRE Double tonguing Rubank, Advanced Method Vol. 1, p. 32, no.14 Salter, G. 35 Melodic Studies, p. 15 ‘A Scolding’ and p. 16 ‘The Ogre’s Waltz’ Hinke, Elementary Method, p. 20, no.6, p. 21, no.8, p. 14, no.14 Advanced

Lamotte, A. Dix-huit Etudes, p. 20, no.18 Ferling, W. 48 Etudes, p. 4, no.8 Large intervals Rubank, Advanced Method Vol. 1, p. 48, no.12, p. 49, no.17, p. 53, no.28 Hinke, Elementary Method, p. 13, no.19, p. 14, no.23, p. 17, no.29, p. 24, no.15 Advanced

Salviani, C. Studies for Oboe, p. 2, no.1, p. 20, no.16 Ferling, W. 48 Etudes, p. 13, no.26, p. 15, no.30 Lamotte, A. Dix-huit Etudes, p. 10, no.8 Low octave studies Rubank, Advanced Method Vol.1, p. 32, no.15

Compound time Method Vol. 1, p. 32, nos. 14+15, p. 33, no.16, p. 37, no.21 Rubank, Advanced Method G. Salter, 35 Melodic Studies, p. 9 ‘The Hunt’ and p. 12 ‘Skippy’ Hinke, Elementary Method, p. 13, no.20, p. 14, no.21, p. 16, no.26 Advanced

A Lamotte, Dix-huit Etudes, pp. 12–16, nos. 10–14 J. H. Luft, Vingt-quatre Etudes , p. 30, no.17 W. Ferling, 48 Etudes, p. 2, no.3, p. 7, no.13, p. 12, nos. 23–24 Mixed metre

G. Salter, 35 Melodic Studies, p. 8 ‘Summer Meadow’ Band parts studied as part of school program often have mixed meter Orchestral excerpts: Stravinsky ‘Rite of Spring’ and ‘Pulcinella Suite’ Syncopation Method Vol. 1, p. 23, no.5, p. 31, no.13 Rubank, Advanced Method Hinke, Elementary Method, p. 30, no.12 Advanced

W. Ferling, 48 Etudes, p. 10, no.19 Finger fluency/dexterity Method Vol. 1, p. 48, no.13, p. 52, no.26 Rubank, Advanced Method Hinke, Elementary Method, Scale Studies pp. 25–33, nos. 1–18 G. Salter, 35 Melodic Studies, p. 8 ‘Sleepy Harbour’, p. 19 ‘The Rooster’ and p. 20 ‘The Maypole’ Advanced

A. Lamotte, Dix-huit Etudes, p. 4, no.2, p. 5, no.3 J. H. Luft, Vingt-quatre Etudes, p. 1, no.1

Chromatic passage playing

Hinke, Elementary Method, p. 38, no.27 Advanced

A. Lamotte, Dix-huit Etudes, p. 10, no.8 W. Ferling, 48 Etudes, p. 1, no.2 J. H. Luft, Vingt-quatre Etudes, p. 22, no.13 High octave studies Advanced W. Ferling, 48 Etudes, p. 6, no.12, p. 7, no.13 J. H. Luft, Vingt-quatre Etudes, any of these studies

REPERTOIRE—STAGE REPERTOIRE—STA GE 2

Bellini, V. Cimarosa, D. Fauré, G. Handel, G. F. Handel, G. F. Handel, G. F. Head, M. Loeillet, J.B. Nielsen, C. Pierné, G. Sammartini, G. Sammartini, G. Schumann, R. Telemann, G. F.

Concerto in Eb Major, 1st movement Concerto for Oboe and Strings Piece Sonata in G minor Sonata in C minor Sonata in B flat Major Three Pieces: Gavotte and Elegiac Dance, Presto Sonata in C Major Two Fantasy Pieces, Op.2 Serenade Sonata in G minor Sonata in G Major Three Romances, Op.94 Sonata in A minor

BASSOON TECHNICAL WORK—SCALES—STAGE 2 Scales Major

F, G, A and Eb

2 octaves


C, D, E and F#

2 octaves


All tongued Slurred in pairs Two slurred, two tongued Arpeggios


B Dominant 7

of G

lower 2 octaves th

2 octaves

Tonal exercises using the above scales within the range low Bb to top A. Each note to be held for four

beats. Dynamic range p to f to p. students students using vibrato within sustained sustained scales scales as before with with greater musicality.

* Advanced

TECHNICAL WORK—REPERTOIRE Double tonguing Rubank, Advanced Method Vol. 1, p. 25, no.10, p. 45, no.12 J. Weissenborn, Bassoon Studies, p. 4, nos. 4–5, p. 6, no.7 Advanced L. Milde, Concert Studies, p. 8, no.4, p. 19, no.10 Art Of Wind Playing, Exercises on double tonguing

Orchestral excerpt: Rossini, ‘William Tell Overture’ Large intervals Rubank, Advanced Method Vol. 1. p. 39, no.26, p. 43, no.5 J. Weissenborn, Practical Method , Chapter XII ‘Andante’, Chapter XIII ‘L’istesso tempo’ and Chapter XX

‘Moderato’ Advanced

J. Weissenborn, Bassoon Studies, p. 14, no.18, p. 15, no.19, p. 20, no.25 rd

3 Octave and/or tenor clef Rubank, Advanced Method Vol. 1, p. 20, no.2a, p. 21, nos. 3a and 4a, p. 22, no.5, p. 23, nos. 6 and 8, p. 23,

nos. 6 and 8, p. 24, no.9 J. Weissenborn, Practical Method, Tenor Clef pages (different for each edition) AMEB Technical Workbook, tenor clef exercises Advanced Rubank, Advanced Method Vol. 1, p. 31, no.16, p. 33, no.19, p. 36, no.22, p. 38, no.24, p. 40, no.28 L Milde, Concert Studies, most of these studies have difficult tenor clef sections Low octave studies Rubank, Advanced Method Vol. 1, p. 20, no.2, p. 24, no.9, p. 25, no.10, p. 28, no.14

Compound time Rubank, Advanced Method Vol. 1, p. 20, no.3, p. 23, nos. 6 and 8, p. 26, no.11, p. 39, no.22, p. 40, no.28,

p. 44, no.10, p. 48, no.18, p. 50, no.24, p. 51, no.26, p. 52, no.27, p. 53, no.29 Advanced

L. Weissenborn, Bassoon Studies, p. 18, no.22, p. 20, no.26, p. 22, no.28 L. Milde, Concert Studies, p. 14, no.7 Mixed metre

Band parts studied as part of school program often have mixed meter Advanced

J. Weissenborn, Bassoon Studies, p. 10, no.15 Pivonka, Rhythmic Studies for Bassoon Orchestral excerpts: Stravinsky ‘Rite of Spring’ and ‘Pulcinella Suite’ Syncopation Rubank, Advanced Method Vol. 1, p. 36, no.21, p. 38, no.25 J. Weissenborn, Method for Bassoon, Chapter XXIII ‘Allegro guisto’ and Chapter XXIV ‘Allegretto’ (Gno.minor) Advanced Pivonka, Rhythmic Studies L. Milde, Concert Studies, p. 24, no.13 Finger fluency/Dexterity Rubank, Advanced Method Vol. 1, p. 33, no.20, p. 40, no.28, p. 44, no.10, p. 45, no.12, p. 46, no.14,

p. 51, no.25, p. 52, no.27 Advanced

J. Weissenborn, Practical Method, any of the ‘Daily Studies’ L. Milde, Concert Studies, all of these are suitable


Baines, F. Bergmann, W. Besozzi Dunhill, T.F. Galliard, J. Gliere, R. Godfrey, F. Hindemith, P. Kerrison, J. Mercy, L. Merci, L. Mozart, W.A.

Introduction and Hornpipe Prelude and Fugue Sonata in Bb Major Lyric Suite Six Sonatas, Vol. 1 Humoresque Lucy Long Sonata, 1st movement Suite of Dances Sonata in G Major, Op.3 Sonata in G minor, 1st movement Concerto in B flat, 2nd movement


Bach, J.C. Telemann, G.P. Mozart, W.A. Weber, C.M. von Drefus, G. Hurlstone, W. Saint-Saëns, C. Tansmann, A.

Concerto in Bb Major, 3rd movement Sonata in F minor, 3rd and 4th movements Concerto in Bb Major, 3rd movement Concerto in F Major, 2nd movement The Adventures of Sebastian the Fox (any 2 contrasting mts.) Sonata in F Major, 1st or 4th movement Sonata, 1st movement Sonata, 2nd movement

SAXOPHONE TECHNICAL WORK—SCALES—STAGE 2 Scales Major

A C, Eb and F

1 octave 2 octaves

Harmonic minor

F# C

1 octave 2 octaves


A D

1 octave 2 octaves = 60, semiquavers

Arpeggios


C Dominant 7

2 octaves th

of G Articulation (for all items of tech work)

All slurred

2 octaves

TECHNICAL WORK—REPERTOIRE Major scales Rubank, Supplementary Studies Rubank, Selected Studies Guy Lacour 50 Etudes Progressives et Faciles Book 1 and 2 Howard Harrison Amazing Studies for Saxophone James Rae 20 Modern Studies Luft Etuden Ferling Forty Eight Studies Minor scales Rubank, Supplementary Studies Rubank, Selected Studies Guy Lacour 50 Etudes Progressives et Faciles Book 1 and 2 Howard Harrison Amazing Studies for Saxophone James Rae 20 Modern Studies Luft Etuden Ferling Forty Eight Studies Arpeggios, arpeggios in inversions and scales in thirds Rubank, Sup.Studies, nos. 21, 23, 26, 34

Guy Lacour Book.1, nos. 14, 25 Guy Lacour Book.2, nos. 26, 37,40,47,50 Rubank, Sel.Studies pp. 2, 3, 4, 7, 9, 15, 16, 22, 24, 30 Klose Complete Methode Part 1: pp. 40, 41, 42, 43, 44, 45, 65, 66 Klose Complete Methode Part 2: pp. 12, 13, 30, 36, 37, 38 ths

Dominant 7 Klose Complete Methode Part 1: p. 48

Extended range

Guy Lacour Book.1, nos. 12, 16, 17, 18, 23, 24 Guy Lacour Book.2, nos. 26, 28, 29, 31, 32, 33, 37, 39, 41, 42, 45 Rubank, Sup.Studies, nos. 13, 14, 20, 21, 24, 26, 29, 33, 34, 35, 36 Rubank, Sel.Studies pp. 2, 3, 4, 6 Low register Rubank, Sup.Studies, no.13 Rubank, Sel.Studies, pp. 2, 3, 4, 21

Guy Lacour Book.1, nos. 10, 11, 21, 23, 24 Guy Lacour Book.2, nos. 31, 32, 42 Klose Complete Methode Part 1: p. 33 Klose Complete Methode Part 2: p. 17 Aria Ornamentation Rubank, Sup.Studies, nos. 20, 33 Amazing Studies, nos. 27, 35, 51, 58, 61, 63, 75, 76 Rubank, Sel.Studies, pp. 3, 5, 6, 8, 10, 20, 21 Klose Complete Methode Part 1: pp. 35, 36, 64, 67 Klose Complete Methode Part 2: pp. 36, 42, 44 Legato playing

Guy Lacour Book.1, nos. 13, 15, 16, 18, 23, 25 Guy Lacour Book.2, nos. 30, 33, 36, 38, 40, 41, 43, 47 Rubank, Sel.Studies p. 21 Amazing Studies, nos. 6, 47, 48, 61, 63 Klose Complete Methode Part 2: pp. 4, 17 Large intervals Rubank, Sup.Studies, no.24

REPERTOIRE—STAGE 2 Alto saxophone

Bozza, E. Clerisse, R. Dubois, P.M. Dubois, P.M. Maurice, P. Ostransky, L. Reuff, J.

Aria, Leduc Serenade Variee, Leduc A La Russe A la française Tableaux de Provence, 2nd and 3rd movements: Farandole and La Bohemienne, Lemoine Suite for Alto Saxophone Chanson et Passepied Op.16, Leduc

Tenor saxophone

Bennett, D. Clerisse, R. Clerisse, R. Lacome, P. Strimer, J. Tomasi, H.

Concerto in G minor Serenade Variee A L’Ombre du Clocher Rigaudon Serenade Chant Corse, London: Chester Music

Alto saxophone collections

Voxman Teal, L. Harvey Mule, M.

Concert and Contest Collection, Rubank Solos for Alto Saxophone, Schirmer Alto Saxophone Solos Vol 1 and 2 Famous Classical Pieces Vol 1 and 2

Tenor saxophone collections

Teal, L. Harvey Voxman Walton

Solos for the Tenor Saxophone Player Tenor Saxophone Solos Vol 1, London: Chester Music Concert and Contest Collection The Vivaldi Album

BRASS INSTRUMENTS HORN TECHNICAL WORK—SCALES—STAGE 2 Scales Major

Bb, C, Eb and G

minimum range 1 octave


A, C, E and G


= 92, quavers Arpeggios

of above major and minor scales. Compass as above. Chromatic scales

Eb and G Dominant 7

minimum range 1 octave th

of Eb and G



All slurred All tongued TECHNICAL WORK—SCALES—STAGE 3

Intervals

Kopprasch 60 Studies (vol 1entry, vol 2 advanced) Rubank, Advanced Method for Horn (vol 1 entry, vol 2 advanced) Mel Bay Anthology of French Horn Music (advanced) Scales/A r p e g g i o s

Anton Horner Rubank, Advanced Method for Horn Vol 1& 2 AMEB technical work Oskar Franz etudes and Concert Studies Flexibility Rubank, Advanced Method for Horn Vol 1& 2 Range

Anton Horner Scale studies Rubank, Advanced Method for Horn Vol 1& 2 (advanced) Mel Bay Anthology of French Horn Music (advanced) e.g. Bach B minor Mass, Brandenburg 1 de Pre 20 Etudes Stylistic studies

Anton Horner Rubank, Advanced Method for Horn Vol 1& 2 ( entry and advanced) Mel Bay Anthology of French Horn Music ( entry and advanced) Valve/Fingering technique

Anton Horner Rubank, Advanced Method for Horn Vol 1& 2 ( entry and advanced)


Abbott, A. Arnold, M. Beethoven, L. van Butterworth, N. Chabrier, E. Cherubini, L. Clerisse, R. Cooke, A. Dukas, P. Francaix, J. Glazunov, A. Jacob, G. Mozart, W.A. Orr, R. Piantoni, L. Rossini, G. Strauss, F. Strauss, R. Vinter, G.

Alla Caccia, Arcadia Fantasy for Horn, Faber Sonata in F Major, Boosey & Hawkes Prelude and Scherzo, Chappell Larghetto, Salabert Sonata no.2 Chant sans Paroles, Leduc Rondo in B flat, Schott Villanette, Durand Canon in the Octave, Pierre Noel Reverie, Rubank Concerto for Horn, 2nd movement, Williams Concert Rondo, K 371, Breitkofp and Hartel Serenade, Schott Air de Chasse, Leduc Prelude, Theme and Variations, International Concerto, (movement 2), Universal Concerto in E flat, no.1 Op.11 Hunter's Moon, Boosey & Hawkes

TRUMPET TECHNICAL WORK—SCALES—STAGE 2 Scales Major

Ab, E, Eb and G



C, C#, E and F




F and G Dominant 7


On F and G



All slurred All tongued TECHNICAL WORK—SCALES—STAGE 3 Scales

Intervals

Koprasch, 60 Studies ( easy, advanced) Arban, Grand Method for Cornet Vizzutti, A. Vizutti Advanced Etudes Scales/Arpeggios

Arban, Grand Method for Cornet Koprasch, 60 Studies Rubank, Advanced method for trumpet Vol 1 AMEB technical work Flexibility Colin, C. Advanced Lip Flexibilities Davidson, L. Trumpet Techniques Schlossberg, Daily Drills and Technical Studies for Trumpet Arban, Grand Method for Cornet Range

Arban, Grand Method for Cornet Vizzutti, A. Vizutti Advanced Etudes Stylistic studies Rubank, Advanced Method for Trumpet Vol 1 Smith, P: Concert Etudes Balasanyan, 20 Studies Arban, Grand Method for Cornet Vizzutti, A. Vizutti Advanced Etudes Advanced

Bordogni/Rochut, Etudes Vol 1

Mozart, W.A. Mozart, W.A. Mudge, R. Purcell, H. Rachmaninoff, S. Ropartz, J. G. Stanley, J. Street, A. Tchaikovsky, P. Zehm, F.

