Studyguide

Woodwind and Brass

instruments
Academic year
2024-2025

Versie 10/06/20213p 1/
Contents
1 Bachelor 1 3
1.1 Instrument 1................................................................................................. 3
2 Bachelor 2 5
2.1 Instrument 2................................................................................................. 5
2.2 Audition training 1 ........................................................................................ 5
2.3 Literature study 1 (for all woodwind and brass students) .............................. 6
3 Bachelor 3 8
3.1 Instrument 3................................................................................................. 8
3.2 Audition training 2 ........................................................................................ 9
3.3 Literature study 2 ......................................................................................... 9
4 Master 1 10
4.1 Instrument 4............................................................................................... 10
4.2 Audition training 3 ...................................................................................... 10
5 Master 2 12
5.1 Master’s exam instrument .......................................................................... 12
5.2 Master’s exam Research & lecture performance........................................ 12
5.3 Master’s exam Final Creative project ......................................................... 13
5.4 Audition training 4 ...................................................................................... 13
5.5 Instrument 5 ............................................................................................. 15
6 Related woodwind or brass instrument 16
7 Postgraduate 16
7.1 Postgraduate orchestra instrument ............................................................ 16
7.3 Auditioning ................................................................................................ 17
8 Representative repertoire 17
 Organigram
For substantive questions, please consult:

Thomas Moore (Section coordinator Brass)

De Fleyt Karin (Section coordinator Woodwinds)
Koen Kessels (member of the artistic direction) Inge
Simoens (Head of Music)

1 Bachelor 1
1.1 Instrument 1
Course Assessment format % of overall score
Instrument 1 Skills test 100%

Assessment format:
• Internal assessments of the study programme will take place during class concerts or grouplessons
by the teacher or teachers and fellow students.
• The skills test will take place during the scheduled exam period and before an internal jury.The
skills test is worth 100% of the overall score, and consists of the following three components:
• Half-yearly assessment on the student’s instrument with a duration of 10 minutes
(January/February) (20% of total)
• Assessment on the student’s instrument with a duration of 20 minutes (May/June) (40% oftotal)
• Transposition 1 (see below) (40% of total)
The jury must reach a consensus and award one single grade for all assessment components. Results forindividual
components are not communicated.

Assessment standards:
The student must have acquired the final competencies, must be able to display that he or she has mastered the
instrument and that he or she can perform a score with understanding, stylistic knowledge and in an artistic
manner. The minimum pass mark is 10/20 for this course unit, and the result is not openfor negotiation.

Specifications as to the exam repertoire:

The student must choose the exam programme in consultation with the principal teacher.

Part-time students
Instrument 1 (part 1): the student takes all assessment components, performing 50% of the programmefor each
component.
Instrument 1 (part 2): the student takes all assessment components, which are worth 100% of theprogramme (the
exam programme for Instrument 1 (part 1) may be repeated).

A student who studies part-time after part 1 of 2 will not yet have acquired all the final competencies ofinstrument 1.
1.1.1 Transposition 1
Course Assessment format % of overall score

Transposition 1 Skills test 100%

Assessment format:
The skills test will take place during the scheduled exam period(s) and before an internal jury.

Assessment standards:
The student must have acquired the specified final competencies, must be able to demonstrate that he or she has
mastered the instrument and that he or she can perform a score in the very specific context of an audition with
understanding, stylistic knowledge and in an artistic manner.
To pass, students must get at least 50% in each component of the assessment for this course. The jury will reach a
consensus and award one single grade for all assessment components. Results for individualcomponents are not
communicated.

Specifications as to exam repertoire:

Woodwind instruments:

• One half-yearly assessment in transposition (written theory test, and a practical test
involving transposition and reading of keys) – for clarinet and saxophone.
• Two practical part-assessments in sight-reading, to take place in the January and May/Juneexam
period – for flute, oboe and bassoon.
• One practical part-assessment to take place in the May/June exam period (involving a
practical test on reading of keys) – for clarinet and saxophone.

Brass instruments:
• One half-yearly assessment worth 50% of the overall score (written theory test, and a
practical test involving transposition and reading of keys).
• One practical assessment to take place in the May/June exam period (involving a practicaltest on
reading of keys), worth 50% of the overall score.

Part-time students
Transposition 1 cannot be taken as a part-time course. The skills test for this course must be taken in
combination with part 1 or part 2 of Instrument 1.
 2 Bachelor 2
2.1 Instrument 2
Course Assessment format % of overall score
Instrument 2 Skills test 100%

for woodwinds: flute, oboe, bassoon, clarinet, saxophone

for brass instruments: horn, trumpet, trombone, bass tuba, saxhorn

Assessment format:
• Internal assessments of the study programme will take place during class concerts or grouplessons
by the teacher or teachers and fellow students.
• The skills test will take place during the scheduled exam period (May/June) and before aninternal
jury.
• 1 practical partial transposition test during the May/June exam period - for clarinet and
saxophone (30%)
• Transposing Instruments = 30% transposition + 70% class examination

Assessment standards:
The student must have acquired the final competencies, must be able to display that he or she has mastered the
instrument and that he or she can perform a score with understanding, stylistic knowledge and in an artistic
manner. The minimum pass mark is 10/20 for this course unit, and the result is not openfor negotiation.

Specifications as to the exam repertoire:

The student must choose an exam programme of 40 minutes in consultation with the principal teacher. The
programme must contain works from various stylistic periods and reflect the list of representative exam
repertoire. In the exam, the jury will choose the works which are to be played, for a total time of 30minutes.

Part-time students
Instrument 2 (part 1): the student takes a skills test, performing 50% of the programme. Instrument 2
(part 2): the student takes all the assessment components, performing 100% of theprogramme (the
exam programme for Instrument 2 (part 1) may be repeated).

A student who studies part-time after part 1 of 2 will not yet have acquired all the final competencies ofinstrument 2.

2.2 Audition training 1

Course Assessment format % of overall score

Audition training 1 Skills test 100%

Content:

1. Four compulsory modules for all orchestral instruments:

• How do I make a video recording for an audition? (Peter Verhoyen)
• Behind-the-scenes: How do I best prepare for an audition? (Koen Wilmaers)
 • How do I prepare my dossier and curriculum vitae? (Peter Verhoyen)
• How do I optimize my performance skills (Dorine Mortelmans)
2. Participate in the Mock audition on a voluntary basis for all orchestral instruments.
3. Woodwinds: An internal audition per instrument to prepare for the audition exam in January.Brass:
3 internal auditions per instrument: December, February/March, and May
Read more about the specific planning of this course on the DigitAP course "Audition Training".

Assessment format:
The skills test consists of various assessment components and will take place during the scheduled examperiod(s) and
before an internal jury.

Assessment standards:
The student must have acquired the final competencies, must be able to demonstrate that he or she has mastered
the instrument and that he or she can perform a score in the very specific context of an auditionwith
understanding, stylistic knowledge and in an artistic manner.

In order to pass the course, students must get at least 50% in each assessment component. The jury willreach a
consensus and award one single grade for all assessment components. Results for individual components are not
communicated.

Specifications as to exam repertoire:

Woodwind instruments:
• One half-yearly assessment involving four specified orchestral excerpts, taken in the January
exam period. This test is for all instruments. The excerpts are given to students atleast one month
before the exam.
• One practical test on transposition and sight-reading, to be taken in the May/June examperiod
– for clarinet and saxophone.
Brass instruments:
• Three practical assessments involving four specified excerpts of representative repertoire, taken
in December (33%), February/March (33%), and May (34%) and worth 100% of the overall score
for this course. 3 of the 4 excerpts will remain the same throughout the 3 exams. The remaining 1
can change per exam. The excerpts are given to students at leastone month before the exam.

Part-time students
Audition training 1 cannot be taken as a part-time course. The skills test for this course must be taken asa whole in
combination with part 1 or part 2 of Instrument 2.

2.3 Literature study 1 (for all woodwind and brass students)

Teacher: Peter Verhoyen
This two-year course gives students an overview of the history of woodwind and brass instruments. Thestudent
will gain an understanding of the historical context and circumstances in which the repertoire forthese
instruments came into being. The genres and styles will be explained and illustrated using CDs, scores, study
trips, and by examining historical instruments.
Part 1: Literature: discussion of the literature in relation to woodwind and brass instruments, covering the
following topics:
- History
- Nomenclature, function, symbolism, myths and perception in various cultures
- The origins and geographical reach
- Ethnic instruments related to woodwind and brass instruments
- Music with and/or for woodwind and brass instruments and the evolution of their music
notation
- The types of music for woodwind and brass instruments
- Critical reading of sources, heuristics, and hermeneutics
- Bibliographies, monographs, data bases, websites, publishers
- Treatises on performance practice
- Significant performers and recordings
- Journals and professional bodies

Part 2: The physique and physical aspects: discussion of the literature in relation to woodwind and brass
instruments, covering the following topics:
- Acoustics
- Sound, from source to perception
- Psycho-acoustic matters
- Care of the player’s hearing: the law, safety, and hygiene
- Breath control and posture
- Mouth position and hygiene
- Illnesses associated with the profession and relieving and curing them
- Philosophical and/or religious associations
- Alternative techniques based on this knowledge
- Contemporary performing techniques

Assessment format: three assessment components

Assessment in the first exam period:

Moment Format % of overall score
Academic year Ongoing evaluation 20%
throughout the year
Academic year Knowledge test 80%

The knowledge test consists of two components, worth a total of 80% of the overall score.
1. Assessment task: Each student must complete an independently prepared assessment task with an
oral presentation in front of the teacher and fellow students. This task is worth 30% ofthe knowledge
test.
2. Knowledge test: After lessons have finished, there will be an oral test on the course. This isworth
50% of the knowledge test.

Assessment(s) for the second exam period:

Moment Format % of overall score
Academic year Knowledge test 100%

Assessment standards:
- Ongoing evaluation throughout the year: assessment is based on attendance, attention in class,
knowledge and interest.
- Assessment task: in the assessment task, the student must demonstrate a major interest in a given
topic, linked to his or her own artistic performance practice. Accuracy and completenessare important
considerations.
 - In the knowledge test, the student must demonstrate knowledge in the literature studied and the
curriculum. Accuracy and completeness are also important.

General:
The student must pass each assessment component in order to pass the entire course. If the student failsone of the
components, the lowest score will constitute the student’s final score for the entire course, and the student will be
referred to the next exam period to re-sit the entire course.

In the second exam period, ongoing evaluation throughout the year is not used as an assessmentformat.
The final result is judged as follows:
- Assessment: the student must complete an independently prepared assessment task with an oral
presentation for the teacher. This component is worth 50% of the final result.
- Knowledge test: this consists of an oral test on the course. This component is worth 50% of thefinal
result.

3 Bachelor 3
3.1 Instrument 3
Course Assessment format % of overall score
Instrument 3 Skills test 100%

Assessment format:
• Internal assessments of the study programme will take place during class concerts or grouplessons
by the teacher or teachers and fellow students.
• The skills test will take place during the scheduled exam period and before an internal andexternal
jury.
The skills test is worth 100% of the overall score and consists of a public exam with a mixed recital
programme with a minimum duration of 45 minutes (May/June).
Woodwind players: on the day itself, after consultation with the internal and external jury, this programmecan be
reduced to approximately 30 minutes.
Brass players: on the public test, the jury chooses a programme of about 30 minutes.

Assessment standards:
The student must have acquired the final competencies, must be able to demonstrate that he or she has mastered
the instrument and that he or she can perform a score with understanding, stylistic knowledge and in an artistic
manner. The minimum pass mark is 10/20 for this course unit, and the result is not openfor negotiation.

Specifications as to exam repertoire:

The student must choose the exam programme in consultation with the principal teacher. The programmemust
contain works from various stylistic periods and reflect the list of representative exam repertoire. In addition,
students must prepare one compulsory work.

Part-time students
Instrument 3 (part 1): the student performs 50% of the programme in front of an internal jury Instrument 3 (part 2):
the student performs the complete bachelor 3 programme in a public exam. (theexam programme for Instrument 3
part 1 may be repeated. A student who studies part-time after part 1 of 2 will not yet have acquired all the final
competencies ofinstrument 3.
3.2 Audition training 2
Course Assessment format % of overall score
Audition Training 2 Skills test 100%

Content:

1. Only compulsory for lateral entrants (new students): Four compulsory modules for all orchestral
instruments:
a. How do I make a video recording for an audition? (Peter Verhoyen)
b. Behind-the-scenes: How do I best prepare for an audition? (Koen Wilmaers)
c. How do I prepare my dossier and curriculum vitae? (Peter Verhoyen)
d. How do I optimize my performance skills (Dorine Mortelmans)
2. Participate in the Mock audition on a voluntary basis for all orchestral instruments.

3. Woodwinds: An internal audition per instrument to prepare for the audition exam in January.Brass:
3 internal auditions per instrument: December, February/March, and May

Read more about the specific planning of this course on the DigitAP course "Audition Training".

Assessment format:
The skills test will take place during the exam period in January before an internal jury.

Assessment standards:
The student must have acquired the specified final competencies, must be able to demonstrate that he or she has
mastered the instrument and that he or she can perform a score in the very specific context of an audition with
understanding, stylistic knowledge and in an artistic manner.
The minimum pass mark is 10/20 for this course unit.

Specifications as to the exam repertoire:

Woodwinds: Practical test during the January exam period, consisting of six (6) specified orchestralexcerpts. These
excerpts will be given to the student at least one month before the exam.

Brass: Practical tests in December, February/March and May, consisting of six (6) specified excerpts of
representative repertoire. 3 of the 6 excepts will remain the same throughout the 3 exams. The 3 reamining can
change for each exam. These excerpts will be given to the student at least one month before the exam.

Part-time students
Audition Training 2 cannot be taken as a part-time course. The skills test for this course must be taken asa whole
in combination with part 1 or part 2 of Instrument 3.

3.3 Literature study 2

See Literature Study 1.
Teachers: Peter Verhoyen (woodwinds) and Jan Smets (brass).
 4 Master 1
4.1 Instrument 4

Course Assessment format % of overall score

Instrument 4 Skills test 100%

Assessment format:
• Internal assessments of the study programme will take place during class concerts or grouplessons
by the teacher or teachers and fellow students.
• The skills test will take place during the scheduled exam period and before an internal jury.

Assessment standards:
The student must have acquired the final competencies, must be able to demonstrate that he or she has mastered
the instrument and that he or she can perform a score with understanding, stylistic knowledge and in an artistic
manner. The minimum pass mark is 10/20 for this course unit, and the result is not openfor negotiation.

Specifications as to exam repertoire:

Skills test in the May/June exam period: worth 100% of the overall score, consisting of one exam with amixed
recital programme for a duration of 30 minutes.

The student must choose an exam programme of 60 minutes in consultation with the principal teacher. The
programme must contain works from various stylistic periods and must include a solo work of 5 to 10minutes’
duration. In the exam, the jury will choose the works which are to be played, for a total time of 30minutes.

Part-time students
Instrument 4 (part 1): Students must perform 40% of the programme and prepare 25 minutes’ worth ofmusic,
including the solo work.
Instrument 4 (part 2): Students must perform 60% of the programme and prepare 35 minutes’ worth ofmusic,
including the solo work.

A student who studies part-time after part 1 of 2 will not yet have acquired all the final competencies ofinstrument 4.

4.2 Audition training 3

Course Assessment format % of overall score
Audition Training 3 Skills test 100%

Content:

1. Only compulsory for lateral entrants (new students): Four compulsory modules for all orchestral
instruments:
a. How do I make a video recording for an audition? (Peter Verhoyen)
b. Behind-the-scenes: How do I best prepare for an audition? (Koen Wilmaers)
c. How do I prepare my dossier and curriculum vitae? (Peter Verhoyen)
d. How do I optimize my performance skills (Dorine Mortelmans)
 2. Participate in the Mock audition on a voluntary basis for all orchestral instruments.

3. Woodwinds: An internal audition per instrument to prepare for the audition exam in January.Brass:
3 internal auditions per instrument: December, February/March, and May

Read more about the specific planning of this course on the DigitAP course "Audition Training".

Assessment format:
A skills test during the January exam period before an internal jury.

Assessment standards:
The student must have acquired the specified final competencies, must be able to demonstrate that he or she has
mastered the instrument and that he or she can perform a score in the very specific context of an audition with
understanding, stylistic knowledge and in an artistic manner.
The minimum pass mark is 10/20 for this course unit.

Specifications as to the exam repertoire:

Woodwinds: Practical test during the January exam period consisting of the following:

• 8 specified orchestral excerpts, which will be given to the students at least one monthbefore
the exam.
• First movement from the frequently imposed audition repertoire, to be chosen in
consultation with the principal studies teacher.

Brass: Practical tests in December, February/March and May exam consisting of the following:

• 8 specified excerpts of representative repertoire, which will be given to the students atleast
one month before the exam. 3 of the 8 excerpts will remain the same for the 3 exams. The
remaining 5 can change for each exam.
• A movement from the frequently imposed audition repertoire, to be chosen in
consultation with the principal studies teacher.

Part-time students
Audition Training 3 cannot be taken as a part-time course. The skills test for these courses must be takenas a
whole in combination with part 1 or part 2 of Instrument 4.
 5 Master 2
5.1 Master’s exam instrument
Course Exam format Duration % of overall score
Master’s Exam Instrument Final assignment 45 minutes of music 100%

Assessment format:
• Internal assessments of the study course will take place during contact sessions and during the
discussions with the relevant teachers about the reflective portion of the master’s exam.
• The public master’s exam will take place during the scheduled exam period and before aninternal
and external jury.

Assessment standards:
For the master’s exam, the student must have acquired the final competencies, must be able to demonstrate
that he or she has mastered the instrument and that he or she can perform a score withunderstanding,
stylistic knowledge and in an artistic manner.

MUSIC EDUCATION OPTION:

The final assignment consists of a public exam of 45 minutes with works from various stylistic periodswhich must
reflect the list of representative exam repertoire.

PODIUM OPTION
The final assignment consists of a public exam of 45 minutes with works from various stylistic periods,including
one compulsory solo work of 5 to 10 minutes’ duration. One work must be performed from memory. Works must
reflect the list of representative exam repertoire.
Specifically for the brass instruments: 1 piece on the program must have been written within the past 50years.

The student may also choose to include a representative chamber music work within his examination
programme. This is done in consultation with the teacher in question, subject to the approval of the section
head. This work can be counted for a maximum of 15' within the mandatory 45 minutes. This work can no
longer apply to the chamber music exam. The student therefore responds to the chambermusic exam and has
to provide extra chamber music repertoire.

Part-time students
Master’s Exam (part 1): the student performs 50% of the programme in front of an internal jury
Master’s Eexam (part 2): the student performs the complete master’s programme in a public exam. (theexam
programme for Master’s exam part 1 may be repeated)

A student who studies part-time after part 1 of 2 will not yet have acquired all the final competencies ofmaster’s
exam Instrument.

5.2 Master’s exam Research & lecture performance

See Studyguide master’s Exam Research and lecture performance
5.3 Master’s exam Final Creative project
See Studyguide Creative project.

5.4 Audition training 4

Course Assessment format % of overall score

Audition Training 4 Skills Test 100%

Content:

1. Only compulsory for lateral entrants (new students): Four compulsory modules for all orchestral
instruments:
a. How do I make a video recording for an audition? (Peter Verhoyen)
b. Behind-the-scenes: How do I best prepare for an audition? (Koen Wilmaers)
c. How do I prepare my dossier and curriculum vitae? (Peter Verhoyen)
d. How do I optimize my performance skills (Dorine Mortelmans)
2. Participate in the Mock audition on a voluntary basis for all orchestral instruments.

3. Woodwinds: An internal audition per instrument to prepare for the audition exam in January.Brass:
3 internal auditions per instrument: December, February/March, and May

Read more about the specific planning of this course on the DigitAP course "Audition Training".

Assessment format:
The skills test will take place before an internal jury.

Assessment standards:
The student must have acquired the specified final competencies, must be able to demonstrate that he or she has
mastered the instrument and that he or she can perform a score in the very specific context of an audition with
understanding, stylistic knowledge and in an artistic manner.
The minimum pass mark is 10/20 for this course unit.

Specifications as to the exam repertoire:

Woodwinds: Practical test during the January exam period consisting of the following:
• 8 specified orchestral excerpts, which will be given to the students at least one monthbefore
the exam.
• First and second movements from the frequently asked audition-repertoire to be chosenin
consultation with the principal studies teacher.

Brass: Practical tests in December, February/March and May exam consisting of the following:
• 8 specified excerpts of representative repertoire, which will be given to the students atleast
one month before the exam. 3 of the 8 excerpts will remain the same for the 3 exams. The
remaining 5 can change for each exam.
• 2 movements from the frequently asked audition-repertoire to be chosen in consultationwith
the principal studies teacher.

Part-time students
Audition Training 4 cannot be taken as a part-time course.
5.5 Instrument 5 (only in combination with master’s exam Final creativeProject)

Course unit Assessment format % of overall score

Instrument 5 Skills test 100%

Assessment format:
• Internal assessments of the study programme will take place during class concerts or group lessons bythe
teacher or teachers and fellow students.
• The skills test will take place during the scheduled exam period and before an internal and externaljury.

Assessment standards:

The student must have acquired the final competencies, must be able to demonstrate that he or she has mastered
the instrument and that he or she can perform a score with understanding, stylistic knowledge and in an artistic
manner. The minimum pass mark is 10/20 for this course unit, and the result is not openfor negotiation.

Specifications as to exam repertoire:

MUSIC EDUCATION OPTION
Skills test in the May/June exam period: worth 100% of the overall score, consisting of one public examwith a
mixed recital programme with a duration of 45 minutes.
The student must choose the exam programme in consultation with the principal teacher. The programmemust
contain works from various stylistic periods for a duration of 45 minutes and must reflect the list of representative
exam repertoire.

PODIUM OPTION
Skills test in the May/June exam period: worth 100% of the overall score, consisting of one public examwith a
mixed recital programme for a duration of 40-45 minutes.
The student must choose an exam programme in consultation with the principal teacher. The programmemust
contain works from various stylistic periods for a duration of 40 to 45 minutes and must include a compulsory solo
work of 5 to 10 minutes (possibly in collaboration with the composition class). One piecemust be performed from
memory.

In both options, the student can also choose the option to play one representative chamber music pieceonly
after approval by the teacher and the section coordinator. The chamber music-part of the programme will only
account for 15 minutes of the total programme of 45 minutes. This work can no longer apply to the chamber
music exam. The student therefore responds to the chamber music exam and has to provide extra chamber
music repertoire.

Part-time students
Instrument 5 (part 1): the student performs 50% of the programme in front of an internal jury Instrument 5
(part 2): the student performs the complete master’s programme in a public exam. (theexam programme for
Master’s exam part 1 may be repeated)

A student who studies part-time after part 1 of 2 will not yet have acquired all the final competencies ofinstrument 5.
 6 Related woodwind or brass instrument
Related Instrument 1: optional course

Assessment format Prepare Minutes of music required % of overall score

Skills test 15 minutes 10 minutes 100%

Related Instrument 2: optional course

Assessment format Prepare Minutes of music required % of overall score

Skills test 20 minutes 15 minutes 100%

Related Instrument 3, 4, and 5: optional course

Assessment format Prepare Minutes of music required % of overall score

Skills test 30 minutes 20 minutes 100%

Assessment format:
The skills test will take place during the scheduled exam period (May/June) and before an internal jury.

Assessment standards:
The minimum pass mark is 10/20 for this course unit.

Specifications as to exam repertoire:

In the exam, the jury will select the pieces to be played.

7 Postgraduate
The student must formulate a learning pathway at the start of the academic year, stimulated by his or herspecific
motivations, such as an orchestral audition, taking part in a competition, or exploration of a specific chamber
music discipline. On the basis of the student’s motivations, the student and teacher together make a choice of the
works which the student will study. This learning pathway will be noted andgiven to the artistic director before the
start of the lessons.

7.1 Postgraduate orchestra instrument

7.2 Instrument
Course Assessment format % of overall score
Instrument Skills test 100%

Assessment format:
• Internal assessments of the study course will take place during class concerts or group lessonsby the
teacher or teachers.
• The public skills test will take place during the scheduled exam period and before an internal andexternal
jury.
 Skills test: worth 100% of the overall score, consisting of one public exam of at least 60 minutes’ duration,made up of a
mixed recital programme.

Assessment standards:
The student must have acquired the final competencies, must be able to demonstrate that he or she has
mastered the instrument and that he or she can perform a score with understanding, stylistic knowledge and in
an artistic manner.
The minimum pass mark is 10/20 for this course unit, and the result is not open for negotiation.

Specifications as to exam repertoire:

The student must choose the programme in consultation with the principal subject teacher of 60 minutes.

7.3 Auditioning
See Audition Training 4.

8 Representative repertoire
8.1 Saxhorn
Saxhorn 1

Soprano or Eb-Cornet
Etudes:
Legato Etudes (Giuseppe Concone opus 9); Studies P. Nuten; Studies Th. Charlier
Repertoire works:
• Demelza (Hugh Nash)
• Adagio and Allegro (G.F. Handel)

Cornet
Etudes:
Legato Etudes (Giuseppe Concone opus 9); Studies P. Nuten; Studies Th. Charlier
Repertoire works:
• Aria (Georg Goltermanr)
• Escapade (Joseph Turrin)
• Intrada (Otto Ketting)

Bugel or Flugel
Etudes:
Legato Etudes (Giuseppe Concone opus 9); Studies P. Nuten; Studies Th. Charlier
Repertoire works:
• Aria (Georg Goltermanr)
• Macushla (Dermot Macmurrough)
• Fantasy (James Curnow)
• Arioso and Caprice (Ronald Hanmer)
Alto or Eb-Horn
Etudes:
Legato Etudes (Giuseppe Concone opus 9); Studies P. Nuten; Studies Th. Charlier
Repertoire works:
• A Concert Suite (Ray Woodfield)
• Horn Concerto N°1 (W.A. Mozart)
• Demelza (Hugh Nash)

Bariton, Small Tuba or Euphonium

Etudes:
Legato Etudes (Giuseppe Concone opus 9); Studies P. Nuten; Studies Th. Charlier
Repertoire works:
• Aria (Georg Goltermanr)
• Twilight Sernade (Kees Schoonenbeek)
• Andante and Rondo (Antonio Capuzzi)
• Dimitri (Rodney Newton)

Saxhorn 2

Soprano or Eb-Cornet
Etudes:
Thirty-six celebrated studies for cornet (N. Bousquet); Studies Th. Charlier; Studie D’HerveRepertoire
works:
• Demelza (Hugh Nash)
• Carnival Di Venice (W.Seddon)

Cornet
Etudes:
Thirty-six celebrated studies for cornet (N. Bousquet); Studies Th. Charlier; Studie D’HerveRepertoire
works:
• Sonate Opus 18 (Thorvald Hansen)
• Variations on a Theme from Norma (V. Bellini)
• Song and Dance (Philip Sparke)
• My Ain Folk (Laura Lemon - arr. P. Graham)

Bugel or Flugel
Repertoire works:
• I Hear You Calling Me (Charles Marshall)
• Dimtri (Rodney Newton)
• Escapade (Joseph Turrin)
• My Ain Folk (Laura Lemon - arr. P. Graham)

Alto or Eb-Horn
Etudes:
Thirty-six celebrated studies for cornet (N. Bousquet); Studies Th. Charlier; Studie D’HerveRepertoire
works:
• Variations on a Welsh Theme (Peter Kneale)
• Concertino (Gareth Wood)
• Romanze (Saint Saëns)

Bariton, Small Tuba or Euphonium

Repertoire works:
• Dublin’s Fair City ( Roy Newson)
• Variations on a Welsh Theme (Peter Kneale)
• Concert Gallop (Philip Wilby)
• September Fantasy (Eric Ball)

Saxhorn 3

Soprano or Eb-Cornet
• The Queen of The Night’s Area Mozart – arr. John Golland)
• September fantasy (Eric Ball)

Cornet
• Prelude nr.6 (Bach – par A. de Herve)
• Variations on a Welsh Theme (P.Kneale)
• Concerto Tricolore (Thomas Doss)

Bugel or Flugel
• Variations on a Tyrolean Song (J.B. Arban)
• Sonate in F- Major ( Benedetto Marcello)
• Concertino (William Himes)

Alto or Eb-Horn
• Concert Op. 8 (Franz Stauss)
• Rapsody (Robert Eaves)

Bariton, Small Tuba or Euphonium

• Fantasy (François Glorieux)
• The Call of The Seasons (Philip Catelinet)
• A Time For Peace (Peter Graham)
• Arioso and Allegro (Joseph Hector Fiocco)

Saxhorn 4

Soprano or Eb-Cornet
• Fantasia on a Welsh Melody (Jenny Jones)

Cornet
• Concerto fot Bb Cornet (Philip Sparke)
• Concertpiece (James Curnow)
• Blaythorne Suite (Jeremy Nicholas)
• Sonatine (Jean-Michel Defay)
 Bugel or Flugel
• Variations on a Theme from Norma (V. Bellini)
• Rapsody (Robert Eaves)

Alto or Eb-Horn
• Sonate for Tenor Horn (John Golland)
• Capriccio (Philip Sparke)

Bariton, Small Tuba or Euphonium

• Fantasy (Francois Glorieux)
• Arioso and Allegro (Joseph Hector Fiocco)
• The Call of the Seasons (Phil. Catelinet)

8.2 Trombone

Trombone 1
-Etudes:
60 studies for trombone Koprasch Melodious
etudes book 1 Joannes Rochut
Douze études mélodiques H.Büsser/H.Couillaud40
Progressive etudes H.W. Tyrell

• Fantasia F.Hidas
• Divertimento E.Gregson
• Rapsodia W.Kesrsters

Other repertoire - Trombone 1, 2 and 3

This list should be used, taking into account the starting level and progress of the student.

Elgy for Mippy II L. Bernstein (solo)Fantasia F.

Hidas (solo)
Canto II Samuel adler (solo) Monoloog
8 Erland van Koch (solo)
Fantasy for Trombone Malcolm Arnold (solo) Sonate
für Posaune solo Caspar Diethelm (solo)suite in mi
klein Benedetto marcello
Concerto en si b A. Vivaldi
Sonata in F B. Marcello Sonata in
G minor B. MarcelloToccata
Frescobaldi
Sonata in D minor A. Corelli
Sonata no. 4 in Bb A. Vivaldi
Sonata J.F. Fash
Konzertino F. DavidElegi
M. Amdahl
Cavatine op. 144 C. Saint-Saëns
Romance Carl Maria von Weber
Vocalise S. Rachmaninoff
Morceau symphonique op, 88 A. Guilmont
Morceau symphonique PH. Gaubert
Impromptu G. Wilkens Chilott
Caprice G. Wilkenschilott
Concerto R. Korsakov Etude
de Concert H. BüsserRapsodie
W. Kersters Divertimento V.
Kalkman Aria et polonaise J.
Jorgen Contest piece Gedolge
Mouvement J.M. Defaye
Sonatina D. Serocki Concerto
G. Jacob Concertono E. Sachse
sonata vox Gabrieli S. Sulek
Concerto R. Boutry Concertino
M. Spisach Ciaconna E. Bozza
Fantaisie Concertante P. Bonneau
Capriccio P. Bonneau
Ricercare M. Bitsh
Concertino Fr. Rasse Piece
en mib J. Ed. BaratFantaisie
S. Stojowski Sonata Leslie
Bassett Sonata G. Jacob
Romance ida gotkovsky
Ludus Agomis Jan Koetsier
Divertimento E. Gregson

Trombone 2
• 60 studies for trombone Koprasch (boek 2)
• Melodious etudes Joannes Rochut (boek 2)
• Morceau sympfonique A.Guillemant
• B.A.C.H. K.Sturzenegger
• Sonate S.Sulek
• Sonate in e B.Marcello
Legato Etudes on vocalises of Giuseppe Concone
12 Fantasies for trombone G.PH. Telemann by Alan Raph12
Etudes Jacques Gallay
15 Etudes Willem Van Mannen

Trombone 3
Etudes:
• Melodious etudes Joannes Rochut (boek 3)
Representative exam works:
• Sonatine K.Serocki
• Aria en Polonaise J.Jongen
• Concertino F.David
 • Parable Persichetti
Cello suites J.S. Bach by Andre Lafosse
30 Récréations en forme d'études Gérard Pichereau15
Etudes de Rythme Marcel Bitsch

Trombone 4
Etudes:
• 15 Etudes de Rythme Marcel Bitsch
• 12 Etudes de haut perfectionnement Roger Boutry

Representative exam works: Podium and Orchestral Playing option

• Concerto L.Gröndahl
• Sonate P.Hindemith
• Piece en Mib Ropartz
• Concertino d’Hiver D.Milhaud
• Choral,Cadence et Fugato H.Dutilleux

Representative exam works: Music Education option:

• Romance C.E. von Weber
• Concerto L.E.Larsson
• Sonatine J.Koetsier
• Sonate J.Fillas

8.3 Trumpet

Trumpet 3
Etudes:
Arban, Bitsch, Charlier, Reynolds, Tomasi en Brandt

Repertoire works:
• Apostel H.E. : Sonatine in 3 Sätzen
• Arnold M. : Concerto
• Bitsch M. : Quatre Variations sur une Thème de Scarlatti
• Böhme O. : Konzert in f-moll Op. 18
• Delerue G. : Concertino
• Denisov E. : Solo
• Françaix J. : Sonatine
• Friedmann S. : Solus
• Hadermann J. : Wicker Work
• Hamilton I. : Five Scenes
• Honneger A. : Intrada
• Horovitz J. Concerto
• Hubeau J. : Sonate
• Kennan K. : Sonata
• Killmayer W. : Tre Pezzi
• Meulemans A. : Concerto
• Nussio O. : Impromptu
 • Persichetti V. : Parable
• Pochielli A. : Concerto
• Stekke L. : Concerto
• Stevens H. : Sonata
• Torelli G. : Concerto in D (Etienne Roger 188)
• Torelli G. : Sinfonia in D(G1)

Trumpet 4:
Etudes:
Arban, Bitsch, Charlier, Reynolds, Tomasi en Brandt

Repertoire works:
• Haydn J. : Concerto in Es
• Hvoslef K. : Tromba Solo
• Marcello B. : Sonata
• Stöltzel H. : Concerto in D
• Sutermeister : Gavotte de Concert
• Takemitsu T. : Paths
• Tomasi H. : Semaine Sainte à Cuzco
• Von Grunelius W. : Jeux pour deux

Trumpet 5 and Master’s Exam Trumpet, Podium option and Music Education Option:Etudes:
Arban, Bitsch, Charlier, Reynolds, Tomasi en Brandt

Repertoire works:
• Brenta G. : Concertino
• Chaynes C. : Concerto
• Chevreuille R. : Concerto
• Darcy R. : Concerto
• Darcy R. : Rhapsodie
• Delcroix L. : Divertissement Rhapsodique
• Devreese G. : Recitativo & Allegro
• Eben P. : Okna(Fenster)
• Haendel G.F. : Suite in D
• Hertel J.W. : Concerto in D
• Hindemith P. : Sonate
• Landowsky M. : Quatre jours
• Loucheur : Concertino
• Schnyder D. : Sonata
• Tomasi H. : Tryptique

8.4 Horn

Horn 3
Repertoire works for study during the year:

• Concerto 1 R. Strauss
• concerto 2 J. Haydn
• concerto 2 WA. Mozart
• Nocturno F. Strauss
• Concerto in es FA. Rosetti
• concerto in f FA. Rosetti
• Romance A. Skriabine
• Morceau de concert C. Saint-Saëns
• concertino E. Larsson
• Study for horn and tape J. Segers
• Nachtpoëma P. Van Eeckhout
• Elégie et danse F. Wigy
• En Forêt E. Bozza
• Larghetto E. Chabrier
• sonate op 17 L. Van Beethoven
• concerto A. Aratunian
• concerto R. Barbier
• Bewegingen in sonatevorm, P. Cabus
• Nocturne R. Glière
• Rêverie A. Glazounov
• sonate P. Hindemith
• Cyrano de Bergerac R. Herberighs
• concerto in D M. Haydn
• Laudatio (solo) B. Krol
• Elegie F. Poulenc

Representative Exam Repertoire:

• Concerto 2 - Haydn
• Concertino - Larsson
• Sonate op 17 – Beethoven Horn 4

+ 5 + Master’s exam Horn

Repertoire works for study during the year:

• Concerto 1 R. Strauss
• Introductie Thema und variationen, R. Strauss
• concerto 2 WA. Mozart
• concerto 4 WA. Mozart
• concert rondo WA. Mozart
• Nocturno F. Strauss
• concerto in D M. Haydn
• Concerto in es FA. Rosetti
• concerto in f FA. Rosetti
• Morceau de concert C. Saint-Saëns
• sonate P. Hindemith
• Essay J. Segers
• Study for horn and tape J. Segers
• Laudatio (solo) B. Krol
• Parable (solo) V. Persichetti
• Poème sylvestre L. Stekke
• Notturno C. Reinecke
• Impressions in Jazz M. Rindt
• Nachtpoëma P. Van Eeckhout
• Fantasy (solo) M. Arnold
• Cyrano de Bergerac R. Herberighs
• 4 pieces/improvisations (solo) , V. Buyanowsky
• sonate 2 L. Cherubini
• Larghetto E. Chabrier
• sonate op 17 L. Van Beethoven
• concerto A. Aratunian
• concerto R. Barbier
• Villanelle P. Dukas
• Alpha JM. Defaye
• Bewegingen in sonatevorm, P. Cabus
• Elegy for Mippy I L. Bernstein
• Nocturne R. Glière
• concerto P. Hindemith
• The call (solo) W. Henderickx

Representatief examenrepertoire:
• Morceau de concert - Saint-Saens
• Concerto 2 + 4 - Mozart
• Concerto 1 – Strauss

Music Education Option Horn 5

Repertoire works for study during the year:
• En Irlande E. Bozza
• concerto 3 WA. Mozart
• Légende M. Poot
• concerto 1 WA. Mozart
• concerto 2 J. Haydn
• Pièce concertante J. Semler-Colléry
• Nachtpoëma P. Van Eeckhout
• Concerto a tre GP. Telemann
• Elégie et danse F. Wigy
• En Forêt E. Bozza
• Rondo A. Cooke
• Chasse de Saint Hubert H. Busser
• Cantecor H. Busser
• Pièce en re H. Busser
• Rêverie A. Glazounov
• concerto P. Hindemith
• concertino E. Larsson

Representative Exam Repertoire:

 • Concerto - Hindemith
• Nachtpoëma - Van Eeckhout
• Pièce en ré – Busser

8.5 Tuba

Tuba 4 + 5 + Master’s exam Tuba

• Koetsier - Tuba concert
• Jan vd Roost - Cantubalada (tuba solo)
• Philip Sparke - Tuba concert
• Lebedev - Tweede concert
• John Williams - Tuba concert
• Bozza - Allegro et Finale

Music Education Option:

• Lebedev - tweede concert
• Koetsier - Sonatina
• Marcello - Sonate
• Bozza - Prélude et Allegro
• Persichetti - Serenade no 12 (tuba solo)

8.6 Flute
Bachelor
Studies:
Drouet, Louis: 25 Etudes Célèbres
Andersen, Joachim: 24 Grosse Etüden op. 15
Jean-Jean, Paul: Etudes Modernes

Scales:
Moyse, Marcel: Exercises Journaliers
Taffanel, Paul et Gaubert, Phillip: Grand Exercises Journaliers de Mécanisme

Tone exercises:
Moyse, Marcel: De la Sonorité - Art et Technique
Wye, Trevor: Volume I

Repertoire:

Baroque:
Händel, Georg Friedrich: Sonates
Bach, Johann Sebastian: Sonate in g, Sonate in Es
Telemann, Georg Philip: 12 Fantasieën
Bach, Carl Philip Emanuel: Sonate in G, Sonate in e, Sonate in g

Classical:
Kuhlau, Franz: Duo's Brillante op. 110 Hummel,
Johan Nepomuk: Sonate op. 50 in dReinecke, Carl:
Ballade
Mozart, Wolfgang Amadeus: Rondo; Sonates K.V. 13, 14, 15Other

styles :

Martinu, Bohuslav: Sonate

J. Geraedts: Sonatine
Andriessen, Louis: Sonate
Fauré, Gabriel: Fantaisie
Gaubert, Philip: Sonates no. 1 en 2
Roussel, André: Joueurs de Flûte

Solo
K. Fukushima: Requiem, Mei
J. Ibert: Pièce;
Cl. Debussy: Syrinx;
A. Honneger: Danse de la ChèvreConcertos

with orchestra :

Devienne, Frans: Concerti

Stamitz, Carl: Concert in G
Telemann, Georg Phillip: Concert in A
Chaminade, Cecile: Concertino

Master

Studies:
Köhler, Ernesto: Virtuosen Etuden op. 75 deel I, II en III
Bitch, Marcel: Douze Études
Paganini, Nicolaj: 24 Caprices
Dick, Robert: Etudes
Yun, Isang: 5 Etudes
Moyse, Marcel: 12 Etudes de grande Virtuosité d' après Chopin

Repertoire:
Baroque:
Bach, Johann Sebastian: sonates Bach,
Carl Philip Emanuel: sonatesVivaldi,
Antonio: sonates
Blavet, Michel: sonates
Leclair, Jean Marie: sonates
Müthel, Johan Gotfried: sonates

Classical:
Franck, Cesar: Sonate in A
von Weber, Carl Maria: Sonate in As
Schubert, Franz: Introduction und Variationen über ‘Ihr Blümlein alle’
 Other styles:
Prokofiev, Sergej: Sonate no. 2
Muczynski, Robert: Sonate Yun,
Isang: Garak
Jongen, Joseph; Sonate Widor,
Charles-Marie: Suite Jolivet,
André: Chant de Linos
Loevendie, Theo: Music for flute
Berio, Luciano: Sequenza

Concertos with orchestra:

Mercedante, Saverio: Concert in e Devienne,
François: concert nr 7 in e
Bach, Carl Philip Emannuel: Concerten in d en GIbert,
Jacques: Concert
Jolivet, André: Concert
Nielsen, Carl: Concert

8.7 Oboe

Bachelor
Studies:
Ferling, Franz Wilhelm; 48 Etudes opus 31.Loyon,
Ernest: 32 etudes
Dubois, Pierre Max: 12 Etudes Modernes
Gillet, Georges & Gillet, Fernand: Études pour l'enseignement supérieur du hautbois

Repertoire:

B1
Goossens, Eugène: Oboe concerto (op. 45)
Bozza, Eugène: Fantaisie Pastorale (op. 37)B2
Rietz, Julius: Konzertstück (op. 33)
Denisow, Edisson: Solo for Oboe B3
Dorati, Antal: Duo concertante pour Hautbois et Piano
Krenek, Ernst: 4 stücke für Oboe und Klavier

Master
Studies:
Gillet, Georges & Gillet, Fernand: Études pour l'enseignement supérieur du hautbois
Lamorlette, Roland: 12 etudes
Silvestrini, Gilles: 6 Etudes pour Hautbois

Repertoire:
M1
 Duttilleux, Henri: Sonata for oboe and piano
Isang, Yun: Piri for solo Oboe
M2
Mozart, Wolfgang Amadeus: Concerti Strauss,
Richard: Oboe Concerto (TrV 292)
Martinu, Bohuslav: Concerto for Oboe and small orchestra (H 353)Berio,
Luciano: Sequenza VII

8.8 Clarinet

Bachelor
Studies:
Semler-Collery, Jules: Petites études récréativesKell,
Reginald:17 Staccato Studies
Hoffmeister, Franz Anton: Toonladders en variaties

Repertoire :
B1
Saint-Saëns, Camille: Sonate
Rabaud Henri: Solo de concours (op. 10) von
Weber, Carl Maria: Concertino (op. 26)Stamitz,
Carl: Concerto's
B2
Hindemith, Paul: Sonate
von Weber, Carl Maria: 1ste concerto
Krommer, Franz: Concerto
Chausson, Ernest: Andante en AllegroB3
Poulenc, Francis: Sonate
von Weber, Carl Maria: 2de concerto
Mozart, Wolfgang Amadeus: Coincerto (KV 622)
Martinu, Bohuslav: Sonatine

Master
Studies:
Menendez, Julian: Ochos Etudios for Clarinet
Montbrun, Gallois: 6 Pièces musicales d'étude

Repertoire :
M1
Bernstein, Leonard: Sonate
Copland, Aaron: Concerto
Spohr, Louis: Concerti Brahms,
Johannes: SonatesM2
Nielsen, Carl: Concerto
Françaix, Jean: Concerto
Brahms, Johannes: Sonates
 Rossini, Giaccomo: Introduction, Theme en Variation for Clarinet & Piano

8.9 Bassoon

Bachelor
B1
Studies:
Scales and tone exercises
Milde, Ludwig: Studien über Tonleider und Akkordzerlegungen op. 24Milde,
Ludwig: Concert studies op. 26
Piard, Marius: Etudes

Repertoire:
Hindemith, Paul: Sonate
Telemann, Georg Philip: Sonate TWV 41:f1Vivaldi,
Antonio: Concerti
Kozeluch, Johann Antonin: Concerto in C
Stamitz, Carl: Concerto in F
Feld, Jindrich: Sonatine
Petrovics, Emil: Passacaglia in Blues
Kersters, Willem: Fantasia Burlesca
Danzi, Franz: Concerto in F major
Haydn, Michael: Concertino F dur
Vanhal Johan Baptist: Concerto in F major

B2
Studies:
Toonladders en toonoefeningen
Milde, Ludwig: Studien über Tonleider und Akkordzerlegungen op. 24Milde,
Ludwig: Concert studies op. 26
Pivonka, Karel: Technische und rhythmische studien fur fagottDubois,
Pierre Max: 12 Etudes

Repertoire:
All the repertoire included under B1, plus :
von Weber, Carl Maria: Andante e Rondo Ongarese op. 35
Devienne, François: Sonate
Burns, Michael: Concerti
Bozza, Eugène: Prélude et divertissement Demersseman,
Jules: Introduction et polonaise op. 30Miroshnikov, Oleg:
Scherzo in g minor
Kalliwoda, Johan Wenzel: Variaties en rondo op. 57

B3
Studies:
Van de Moortel, Leo: Concertstudies voor fagot Bozza,
Eugène: 11 Etudes sur des mode karnatiquesDubois, Pierre
Max: 12 Etudes
 Repertoire:
von Weber, Carl Maria: Concerto in F Major op 75 J. 127
Tansmann, Alexander: Suite
Miresnikov: Scherzo
Van Puymbroeck, Stefaan: Motions voor fagotsoloDavid,
Ferdinand: Concertino
Jacobi, Carl: Potpourri op. 16
Jacob, Gordon: Concerto
Villa-Lobos, Heitor: Ciranda das sete notas Bach,
Johann Christian: Concerto i Es W C82

Master
M1
Studies:
Van de Moortel, Leo: Concertstudies voor fagot Bozza,
Eugène: 11 Etudes sur des mode karnatiquesDubois, Pierre
Max: 12 Etudes

Repertoire :
Mozart, Wolfgang Amadeus: Concerto in B flat KV 191
Strauss, Richard: Duett concertino
Henderickx, Wim: Rondolen
Tansmann, Alexander: Suite
Craens, Alain: Le Muys Rossini,
Giachino: ConcertoBitsch,
Marcel: Concertino Louel,
Jean: Burlesquel
Tansmann, Alexander: Sonatine
Bozza, Eugène: Concertino
Hummel, Johann Nepomuk: Concerto in F-DurM2

Françaix, Jean: Concerto

Stockhausen, Karlheinz: In Freundschaft
Saint-Saëns, Camille: Sonate op. 168 Boutry,
Roger: Interférences
Nussio, Otmar: Variaties ("Variazioni su un'arietta di Pergolesi")Davies,
Maxwell Peter: Concerto
Jolivet, André: Concerto
Gotkovsky, Ida: Variations concertantes

8.10 Saxophone

Bachelor
B1
Studies
Ferling, Franz Wilhelm: 48 Etudes opus 31
Senon, Gilles: 32 Etudes Mélodiques et Techniques pour SaxophoneLuft,
Johan Heinrich : 24 Etudes
Scales and variations

Repertoire
Maurice, Paule : Tableaux de ProvenceHindemith,
Paul : Sonate
Eychenne, Marc: Sonate Noda,
Ryo: Improvisation 1,2,3Koch,
Erland von: Monolog 4
Jolivet, André : Fantaisie-Impromptu
Tcherepnine, Alexandre : Sonatine Sportive
Hurnik, Ilja: Suita
Constant, Franz : Fantasia Charpentier,
Jacques : Gavambodi 2Bäck, Sven Erik :
Elegy

B2
Studies
Berbiguier, Tranquille: 18 Etudes ,
Capelle, Ferdinand : Vingt Grandes Etudes,
Semler-Collery, Jules: Etudes Concertantes

Repertoire
Creston, Paul : Sonate
Caplet, Andre: Légende
Glazounov, Alexander: Concerto
Jongen, Joseph: Méditation
Latham, William P.: Sisyphus
Schmitt, Florent: Légende Tomasi,
Henri: Ballade
Meijering, Chiel: The Pizza-Connection
Badings, Henk : La Malinconia Schulhoff,
Ervin: Hot Sonate
Martin, Franck : Ballade Claude,
Pascal : Sonatine Raphael,
Gunter: Sonate Milhaud, Darius:
ScaramoucheScelsi, Giacinto: Tre
Pezzi Noda, Ryo: Maï
Henderickx, Wim: On the road

B3
Studies
Lacour, Guy: 28 Etudes
Mule, Marcel: Etudes après Boehm, Terschak en FurstenauBozza,
Eugène: Etudes-Caprices
Repertoire
Ibert, Jacques: Concertino da Camera
Absil, Jean: Sonate
Kabelac, Miloslav: Suita
Goykovsky, Ida: Brillance Husa,
Karel: Elegie et RondoKarkoff,
Ingvar: Méditations Tubin,
Eduard: Sonate
Heider, Werner: Sonate in Jazz
Rudin, Rolf: Nachtstücke Woods,
Phil: Sonate
Takacs, Jenö: Two Fantasticster
Veldhuis, Jacob: Grab It

Master

M1
Studies
Lauba, christian: 9 Etudes
Samyn, Noel: Etudes Transcendantes

Repertoire
Voorn, Joop : Sonate
Mihalovici, Marcel: Chant Premier
Suzuki, Haruyuki: Stitch
Yoshimatsu, Takashi: Fuzzy Bird Sonata
Lauba, Christian: Hard
van Unen, Kees: Jounk
Pieper, René: Concerto
Stockhausen, Karl Heinz: In Freundschaft

M2
Constant, Marius: Concertante
Husa, Karel: Concerto Tomasi,
Henri: Concerto
Larsson, Lars-Erik: Konsert
Glaser, Werner Wolf: Allegro, Cadenza e AdagioFeld,
Jindrich: Sonate
Denisov, Edison: Sonate
Masakuza, