(a Curso Basico Semestre 3scales and Arpeggios for Clarinet Grades 1-8 {tis often maintained, with some justification, that wind players frequently show reluctance to learn scales and arpeggios thoroughly. Unlike other woodwind instrumentalists, clarinettsts must learn to negotiate that complex range of notes known as the ‘break’, an area in the middle of the treble stave which is particularly resistant to fluent playing in the early stages. Special care has to be taken here in order to achieve the desired effect. ‘This manual seeks to assist this situation by including a fingering, chart, constant reminders in the form of simple symbols attached to each scale and arpeggio and useful advice appended to the examples ‘most likely to be problematic. The aim is to help students learn their scales and arpeggios thoroughly, as well as provide support material for those woodwind teachers who may not be clarinet specialists It should be noted that the information given in this manual cannot apply in its entirety to the clarinet in C, which is catered for in Grades 1-5. Players of this instrument should adapt their fingering accordingly. am most grateful to Colin Honour, principal clarinetist with the English Northern Philharmonia (the orchestra of Opera North), who read the final draft ofthis manual and made many helpful suggestions. Ian Deney Series Editor ABRSMFingering chart ‘This comprehensive fingering chart and the notes given in the Guide to fingering on page 4 apply to the standard Bochm-system clarinet which has E as its lowest note. It lists the basic fingerings, as well as a choice of the more ‘common alternatives. It does not pretend to be exhaustive. abo EJF FE |G [Grae 7 Te LEFT HAND. Tm [Tm [tm] [tm % ala Ta ele lelelolelololololo ele le lololo ofolo 50 olololo olo 4 RIGHT MAND 7 3 Sra] 0 }@}o}o loo lo Jo Jo Jo fo [o Jo Jo fo 2 @ |o}o]o]o Jo |o Jo Jo Jo fo [o Jo fo fo 3 7 ofo olololo ololo 4 = BC [ce DYE JE |F | Fe |G |Gs)A | Bb ‘jaye mer__[U Ta fae [RIO R T Tew uerruann Thumb [Sp] Sp] Se | Se[ Sp | S| S|Se] Sp] Sp] Sp| Sp] S| Sp] S| Sp] Sp) Sm] Sp] Sp| So th [tm || m| tm | thm] Tm [th | tm | tm [Th | Th | mm | Tm | th | TH | Th | Th | th | Th 7 ele lelelejelelelelelelelejelelelelelele 2 eleleloleleleleleleleiejelele elo 3 Se wlelelelelelelelelelejelelelolo io jojo 4 1 2a| las ct RIGHT HAND 7 3 wlelelelelelelelelelojelololololo le jo jojo 2 elelelele ele lelejole jo fo lo Jo lo |o Jo Je Jo Jo 3 7 elelelele ele lelololojolo elololo 4 il ta|2 3 4 mer To T Cs tet HaND Thumb [5p] Sp] 5p | Sp | S| Sp] S| Se | Se] Se | Se | SP] Se] Se | Se] Sp | Sp | Sp th | th | to | tm | mth | th | th | th | th | th | th | th | Th | th | Th | Th | Th. i oF ofololo|o ole lolelo le je jolo le le le le 2 elolelelelelele le le le le le le lo jo lo jo 3 elo lelelele le le le lo lo |e |e Jo |o . 4 ctl et cece RigHT HAND 7 Ea] = e@lolelelololololelo|olelele le lo le le 2 e@lolololo]lo loo le lo lo le lelelelole jo 3 7 ” 7 ofofololelolololelolololelo|olo ole 4 4 tele |e lade als 4a fa ala la Adding key 7 to this fingering helps the intonation. 1995 by The Associated Board ofthe Royal Schools of Music‘The following illustrations label the clarinet’s key-work ‘and show how it will be referred to in this manual. speaker key chromatic FB key (6). & thumb hole RH Df key (5) a. chromatic B key (7) Sone i RH Gf key (4) RH Ekey (10)— RH F key (2) Key to symbols LH left hand RH righthand © cover hole © leavehole open Th cover thumb hole Sp _ press speaker key 1 press LHEkey 1a press RH E key 2. press RH F key 2a press LH F key 3. press RH Ft key 3a press LH Fhkey 4) press RH Gt key CH press Ctkey 5 press RH D8 key 5a press side Dé key 6 press chromatic F# key 7. press chromatic B key AL press A key GE press side Gey [NB the fingering chart uses Thumb-1-2-3-4, unlike keyboard fingering (1, a >Current requirements for Grades 1-8 ‘This table lists scales and arpeggios required for each grade; numbers refer to those printed alongside the scales and arpeggios in the following pages. Ca Grade 1 9, 14, 51 or 52, 77, 82, 105 1 F & De dm fm fm 10, 15, 27 or 28, 53 or 54, 69, 78, 83, 93, 106 De Ge A CoA D x c Grade 32,4, 10, 18, 20, 29 or 30} 45 or 46,'53 or 54} 59, 70, 72, 78, 86, 88, 94, 102, 106 Grade? Grade 4 5,10, 15, 19, 21, 23 or 24) 29 or 36, 33 or 34, 45 oF 46, 57 or 58, 60, 62, 73, 78, 83, 87, 89, 91, 94, 96, 102, 108, 109 é ion : j & Pe GN BL EX > Grade $_ 2,5, 6,7, 15, 17, 21,23 or 24) 25 or 26, 29 or 30, 37 or 38, 41 or 42, 57 or 58, 60, 62, 70, 73, 14, 5,83, 85, 8, 91,92, 94, 98, 100, 108, 109, 112,120,152 Grade 6 3,5, 6,8, 17, 21,22, 25, 26, 35, 36, 49, 50, 53, 54, 55, 56, 57, 58, 60, 61, 62, 63, 71, 73,74, 76, 85, 89, 90, 92, 97, 104, 106, 107, 108, 112, 119, 120, 124, 129 Fon 6 € A , my Ds Fim, Fm Sim Grade 2,3,5,6,8, 11, 12,15, 17, 19, 21, 22,23, 24, 25, 26, 29, 30, 31, 32, 35, 36, 39, 40) 41, 42,45, 46,49, 50, 53, 54, 55, 56, 57, 58, (Chromatic scale requirements: see note to No.64), 70, 71, 73, 74, 76, 79,80, 83, 85, 87, 89, 90, 91, 92, 94, 95, 97, 99, 100, 102, 104, 106, 107, 108, 111, 113, 116, 117, 119, 121, 124, 129, 130 Grade 8 ALL Sunsets MUST BE LEARNED, with the following exceptions: 1, 4, 7,9, 10, 12,14, 15, 18, 20, 27, 28, 33, 34, 37, 38, 41, 42, 455 46, 51, 52,69, 72, 75, 7, 78, 80, 82, 83, 86, 88, 93, 96, 98, 100, 102, 105, 109, 120, 122, 128, 132 (Chromatic scale requirements: see note to No.64) Recommended speeds ‘The following recommended minimum speeds are given as a general guide. Itis essential that scales and arpeggios are played at a speed steady enough to allow a well-focused sound with good intonation across the range, yet rapid enough to allow well-organized breathing without impairing fingering and tonal clarity. ‘major and minor scales, chromatic cles major and scale in third eohole-tone sales, minor lominant and diminished seveths npeasion Gradel J = 50 d = n Grade2 4 = 56 d = 8 Grades J = 66 da = 2 Graded J = 72 d = 100 Grades J = 80 d = i Grades J = 104 i = 56 Grade? Jo = 116 i = 66 Grades J 132 i = 1%Major Scales 4 CMAJOR 1 Octave panes 1: the first scale which involves really close tothe keys and rings a 2 CMAJOR 2 Octaves ae pe 3 DbMAJOR 2 Octaves 3: itis possible to use fingering II for D¥, but care must be taken with tuning. R) ow 4 DMAJOR 1 Octave 4 and $: if using key 1 [LH/4] for B above the Break, do nor put down atthe same time; keep RH/4 free for key 3. ®a) oo) 5 DMAJOR 2 Octaves 6 EMAJOR 2 Octaves T EMAJOR 2 octaves AB2478 EMAJOR 3 Octaves 9 FMAJOR 1 Octave ——- $ ee ans oo 10 FMAJOR 2 Octaves t $ aiaee Er We ee 11 FMAIOR 3 Octaves | eeekEcete ae SSS zt ra # a === 72 LR oe 12 FEMAIOR 2 Octaves - 13 FEMAJOR 3 Octaves ou a ti a « 13: listen carefully to the tuning of Fs some experimentation may be required to find the best fingering 14 GMAJOR 1 Octave15 GMAJOR 2 Octaves nq TR 1 ef 16 GMAJOR 3 Ocaves Ss eet =F ive = 2 $. Eueae 2 RLR — 47 AbMAJOR 2 Ocraves E3 7 7 EEF = SS = dee co cre, 18 AMAJOR 1 Ocave 18 ake special care with LH/L 10 Keep the top three notes even. MR) wt 19 AMAJOR 2 Octaves 19: if using key 1 [LH/4] for B above the Break, do nor put down key 2 [RH/4] atthe same time; keep RH/ free for key 3. 20 BMAJOR 1 Octave 24 BbMAJOR 2 Octaves LR 22 BMAJOR 2 Ocraves,Minor Scales pie bebe - a 29 CHINOR rate eS pete i a bete Phebe _ wom wee terran pee See irra a aor tote Flats _ 25 CHMINOR meloe ef oH rz efireS 25 and 26: it is possible to use fingering II for CP, but care must be taken with tuning. ap 26 CEMINOR harmonic oa 2Octaves te thee RLR at 27 DMINOR melodic 1Octave RL, oS OR 27: if using key 1 [LH/4] for B above the Break, do not put down key 2 (RH/4] atthe same time; keep RH/4 free for key 3. R) ® y 28 DMINOR harmonic 1 Octave ©)®) te tied, 29 DMINOR melodic 2Octaves 22: fusing ey 1 [LH/A for B ebove the Break, do ma put down key 2 (RH at th same ims ep RH fe ey 2 ttthe » obets 30 DMINOR harmonic 20e elor Ley a 31 EMINOR melodic 2Octaves32 ESMINOR harmonic 2 Octaves 33 EMINOR melodic 20ctaves 33 and 34 the fist sales reguiting the manquvre R-L-R; make sre that RHY/A and LH/$ are correctly Brepared as you cross the Break. If using key 1 (LH/4] forthe low E, donot put down key 2 TRUS} at hee, time; keep it free for key 3 2Octaves 4 oR) RuR oR 84 EMINOR harmonic @ © ® Ry 85 ENWNOR meade ¢ sae SS 3 Octves Zaid s vie t+ ®w f — ¢ = ES = = SS Weis ou 7 $Sag4 36: fusing key 1 (LH/4] forthe low B, do nor put down key 2 (RH/4] atthe same time; keep it free for cy 3 Octaves OR RELER tote te 36 EMINOR harmonic ca u ® ——, oS = SS w au ww ‘37 FMINOR melodic 2 Octaves ‘38 FMINOR harmonic 2 Octaves 1 AB 2497 t39 FMINOR melodic 3. Ocaves, 40 FMINOR harmonic 3 Octaves, 41 FEMINOR melodic 2.Octaves, 42 FEMINOR harmonic 2 Octaves 43 FEMINOR melodic 3 Octaves 44 FEMINOR harmonic 3 Octaves Te alt a Te 4uL uw ® o) a 4: for high Ff, it is best not to use fingering II, asthe notes followed by Et and not Ed a ea qd) ap a 2 a ¢ rn nT eu a w 43 and 44; listen carefully to the tuning of Fé some experimentation may be required to find the best fingering @ @ ©) ® a late === 0) fee, t ® 5 a co ne Sa i “Psi 245 GMINOR melodic —— 2 Octaves ——— 46 GMINOR harmonic 2Octares aman o-4 eae siete Elthe 47 GHNOR melee Es Septet JA 7 mana fe Cinte 48 GMINOR harmonic 3 Octaves 49 GHMINOR melodic 20ctaves 50 GHMINOR harmonic 2 Octaves 51 AMINOR melodic TOctave 51 and 52: take special care with LH/I to keep the top three notes even, 52 AMINOR harmonic 1 Octave B53 AMINOR melodic 2 Octaves 54 AMINOR harmonic 2 Octaves, 55 BbMINOR melodic 2 Octaves 56 BbMINOR harmonic raves 57 BMINOR melodic 2 Ocraves ‘58 BMINOR harmonic 2 Octaves 2 tie! AB 248759 onC 1 Octave 1D ah (Ly (R) (L) ——— ® 1 60 on 20ctaves Sepa peete 61 OnE 3 Octaves 62 OnF 2 Octaves Chromatic Scales a a © a a pvbaye ape oe esis 4 OOo u ¢ 7 1 1 ie we Ly i ie u 4 ®H O@a a a, RW) OR ¢ Pirires MR a a a 1 )®)DRO 63 OnA 20ctaves & ORO am a 1 ———— Et { F SS e = viele be ) ORO) 1 a a RL) 64 from low E to lop G é = = ayer Pee " ie #2 oye aba ha +t tebe». 11 ORO ay a 0 ORM er ‘The chromatic scale requirements for Grades 7 and 8 can be taken from No.64 above. Grade 7 On E and F ~3 octaves On any other note ~ 2 octaves Grade 8 On any note from E to G~ 3 octaves ‘On any other note ~ 2 octaves 16Scales in Thirds 65 CMAJOR 2 Octaves 65 and 66: take special care when negotiating the Break. —— ® ® 66 DMAJOR 2 Octaves SS Petes Whole-Tone Scales 67 OB 2Octaves 4 ote 68 ONC 2 0ctaves 7 ae AB 2447Major Arpeggios involves a 4th finger, using RH/Ais recommended wig In most arpeggios, if the note after the Break involves a 4 sing RH(S i recommend Done ahs ete apepg's event and aby, Exceptions areal indicted with an ® 69 CMAJOR 1 Octave 70 CMAJOR 2 Octaves a ® 71 DoMAJOR 2 Ocraves ‘71: itis possible to use fingering II for DP, but care must be taken with tuning, 72 DMAJOR 1 Ocave 73 DMAJOR 2 Octaves 74 BMAJOR 2 Octaves 75 EMAJOR 2 Octaves 76 EMAJOR 3 Octaves 7 FMAJOR 1 Octave ® 78 FMAJOR 2 Octaves79 FMAJOR 3 Octaves e 80 FEMAJOR 2 Octaves ® 81 FEMAJOR 3 Octaves oie Feet +34 : ®) ®) ® ‘1: litle experimentation may be required to find the best fingering for top Fo follow top Ct. 82 GMAJOR 1 Octave 83 GMAJOR 2 Ocaves 84 GMAJOR 3 Octaves ‘84: a litle experimentation may be required to find the best fingering for top G to follow top D. L LR meer 85 ADMAJOR 2 Octaves 86 AMAJOR 1 Octave oe z = Zz 87 AMAJOR 2 octaves 88 BoMAJOR 1 Octave $ ee AB247 a89 BOMAJOR 2 Ocaves LR oe =e eae v 90: RHI needs special care in negotiating low B-Df really cleanly, especially when slurred, 18) = 90 BMAJOR 2 Octaves L. es 2 a Minor Arpeggios 91 CMINOR 2 Octaves a ® 92 CHMINOR 2 Octaves 92: itis possible to use fingering II for C¥, bur care must be taken with tuning. 93 DMINOR 1 Octave 94 DMINOR 2 Octaves 95 E-MINOR 2 Octaves 9: the basic fingerings here need special care with note-to-note co-ordination, especially when slurred. ®) © ® ® 96 EMINOR 2 Octaves 97 EMINOR 3 Octaves ® LR ® RL 98 FMINOR 2 Octaves 2Le ® - fe na pp ff ® no 99 FUNOR 3 Ocaves Es = = JJ m4 ) 100 FEMINOR 2 Octaves oH a2 101 FEMINOR. 3 Ocxaves ee = totsaliti experimentation may be required find he bs geting for top Fo follow ‘op Ch 102 GMINOR 2 Ocraves SSS SS 7 SS 103 GMINOR 3 Octaves & ——- => Ee 37 — = 1o>saliel experimentation maybe require ofthe be Sgt for op Gt flim op D. LrReorey 104 GEMINOR 2 Octaves oS + a 104: RH/1 needs special care in negotiat slurred, 105 AMINOR 1 Octave 106 AMINOR 2 Octaves ing low B-Dé really cleanly, especially when 107 BMINOR 2 Ocaves ee 5 108 BUNOR 2 Octave (=e J . . AB 2497 a109 in 2 Octaves 110 in€ 3 Octaves 111 inDb 20ctaves 112 nD 2 Octaves 118 inEb 2 Octaves 114 inE 2 0ctaves 118 inF 20ctaves 116 inF# 2 Octaves 117 inG 2 Octaves 2 Dominant Sevenths ®) ——— f fie — SS SSS =o — = a) ap 116: itis possible rouse fingering II for CP, bur care must be taken with tuning, ® 7% fe poet SS SSS SS ABT418 inAb 2 0caves 419 inA 3 Octaves 420 inBb 2 Octaves 4124 inBb 3 Octaves 122 inB 20ctaves rn ® 423 inB 3 Octaves 123: little experimentation may be required to find the bes fingering for top F# to follow top E. Diminished Sevenths 124 on€ 202ave Sse £ ota ——————— + 125 onCé 2 0craves — = 126 onD 2 0cxaves 127 OMB 2 Octaves AB 2447 2B129 OnE 3 Octaves 130 onF 3 Octaves 131 onFH 3 Octaves 132 onG 2 Octaves 133 onG 3 Octaves 134 on Ab 2 Octaves 135 on A 2 Octaves 136 onBb 2 Octaves 137 onB 2 Octaves u “ a uu ® ate ® F oF tbe ® © 4 —— = — * c=} + ve aad Mai and ex eit by Bares Mone i a eet Prt by Caipaig Lad Tht, Net 912(100) Pines id SS = (109) a 09) peter eaters Gree Ee Spitete et ; 109 won wh, tees 7 3 r f SoH Bee ee | (109) (0) A wo aA uaaaa2 : 1 eet tithe tas Cite pe ere ree F 25750 5 $ fi er ee ee poten rece rere pera u (a4) A eetes peer : = ayn e e——_ (124) 2 (425) e (126),a2 FOOT ee enn SESS SVVEVvs” a (3a) (136) (139) oo Po Pa Pa Sy eerie be p'tetar 49) 6 f batt t these, (151) enteten 5 (160) 5) ahaa e et het ee re ee Ee (158) te?! (161) 2 ea ae (162) Geundlestet at ye toltleriy, ot teeegh ce ieee pore qlee jeep o (163) (164) (165) Tees. .pBeny ttttiee EER fee; sey ng teleh teti PARTE SECONDA | DEUXIEME PARTIE 64 ESERCIZI | 64 EXERCICES ‘D'ARTICULATION “ { ; t SU DIFFERENT! COMBINAZIONI | SUR DIFERENTES COMBINAISONS D'ARTICOLAZIONE *? soaiodeglt adtet. |) Rludiersimulten'ment: A. Glampier|- ioe dep ormeey wise). Heard, BRcadath. | Lpertic ds la Methoce Progrrvsive, Ba. Ricoraly ‘41 Stodare contemporaneamen ALSESGB LAC rte det et LETS ESOC ESS LESSSSSESEESSSFSSTFSISCSESCES TSEC TOES:é ‘5 ~s Se ats Se aoa s S75 — ? = fe SSSe ee ae TIDPPPDSSSSOSOSCSSESEEELELEEEEEES S2ee ga ee gees ei i ee oer eet iene rae 7 aaa | LER eee e Gana 2 ESS ee eiNe + é\ fot st Ne Ee EES Esa ta lists asteasteastalTrrsesaeiaze SSeS pee = sag Oe OOREOORSROEEEEEEE409999499009T 444A LEAT -a | 6 pciieniinen Zs - | petetilitin — SPR ore fLaA S ee pee eee — g EPR SS PEs e ar aa = ee | fe sy ate L SES i! eas ayn are pol Se vA ‘dese ae SSS sepcessios: tay dy tog tay es j Sons aS SSS) Sa ay i “ : nf93-8 csi cnettetee rien ettiean tes meen “ee Se (eS Sag aT Ege ises ae age Se te a ee o Goaun nee ee [TURES page an eas b= SSS SS ae edea? deaede @ a. wo pages u (res re re oe oye y gate? Ft KE ee ” gong44 ‘The Turn — Der Doppelschlag Henry Lazarus Moderato (J =52) 5 f 45 Robert Stark Andante (+ =92) == 3 : 2 Se — y => a Sea 6 = — a Al pocomeno moss _ ama7 ‘Andantino (# =72) 46 Amand Vanderhagen oo P eres. tf ‘Moderato assai (d =80) Friedrich Demnitz >» 4 nf48 Csardas Ludwig Wiedemann 2 a ?P pitt legato D.C. al Fine 49 Allegro (+ =108) Paul Harris, loge FSF eae Gage! thblenrh, tateace, MecPoaom aAllegro non troppo (« =100) fe tite ## oe] >t ese aa > pisbe & z13. Es-Dur 13. E? major Allegretto grazioso ol >>> a ee i oe 14. c-Moll | 14. C minor Andante con moto sition Peters 7209ree 15. Bb major =: A dim, pood @ poco we —— — Pp crese. ~ sition Peters 70916. g-M oll | 16. G minor harmoniseh, Aarmonio Esition PetersZe ‘pesaute crest. = 18. d-Moll 18. D minor ts harmonisch Aarmonio melodisch melodio Moderato, —— of pe ae aca atte 5? cocna® Pe ———— ———==vsio studies IV. Akkord Studien Iv. Arpegs : jor 1. C-Dur 1. € maj Dreiklang Triad wi beim Dreiklang ete. Fike the Triad yD 709 Edition PetersEdition Peters 2. a-Moll Dreiang Triad eGe GES rh rite. > > > \Fo? 2. A minor Sept. Akon dimin.chord of the 7 “°$ a pie nf > — 25Improve your sight-reading! Clarinet Grades 4-5 Paul Harris NAME EXAMINATION RECORD | Grade Date Mark (© 1994 by Faber Music Ltd First published in 1994 by Faber Music Ltd Bloomsbury House 74-77 Great Russell Street London WCIB 3DA Design and typography by James Butler Music and text set by Silverfen Cover illustration by Drew Hillier Printed in England by Caligraving Ltd Al ights reserved, ISBNIO: 0-571-51465-0 EANI3:978-0.571-51465-6 ‘To buy Faber Music publications or to find out about the full range of titles available please contact your local music retailer or Faber Music sales enquiries: Faber Music Limited, Burnt Mill, Elizabeth Way, Harlow, CM20 2HX England ‘el: +44 (0)1270 82 89 82 Fax: +4 (0)1279 82 89 83 sales@fabermusic.com fabermusic.comINTRODUCTION ‘The ability to sight-read fluently is a most important part of your training as a clarinet player. Yet the sty of sight-reading is often badly neglected by young players and is frequently regarded as no more than a rather unpleasant side-line. If you become a good sight-reader you will be able to learn pieces more quickly, and play in ensembles with confidence and assurance. Also, in grade examinations, good performance in the sight-reading test will result in useful extra marks! Using the workbook ‘The purpose of this workbook is to incorporate sight-reading regularly into your practice and lessons, and to help you prepare for the sight-reading test in grade examinations. It offers you a progressive series of enjoyable and stimulating stages in which, with careful work, you should show considerable improvement from week to week. Each stage consists of two parts: firstly, exercises which you should prepare in advance, along with a short piece with questions; and secondly, an unprepared test, to be found at the end of the book. Your teacher will mark your work according to accuracy. Each stage carries a maximum of 50 marks and your work will be assessed as follows: 2 marks for each of the six questions relating to the prepared piece (total 12). 18 marks for the prepared piece itself. 20 marks for the unprepared test. (Teachers should devise a similar series of questions for the unprepared test, and take the answers into account when allocating a final mark.) Space is given at the end of each stage for you to keep a running total of your marks as you progress. If you are scoring 40 or more each time you are doing well! At the top of the first page in each stage you will see one or two new features to be introduced. There are then four different types of exercise: 1 Rhythmic exercises It is very important that you should be able to feel and maintain a steady beat. These ‘exercises will help develop this ability. There are at least four ways of doing these exercises: clap or tap the lower line (the beat) while singing the upper line to ‘la’; tap the lower line with your foot and clap the upper line; on a table or flat surface, tap the lower line with one hand and the upper line with the other; ‘play’ the lower line on a metronome and clap or tap the upper line. 2 Melodic exercises Fluent sight-reading depends on recognising melodic shapes at first glance. These shapes are often related to scales and arpeggios. Before you begin, always notice the key-signature and the notes affected by it, along with any accidentals. 3A prepared piece with questions You should prepare carefully both the piece and the questions, which are to help you think about and understand the piece before you play it Put your answers in the spaces provided. 4 An unprepared piece Finally, your teacher will give you an unprepared test to be read at sight. Make sure you have read the Sight-reading Checklist on page 21 before you begin each piece. Remember to count throughout each piece and to keep going at a steady and even tempo. Always try to look ahead, at least to the next note or beat.STAGE 1 1 goss RHYTHMIC EXERCISES 1 corterterces ter ter ‘tereer eer cer cerece : Tech cerlexrcer eecesteercar ct ecterrce areas tercar! : Here atdddd gd ed od a TIT od nid odd dg CPEPP CECE cere Cereer corer cereer cence Cereer MELODIC EXERCISES 1 4 I _— = ees (©1994 by Faber Music Ltd ‘This music is copyright. Photocopying is illegal.PREPARED PIECE 1 Explain the time-signature. What will you count? 2. What does Allegro giocoso mean? 3. In which key is this piece written? 4. What is the character of the music? 5. What do the dots above or below some of the notes indicate? 6 What do bars 1, 8 and 12 have in common? Unprepared tests page 22 E ooooogoF “The mark boxes are to be filled in by your teacher (see Introduction). Prepared work ota: [__] Unprepared: Total: aSTAGE 2 TH FA MELODIC EXERCISES 1PREPARED PIECE 1 What does Andante mean? | 2. In which key is this piece written? 3 What is the character of the music? 4 How often does the rhythm of bar 1 return? 5 How will you count bars 2 and 6 to ensure accuracy? | | 6 What does the symbol over the last note indicate? Total: 0000000 Unprepared tests page 23 Mark: | Prepared work total: Unprepared: Total: Running totals: 122 ‘A major STAGE 3 nD RHYTHMIC EXERCISES 1 3 i 3 3 (Re ae imate MC ata ate ta Op Coma ft i (le : , ; Ce Ore Cre eee cee eo 3 3 3 2 fae te eee fae at (ee (ae (ere (anit (al MELODIC EXERCISES 1PREPARED PIECE 1 In which key is the piece written? 2. Mark the G sharps with a cross. 3. What do the dots above or below some of the notes indicate? 4. What does Allegretto con moto mean? 5 What is the character of this piece? 6 How will you make your performance musical? Total: OOOO0000 Allegretto con moto Unprepared tests page 24 Mark: Prepared work total: ‘Unprepared: Total: Running totals: 12,3Moderato Friedrich Demnitz TN Das\st ja prahtisch- bei den tiefen Tonen kann die echte Hand liegen bleiben. aus Osterreich 6 aus OsterreichB Friedrich Demnitz P nf —= «> aus Osterreich Bedichtig iber alle Hohen. Friedrich Demnitz (03 ‘ 10) Ee == 4° a yenf Friedrich Demnitz Munter in kleinen Sprangen voran...Is Michael J. Glinka (1804-1857) a da capo al @- @ e & SS = ze = = Im litee lott in C-Dur. fine aa 1 fae er se aaaa ea eaa as {Sis Ses j