Adagio from Serenade in D, arr. Coy, N. Alleluja from Motet: ‘Exulate Jubliate’ (from: 29 Cornet Solos and 2 encores arr. Walter Beller ), Schirmer Trumpet Concerto no.1, Boosey & Hawkes Trumpet Sonata, 1st and 2nd movements (from: Six Trumpet Tunes arr. Norman Richardson) Boosey & Hawkes Vocalise, International Andante and Allegro, Fischer Trumpet Voluntary, YTP Vol 3, OUP Rondino, Boosey & Hawkes ed. Valse Sentimentale, Internationale Sonata Brevis, 1st movement, Schott


Arnell, R. Bach, J. S. Baines, F. Bissell, K.W. Bozza, E. Buesser, H. arr. Clark, H.L. Cook, K. Fiocco, J.H. Gibbons, O. Goedicke, A.F. Hartmann, J. Haydn, J. Hindemith. Hummel, P.

Trumpet Allegro, Op.58 no.2, Schott Arioso, Fischer Pastorale, Schott Little Suite, BMI, Canada Badinage, Leduc Andante and Scherzo, International Music Co The Debutante, Warner Bros Impromptu, Hinrichsen Allegro in B flat for Trumpet and Piano, Presser Co Suite, Williams Concert Study, Op.49, International Music Co or Belwin Facilita Air with Variations, Boosey & Hawkes Trumpet Concerto mvt I or III, B&H or Fischer Trumpet Sonata mvt I, Schott Trumpet Concerto mvt II or III, B&H or International Music Co.

TROMBONE/BASS TROMBONE/EUPHONIUM TECHNICAL WORK—SCALES STAGE 2 Trombone/euphonium and Bb tuba Scales Major

D, Db, Fand Gb



Bb, B, D and Eb



Of above major and minor scales. Compass as above. Chromatic scales

Eb and F Dominant 7


of Eb and F



All slurred All tongued TECHNICAL WORK—SCALES STAGE 3

Articulation Kopprasch 60 Studies

Bordogni/Rochut Etudes Remington Warm Up Studies Paul Tanner Complete Practice Book for Trombone Schlossberg Daily Drills and Technical Studies for Trombone Intervals

Arbans—Complete Method for Trombone Advanced

Kopprasch— 60 Studies for Trombone Vol 1 and 2 Blazhevich—Clef Studies Scales/Arpeggios Arbans—Complete Method for Trombone Koprasch—60 Studies Rubank, Advanced method for trombone/Baritone Vol 1

AMEB technical work Advanced

La Fosse Vol 2 Flexibility

Charles Colin Advanced Lip Flexibilities Range

Remington Warm Up Studies Paul Tanner Complete Practice Book for Trombone Stylistic studies Rubank, Advanced method for trombone/Baritone Vol 1

REPERTOIRE—STAGE 2 Trombone

Bach J.S. Berlioz, H. Bernstein, L. Bordogni, M. Castérède, J. Curnow, P.J. Dubois, F. Gluck, C.W. Goddard, B. Gounod, C. Gregson, E. Guillmant, A. Hasse, J.A. Horovitz, J. Jacob, G. Jacob, G. Jacques, M. Kopprasch, C. Larsson, L.E. Lovelock, W. Marcello, B. Mozart, W.A. Mozart, W.A.

Prelude in A flat (from 48 Preludes and Fugues, Book 1 ) Bach for Trombone, arr. Mowat (Bass or treble clef editions: Brass Wind) Recitative and Prayer (from: Grande Symphonie Funèbre et Triomphale, Op.15 ) (Bass/treble clef edition: Brass Wind) Elegy for Mippy Twenty Four Legato Studies, nos. 1–17, R King Sonatine for Trombone: 2nd movement, Andante sostenuto, Leduc/UMP Fantasy for Trombone (Bass/treble clef) (Rosehill Music ed.) Cortege, Leduc Che farò senza Euridice (Orfeo ed Euridice ). The Baroque Trombone, arr. Wills (Faber ed.) Berceuse de Jocelyn Lend Me Your Aid Divertimento for Trombone, 2nd and 3rd movements, Canzona and Scherzino, Bass/treble clef (Studio Music ed.) Concert Piece Hasse Suite, Rubank Adam-Blues (Novello/Music Sales ed.) Concertino, Emerson Trombone Sonata, 1st movement, Emerson Cantilena (from: Cantilena and Rondo Scherzoso ), Bass/Treble (Studio Music ed.) 60 Selected Studies, R. King Concertino Op.45/7, 2nd movement, Carl Gehrmans Musikforlag Concerto, 2nd movement Sonata in A minor, 1st and 2nd movements, Adagio and Allegro Allegro or Adagio from Serenade in D arr. Coy, N. Serenade for Trombone, arr. Clack, 1st movement, Allegro (Tenor/treble clef and or

REPERTOIRE—STAGE 3 Trombone

Albrechtsberger, J.G. Bernstein, L. Corelli, A. David, F. Fauré, G. Frescobaldi, G. Galliard, J.E. Guillmant, A. Haydn, M. Marcello, B. Pryor, A. Rachmaninov, S. Reiche, E. Saint-Saëns, C. Sanders, R.L. Stevens, Halsey Tcherepnine, A. Telemann, G.P.

Concerto Mvts 1, 2 or 3, arr. Coy (from: The Classic Trombone) Elegy for Mippy (from: Solos for the Trombone Player ), Schirmer Sonata in F Major Concertino Andante 1st or 2nd mvts, International/Carl Fischer/Zimmerman Sicilienne, arr. Brown. IMC Toccata, International Sonata no.1, Warner Bros/International Concert Piece (Morceau Symphonique) Op.88, (from: Solos for the Trombone Player ), Schirmer, or separately: International (BC and Tenor Clef)/Warner Bros (BC) Larghetto, (from: The Classic Trombone), arr. Coy. Haydn, M. Andantino, (from: The Classic Trombone), arr. Coy. Sonata in G minor, IMC Blue Bells of Scotland Vicalise, Schirmer Rondo from Concerto no.2, Schirmer Cavatine Op.144, Durand Sonata in E flat, 1st movement Sonata for Trombone or Tuba and Piano, Peer International Andante, MP Belaieff Sonata in F minor for Bassoon or Trombone, Mvts 1 and 2, International

Bass trombone

Back, J S arr. Brown Jacob, A. Telemann, G.P. Tomasi, H.

Prelude or Gigue from Cello Suite in D minor—IMC Cameos Mvts 3, 4 or 5, Emerson Fantasia in C minor (from: 12 Fantasias), arr. Raph–Kalmus Etre pas non Etre, Leduc

TUBA TECHNICAL WORK—SCALES—STAGE 2 Eb tuba Scales Major

Bb, C Gb and G



Ab, Eb, E and G




Ab and Bb Dominant 7


of Ab and Bb



All slurred All tongued TECHNICAL WORK—SCALES—STAGE 3

Scales/Arpeggios

Tyrell (entry level) Knaub (medium) Langey (medium) Bordogni (medium) AMEB technical work Flexibility Range

Langey (high range) Torchinsky: Kopprash (low range) Stylistic studies

Bordogni (entry, Medium) Uber: 15 Progressive Studies (medium) Valve/Fingering technique

Tyrell (entry level) Knaub (medium) Langey (medium) Bordogni (medium) Torchinsky Kopprash Uber: 15 Progressive Studies Orchestral excerpts Torchinsky: 20 th Century Orchestral Excerpts Wekselblatt: Solos for the Tuba Player Keith Brown: Orchestral Excerpts for Trombone and Tuba Volumes 1 to 10

Lawrence, L.

Piece for Tuba and Piano in a minor ( from: Master Solos Intermediate level— Tuba) Hal Leonard

Mozart, W.A. Mozart, W.A. Mozart, W.A. Richardson, A. Senaillé, J.B. Telemann, G.P. Telemann, G.P. Tuthill, B. Vaughan-Williams, R. Vivaldi, A. von Weber, C.M. Wagner, R. Wilder, A.

Concerto no.3 for Horn, transcription Romance (from: Solos for the Tuba Player, Wekselblatt, H. ed. ) Schirmer Rondo (from: Solos for the Tuba Player, Wekselblatt, H. ed. ) Schirmer In the Lowlands (Elkin) Introduciton and Allegro spiritoso for Tuba and Piano, arr. Catelinet (Bass/treble clef ed.; Peters H-853) Adagio and Allegro (from: Trumpet Concerto in D arr. Friedman) Prelude and Allegretto for Tuba and Piano, Southern Music Fantasia for Tuba, Op.57 (Ensemble Publications/William Elkin) Concerto in F minor for Tuba Allegro, arr. Swanson. Belwin Mills/I.M.P. Der Freischutz, Overture Tannhauser March Sonata for Tuba and Piano (any three movements) (Mentor Music/Emerson)


Arnold, M. Bach, J.S. Barat, J.E. Beversdorf, T. Beach, B. Boda, J. Capuzzi, A. East, H. Easton, I. Gregson, E. Heiden, B.

Fantasy for solo Tuba, Op.102 (Faber) Air and Bourrée, Carl Fischer Introduction and Dance, Southern Music Sonata for Tuba and Piano, Interlochen Divertissement for Tuba, Tenuto Pubs Sonatine Andante and Rondo, arr. Catelinet (Bass/treble clef edition: Peters H-1474) Sonatina for Tuba: 1st and 2nd movements (Ricordi/Boosey & Hawkes) Small Mirror (Tuba and CD) Tuba Concerto, complete (Novello/Music Sales) Concerto for Tuba: 1st and 2nd movements or 2nd and 3rd movements, Allegro risoluto

PERCUSSION TUNED PERCUSSION TECHNICAL WORK—SCALES—STAGE 2 Tuned percussion Scales Major

Bb, D, F and G

2 octaves


A, E and G Note:

Students are not to roll each tonic

Patterns as below: minimum tempo:

Thirds

2 octaves

= 120

Patterns as below: minimum tempo:

= 120

Thirds

Arpeggios

of above major and minor scales in root position only. Compass as above. = 108

Chromatic scale

C

2 octaves

Dominant 7

ths

of E and E flat, root position only = 120, four notes to a beat

2 octaves

Double stops

* Sparks: * George Hamilton Green—Xylophone Rags Abe, K. Prism Albeniz, I. Legenda Beethoven, L, van Spring Sonata Botsford, G. Black and White Rag Edwards, R. Marimba Dances, 1st movement only Gomez and Rice Mbira Song Gomez, A. Marimba Flamenca Gomez, A. Gitano Gomez, A. and Rifi, M. Rain Dance Joyce, K and Man, K. * Entrata (duet) Joyce, K and Man, K. * Shichi-Karak (duet) Lou Diemer, E. Toccata for Marimba Mayazurni Concerto for Orchestra Monti Czardas Morris Goldenburg Etudes Peters, M. Barcelona Peters, M. Galactica Peters, M. Starscape Peters, M. Teardrops Peters, M. Three Pieces for 3 Mallets Peters, M. Sea Refractions Peters, M. Yellow after the Rain Rosano, N. 3 Preludes (prelude in e minor, no.1) Schmitt, M. Ghanaia Smadbeck, P. Rhythm Song Spears, J. Malletrix (unaccompanied) Tanner, P OId Djenne Tanner, P Her Majesty

Large leaps

* The Sonata—Solo music for marimba and piano: * Six 2 part inventions arranged by James Moore Abe, K. Prism Botsford. G. Black and White Rag Chopin, F. Black Key Etude Edwards, R. Marimba Dances, 1st movement only Joyce, K and Man, K. * Shichi-Karak (duet) Mayazurni Concerto for Orchestra Monti Czardas Morris Goldenburg Etudes Peters, M. Sea Refractions Smadbeck, P. Rhythm Song Spears, J. Malletrix (unaccompanied) Tanner, P. Her Majesty Polyrhythms

Abe, K. Joyce, K and Man, K. Joyce, K and Man, K. Schmitt, M. Tanner, P.

Prism * Entrata (duet) * Shichi-Karak (duet) Ghanaia OId Djenne

Irregular time signatures

Edwards, R. Peters, M. Pitfield Peters, M. Tanner, P. Joyce, K and Man, K. Smadbeck, P.

Marimba Dances, 1st movement only Galactica Sonata Barcelona Her Majesty * Shichi-Karak (duet) Rhythm Song

Keyboard collections

Bach, J.S. Eyles, R. Green, G.H.

Six Bach Two Part Inventions, Arr. James Moore, Kendor Music Inc. Raggedy Ragtime Rags, Meredith Music Publications George Hamilton Green’s Xylophone Rags, ed. Eyles, R., Meredith Music Publications Goldenberg, M. Etudes 1–39 by Morris Goldenberg, Modern School for Xylophone, Marimba, Vibraphone, Chappell/Hal Leonard Works by Loeillet, Handel, Bernstein, Prokofiev, O’Reilly and Creston in ‘Solos for the Percussion Player’, ed O’Reilly REPERTOIRE—STAGE 3 Keyboard solos

Bach, J. S. Brahms, J. Chopin, F. Edwards, R. Green, G.H. Gomez, A. Gomez, A. Gomez, A. Rife, M. Mayuzumi, T. Mozart, W.A. Peters, M. Pitfield, T.B. Schmitt, M. Smadbeck, P. Tanner, P.

Violin Concerto no.1 in A minor (1st movement), BWV 1041 Hungarian Dance no.5, arr., Quick, Rubank Black Key Etude, Arr. Maxey, L. Southern Music Company Marimba Dances (any movement), Universal Edition ue 29283 Caprice Valsant for Xylophone and Piano, Carl Fischer Music Gitano, Southern Music Company Etude in D minor, Southern Music Company Rain Dance, Southern Music Company Concertino for Xylophone, either 1st or 3rd movement 18th Century Theme form Sonata in C, arr., Jolliffe, Rubank Yellow After The Rain (4 mallets on marimba), Mitchell Peters Sonata for Xylophone (any movement), ed. Yoichi Hiraoka, Edition Peters 66161 Ghanaia, Norsk Musikforlag Rhythm Song, KPP@mostly marimba.com Her Majesty (4 mallets on marimba), printed by Paul Tanner

Keyboard collections

Breuer, H.

Mallet Solo Collection, Alfred Publishing Company

DRUM SET TECHNICAL WORK—SCALES—STAGE 2 Snare drum

1.

Single-stroke — double-stroke — paradiddle

Begin very slowly and gradually accelerate to crotchet = 120 1a

1b

Beat subdivision

2.

Accelerating double-stroke roll Begin very slowly and gradually accelerate to full roll speed (minimum tempo: crotchet = 120)

2a

3b

Beat subdivision

Rolls (students may select either double-stroke or buzz rolls)

4.

Long roll

5.

Five stroke

= 90

= 108

Drag

10.

11.

= 108

Single ratamacue

= 76

Drum set coordination

1.

= 152

2.

= 152

3.

= 92

TECHNICAL WORK—SCALES—STAGE 3 Rolls

1.

Accelerating single-stroke roll: Begin very slowly and gradually accelerate to full roll speed (tempo:

= 150-160)

1a

1b

2.

Beat subdivision

Accelerating double-stroke roll:

4.

Six stroke roll (tempo:

5.

Thirteen stroke roll (tempo:

6.

= 130)

Seventeen stroke roll (tempo:

Flams

= 130)

=130)

Drag

10.

Single drag tap (tempo:

11.

Double drag tap (tempo:

12.

= 116)

= 116)

Single ratamacue (tempo:

= 88)

14b

Beat subdivision

15.

Double paradiddle (tempo:

16.

Flam paradiddle-diddle (tempo:

17.

= 60)

= 60)

Four stroke ruff (tempo:

120)

Drum set coordination Stage 3

1.

= 176

2.

= 176

3.

= 100

TECHNICAL WORK—REPERTOIRE Snare drum 2A/B–3A/B Technical rudiments

Single stroke roll Double stroke roll Paradiddle Buzz roll Flams Flam tap Drag Ratamacue Accents Aspects

Syncopation Triplet subdivision Changing metre Metric modulation Playing technique Beat displacement Piece

Portraits in rhythm no.1 no.5

2A/B

3A/B

Aspects/Rudiments

Syncopation Flams Accents Time signature syn 5/9/ stroke rolls

Timpani

Technical aspects to be covered: Cross sticking, pedalling, tuning, cross rhythms, playing techniques (rolls, dampening glissandos, striking position, mallet changes, flipping sticks). Aspects covered PIECES All Pieces Drums

Sonatina for Timpani, Alan Ridout Sonata for 3 unaccompanied Timpani by Phillip Ramey Ballad for the Dance by Saul Goodman Primal Mood by Mitchell Peters Primal Dance by John O’Reilly Sonata for Timpani by John Beck Saeta by Elliot Carter Improvisation by Elliot Carter March by Elliott Carter Groovin’ Timps by Arnold F. Riedhammer

2A/B

3A/B

X sticking

Pedalling (within piece)

Tuning between movement )

X Rhythm/ polyrhythm

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

x

Playing technique

Metric Mod/metre change

x

Latin Delite Tropica Latin Spice Go Troppo

Chart 2 Chart 2 Chart 2 Chart 2

Advanced:

Motown Blues Miles High Acid Groove Soul Fusion Flash Back Rip it up Alien Freedom Shuffle Easy Swing The Funky Shuffle Latin Delite Tropica Latin Spice Go Troppo

Chart 3 Chart 3 Chart 3 Chart 3 Chart 3 Chart 3 Chart 3 Chart 3 Chart 3 Chart 3 Chart 3 Chart 3 Chart 3 Chart 3

Rhythm section drumming—Frank Corniola (CD) Intermediate:

Rhythm Summary, no.4, no.5, no.7 and no.8 Bon Voyage Highway to Funk Advanced:

Rhythm Summary, no.7 and no.9 Early Morning Mist Oakland Drive

Multi-percussion Names of working group

2A

Two for One—Solos for the Percussion Player by O’Reilly

2B

Fireworks—Solos for the Percussion Player by O’Reilly DTKT by Kerryn Joyce

3A

Concert Etude by Morris Golden Berg Rare Earth by David Montgomery

3B

Sudden Change by Siegfried Fink Multiple Episode, no.1 by Gaetrono Nomad by Tim Gauger

REPERTOIRE—STAGE 2 Snare drum solos

Beck, J.H. Colgrass, W. Schirmer Emsley, A. Schinstine, W.J.

Colonial Capers, Kendor Publishing Two Unaccompanied Solos for Snare Drum, Solos for the Percussion Player Hugh’s Chilled Red, Rhythmscape Publishing Australia Recital Suite for Solo Snare Drum, Kendor Music

Snare drum collections

Cirone, A.J. Fink, S. Goldenberg, M. Wilcoxon, C. Timpani solos

Portraits in Rhythm (any study), Belwin Mills, Warner Bros. Publications Studies for Snare Drum Vol. 5: The Roll nos. 38–56, Elite Edition 2805, N. Simrock 12 Progressive Solos for Snare Drum, Chappell/Intersong, Hal Leonard Pub.Co. The All-American Drummer (any solo from #132 to #150), Ludwig Music

Drum set The publications listed are method books containing material and pieces from which students may select Be Bup, Latin, Standards , 3 volumes, J. Abersold Publications, Play along Tapes Davis

Fink, S.

Drum Set Suite, Houghton & Warrington Essential Styles for Drum and Bass Vols 1 & 2 , 1990, Alfred Publications,

Houliff, M. La Rosa, M. Miranda, A. O’Reilly, B. Soph, E.

Comes with CD for play along Just for the Funk of It Rhapsody for Drum Set Suite for Unaccompanied Drum set Fireworks (from ‘Solos for the Percussion Player, ed O’Reilly) Essential Techniques for Drum Set: Book 1 , 1986, Meredith Music Publications, Fort Lauderdale, Florida Transcriptions for Drum set , 1987, North Texas Percussion Press, Denton

REPERTOIRE—STAGE 3 Snare drum solos

Colgrass, W. Delecluse, J. Delecluse, J. Emslie, A. Fink, S. Lylloff, B. Sarcich, P. Schinstine, W.J. Zivkovic, N.J.

Two Solos for Unaccompanied Snare Drum, Solos for the Percussion Player, Schirmer Test – Claire, Alphonse Leduc Keiskleiriana (any solo), Alphonse Leduc Hugh’s Chilled Red, Rhythmscape Publishing Australia Snare Drum Suite, Zimmermann, Frankfurt Arhus Etude #9, Wilhelm Hansen Edition, Copenhagen Two Side Drum Solos, Studio Four Music Evocation no.2, Kendor Music Pezzo da Concerto no.1, Edition Musica Europa

Snare drum collections

Cirone, A.J.

Portraits in Rhythm (any study), Belwin Mills, Warner Bros. Publications

STRING INSTRUMENTS VIOLIN TECHNICAL WORK—SCALES—STAGE 2 Scales Major

Bb and D G

2 octaves 3 octaves


Bb and D G

2 octaves 3 octaves

Bowing: Separate bows, legato

Slurred, one octave per bow

Hook stroke, playing notes twice, and at the point

TECHNICAL WORK—SCALES—STAGE 3 Scales Major

Ab and E A and Bb

2 octaves 3 octaves


Ab and E A and Bb

2 octaves 3 octaves




TECHNICAL WORK—REPERTOIRE Right hand—bowing Legato ( separate, slurred, detache)

Berkley, no.4, no.5 Kayser Op.20, no.33 Kreutzer, no.2, no.4 Mazas Op.36, no.7 Schradieck Book.1, no.4 Sevcik Op.1 Pt. 1, no.29 (various bowings) Sevcik Op.3 var, no.1, no.3, no.6 Articulated Staccato, Spicc ato, Martele

Berkley, no.10 (M) Mazas Op.36, no.28, no.36 (S) Berkley, no.9 (S) Kayser Op.20, no.33 (S) Kreutzer, no.2, no.3, no.5 variation, no.1, no.10, no.21 (S) Kreutzer, no.5, no.6 (M) Sevcik Op.3 Var, no.2, no.10, no.15, no.18, no.22 (S) Hook stroke(s)

Berkley, no.7 Kayser Op.20, no.32 Left hand—intonation Scales, Arpeggios, Chromatics

Berkley, no.8 (A)

Shifting

Fiorillo, no.14 Kreutzer, no.11 (slur in 6s or 12s) Kreutzer, no.9—utilising octave jumps Schradieck Book.1, no.17, no.19 Sevcik Op.1 Pt. 3, no.9 Sevcik Op.8 any Vibrato

Virtuoso Technique—Louis Kievman, no.XV Ornaments/Trills

Kreutzer, no.15–22, no.40 (t) Kreutzer, no.23 (cadenza) Mazas Op.36, no.32 (t) Schradieck Book 1, no.20 (t) REPERTOIRE—STAGE 2

Brahms, J. Bohm ,C. Corelli, A. Faure, G. Handel, G.F. Kreisler, F. Schubert, F. Seitz, F. Telemann, G.P.

Hungarian Dance no.5 (Schott or Simrock) Bolero (Simrock) Sonata in E no.11, (any movement) (Schott) Berceuse from Dolly (Hamelle) Sonata no.1 in A, 3rd or 4th movement (Schott) Liebesleid (Schott) Sonatina in D Op.137 no.1, 1st movement (Barenreiter) Student Concerto no.2 in G Op.13, Allegro non troppo (Schirmer or Bosworth) Sonatina no.4 in A (Schott)


VIOLA TECHNICAL WORK—SCALES—STAGE 2 Scales

=72

Major

Eb and G C

2 octaves 3 octaves


Eb and G C

2 octaves 3 octaves




TECHNICAL WORK—SCALES—STAGE 3 Scales

= 92

Major

D and A D and Eb

2 octaves 3 octaves


Db and A C and Eb

2 octaves 3 octaves




Spiccato, even quavers, single notes, playing each note twice

TECHNICAL WORK—REPERTOIRE Right hand—bowing Leg ato—(separate, slu rred, detac he)

Kayser Op.20, no.33 Kreutzer, no.2, no.4 Mazas Op.36, no.7 Schradieck Bk.1, no.4 Sevcik Op.1 Pt. 1, no.29 (various bowings) Sevcik Op.3 var, no.1, no.3, no.6 Articulated 1. Staccato, Spicc ato, Martele

Kayser Op.20, no.33 (S) Kreutzer, no.2, no.3, no.5 variation, no.1, no.10, no.21 (S) Kreutzer, no.5, no.6 (M) Sevcik Op.3 Var, no.2, no.10, no.15, no.18, no.22 (S) 2. Hook Stro ke(s)

Kayser Op.20, no.32 Left hand—intonation S c a l es , A r p e g g i o s , C h r o m a t i c s

Flesch, no.21 (A) Galamian-beginning on G and A (A) Kreutzer, no.8, no.10, no.12 (A) Rode Caprices, no.8 (A) Sevcik Op.1 Pt 3, no.1, no.2 (S) Sevcik Op.1 Pt, no.19 (C)

Ornaments/Trills

Kreutzer, nos. 15–22, no.40 (t) Mazas Op.36, no.32 (t) Schradieck Bk .1, no.20 (t) REPERTOIRE—STAGE 2

Handel, G.F. Marcello, B. Mendelssohn, F.B. Murrill, H. Rebikoff, V. Rowley, A. Simonetti Tchaikovsky, P.I. Telemann, G.P. Vaughn-Williams, R. Vaughn-Williams, R.

Sonata in C (any movement) (Schott) Sonata in G (any movement) (International Music Company) Song without Words, Op.109 (International Music Company) Four French Nursery Songs (Chester Music) Berceuse and Dance from Chester music for Viola (arr. Forbes) Scherzo, no.2 of four pieces (Stainer and Bell) Madrigale (from: Viva la Viola) Barcarolle, Opus 37, no.6 from Chester music for Viola (arr. Forbes) Concerto in G, 1st and 2nd, or 3rd and 4th movements (Barenreiter) Fantasia on Greensleeves (OUP) Six Studies in English Folk Song (Stainer and Bell)


Bach, J.S. Bax, A. Beethoven L. Dittersdorf, K.D. Eccles, H. Glazanov, A. Handel, G. Hindemith, P.

Three Viola de Gamba Sonatas arranged for Viola, Breitkopf and Hartel, EB 3359 or Peters, P 4286a Legend, Chapell Alla Polacca, arranged Forbes, Scott Sonata in Eb, 1st and 2nd movements, Hofmeister Sonata in G minor—any 2 contrasting movements Elegie, Opus 44, Boosey and Hawkes Concerto in B minor—any two contrasting movements. Schott Trauermusik

VIOLONCELLO TECHNICAL WORK—SCALES—STAGE 2 Scales Major

A and Eb C and D

2 octaves 3 octaves


A and Eb C and D

2 octaves 3 octaves

Bowing: Separate bows, legato = 100

Slurred, one octave per bow = 80

Hook stroke, playing notes twice in the lower half of the bow = 80

Slurred, 3 notes per bow = 50

Dominant 7

th

on low D and G Separate bows, legato Slurred, 4 notes per bow

2 octaves

= 60 th

Dim 7

on low D and G Separate bows, legato Slurred, 4 notes per bow

2 octaves

= 60 TECHNICAL WORK—SCALES—STAGE 3 Scales Major

B and F Eb and E

2 octaves 3 octaves

Chromatic scales

E and Ab Separate, 6 notes slurred to a bow

2 octaves

= 70

Arpeggios

to major and minor scales stated above. Compass as above Bowing: separate bows, legato = 50


th

Aspects of cello playing, such as tone quality, phrasing and finger dexterity, are not listed under separate headings below because they are integral to every item in the list. The following titles have not been itemised for the list. However, they are valuable to all aspects of fundamental skill building: A.W. Benoy & L. Sutton Introduction to Thumb Position Basler-Novsak/Stein Fun with Double-Stops for Young Cellists L. Feuillard Daily Exercises L. Feuillard Studies of the Young Cellist 60 progressive studies for the left hand and bow H. Becker Finger and Bowing Exercises J. Klengel Daily Exercises R. Kreutzer-Silva 42 Studies for Violoncello O. Ševčík Op.1 Thumb Placing Exercises O. Ševčík Op.2 School of Bowing Technics O. Ševčík Op.3 Forty Variations O. Ševčík Op.8 Changes of Position and Preparatory Scale Studies J. Starker—An Organized Method of String Playing Double stops

Dotzauer, nos. 16, 21, 28, 37, 40, 63 Lee Op.31 Book 2, no.24 Popper Preparatory Studies, no.8 Compound time

Dotzauer, nos. 10, 18, 22, 27, 31, 35 and 36 Piatti Book 2, nos. 6, 9, 15, 18. 22, 23 and ‘Exercises on Dotted Notes’ in 6/8 time Triplets

Dotzauer, nos. 2, 14, 18, 23 Popper Op.76, no.1

Hook stroke

Dotzauer, nos. 19, 38 Kummer, no.4 Lee Book I, no.14 Piatti Book II, p. 38 Such Book II, nos. 14, 25, 26, 32 Ornamentation

Dotzauer, nos. 22, 73, 74, 78 Lee Op.31 Book 1, nos. 16, 20 Piatti Book II, no.30 Kreutzer Op.57, nos. 12, 15, 16, 17, 20 REPERTOIRE—STAGE 2

Bach, J.S. Bach, J.S. Breval, J.B. Corelli, A. De Fesch, W. Fauré, G. Marcello, B. Mendelssohn, F. Paradis, M. Popper, D. Romberg, B. Squire, W.H. Tchaikovsky, P. Vivaldi, A.

Arioso (Schirmer) Six Solo Suites Sonata in C (Schott) Sonata in D minor, Op5 no.8 (International Music Company) Sonata in D minor, Op.13 no.4 (Barenreiter) Sicilienne Six Sonatas Song Without Words, Op.109 Sicilienne Happy Recollections, Op.64 no.1 Sonatas Tarentella (Stainer and Bell) Valse Sentimentale Six Sonatas

DOUBLE BASS TECHNICAL WORK—SCALES—STAGE 2 Scales Major

B and Eb E and G

1 octave 2 octaves


Eb and B E and G

1 octave 2 octaves



Hook stroke, playing notes twice, at the nut and at the point

Spiccato, even quavers, playing each note twice

Dominant 7

th

of E and F

2 octaves

Separate bows, legato = 60

Slurred, 4 notes per bow, even quavers = 60

ths

Diminished 7

of E and F

2 octaves

Bowing: Separate bows, legato, even quavers, single notes Slurred, 4 notes per bow, even quavers = 60 TECHNICAL WORK—SCALES—STAGE 3

Arpeggios of the above scales. Compass as above

Bowing: Separate bows, legato = 60


Chromatic scales

Ab and F

2 octaves

Bowing: Slurred in 4s

= 60 Dominant 7

of A and F

ths

2 octaves

TECHNICAL WORK—REPERTOIRE

Technique

Staccato

Legato

Slurs

Finger dexterity

4th position

Shifting

Examples of studies/pieces/orchestral excerpts

Gavotte by Gossec (Vance vol 3) Gavotte from Mignon by A Thomas (Vance vol3) Brandenburg Concerto, no.3 excerpt—allegro moderato Bille Studies, nos. 6, 13 and 47 (book 3) Hrabe 86 Etudes (book 1), no.3 Tre Giorni by Pergolesi (Vance Vol 3) Othello exerpt Bottessini Exercises for Double Bass, no.10 Simandl Etudes, nos. 1, 2 and 3 Rabbath study no.1 (book 1)—and staccato Rabbath study no.3 (book1) Andante con moto and allegro from Symphony, no.5 by Beethoven (Simandl) Marriage of Figaro overture—Presto by Mozart Bottesini Exercises for Double Bass, no.8 Bille studies nos. 18, 27, 30, 31 and 32 Hebrides overture excerpt by Mendelssohn—allegro moderato Simplified Higher Technique by Petracchi (any) Any Rabbath study Vade Mecum by Vance Rabbath exercises pp. 31–33 (book2) Petracchi, p. 9 Mahler symphony, no.1 solo (3rd movement) Shostakovich Symphony, no.5 (1st movement) Rabbath (book2) p. 25


Beethoven, L. van. Capuzzi, A. Dragonetti, D. Faure, G. Giovannino, G.B. Keyper, F. Pitfeld, T. Pitfield, T. Rabbath, F.

Sonatina in G Major Concerto in D Major, 2nd and 3rd movements Three Waltzes Apres un Reve, trans Zimmermann (IMC) Sonata in F Major Romance and Rondo (Yorke) Sonatina Fantasia Etudes (select one) 15 or 16 or 17 or 18 from New Technique for Double Bass, Book 2 (Leduc)


Bach, J.S. Capuzzi, A. Capuzzi, A. Corelli, A. Dragonetti, D. Eccles, H. Handel, G.F. Jacob, G. Marcello, B. Rabbath, F.

Suites for Cello, any movement, Peters Concerto in F, 1st or last movements Concerto in D, 1st or last movements Sonata in D minor, in entirety – International Six Waltzes for double bass alone, any or all (ed. Turetsky)—McGinnis and Marx Music Sonata in G minor, any two contrasting movements, International Largo in G Sarabande no.5 in G from Klassische Stucke Book 1, Peters A Little Concerto, any movement(s)—Yorke Any Sonata, any two contrasting movements From Solos for the Double Bassist any of ‘Ode d’Espagne’, ‘Poucha Dass’ – Liben

HARP—PEDAL HARP TECHNICAL WORK—SCALES—STAGE 2 Scales Major

Ab, A, C and F major

3 octaves, hands together, one octave apart

Harmonic minor

A, C#, F and F#


Arpeggios

To major and minor scales stated above. 3 octaves, hands together, one octave apart, root position, in 3’s and in 4’s

TECHNICAL WORK—SCALES—STAGE 3 Scales Major

Ab, Cb, Eb and Gb major

4 octaves in semiquavers, hands together, one octave or a tenth apart

= 72, 4 notes per beat Harmonic minor

F and D

4 octaves in semiquavers, hands together, one octave or a tenth apart

= 72, 4 notes per beat Melodic minor

C and Eb

4 octaves in semiquavers, hands together, one octave apart

= 66, 4 notes per beat Arpeggios


TECHNICAL WORK—REPERTOIRE—STAGE 3 Arpeggios (ascending, descending and one hand)

Pozzoli, nos. 16, 20, 21 Boscha, N. Vingt-Cinq Exercises (Leduc), Etudes Op.62, nos. X, XII or XXIV Arpeggios – (crossing: one hand and left over right) Lariviere. Exercices et Etudes pour la Harpe Op.9, (Leduc) , Etude no.1 Salzedo, C. and Lawrence, L. Method for the Harp, (Shirmer), One-hand Arpeggios Octaves (consecutive, occilating)

Pozzoli. nos. 19, 19bis and 23, Ricordi Boscha, N. Vingt-Cinq Exercises (Leduc) , Etudes Op.62 nos. III, VII, XV or X Salzedo, C. and Lawrence, L. Method for the Harp, (Shirmer) . Oscillating Movement of the wrist Scales

Boscha, N. Vingt-Cinq Exercises, (Leduc), Etudes Op.62 no.VI Lariviere, Exercices et Etudes pour la Harpe Op.9 (Leduc), Etude no.1 Voicing

Boscha, N. Vingt-Cinq Exercises (Leduc), Etudes Op.62 no.VIII or XVII Ornamentation Boscha, N. Vingt-Cinq Exercises (Leduc), Etudes Op.62 no.XI or XIV Rolling Chords Boscha, N. Vingt-Cinq Exercises (Leduc), Etudes Op.62 no.XVIII Harmonics

Salzedo, C. and Lawrence, L. Method for the Harp, (Shirmer) . Cortege

HARP—NON-PEDAL HARP (Must have a minimum 34 strings and be fully levered) TECHNICAL WORK—SCALES—STAGE 2 Scales Major

A, C, Eb and F major


Harmonic minor

A and C


Arpeggios


Scales

Salzedo, C. Conditioning Exercises (Schirmer), Exercise X Bochsa, R.N.Ch. 50 Lecons Progressives Vol. 1, (rev. Megevand) (Billaudot), nos. 7, 8 Rolling Chords

Bochsa, R.N.Ch. 50 Lecons Progressives Vol. 1, (rev. Megevand) (Billaudot), nos. 12, 13 Harmonics

Bochsa, R.N.Ch. 50 Lecons Progressives Vol. 1, (rev. Megevand) (Billaudot), no.14 Ornamentation

Bochsa, R.N.Ch. 50 Lecons Progressives Vol. 1, (rev. Megevand) (Billaudot), nos. 22, 23 TECHNICAL WORK—SCALES—STAGE 3 Scales Major

A, Bb and C major major

3 octaves in semiquavers, semiquavers, hands hands together, together, one octave or a tenth apart apart

= 72, 4 notes per beat Harmonic minor

A and C

3 octaves, hands hands together, together, one octave apart

Arpeggios


TECHNICAL WORK—REPERTOIRE—STAGE WORK—REPERTOIRE—STAGE 3 Arpeggios (ascending, descending and one-handed)

Naderman, F.J. Méthode de Harpe Vol. 2, (Billaudot) , Other study in Arpeggios, p. 17 Arpeggios (crossing: one hand and left over right) Naderman, F.J. Méthode de Harpe Vol. 1, (Billaudot) , Exercises of Cross (sic), p. 39 Octaves

Bochsa, R.N.Ch. 50 Lecons Progressives Vol. 1, (rev. Megevand) (Billaudot), nos. 15, 16 Scales

Naderman, F.J. Méthode de Harpe Vol. 1, (Billaudot) , March, p. 45 Rolling Chords

Naderman, F.J. Méthode de Harpe Vol. 1, (Billaudot) , Exercises, pp. 50–53 Ornametation

Bochsa, R.N.Ch. 50 Lecons Progressives Vol. 1, (rev. Megevand) (Billaudot), no.24 REPERTOIRE—STAGE REPERTOIRE—STA GE 2

Andres, B. Andres, B. Bach, J.C. Barber, G. Orr, B. Scarlatti, Scarlatti , D.

Rigaudon and Passepied Passepied from Automates, Automates, Hortensia Hortensia La Gimblette Hortensia Presto no.3 from Pièces Classiques pour la Harpe Celtique Vol 5 arr Bouchaud, Billaudot Harp of the Western Wind from Windmill Sketches, Mrs Gail Barber, Texas Prelude no.2 from Three Diatonic Preludes, OUP Sonata in C no.1 from Pièces Classiques pour la Harpe Celtique Vol 5 arr Bouchaud, Billaudot

CLASSICAL GUITAR TECHNICAL WORK—SCALES—STAGE 2 Scales Tempo

= 120 (perform using quavers)

Major

C and E flat E, F and G

2 octaves 3 octaves


C sharp and D

2 octaves

Chromatic scales

E and F

3 octaves

Right-hand fingerings

im, mi, ma, am, ia, ai for the above scales Arpeggios

= 120 (perform using crotchets) To major and minor scales stated above. Compass as above

Tempo

Dominant 7

th (s)

of A and B flat

2 octaves

TECHNICAL WORK—SCALES—STAGE 3

Concept

Tone quality

Ensemble participation

92

Stage 2 (min. AMEB Grade 4) Tone Production on the Classical Guitar —

Stage 3 (min. AMEB Grade 5) Tone Production on the Classical Guitar —

John Taylor

John Taylor

Pumping Nylon—Scott Tenant (Book and

Pumping Nylon—Scott Tenant (Book and

DVD)

DVD)

The Art of Playing Classical Guitar —

The Art of Playing Classical Guitar —

Charles Duncan

Charles Duncan

Playing with others to perform for assessments. Music from intermediate to advanced ensemble works (one player per part). Suitable works by Richard Charlton, Christopher Keane, Rory O’Donohue, or any international composers for Guitar ensemble. Duo Concertante—Giuliani. Divertissement for two guitars Op.38 –F Sor Guitar Classics—Jerry Willard

Playing with others to perform for assessments. Music from intermediate to advanced ensemble works (one player per part). Suitable works by Richard Charlton, Christopher Keane, Rory O’Donohue, or any international composers for Guitar Ensemble.

Music: Resource package for the practical component

Comments

All of the repertoire presented in these volumes have a number of suitable pieces for developing a wide range of skills and concepts necessary at these stages of Guitar Performance. Teachers can consult the minimum levels of achievement stated in the requirements at the top of this chart.

REPERTOIRE—STAGE 2 Classical guitar

Bach, J.S. Bach, J.S. Bach, J.S. Barrios, A.M. Brouwer, L. Carcassi, M. Charlton, R. Charlton, R. Chilesotti, O. Coste, N. Dowland, J. Guiliani, M. Houghton, P. Houghton, P. Logy, A. Powlesland, N. Scarlatti, D. Sor, F. Svoboda, P. Tarrega, F. Villa-Lobos, H.

Bourrée in E minor, Fifth movement from Suite in E minor for Lute, BWV 996 Prelude in D minor, BWV 999 Gavotte I & II Cello Suite no.6, BWV 1012 Villancico de Navidad, Medallon Antiguo Etudes Simples Series 2 (any one) Opus 60, no.2, 9, 10, 13 Rondeau from Afterthoughts Book 1, Cakewalk from Modern Times (Vol 4 Chantarelle) Berceuse Six Pieces of the Renaissance (any one) Op.38, no.2 or 20 Melancholy Galliard Maestoso from Three Sonatinas, Opus 71 no.1 Six Short Guitar Solos—1. Dompe ‘Drone Dance’, 2. The Stream or 4. The Red Gold Fish 5. Exotic Studies—4. Phantasy Partita in A minor, Cappricio, Gavotte and Gigue (any two) Cloud Nine (Trinity Grade 6) Five pieces, Larghetto or Aria Minuet and Trio no.1 from Opus 22 or Minuet and Trio no.3 from Opus 25 Solos by Svoboda Volume 2—Wongaling, Bossa on the Beach, Lunar Silhouette Adelita, Lagrima, Rosita Cinq Preludes—no.3 or 4


KEYBOARD ORGAN TECHNICAL WORK—SCALES—STAGE 2 Scales Manual scales

= 84, four notes per beat Major

Ab, B and Eb

2 octaves, legato, hands separately and together


Ab, B and Eb Chromatic scales

Ab, B and Eb

2 octaves, legato, hands separately and together 2 octaves, legato, hands separately and together

Manual contrary motion scales


D and Eb


Harmonic minor

C and F


Pedal exercises NOTE: Candidates must present one of the four exercises below as a component of their technical work.

Bach, J.S. Mendelssohn, F. Peeters, F. Peeters, F.

Pedal Exercitum in G minor Pedal part of the 12/8 Variation from Sonata in D minor, Op.65 no.6 Pedal Exercise no.4 in E major (page 49) from Little Organ Book (SummyBirchard Inc. Distributed by Warner Bros.) Pedal Exercise no.4 (page 42) from Ars Organi Vol. 2 (Schott Frères)

TECHNICAL WORK—SCALES—STAGE 3 Scales Manual scales


A, Db and F#



A, Db and F#


Chromatic scales

A, Db and F#


Manual contrary motion scales

= 72, four notes per beat

Major

C# and E

2 octaves, legato


C# and E

2 octaves, legato

Chromatic scales

C# and E

2 octaves, legato

Pedal arpeggios

= 77, two notes per beat Major

B, Bb and C#

1 octave, legato

Minor

B, Bb and C#

1 octave, legato

Left hand and pedal scales contrary motion Major

Bb and G

1 octave, legato

= 85, two notes per beat Pedal exercises NOTE: Candidates must present one of the three exercises below as a component of their technical work.

Bach, J.S.

Bars 119 to the end from Fugue in D major, BWV 532 (pedal part only)


Bach, J.S. Bach, J.S. Bach, J.S. Bach, J.S. Boellmann, L. Bonnet, J. Brahms, J. Buxtehude, D. Dubois, T. Dupré, M. Dupré, M. Franck, C. Franck, C. Hammond Hindemith, P. Homilius, G. A. Howells, H. Jongen, J. Karg-elert, S. Langlais, J. Langlais, J. Lübeck, V. Mathias, W. Mathias, W. Mendelssohn, F.

Ach bleib bei uns, Herr Jesu Christ, BWV 649 First movement only from Concerto no.1 in A minor after Vivaldi, BWV 593 In dir ist Freude, BWV 615 Valet will ich dir geben, BWV 736 Toccata from Suite Gothique Romance sans paroles, Op.7 no.8 (Leduc) Chorale Prelude: ‘O Welt, ich, muss dich lassen’, Op.122 no.3 Prelude, Fugue and Chaconne, BuxWV 137 Interlude or Postlude-Cantique or Marche-Sortie from Seven Pieces for Organ (Kalmus K 09767) Numbers XLVIII or LIV from Seventy-Nine Chorales, Op.28 Te lucis ante terminum (no.5 from ‘Le Tombeau de Titelouze’) Cantabile in B Major Pastorale Postlude from The Modern Organist, Volume 1 (Banks) 1st or 2nd movements from Organ Sonata no.2 Holy God, We Praise Trio in G Major (no.13 from Fifteen Organ Trios, Masters Music Publications Inc.) Psalm-Prelude no.2 (Set 1) (Novello) Chant de Mai Wachet auf, ruft uns die Stimme, Op.65 no.3 no.3 (Le Saint Espirit) from Trois Meditations sur la Sainte Trinité (Editions Combre) no.5 from Neuf Preludes (Leduc) Prelude and Fugue in E Processional from Modern Organ Music (OUP) Toccata Giocosa, Op.36 no.2 (OUP reproduced by Allegro Music) Prelude and Fugue in D minor; Prelude in C minor

PIANOFORTE TECHNICAL WORK—SCALES—STAGE 2 Scales—S i m i l a r m o t i o n , l e g at o

= 84, 4 notes per beat Major

B, Eb and F#

4 octaves, hands separately and together, piano or forte


B, Eb and F#


C h r o m a t i c scales

B, Eb and F#

4 octaves, legato, hands separately and together, piano or forte

Scales—similar motion, staccato


B and Eb

4 octaves, hands separately and together, mezzo-forte


B and Eb Chromatic scales

B and Eb

4 octaves, hands separately and together, mezzo-forte 4 octaves, hands separately and together, mezzo-forte

TECHNICAL WORK—SCALES—STAGE 3 Scales—similar motion, legato


Ab, Db and E



Ab, Db and E


Chromatic scales

Ab, Db and E


Scales—similar motion, staccato


Ab



Ab and Db


Chromatic scales

Db and E


Contrary motion scales—legato

TECHNICAL WORK—REPERTOIRE STAGE 3 Studies may form a part of the technical work component for the pianoforte examination.

Berens, H. Czerny, C. Köhler, L . Moszkowsky, M. Pozzoli, E.

any one from 25 Studies for the Left hand Alone, Op.89 Book 2 (Schirmer 1031) no.110 or 114 or 118 from 125 Exercises for Passage Playing, Op.261 (Peters 2404) nos. 11, 12, 13, 17, 18, 19 or 20 from Short School of Velocity, Op.242 (Alfred) nos. 7, 8, 10, 14, 15, 17 from 20 Short Studies, Op.91 (Alfred) nos. 5, 9, 10, 13 or 21 from 24 Studi de Facile Meccanismo (Ricordi 427)


Adams, E. H. Alkan, C. Bach, J.S. Bach, J.S. Bailey, K. Bartók, B. Chopin, F. Clementi, M. Debussy, C. Dussek, J.L. Grieg, E. Hutchens, F. Hyde, M. Khachaturian, A. Koh, J.B. Kuhlau, F. Leighton, K.

Witches in the Wind no.1 (La Vision) from Quarante-huit Motifs, Op.63 Courante from French Suite no.6, BWV 817 no. 1, 8, 9, 11 or 13 from Two-part Inventions Melinda’s Mini March from Jazzin’ Around (Kerin Bailey Music) no.124 (Staccato) or 128 (Stamping Dance) from Mikrokosmos, Volume 5 Prelude in E minor, Op.28, no.4 Sonatina, Op.36, no.6 (1st or 2nd movement) The Little Nigar Sonatina, Op.20, no.1 (complete) Nocturne from Lyric Pieces, Op.54 no.4 Two Little Birds or Evening (EMI) Study for Scales and Staccato or Reverie or Woodland Sketch (Allans) no.6 (Two Funny Aunties Argued) from Album of Children’s Pieces, Volume 2 Piano Peals for Piano with Soundtrack from Spectrum 4 (ABRSM Publications) Sonatina, Op.55, no.1 (complete) White Rabbit from Household Pets (Novello)

Delius, F. Gershwin, G. Górecki, H. Grieg, E. Haydn, J. Kabalevsky, D. Ligeti, G. Liszt, F. Mathias, W. Mendelssohn, F. Mozart, W.A. Mozart, W.A. Poulenc, F. Scarlatti, D. Schubert, F. Schumann, R. Schumann, R. Tcherepin, A. Whiffin, L.

Any Prelude from Three Preludes for Pianoforte (OUP) The Man I Love from Gershwin at the Keyboard (Warner Brothers) Prelude no.2 (Lento–Recitativo) from Four Preludes, Op.1 Butterfly, Op.43 no.1 Sonata in E minor, Hob. XVI–34 (1st movement only) Seven Variations on a Ukranian Folk Song, Op.51 no.4 All’ Ungherese En Rěve (Nocturne) Second movement from Piano Sonata, Op.23 (OUP) Op.85 no.2 or Op.19 no.6 from Songs without Words First movement from Sonata in B flat, K. 570 Variations on ‘Ah, vous, dirai-je, Maman’ Ariette from Feuillets d’album (Editions Salabert) Sonata in D Major, K. 416; Sonata in A Major, K. 429 no.5 or 6 from Moments Musicaux no.1 (Coloured Leaf) from Bunte Blätter, Op.99 no.3 or 6 from Waldszenen, Op.82 no.30 from Album for the Young 1, 2 or 3 from Bagatelles, Op.5 (Heugel) The Polycat Waltz (Australian Music Centre Publications)

HARPSICHORD TECHNICAL WORK—SCALES—STAGE 2 Scales—similar motion, legato


B, Eb and E

3 octaves, hands separately and together


B, Eb and E


Chromatic scales

B, Eb and E


Scales—contrary motion, legato

= 60, 4 notes per beat M a j o r an d h a r m o n i c m i n o r

D, Eb

2 octaves, hands together

Arpeggios

= 52, 4 notes per beat M a j o r an d m i n o r

B, Eb and E

3 octaves, hands separately and together, root position only

M a j o r an d h a r m o n i c m i n o r

C# and Eb

2 octaves, hands together

Arpeggios

= 72, 4 notes per beat M a j o r an d m i n o r

C#, Eb and F# Dominant 7

3 octaves, all inversions, legato, hands separately and together, root position only

ths

= 72, 4 notes per beat of C# and Bb

3 octaves, legato, hands separately and together, root position only

ths

Diminished 7

= 72, 4 notes per beat of C# and Bb

3 octaves, legato, hands separately and together, root position only


Bach, J.S. Bach, J.S. Bach, J.S. Bach, J.S. Bach, J.S. Byrd, W.

Allemande, BWV 837 from Baroque Keyboard Pieces Book 2 (ABRSM Publications) Menuet, BWV 818 a/5 (Baroque Keyboard Pieces Vol. 3, ABRSM Publications) Menuet: 5th movement from Suite in A minor, BWV 818a, no.28 from Baroque Keyboard Pieces, Book 3 (ABRSM Publishings) Courante from French Suite no.6 in E Major Prelude in D, BWV 936: no.4 from Sechs kleine Präludien The Carman’s Whistle (complete) from Early Keyboard Music, Vol. 1 (Schirmer 1559)


Bach, J.S. Bach, J.S. Bach, J.S. Benda, F. Buxtehude, D. Frescobaldi, G. Froberger, J.J. Krall, D. Ligeti, G. Paradies, D. Paradies, D. Paradies, D. Paradies, D. Rameau, J-P. Scarlatti, D. Scarlatti, D. Scarlatti, D. Scarlatti, D. Scarlatti, D. Scarlatti, D.

Gigue from English Suite no.4 in F Major Gigue from French Suite no.6 in E Major nos. 2, 4, 6 or 7 from Three-part Sinfonias First movement from Sonata in G (no.2 from Six Sonatas, Schott ED 9018/MDS) Canzonetta (complete) in G Major (page 107) from Early Keyboard Music, Vol. 1 (Schirmer 1559) Fuga in G minor (page 59) from Early Keyboard Music, Vol. 1 (Schirmer 1559) Toccata in D minor (page 67) from Early Keyboard Music, Vol. 1 (Schirmer 1559) Toccata Tutta de Salti from Early Keyboard Music, Vol. 1 (Schirmer 1559) Passacaglia Ungherese (Schott ED 6843/MDS) Either movement from Sonata X (from Sonatas Vol. 2) (Schott 6121) 1st movement from Sonata III in E Major Giga (Presto) from Sonata XII Second movement from Sonata VI in A Major La Dauphine (Rameau Complete Keyboard Works Vol. 1 (Barenreiter BA6581) Sonata in A Major, K. 429 Sonata in A, L. 293 from Scarlatti Keyboard Pieces and Sonatas, Vol. 2 (ABRSM Publications) Sonata in D Major, K. 416 Sonata in E flat, L. 111 Sonata in F sharp minor, L. 32 Sonata in F sharp minor, L. 481

VOICE TECHNICAL WORK—SCALES—STAGE 2 All scales to be sung to the octave using solfa or open vowel The student is to sing the following scales in keys suitable for his/her vocal range. Technical requirements Scales

Major Major/ do pentatonic Aeolian/natural minor Harmonic minor Melodic minor Chromatic scale to the 5 th = 80

Arpeggios

Major Minor =100

Articulation Legato, staccato Dynamics p, mp, mf, f, crescendo, decrescendo

TECHNICAL WORK—REPERTOIRE Studies to be comparable to accredited music examination boards available within Australia

Stage 1 A/B Stage 1 C/D Stage 2 A/B Stage 3 A/B

Grade 2/3 Grade 3/4 Grade 4/5 Grade 5/6

Recommended texts for studies Western Art Music

Amelia Peri Concone Melba Vaccai Michael Diack Kenneth Jennings

‘Vocalises and Exercises for Beginners’ ‘Opus 9: 50 Lessons for ... Voice’ ‘Melba Method’ ‘Practical Method for … Voice’ ‘Vocal Exercises’ ‘Sing Legato’

Vocal resonance: Western Art Music (Tone colour: vowels)

DIACK: Vocal Exercises Song Studies 1–6: Intoning Exercises 1–11: Vowel Exercises 1–7 Ear training: Western Art Music (Intervals: improvisation: phrasing: ornamentation: syncopation)

Melba Method: nos. 1–3 for low voice Vaccai Cocone Opus 9 50 Lessons for Medium Voice 17–Octaves: 19–Arpeggios: 20–3 key changes Sing Legato: no.6 onwards

REPERTOIRE—STAGE 2 Singing—choral Renaissance

Invitation to Madrigals Vol I Byrd, W. Non Nobis Domine, SAB Holborne, W. Change Then For Lo She Changeth, SAB Weelkes, T. Though My Carriage Be But Careless, SAB Invitation to Madrigals Vol II Byrd, W. Deo Gratias, SATB Since First I Saw Your Face, SATB Invitation to Madrigals Vol III Jones, R. Sweet Kate, SSA Morley, T. Though Philomela Lost Her Love, SSA Weelkes, T. Though My Carriage Be But Careless, SSA The Oxford Book of Tudor Anthems (for mixed voice) Farrant, R. Call to Remembrance, SATB Talks If Ye Love Me, SATB Madrigals of the Renaissance, Payson des Pres, J. El Grillo (The Cricket), SATB Dowland, J. Now, O New, I Needs Must Part, SATB The Penguin Part Song Book Arcadelt, J. Ave Maria, SATB Baroque

The Oxford Easy Anthem Book Arne Help Me O Lord, SAB Bach, J. All People at This Hour, SATB The Penguin Part Song Book Purcell, H. SATB, SATB (double consort)

20th Century

Popular repertoire Barbershop Classics, Remick Music Corp I'm Forever Blowing Bubbles, TTBB Barbershop Memories, EMI Publishing The Darktown Strutters Ball, TTBB Singing—solo S t u d i e s a n d v o c a l i s es

Vaccai Concone Diack, M. Diack, M.

Practical Method for Medium Voice (any one of lessons 1–5) 50 Lessons for The Medium Voice (any one of 1–8) Vocal Exercises, Medium Voice (any one of 1–9) Song Studies (any one)

Songs

The songs selected should be contrasting in mood and style. The student is encouraged to include one unaccompanied song in his or her programme. Western Art Music vocal candidates must present at least one song in a language other than English. Where a song is originally in a language other than English, it may be presented in either the original language or in an English translation. Though memorisation is not obligatory, it is desirable. The following list is not prescriptive but provides examples of songs of an appropriate standard. Typical songs for m ale voices

Anon. Arlen, H. Giordani, G. Handel, G.F. Haydn, J. Quilter, R.

‘Down Among the Dead Men,’ c 1700 (Boosey & Hawkes) ‘If I Only Had A Brain’ (from: The Wizard of Oz ). (United Artists Music) Caro Mio Ben (Schirmer) Where'er You Walk (Schirmer) Liebes Madchen Hor Mir Zu (Schott) Die Landlust (Peters) ‘Over the Mountains’ (from: Three songs from old English popular songs,

WESTERN ART MUSIC OR CONTEMPORARY Folk Solo

Folk Songs for Solo Singers Book 1—Jay Althouse Folk Ensemble

Homeward Bound Folk Songs for Solo Singers, Book 2 by Jay Althouse Danny Boy Folk Songs for Solo Singers, Book 2 by Jay Althouse Folk Songs for Two—Jay Althouse He’s Gone Away Shenandoah (also as a solo) Just Voices Jazz (SSA/SAT)—arrangements by Barrie Carson Turner Novello Youth Chorals: Choral Anthology—for SATB Choir with Piano Accompaniment The Novello Youth Chorals Classic Soul—SSA with Piano Accompaniment REPERTOIRE—STAGE 3 Singing—choral Renaissance

Bennett, J. Byrd, W. Byrd, W. Byrd, W. East, M. East, M. Farmer, J. Hilton, J. Morley, T. Morley, T. Morley, T. Morley, T. Morley, T.

Weep O Mine Eyes, SATB Ave Verum Corpus, SATB Haec dies, SSATTB Upon A Summer's Day How Merrily We Live, SSA How Merrily We Live, TBB Fair Phyllis I Saw, SATB If It Be Love, SSA April Is In My Mistress' Face, SATB Do You Not Know, SAB It Was a Lover and His Lass O Sleep Fond Fancy, SAB See Mine Own Sweet Jewel, TTB

Collections

Choral Music of a Thousand Years, Edito Musica Budapest The Oxford Easy Anthem Book

Romantic

Brahms, J. Elgar, E. Humperdinck, E. Liszt, F Mendelssohn, F. Mendelssohn, F. Mendelssohn, F. Mendelssohn, F. Wesley, S.

Liebeslieder Waltzes, SATB As Torrents In Summer, SATB Evening Prayer from Hansel and Gretel, SA Tantum Ergo, SSAA Above All Praise and Majesty, SATB Duets Peters Edition Herbstlied, Op.63, no.4, S/S Waken Lords and Ladies Fancy, TTB O Sing Unto My Roundelay, SSATB

Collections

English Romantic Partsongs edited by Hillier Oxford Song Books The Oxford Easy Anthem Book The Penguin Part Song Book

20th Century

Bennett, R. Britten, B. Debussy, C. Holst, G. Holst, G. Williams, V. Williams, V. Williams, V.

Two Lullabies, SSA, Universal Edition ‘Alleluia’ from a Boy Was Born ‘Dieu! qu'il la fait bon regarder’, SATB I Sowed The Seeds Of Love Swansea Town Bobby Shaftoe arr. Langford, SATBB O No John! arr. Woodgate, TBB The Dark Eyed Sailor, SATB The Lover's Ghost, SATB The Spring Time of Year, SATB

Collections

Concert Choral Collection for TTBB

Pergolesi, G. Attributed to Nina, Schirmer Rodgers & Hammerstein Oh What a Beautiful Morning! Oklahoma Scarlatti, D. O Cessate, Without repeat, Schirmer Schönberg, C-M. Stars, Les Miserables Schubert, F. An Die Laute, Schott Telemann, G.P. Die Jugend, Schott Williams, V The Vagabond, Boosey and Hawkes Down By the Sally Gardens, arr. Britten Down By the Sally Gardens, arr. Hughes The Lark in the Clear Air, Trad. Irish, arr. Jones, Allan and Co Typical songs for female voices

Bach, J S Bennett, M. Bernstein, L Brahms, J. Ca the Yowes Dowland, J. Dvorak, A. Eriskay Fauré, G. Haydn, J. Haydn, J. Le Gallienne Martini, G. Pergolesi, G. Rodgers & Hammerstein Schönberg, C-M. Schubert, F. Schubert, F.

Bist du bei mir, Schott The Birds' Lament, The Aviary, Universal One Hand, One Heart. West Side Story , Chappell and Co Da Unten im Tale, Peters Trad. Scottish, Dorsey Bros Music Ltd Come Again Sweet Love, Boosey and Hawkes The Lord is my Shepherd, Alfred Lengnick Love Lilt, Trad Mai, Hamelle A Pastoral Song, Peters The Mermaid's Song Solveig's Song, Allans Music Aust. Ltd Plaisir d'amour, Allan and Co Se tu M'ami, se sospiri, Schirmer Many a New Day, Oklahoma On My Own, Les Miserables Geheimnes Haiden-Roslein, Augener

VOICE—MUSIC THEATRE Technical requirements Scales should be sung from memory in 4 different keys suited to the student’s vocal range. The starting note (and appropriate chord) will be sounded. The scale will then be sung unaccompanied, using solfa, open vowel, or consonant plus vowel (eg bah) All scales should be sung to the octave, with the exception of the blues which should be sung to the flat third.

TECHNICAL WORK—SCALES—STAGE 2 All scales should be sung to the o c t a v e , with the exception of the blues which should be sung to the flat third.

Major (crotchet=100) Major pentatonic scales (crotchet=60) Aeolian—natural minor (crotchet=100) Harmonic minor (crotchet=100) Melodic minor (crotchet=100) Blues (crotchet=60) Chromatic (up to sharpened 5 th) Arpeggios to the 8ve The tonic (and chord) will be sounded. Tempo: crotchet=80

Major, minor Arpeggios to the 7th

Dominant 7th

Articulation

Legato

TECHNICAL WORK — REPERTOIRE

Refer to contextually specific information appropriate to the repertoire selected under the relevant Vocal listings. REPERTOIRE — STAGE 2

The Teen’s Music Theatre Collection Young Women’s Edition, Hal Leonard Jacobs, J There Are Worse Things I Could Do Lloyd Weber, A. Memory Lloyd Weber, A. Unexpected Song Musical Theatre Anthology for Teens (Male/Female) Rodgers and Hammerstein Cock-Eyed Optimist (female) Loewe, F. On The Street Where You Live (male) Basics of Singing 6th Edition Loewe, F Loewe, F

If Ever I Would Leave You Before I Gaze at You Again (Camelot)

Annie Get Your Gun Berlin, I. Berlin, I

Maybe I Got Lost in His Arms (female) My Defenses are Down (male)

On The Town Bernstein, L.

Lonely Town (male)

Grease Volume 23, Hal Leonard Jacobs, J. and Casey, W. Look at Me I’m Sandra Dee (female) Summer Nights (male) There Are Worse Things I Could Do (female)

The following information provides support for teachers interpreting the Performance marking key and suitability of dramatic action for the repertoire selected. Dramatic action

Drama is action. When you are ‘in role’ – in other words, taking on a character other than your own, as you do when you are in a play or a musical – you are enacting something. You are using action and action is the basis of role. Action – this dramatic action – has a range of dimensions. It can be physical action, where you use the capability of your body through facial expression, posture, gesture and movement, through space and time. For example, a song in a musical might communicate a sense of happiness and this could be shown by the way the character smiles and holds his/her body in anticipation. It can also be psychological action, where you communicate to an audience the thinking and emotional actions of the role. For example, a character might be experiencing a moment of life-changing decision as they realise their long-held belief in something is crumbling. The audience need to go on that emotional journey with the character. Psychological action is often expressed through physical actions. In the example just given, this may be shown by, say, the character moving from looking at the photo of a partner to slowly tearing up the image as the moment of realisation is recognised. Drama is the symbolic representation of action, designed to communicate to an audience. Dramatic action is the focus of creating a role or character in drama. Dramatic action can be subtle. It does not have to be overtly signalled (as in, say, an old-fashioned silent movie). The point of dramatic action is in how it communicates the sense of person, place and purpose of a character in a particular moment of change and transformation . When singing a song in music theatre, there is a sense of a character on a journey. Through dramatic action, this journey is made evident to the audience.

JAZZ

INSTRUMENTAL SPECIFICATIONS Technical work support material

(General techniques apply to all jazz instruments: specific examples are given for Saxophone only: specific examples and texts need to be added for other instruments) Jazz supplementary list

All technical practices that contribute to performing well on woodwind instruments are relevant to jazz players. In addition, students should know: Articulations

Swung quavers and legato phrasing (‘doo’)—Niehaus, Lennie, Jazz Conceptions (Basic, Intermediate and Advanced), Snidero, Jazz Conception Series Back Tonguing—Niehaus, Lennie, Jazz Conceptions (Basic, Intermediate and Advanced) Long/ Short accents

Snidero, Jazz Conceptions Series Bay, William, Mel Bay’s Complete Jazz Sax Book , ‘Accents and Articulation’, pp. 8–17 Ornaments and effects

Jazz Turn, Unit 6, Berg, Chop-Monster 2 Glizzandi, falls, scoops, bends, growls, false fingering, Bay, William, Mel Bay’s Complete Jazz Sax

Play

Solo transcriptions Texts include: Charlie Parker Omnibook (available for all pitches) Gordon, Dexter, Jazz Saxophone Solos Hill, Dr Willie, Approaching the Standards (three volumes, available for all pitches), Snidero, Jazz Conceptions Series Mintzer, Bob, 14 Blues and Funk Etudes Blues Solos Conventions

Knowledge of ‘Chorus Form’ Ensemble etiquette Develop aural skills (start to play repertoire from memory) Sight Reading

GENERIC REPERTOIRE The generic jazz repertoire listed below, is applicable for the jazz instruments listed in this resource package. This provides students with the ability to study repertoire either using a recorded backing accompaniment or performing as part of an ensemble. At least 75% of the repertoire must demonstrate an ability to solo and/or demonstrate stylistically appropriate improvisational techniques. STAGE 2

The focus should be on mainly blues in (at least) 2 keys, and modal tunes. The focal point should be on tunes with slow harmonic rhythm with a few other ‘key centre’ type tunes. Autumn Leaves Blue Bossa Blues in Bb (Tenor Madness, Blue Monk, Freddie Freeloader) Blues in Eb (The Sidewinder) Blues in F (Now’s the Time) Blues in G (All Blues) Bye Bye Blackbird Cantaloupe Island Caravan Chameleon Don’t Get Around Much Anymore Fly Me to the Moon Impressions (So What) Little Sunflower Mack the Knife Perdido St Thomas Satin Doll September in the Rain Softly as in a morning Sunrise Summertime

WIND INSTRUMENTS FLUTE TECHNICAL WORK—SCALES—STAGE 2 Generic Jazz: Stage 2 generic scales

Ranges and tempos to be arranged by instrumental specialists. All scales to be in swing 8th notes (legato) only. Ionian (12 keys) Aeolian—natural/relative minor (all ‘sharp’ 6 keys) Blues (12 keys) Dorian (all 12 keys) Mixolydian (all ‘flat’ 6 keys) C Major (Ionian) scale

Arpeggios—Maj7, min7, Dom7 (12 keys) 7

CMAJ

TECHNICAL WORK—REPERTOIRE Studies and p ieces—Stage 2 and Stage 3

Improvisation Aebersold, J. Turnaround and Cyclic Progressions, Record and Book Kit, Studio P.R, USA

The following suggested titles are by Jamey Aebersold, (Jamey Aebersold Jazz Inc.) The II–V7–I Progression (Vol 3) Salsa latin jazz (Vol 64) All Time Standards (Vol 25 ) • •

•

Jazz Bossa Novas (Vol 31) Charlie Parker (All Bird) (Vol 6) Bergonzi, J. Inside Improvisation, Volume 3: Jazz Line, Advance Music, USA Crooke, H. How to Improvise, Advance Music, Germany Haerle, D. The Jazz Language, Studio P.R, USA Kane, B. Constructing Melodic Jazz Improvisation—Concert Key Edition for Piano/Guitar/Flute, •

•

Published by Jazz Path Publishing Schnyder , D. Crossing Over Essentials for Jazz and Classical Flute , Second Floor Music Technique and style (transcriptions) Snidero, J. Jazz Conception Medium-Advanced, Advance Music (Author unknown) Solos for Jazz Flute, All That Jazz, Carl Fischer Osland M. The Music of Nestor Torres: Solo Transcriptions and Performing Artist Master Class CD,

Alfred Publishing Technical work

Adler, M. Jazz Flute Etudes (Advanced Studies in Improvisation), Houston Publishing, Inc. Bay, W, Mel Bay's Complete Jazz Flute Book , Mel Bay Publications, Inc. Haerle, D, Scales for Jazz Improvisation, Alfred Publishing Company Keller, G. Jazz Chord/Scale Handbook, Advance Music

CLARINET TECHNICAL WORK—SCALES—STAGE 2 Generic Jazz: Stage 2 generic scales


Arpeggios—Maj7, min7, Dom7 (12 keys) CMAJ7



Scale and arpeggio technical work

Bay, William (1995) – Mel Bay’s Jazz Clarinet Book, Mel Bay Publications Bettoney-Baermann – Method for Clarinet, Book 3 , Cundy-Bettony, Carl Fischer Inc Hearle, Dan (1975) – Scales for Jazz Improvisation, Alfred Publishing Co., Inc Klose, H. – Complete Method , Alphonse Leduc Rae, James (2006) – Jazz Scale Studies, Universal Edition General technical work - studies Holcombe, Bill (1992) – 24 Jazz Studies for Clarinet , Musicians Publications O’Neill, John (2007) – Developing Jazz Technique for Clarinet , Schott Rae, James (1996) – Progressive Jazz Studies, Faber Music Technique and Stylistic Development Daniels Eddie; Osland, Miles (2005) – The Music of Eddie Daniels , Warner Brothers De Franco, Buddy – The Buddy De Franco Collection, Artists Transcriptions , Hal Leonard Parker, Charlie (1978) – Charlie Parker Omnibook, Atlantic Music Corp Smith, Bill (2009) – Jazz Clarinet , Parkside Publications Snidero, Jim – Jazz Conceptions, Advance music Improvisation

The following suggested titles by Jamie Aebersold, Jamie Aebersold Jazz, Inc The II-V7-I Progression (Vol 3) Turnarounds, Cycles, & II – V7s (Vol 16) Major and Minor (Vol 24) Maiden Voyage (Vol 54) All-Time Standards (Vol 25) Baker, David (1988) – Jazz Improvisatio , Alfred Publishing Company •

•

•

•

•

SAXOPHONE TECHNICAL WORK—SCALES—STAGE 2 Generic Jazz: Stage 2 generic scales

Ranges and tempos to be arranged by instrumental specialists. specialists. All scales to be in swing 8 th notes (legato) only. Ionian (12 keys) Aeolian—natural/re Aeolian—natural/relative lative minor (all (all ‘sharp’ 6 keys) Blues (12 keys) Dorian (all 12 keys) Mixolydian (all ‘flat’ 6 keys) C Major (Ionian) scale

Arpeggios—Maj Arpeggios—Maj7, min7, Dom7 (12 keys) CMAJ7

Scales and arpeggios to be performed 1 octave at crotchet = 96 bpm, legato in swing 8 th notes (quavers) to the 9th degree. TECHNICAL WORK—SCALES—STAGE 3

TECHNICAL WORK—REPERTOIRE WORK—REPERTOIRE Studies an d piec es—Stage es—Stage 2 and Stage 3

Improvisation

Aebersold, Aebersold, Jamey (1979), (1979), Turnaround and Cyclic Progressions, Record and Book Kit, Studio P.R, USA Improvisation, Music Workshop Publications, USA Baker, D. (1976), Jazz Improvisation, Bergonzi, J. (1994), Inside Improvisation, Volume 1: Melodic Structures, Advance Music, USA Improvisation, Volume 3: Jazz Line, Advance Music, USA Bergonzi, J (1998), Inside Improvisation, Crooke, H. (1991). How to Improvise, Advance Music, Music, Germany Haerle, Dan (1980), The Jazz Language, Studio P.R, USA Scale and arpeggio technical work Kynaston, Trent (1984) Daily Studies For All Saxophones, Alfred Publishing, Publishing, USA Improvisation, Alfred Publishing Haerle, Dan (1983) Scales for Jazz Improvisation, Publishing Company Company Keller, Gary (2002), Jazz Chord/Scale Handbook, Advance Music Music Sight reading

Kane, Brian (2004) Creative Jazz Sightreading, Jazz Path Publishing, USA Fishman, Greg (2008) Jazz Saxophone Duets, Greg Fishman Jazz Studios Parker, Charlie (1978) The Charlie Parker Omnibook , Alfred Publishing Company Hunter, Randy (2008) Level Three Jazz Etudes , Randy Hunter Jazz NB For repertoire Stage 2 and Stage 3 refer to generic repertoire

BRASS INSTRUMENTS TRUMPET TECHNICAL WORK—SCALES—STAGE 2 Generic Jazz: Stage 2 generic scales

Ranges and tempos to be arranged by instrumental specialists. specialists. All scales to be in swing 8 th notes (legato) only. Ionian (12 keys) Aeolian—natural/re Aeolian—natural/relative lative minor (all (all ‘sharp’ 6 keys) Blues (12 keys) Dorian (all 12 keys) Mixolydian (all ‘flat’ 6 keys) C Major (Ionian) scale

Arpeggios—Maj Arpeggios—Maj7, min7, Dom7 (12 keys) CMAJ7


Scale and arpeggio technical work Kase, Chris—Twenty-first Century Technique McNiel, John—The Art of Jazz Trumpet Shew, Bobby—Exercises and Etudes ( Balquhidder Music) General technical work Articulation Arban—Complete Method for Trumpet/Cornet ( Carl Fischer ed.) Frink, Laurie and McNiel, John— Flexus ( OmniTone press) McNiel, John—The Art of Jazz Trumpet Intervals

Arban—Complete Method for Trumpet/Cornet Frink, Laurie and Mcniel, John— Flexus ( OmniTone press) Flexibility

Colin, Charles— Advanced Lip Flexibilities Frink, Laurie and McNiel, John— Flexus ( OmniTone press) Schlossberg, Max—Daily Drills Range

Brisbois, Bud—Trumpet Today Macbeth, Carlton—Original Louis Maggio System for Brass ( Charles Colin Music) Tone

Arban—Complete Method for Trumpet/Cornet ( Carl Fischer ed.) Concone, Guiseppe (Korak, John ed.)— The Complete Solfeggi ( Balquihidder Music) Stamp, James—Warm-ups and Studies Repertoire/Stylistic development

TROMBONE TECHNICAL WORK—SCALES—STAGE 2 Generic Jazz: Stage 2 generic scales

Ranges and tempos to be arranged by instrumental specialists. All scales to be in swing 8th notes (legato) only. Ionian (12 keys) Aeolian—natural/relative minor (all ‘sharp’ 6 keys) Blues (12 keys) Dorian (all 12 keys) Mixolydian (all ‘flat’—6 keys) C Major (Ionian) scale


TECHNICAL WORK—SCALES—STAGE 3 Generic Jazz: Stage 3 generic scales

Ranges and tempos to be arranged by instrumental specialists. All scales to be in swing 8th notes (legato) only.


Scale and arpeggio technical work Arbans—Complete Method for Trombone Haerle, Dan (1983) Scales for Jazz Improvisation, Alfred Publishing Company (examples in Treble Clef) Keller, Gary (2002), Jazz Chord/Scale Handbook, Advance Music (examples in treble Clef) Rubank, Advanced method for trombone/Baritone Vol 1 General technical work Articulation Arbans—Complete Method for Trombone Bordogni/Rochut— Melodious Etudes for Trombone Kopprasch— 60 Studies for Trombone Tanner, Paul—Complete Practice Book for Trombone Intervals

Arbans—Complete Method for Trombone Tanner, Paul—Complete Practice Book for Trombone Flexibility

Colin, Charles Advanced Lip Flexibilities Tanner, Paul—Complete Practice Book for Trombone Range

Tanner, Paul—Complete Practice Book for Trombone Tone

PERCUSSION DRUM SET TECHNICAL WORK—REPERTOIRE Jazz and Contemporary Books/Resources

http://www.pas.org/resources/rudiments/rudiments.html Master Studies, Morello, Joe

Modern drummer Publications Stick Control for the Snare Drummer , Stone, George L

George B. Stone & Son Inc. The ASll American Drummer, 150 Rudimental Solos, Wilcoxen, Charles

Ludwig Music Publishing Co. Musical Studies for the Intermediate Snare Drummer , Whaley, Garwood Drum Concepts and Techniques , Erskine, Peter

21st Century Music

The Art of Bop Drumming , Riley, John

Manhatten Music The Drummer’s Handbook , Tarr, Chris

Currently Unpublished

Tempos for Rudiments 1C/D

2A/B

3A/B

Single Stroke Roll Single Stroke Four Single Stroke Seven Multiple Bounce Roll (Buzz) Triple Stroke Roll Double Stroke Roll Five Stroke Roll Six Stroke Roll Seven Stroke Roll Nine Stroke Roll Ten Stroke Roll Eleven Stroke Roll Thirteen Stroke Roll Fifteen Stroke Roll Seventeen Stroke Roll Single Paradiddle

= 60 =70 =70 =120 =44 =54 =54 =50 =38 =50 =50 =50 =50 =50 =50 =80

72 126 132 120 66 80 84 78 55 78 78 78 78 78 78 124

76 136 140 120 78 92 96 86 65 86 86 86 86 86 86 136

Double Paradiddle 6/8 Triple Paradiddle

= 48 =72

72 112

80 124

Paradiddle Diddle Flam

= 48 =120

70 192

82 224

= 60

86

100

Rudiments

Flam Accent

STRING INSTRUMENTS GUITAR TECHNICAL WORK—SCALES—STAGE 2 Generic Jazz: Stage 2 generic scales




Improvisation

Aebersold, Jamey (1979), Turnaround and Cyclic Progressions, Record and Book Kit, Studio P.R, USA Aebersold, Jamey Volume 21, USA Bergonzi, J. (1994), Inside Improvisation, Volume 1: Melodic Structures , Advance Music, USA Crooke, H. (1991), How to Improvise, Advance Music, Germany Haerle, Dan (1980), The Jazz Language, Studio P.R, USA Scale and arpeggio technical work Haerle, Dan (1983) Scales for Jazz Improvisation, Alfred Publishing Company Joe Pass, Guitar Chords (1986) Mel Bay Publications, Inc. Modern method for guitar— Berklee Press USA Sight reading

Classical Studies for Pick style Guitar. Berklee Press, USA Melodic Rhythms for Guitar— Berklee Press USA Guitar Method Book 1–2 by Gary Turner and Brenton White— Progressive Publishing REPERTOIRE—STAGE 2

The focus should be on mainly blues in (at least) 2 keys, and modal tunes. The focal point should be on tunes with slow harmonic rhythm with a few other ‘key centre’ type tunes. Blue Bossa Blues in Bb Blues in Eb Blues in F

(Tenor Madness, Blue Monk, Freddie Freeloader) (The Sidewinder) (Now’s the Time)

JAZZ ELECTRIC BASS GUITAR Generic Jazz: Stage 2 generic scales


Ionian (12 keys) Aeolian–natural/relative minor (all ‘sharp’ 6 keys) Blues (12 keys) Dorian (all 12 keys) Mixolydian (all ‘flat’–6 keys) C Major (Ionian) scale

Arpeggios–Maj7, min7, Dom7 (12 keys) CMAJ7

Generic Jazz: Stage 3 generic scales


Ionian modes Dorian modes

Studies Studie s an d p ieces—Stage ieces—Stage 2 and Stage 3

Scales

Patitucci—60 Melodic Etudes Haerle—Scales Haerle—Scales for Jazz Improvisation Arpeggios and patterns

Ricker—New Concepts in Linear Improvisation Reid—The Evolving Bassist Scale patterns

Coker/Casale/Campbell/Gre Coker/Casale/Campbell/Greene ene (for bass clef)—Patterns for Jazz Walking lines

Reid—The Evolving Bassist Time, groove and stylistic concepts

Patitucci—Ultimate Patitucci—Ultimate Play-along for Bass Dr Licks—Standing in the Shadows of Motown Sight reading

Appleman—Reading Appleman—Reading Contemporary Contemporary Electric Electric Bass Rhythms Rhythms Patitucci—60 Melodic Etudes

JAZZ DOUBLE BASS Generic Jazz: Stage 2 generic scales

Ranges and tempos to be arranged by instrumental specialists. specialists. All scales to be in swing 8 th notes (legato) only.

Ionian (12 keys) Aeolian—natural/relative Aeolian—natural/relative minor minor (all ‘sharp’ ‘sharp’ 6 keys) Blues (12 keys) Dorian (all 12 keys) Mixolydian (all ‘flat’ 6 keys) C Major (Ionian) scale

Arpeggios–Maj Arpeggios–Maj7, min7, Dom7 (12 keys) CMAJ7

Generic Jazz: Stage 3 generic scales

Ranges and tempos to be arranged by instrumental specialists. specialists. All scales to be in swing 8 th notes (legato) only.

Ionian modes

Studies Studie s an d p ieces—Stage ieces—Stage 2 and Stage 3

Scales

Patitucci—60 Melodic Etudes Haerle—Scales Haerle—Scales for Jazz Improvisation Arpeggios and patterns

Ricker—New Concepts in Linear Improvisation Reid—The Evolving Bassist Scale patterns

Coker/Casale/Campbell/Gre Coker/Casale/Campbell/Greene ene (for bass clef)—Patterns for Jazz Walking lines

Reid—The Evolving Bassist Time, groove and stylistic concepts

Patitucci—Ultimate Patitucci—Ultimate Play-along for Bass Sight reading

Patitucci—60 Melodic Etudes REPERTOIRE—STAGE REPERTOIRE—STAGE 2

Blues in F (Now’s the Time) Blues in Bb (Tenor Madness, Blue Monk, Freddie Freeloader) Blues in Eb (The Sidewinder) Sidewinder) Blues in G (All Blues) Blue Bossa Cantaloupe Island

PIANO/KEYBOARD TECHNICAL WORK—SCALES—STAGE 2 Generic Jazz: Stage 2 generic scales


Arpeggios—Maj7, min7, Dom7 (12 keys) 7

CMAJ



Technical exercises

Technical Exercises for the Intermediate to Professional Jazz Musician by Jordon Ruwe ISBN: 0793555981 Jazz Hanon by Leo Alfassy ISBN 0825622239 The Jazz Piano Book by Mark Levine ISBN 0961470151 Hanon ABRSM Sight reading

Creative Jazz Sight Reading by Brian J Kane ISBN 0-9760977-0-2 The Ultimate Jazz Fake Book by Herb Wong ISBN 0881889792 Improvisation

How to Improvise: An Approach to Practicing Improvisation by Hal Crook David N. Baker—How to Play Bebop, volumes 1, 2 and 3 Jamey Abersold—ii, V7 I progressions REPERTOIRE—STAGE 2


A Child is Born All of Me Au Privave, Barbados Blues in Eb Blues in F minor (Afro Blue) Blues in F—‘bebop’ blues Byrdlike Blues in G (All Blues) But Not For Me Days of Wine and Roses Doxy Driftin’ Everybody’s Party Georgia on my Mind Honeysuckle Rose I Got Rhythm Jitterbug Waltz Killer Joe Maiden Voyage Mercy, Mercy, Mercy Milestones (New) Misty Night and Day Red Barron Smoke Gets in Your Eyes Song for my Father The Chicken Work Song

Vol 91 Published by Jamey Aebersold Jazz The Real Book Vol 1—Sixth Edition (C Instruments) Charlie Parker Omnibook by Charlie Parker (Paperback—Jan 1, 1978) Sandu: The New Real Book: Vol.1 Sher Music Co. The Real Book Vol 2—Sixth Edition (C Instruments) The Real Book Vol 2—Sixth Edition C Instruments) The Real Book—Sixth Edition (C Instruments) The Real Book Vol 2—Sixth Edition (C Instruments) The Real Book Vol 1—Sixth Edition (C Instruments) The Real Book Vol 2—Sixth Edition (C Instruments) Herbie Hancock John Scofield and Pat Metheny The Real Book Vol 2—Sixth Edition (C Instruments) Vol 71 Published by Jamey Aebersold Jazz Vol 47 Published by Jamey Aebersold Jazz Vol 72 Published by Jamey Aebersold Jazz The Real Book Vol 2—Sixth Edition (C Instruments) The New Real Book: Vol 3 Sher Music Co. The New Real Book: Vol 1 Sher Music Co. Vol 50 Published by Jamey Aebersold Jazz The Real Book Vol 1—Sixth Edition (C Instruments) Vol 51 Published by Jamey Aebersold Jazz Bill Cobham Vol 55 Published by Jamey Aebersold Jazz The Real Book Vol 1—Sixth Edition (C Instruments) Jaco Pastorius The Real Book—Sixth Edition (C Instruments)

VOICE Technical requirements Scales should be sung from memory in 4 different keys suited to the student’s vocal range. The starting note (and appropriate chord) will be sounded. The scale will then be sung unaccompanied. The student may use syllables of their own choice, however it is advisable to use syllables such as: doo ba; dee ba; da ba etc. Solfa can also be used. Dynamic variations remain: mezzo forte, mezzo piano and/or with crescendo and decrescendo. All scales should be sung to the ninth degree or the flat third where appropriate (blues and minor pentatonic).

TECHNICAL WORK—SCALES—STAGE 2 Generic Jazz: Stage 2 generic scales

All scales to be in swing 8th notes (legato) only Major (Ionian) (crotchet=100) Major pentatonic scales (crotchet=60) Aeolian—natural/relative minor (crotchet=100) Blues (crotchet=60) Dorian (crotchet=60) Mixolydian (crotchet=60) Chromatic (up to sharpened 5 th) C Major (Ionian) scale

C Major (Ionian) scale

C Major Pentatonic scale

Arpeggios

The tonic (and chord) will be sounded. Arpeggios should be sung from memory up to the seventh degree of the arpeggio. Tempo: crotchet=80

—Maj7, min7, Dom7 7

CMAJ

Improvisation

Demonstrate improvisation skills over Blues form Adlibbing over chorus Melodic improvisation in verse over song where appropriate TECHNICAL WORK—REPERTOIRE Scat singing and v ocalese

Anita Wardell

P h o n a t i o n : J a z z/ Co n t e m p o r a r y

(Vowels: consonants: articulation: scat: onset: ornamentation: flexibility: arpeggios)

Jazz Conception Jim Snidero: Groove Blues, Amen, A Doll–Diction, Scat—all have written scat syllables Michele Weir Vocal Improvisation: scat syllables that pertain to particular rhythms Registration : Jazz/Contem por ary

(Passagio: tilt: range)

Seth Riggs Singing for the Stars: Ex 1—Bubbling and trilling Patterns: working through ‘the mix’ (passagio) Anne Peckham Contemporary Singer—various exercises Rock School Syllabus Breathing : Jazz/Contem por ary (more phrasing)

(Phrasing: alignment: breath support: messa di voce: flexibility)

Jazz Singers Handbook: Sections 5 & 6—Colouring melody and phrasing Rhythm Etudes—Bob Stoloff—1–4 Counting Exercises Vocal reson ance: Jazz/Contem porary

(Tone colour: vowels)

Listening to particular ‘styled’ singers REPERTOIRE—STAGE 2

Students are required to prepare six songs, with at least one from each of the four Jazz styles: Ballad, Blues, Jazz Standard and Latin. Ballad

Body and Soul Lover Man Misty

Additional

All of Me Alright, OK You Win AMEB Contemporary & Popular Music (CPM) Step 2 AMEB CPM Step 3 Autumn Leaves But Not for Me Feelin’ Good Fly Me to the Moon Georgia on my Mind Honeysuckle Rose How Insensitive It Had To Be You It’s Only a Papermoon Love is Here to Stay Nice Work if You Can Get it Now’s the time (with lyrics: based on the Eddie Jefferson version) September Song Stormy Monday Sugar (with lyrics) Sweet Georgia Brown The Nearness of You REPERTOIRE—STAGE 3

Students are required to prepare six songs, with at least one from each of the four Jazz styles: Ballad, Blues, Jazz Standard and Latin. Ballad

Body and Soul

Additional

A Nightingale Sang in Berkeley Square Almost Like Being in Love Beyond the Sea Blue Skies Corcovado Cry Me a River Dindi East of the Sun and West of the Moon Lullaby of Birdland Misty Moanin’ (with lyrics: refer to versions recorded by Sarah Vaughan and Anita Wardell) My Funny Valentine On the Street Where You Live One Note Samba Round Midnight Route 66 So Nice (Summer Samba) Softly as in a Morning Sunrise Someone to Watch Over Me Stardust Take the A-Train You Don’t Know What Love is

CONTEMPORARY Improvisation—all instruments listed within the resource package

Cantoloupe Island Cissy Strut Mercy, Mercy, Mercy Red Barron Watermelon Man

PERCUSSION DRUMSET TECHNICAL WORK Drum set

1/8th Note Weckl Play-along, Book 1 Shuffle Weckl Play-along, Book 1 Slow Blues Reggae Drum set technical work

All 40 PAS Rudiments at level 1 minus 15% Contemporary drums technical work Hand technique (Stage 2)

All 40 PAS rudiments at Introduction Tempos (see attached form) Morello, Master Studies

Coordination hands to feet

Tarr, p. 152—Groups of 2, 3 and 4 with Subdivisions e. Hi-Hat ostinato 1 (Stage 2) Tarr, p. 152—Groups of 2, 3 and 4 with Subdivisions e. & f. Hi-Hat ostinato 1 (Stage 2) Latin and shuffle patterns (Stage 3)

Riley, pp. 56–60 Brushes, p. 48 REPERTOIRE—STAGE 2

Contemporary drum kit repertoire covers a wide range of styles. Some styles may not be strongly represented in this list, for example Country, Latin or Django Reindhart gypsy jazz. It is recommended that a variety of styles be included in the recital, with consideration given to the need to display a variety/range of technique and appropriate skill level. Candidates should avoid using too much of the allocated recital time with a 'note for note' repetition of verse/chorus accompaniment type playing. Pieces can be edited/improvised to display a variety of technique. These edits are to be indicated on the score. Repertoire: ( So l o s t o b e p l a y ed a s p e r o r i g i n a l r e c o r d i n g o r i m p r o v i s e d a t a n a p p r o p r i a t e t ec h n i c a l l e v e l )

Style

Piece

Composer/Arranger

Rock and Roll

Good Golly Miss Molly Lucille

Little Richard/Earl Palmer Little Richard/Earl Palmer

60’s pop rock

Apache

The Shadows

Rock

Honky Tonk Woman Ever long

Rolling Stones Foo Fighters/Dave Grohl

12/8 Metal Ballad

Nothing Else Matters

Metallica

12/8 Groove

Hold the Line

Toto/Jeff Porcaro

12/8

I Want You

The Beatles

Grunge

Smells Like Teen Spirit Come As You Are

Nirvana/Dave Grohl Nirvana/Dave Grohl

Alternative

Super Massive Black Hole

Muse


Contemporary drum kit repertoire covers a wide range of styles. Some styles may not be strongly represented in this list, for example Country, Latin or Django Reindhart gypsy jazz. It is recommended that a variety of styles be included in the recital, with consideration given to the need to display a variety of technique and appropriate skill level. Candidates should avoid using too much of the allocated recital time with a 'note for note' repetition of verse/chorus accompaniment type playing. Pieces can be edited/improvised to display a variety of technique. These edits are to be indicated on the score. Repertoire: ( So l o s t o b e p l a y ed a s p e r o r i g i n a l r e c o r d i n g o r i m p r o v i s e d a t a n a p p r o p r i a t e t ec h n i c a l l e v e l )

Style

Piece

Composer/Arranger

Rock

Babylon Sisters

Steely Dan

Van Halen style Rock

Third Degree

Rockschool (Grade 7)

Pop/Reggae

Walking on the Moon

The Police

Pop

Fifty Ways to Leave Your Lover Whip It

Paul Simon Devo

Disco

Cosmic Girl Don’t Stop Till You Get Enough Wanna Be Startin’ Somethin’

Jamiroqui Michael Jackson Michael Jackson

Metal

Enter Sandman

Metallica

Progressive metal

Sidewinder


STRING INSTRUMENTS GUITAR TECHNICAL WORK—SCALES—STAGE 2 Scales and arpeggios to be played in all keys Scales Tempo: Quarter note=80 (play as eighths)

Dorian Aeolian Mixolydian Major pentatonic Minor pentatonic Jazz minor Blues scale Arpeggios Tempo: Quarter note=70 (play as eighths)

Major Major 7th Minor 7th Dominant 7th Guitar technical work

All Major, Minor, Dorian, Aolian, Blues, Major and Minor pentatonic Tempo: Quarter note 90 (play as eighths)

Arpeggios Major Minor dominant Tempo: Quarter note 80 (play as eighths)

GUITAR

Arpeggios

Sweep pick/ alternate picking Major, minor, 7 ths, min 7 b5, diminished, dominant, 9 ths Chords

Diatonic scales chords—chord progressions (key specific) Major and minor keys Bar chords—Powerchords Comping—styles with appropriate voicings: Jim Kelly, Guitar Workshop, Berklee Press Alfred’s Master Track Series Left hand technical exercises— ‘Guitar Fitness’ Sight reading

Sight Reading Melodies Vol 1 by Brent Block W.Leavitt Mel Bay Hal Leonard Progressive Sight Reading for Electric Guitar (Levels 1–8) Improvisation

101 must know Rock Licks: Hal Leonard 101 must know Blues Licks: Hal Leonard 101 must know Jazz Licks: Hal Leonard REPERTOIRE—STAGE 2

Contemporary guitar repertoire covers a wide range of styles. Some styles may not be strongly represented in this list, for example Country, Latin or Django Reindhart gypsy jazz. It is recommended that a variety of styles be included in the recital, with consideration given to the need to display a variety of technique and appropriate skill level.

Country Boogie

Jessica

The Allman Brothers Band

Rockabilly

Alka Setzer

Rockschool Grade 5

Metal

‘Musement Park Sidewinder D&A Bust Up

Rockschool Grade 6 Rockschool Grade 5 Rockschool Grade 5 Rockschool Grade 5

Rage Against Everything

Rockschool Grade 4

Piece Is There Anybody Out There? Tears In The Rain

Composer/Arranger

Progressive metal Unaccompanied Repertoire: Style

Ballad

Pink Floyd Joe Satriani

Song Repertoire: ( So l o s t o b e p l a y ed a s p e r o r i g i n a l r e c o r d i n g o r i m p r o v i s e d a t a n a p p r o p r i a t e t ec h n i c a l l e v e l )

Style

Piece

Composer/Arranger

Ballad

Blackbird

Beatles

Metal ballad

Nothing Else Matters

Metallica

Rock

Honky Tonk Woman Living On A Prayer

Rolling Stones Bon Jovi


Contemporary guitar repertoire covers a wide range of styles. Some styles may not be strongly represented in this list, for example Country. It is recommended that a variety of styles be included in the recital, with consideration also given to the need to display a variety of technique and appropriate skill level. Candidates should avoid using too much of the allocated recital time with a 'note for note' repetition of verse/chorus accompaniment type playing. Pieces can be edited/improvised to display a variety of technique, at an appropriate skill level. These changes are to be indicated on the score. Instrumental Repertoire: ( So l o s t o b e p l a y e d a s p e r o r i g i n a l r e c o r d i n g o r i m p r o v i s e d a t a s i m i l a r t ec h n i c a l l e v e l )

Style

Piece Secret Place Hideaway

Composer/Arranger

Texas Blues

Scuttle Buttin’ Mud Pie

Stevie Ray Vaughan Rockschool (Grade 6)

Soul

Hold On I’m Going


Jazz Rock Ballad

’Cause We Ended As Lovers

Jeff Beck

Rock Ballad

Crying Little Wing

Joe Satriani Jimi Hendrix (as performed by Stevie Ray Vaughan)

Latin rock ballad

Europa

Carlos Santana

Blues

Rockschool (Grade 4) Freddie King (or as performed by John Mayall/Eric Clapton)

Progressive metal

Transylvania 667 Musement Park Sidewinder

Iron Maiden Rockschool (Grade 8) Rockschool (Grade 6) Rockschool (Grade 5)

Unaccompanied Instrumental Repertoire: Style

Composer/Arranger

Chord Ballad

Piece Brother John

Rock

Eruption

Edward Van Halen

Joe Satriani

Flamenco inspired acoustic rock Spanish Fly (various styles)

Edward Van Halen

Folk/Rock (various styles)

Oceans

John Butler

Rock (various styles)

Classical Gas

Mason Williams

(unaccompanied version) Various styles

Midnight

Joe Satriani

Song Repertoire: ( So l o s t o b e p l a y ed a s p e r o r i g i n a l r e c o r d i n g o r i m p r o v i s e d a t a s i m i l a r t ec h n i c a l l e v e l )

Style

Piece

Rock

Black Dog

Composer/Arranger

Led Zeppelin

60’s Heavy rock

Purple Haze

Jimi Hendrix

Progressive rock

Cult of Personality

Living Colour

Rock Ballad

Still Got The Blues Hotel California

Gary Moore Eagles

Rock ballad (various styles)

Under the Bridge

Red Hot Chili Peppers

Blues

Walkin’ By Myself Red House

Gary Moore Jimi Hendrix

Metal

Enter Sandman

Metallica

Crossover Repertoire (i.e. jazz/fusion) (Solos to be improvised using modes/pentatonic scales appropriate to Stage 3 requirements) Style

Piece

Composer/Arranger

Jazz/Fusion

Revelation Affirmation

Robben Ford Jose Feliciano (as performed by George Benson) Jim Kelly’s Guitar Workshop Herbie Hancock Miles Davis

Mr Stern Cantaloupe Island So What (a la Ronny Jordan)

BASS TECHNICAL WORK—SCALES STAGE 2 Scales Tempo: Quarter note=60

Major Dorian Aeolian Mixolydian Major pentatonic Minor pentatonic Jazz minor Blues scale

Arpeggios Tempo: Quarter note=60

Major 9th Minor 9th Dominant 9th Min/Maj 9th

TECHNICAL WORK—SCALES STAGE 3 Scales Tempo: Quarter note=70

Ionian Major Dorian Aeolian Mixolydian Lydian


Contemporary bass repertoire covers a wide range of styles. Some styles may not be strongly represented in this list, for example Latin or Country. It is recommended that a variety of styles be included in the recital, with consideration given to the need to display a variety of technique and appropriate skill level. Candidates should avoid using too much of the allocated recital time with a 'note for note' repetition of verse/chorus accompaniment type playing. Pieces can be edited/improvised to display a variety of technique. These edits are to be indicated on the score. STYLE

PIECE

COMPOSER/ARRANGER

Motown/Swing

Ain’t No Mountain How Sweet It Is To Be Loved By You

James Jamerson James Jamerson

Jazz Funk

Josie

Steely Dan

Funk rock

Bling Thing If You Have To Ask Naked In The Rain Walkabout

Rockschool Bass Grade 4 Red Hot Chilli Peppers Red Hot Chilli Peppers Red Hot Chilli Peppers

Rock

John Paul Jones Style Smoke On The Water My Generation

Stuart Clayton, Giants of Bass Deep Purple The Who

Heavy Rock

Let It go

Rockschool Bass Grade 4

Rock Ballad

Sweet Child O’ Mine

Guns and Roses


Contemporary bass repertoire covers a wide range of styles. Some styles may not be strongly represented in this list, for example Latin or Country. It is recommended that a variety of styles be included in the recital, with consideration given to the need to display a variety of technique and appropriate skill level. Candidates should avoid using too much of the allocated recital time with a 'note for note' repetition of verse/chorus accompaniment type playing. Pieces can be edited/improvised to display a variety of technique. These edits are to be indicated on the score. STYLE

PIECE

COMPOSER/ARRANGER

Motown

For Once In My Life

James Jamerson

Motown/Rock

Heard It Through The Grapevine

James Jamerson

Motown Funk

Sir Duke

Stevie Wonder

Jazz Funk

Dune Tune Funkus Regulus Watermelon Man

Mark King Rockschool Bass Grade 6 Herbie Hancock (bass transcription from The Beat Goes On, Published by Music Minus One)

Blues Funk

Feel So Bad (Ray Charles)

Carol Kaye (Electric Bass Lines Bk 4)

Disco Funk

Hit Me With Your Rhythm Stick

Ian Dury and the Blockheads

Funk

What is Hip

Tower of Power

Funk Rock

Aeroplane

Red Hot Chilli Peppers

PIANO/KEYBOARD TECHNICAL WORK—SCALES—STAGE 2

All of the following scales over 4 octaves in 12 keys Tempo: MM 84 (16 th note) Major scales Mixolydian modes Aeolian modes Major pentatonics Minor pentatonics Dorian modes Blues scales Chromatic C, F, Bb and Eb Arpeggios

All of the following arpeggios over four octaves in twelve keys; Major 7th, Minor 7th, Dominant 7th Tempo: MM 52 (8th note triplet—16th note) TECHNICAL WORK—SCALES—STAGE 3

All of the following scales over 4 octaves in 12 keys Tempo: MM 92 (8th note—16th note) Major scales Mixolydian modes Aeolian modes Jazz minor scales Major pentatonics


Contemporary piano repertoire covers a wide range of styles. Some styles may not be strongly represented in this list, for example Country or Latin. It is recommended that a variety of styles be included in the recital, with consideration given to the need to display a variety of technique and appropriate skill level. The candidate can perform a maximum of ONE piece as an accompanist. All other repertoire must be arranged for the pianist/keyboardist as the feature instrument. Instrumental Repertoire: ( So l o s t o b e p l a y ed a s p e r o r i g i n a l r e c o r d i n g o r i m p r o v i s e d a t a n a p p r o p r i a t e t ec h n i c a l l e v e l )

Style

Piece Great Balls of fire Tutti Frutti

Jerry Lee Lewis Little Richard

Progressive Rock

Lazy Money

Jon Lord (Deep Purple) Richard Wright ( Pink Floyd)

Ballad

Baby Grand Your Song Beth Somewhere Out There Samson Buy Now Pay Later

Billy Joel Elton John Kiss James Horne Regina Spektor Tim Freedman (The Whitlams)

Early Soul

Hit the road Jack I’ve got a women

Ray Charles Ray Charles

Soul

I just called to say I love you

Stevie Wonder

Rock ‘n Roll

Composer/Arranger


Contemporary piano repertoire covers a wide range of styles. Some styles may not be strongly represented in this list, for example Country or Latin. It is recommended that a variety of styles be included in the recital, with consideration given to the need to display a variety of technique and appropriate skill level. The candidate can perform a maximum of ONE piece as an accompanist. All other repertoire must be arranged for the pianist/keyboardist as the feature instrument Instrumental Repertoire: ( So l o s t o b e p l a y e d a s p e r o r i g i n a l r e c o r d i n g o r i m p r o v i s e d a t a s i m i l a r t ec h n i c a l l e v e l )

Style

Piece Seventh Son

Mose Allison

Blues

Been down so long Ruby, Ruby

Sting/Kenny Kirkland Donald Fagan

Early Soul

Unchain my heart

Ray Charles

50’s Rock

In Crowd

Ramsey Lewis

Early RnB/Blues

70’s Rock

Composer/Arranger

Fire in the Hole Steely Dan Mr Blue Sky Jeff Lynne (ELO) Scenes from an Italian Restaurant Billy Joel

80’s Rock

Shadows in the Rain That’s All

Sting Phil Collins (Genesis)

90’s Rock

One Angry Dwarf

Ben Folds five

VOICE Technical requirements Scales should be sung as straight time rather than swung, but may incorporate some syncopation. Scales should be sung from memory in 4 different keys suited to the student’s vocal range. The starting note (and appropriate chord) will be sounded. The scale will then be sung unaccompanied. The student may use syllables of their own choice, however it is advisable to use syllables such as: doo ba; dee ba; da ba etc. Solfa can also be used. Dynamic variations remain: mezzo forte, mezzo piano and/or with crescendo and decrescendo. All scales should be sung to the ninth degree or the flat third where appropriate (blues and minor pentatonic).

TECHNICAL WORK—SCALES—STAGE 2 Scales

Major (crotchet=100) Major pentatonic (crotchet=60) Mixolydian (crotchet=60) Dorian (crotchet=60) Jazz minor (melodic minor ascending) crotchet=100 Blues (crotchet=60) Chromatic (up to sharpened 5 th) Arpeggios

To be played in the following keys. The tonic (and chord) will be sounded. Arpeggios should be sung from memory up to the seventh degree of the arpeggio. Tempo: crotchet=80. Straight time/feel

Major 7th Minor 7th Dominant 7th

TECHNICAL WORK—REPERTOIRE J a z z an d C o n t e m p o r a r y

Jim Snidero Aebersold Bob Stoloff Seth Riggs Anne Peckham Michelle Weir Trinity Exams Amelia Peri

‘Jazz Conceptions’ ‘Guide for Jazz and Scat Vocalists’ ‘Rhythm Etudes’ ‘Singing for the Stars’ (Stage 2: Speech Level Singing 22-25, Stage 3: 26-30) ‘Vocal Workouts for the Contemporary Singer’ (Stage 2:13-16, Stage 3:16-20) ‘Vocal Improvisations’ ‘Rock School’ ‘Vocalises and Exercises’

NB: Some studies from Western Art Music are recommended for Jazz and Contemporary singers as well. E a r t r a in i n g : J a z z an d C o n t e m p o r a r y ( im p r o v i s a t i o n )

(Intervals: improvisation: phrasing: ornamentation: syncopation)

Bob Stoloff: Diatonic exercises and the rest of the book!! Jim Snidero: tracks 1–6 (maybe 7): to understand chord progressions jazz phrasing Aebersold: Guide to Jazz and Scat Vocalists prac. Procedures for memorising chord progression soloing ear training intervals • •

• • • •

P h o n a t i o n : J a z z/ Co n t e m p o r a r y

(Vowels: consonants: articulation: scat: onset: ornamentation: flexibility: arpeggios)

Jazz Conception Jim Snidero: Groove Blues, Amen, A Doll–Diction, Scat—all have written scat

REPERTOIRE—STAGE 2 Songs can be performed in key appropriate to vocal range Style

Piece Someone Like You Rolling in the Deep Thank you Love Song Soulmate Fallin’ for you Wrong Impression

Composer/Arranger

Dance/Pop

Valerie Black & Gold (Acoustic)

Amy Winehouse Sam Sparro

Pop Ballad

I Don’t Want to Wait Jar of Hearts A Thousand Years Gravity Will you still love me

Paula Cole Christina Perri, Drew Lawrence, Barrett Yeretsian Christina Perri Sara Bareilles Dusty Springfield

Skinny Love Please don’t ask me Fields of Gold Different Worlds Anyone who had a Heart Songbird February Song Shelter One Less Bell to Answer

Justin Vernon John Farnham Sting Jes Hudak Burt Bacharach Fleetwood Mac Josh Groban Birdy cover Burt Bacharach

Pop

Ballad

Adele Adele Dido Sara Bareilles Natasha Bedinfield Colbie Caillat Natalie Imbruglia

Jazz/Pop

These are the Days

Jamie Cullum

Country

Mine Mean You Belong to Me Today was a Fairytale White Horse When I Look at You Landslide

Taylor Swift Taylor Swift Taylor Swift Taylor Swift Taylor Swift Miley Cyrus Stevie Nicks

Country Pop

Something in the Water

Brooke Fraser

Folk

Both Sides Now A Case of You Shower the People

Joni Mitchell Joni Mitchell James Taylor

Folk/Rock

Cannonball

Damien Rice

Pop/Folk

Hallelujah

Jeff Buckley

Indie

The Sound of White Scar

Missy Higgins Missy Higgins

Standard

Stormy Weather Cry Me a River Call me Irresponsible

Arlen/Koehler Arthur Hamilton James Van Huesen/Sammy Cahn

Film

When She Loved Me (Toy Story 2)

Randy Newman

Strong Enough What the World Needs Now Jealous Guy Your Song

Orrico Burt Bacharach John Lennon Elton John

Folk/Ballad

Hallelujah

Leonard Cohen

Rock Ballad

My Immortal

Evanescence

RnB Ballad

Bound To You

Christina Aguilera

Indie Ballad

Breathe In Now

George

Soul Ballad

Natural Woman

Carole King

Rock

Help!

The Beatles

Soft Rock

Hello Let It Be Why Georgia

Hodges, Moody & Lee Lennon/McCartney John Mayer

Rock/Country

Me and Bobby McGee

Janis Joplin

Rock/Soul

Gonna Find Another You

John Mayer

RnB

Ordinary People Love You I Do For Once in My Life Overjoyed

John Legend Jennifer Hudson Stevie Wonder Stevie Wonder

RnB/Pop

Vegas

Sara Bareilles

ADDITIONAL LISTENING The following lists for both the Jazz and Contemporary contexts should be carefully considered as not all of the repertoire/arrangements associated with the listed artist/performer will necessarily be of an appropriate standard.

JAZZ PIANO

Sarah Vaughan Shirley Horn Stacey Kent Tierney Sutton

Ahmad Jamal Art Tatum Bill Evans Bud Powell Chick Corea Count Basie Duke Ellington Hank Jones Herbie Hancock McCoy Tyner Red Garland Teddy Wilson Thelonius Monk Tommy Flanagan

Anita Wardell Al Jarreau Bobby McFerrin Eddie Jefferson Ella Fitzgerald Jon Hendricks Kurt Elling Lambert, Hendricks and Ross Mark Murphy Sarah Vaughan

VOICE

Astrud Gilberto Bebel Gilberto Elaine Elias Elis Regina Gal Costa Joao Gilberto

Blues and early jazz

Scat singing

Latin

CONTEMPORARY DRUMS

Alanis Morrisette Bob Marley Bonnie Raitt Cream D’Angelo Donny Hathaway Earth Wind and Fire Herbie Hancock James Brown James Taylor Jill Scott Jimmy Hendrix John Mayer Trio Led Zepplin M’shell Ndegeocello Marvin Gaye Michael Jackson Paul Simon Ray Charles Robben Ford Sly and the Family Stone Steely Dan Stevie Ray Vaughan Stevie Wonder Sting The Beatles The Blues Brothers

Jagged Little Pill Legend Luck of the Draw Disraeli Gears Voodoo Live Greatest Hits Headhunters Live at the Apollo, Volume 2 Live Experience Are you satisfied? Live IV Peace beyond Passion What’s Going On Thriller Graceland The Genius of Ray Charles Talk to your daughter Fresh Aja Couldn’t Stand the Weather Songs in the key of life 10 Summoner’s Tales Abbey Road Briefcase full of Blues

CONTEMPORARY PIANO/KEYBOARD Billy Joel Booker T. Jones Chick Corea Derek Sherinian Dr John Eddie Van Halen Elton John Gregg Giuffria Harry Connick Jr Herbie Hancock Jens Johansson Joey DeFrancesco Jonathan Cain John Lord Johnnie Johnson Jon Oliva Keith Emerson Kevin Moore Mats Olausson Ray Charles Ray Manzarek Rick Wakeman Russ Ferante Sascha Onnen Stevie Wonder Tony MacAlpine

Lisa Stansfield Maria Carey Marvin Gaye Mary J Blige Maxwell Michael Jackson/Jackson 5 Musiq Soul Child Oleta Adams Otis Redding Patti Labelle Ray Charles Seal Stevie Wonder Whitney Houston Rock and Roll/Rock /Indie/Pop Rock

Alanis Morrisette Blondie Bon Jovi Coldplay David Bowie Eric Clapton Jeff Buckley Jimi Hendricks John Lennon John Mayer Lenny Kravitz Oasis Prince Queen

SUGGESTED TEXTS

DRUM SET — JAZZ AND CONTEMPORARY Books/resources st Drum Concepts and Techniques , Erskine, Peter. 21 Century Music

http://www.pas.org/resources/rudiments/rudiments.html Master Studies, Morello, Joe. Modern drummer Publications Musical Studies for the Intermediate Snare Drummer, Whaley, Garwood Stick Control for the Snare Drummer , Stone, George L, George B. Stone & Son Inc. The All American Drummer, 150 Rudimental Solos , Wilcoxon, Charles. Ludwig Music Publishing Co The Art of Bop Drumming , Riley, John. Manhattan Music The Drummer’s Handbook, Tarr, Chris. Currently unpublished The New Breed , Chester, Gary. Modern Drummer Publications Ultimate Play-along for Drums Level One, Volume One , Weckl, Dave. Manhattan Music Ultimate Play-along for Drums Level One, Volume Two , Weckl, Dave. Manhattan Music

VOICE — CONTEMPORARY Recommended texts for studies The Contemporary Singer Vocal Workouts for the Contemporary Singer Scat Hear it and Sing it! Exploring Modal Jazz Funky ‘n 4 Fun Challenging Riffs CD Funky ‘n Fun 1–3 Vocal Exercise CDs The Performer’s Voice The Rock’N’Roll Singer’s Survival Manual Singing for the Stars Vocalises and Exercises

Anne Peckham Anne Peckham Bob Stoloff Judy Niemack Kim Chandler Kim Chandler Maribeth Bunch Dayme Mark Baxter Seth Riggs Amelia Peri

Ear training (Intervals; phrasing; ornamentation (licks and agility exercises), syncopation, improvisation) Hear it and Sing it! (Interval exercises over the modes) Judy Niemack Hear it and Sing it! (Call and response exercises to develop aural ability and Judy Niemack

improvisation skills) Phrasing Listening to various artists (from early blues and roots to current artists) to develop phrasing and feel appropriate to different contemporary styles. It is recommended that students become familiar with the vocal style and phrasing of classic blues and rhythm and blues artists such as BB King; Ray Charles etc. as a foundation for more contemporary styles.

Ornamentation Anne Peckham

The Contemporary Singer (various exercises based on minor pentatonic

Kim Chandler

scales) Development of vocal agility and licks Fun ‘n Funky CDs 1 and 2 —Agility and licks exercises. Also tracks on both

Registration (Passagio: tilt, range)

Anne Peckham Judy Niemack Kim Chandler Seth Riggs

The Contemporary Singer—various exercises Hear it and Sing—Track 7 (range) Funky ‘n Fun 2 Track 6 (twang) Singing for the Stars—exercises to help develop coordination through the vocal range

Vocal resonance

Also refer to texts recommended for Western Art Music (Tone colour; vowels)

Anne Peckham Judy Niemack Kim Chandler Kim Chandler Maribeth Bunch Dayme

The Contemporary Singer—various exercises Hear it and Sing exercises 1-4 Funky ‘n Fun CD 1—Track 9 Funky ‘n Fun CD 2—Track 5 The Performer’s Voice—various exercises

Suggested texts Repertoire

All Time Standards: Vol 25 Autumn Leaves: Vol 44 (All Levels) Ballads: Vol 32 Body and Soul—17 Jazz Classics: Volume 41 (All Levels) It Had To Be You: Vol 107 Jamey Abersold Play-along series Jazz Bossa Novas: Vol 31 Standards in Singers Keys: Vol 24 Sugar: Vol 49 Swing, Swing, Swing: Vol 39 (All Levels)

Music Resource Package for Practical Component PDF

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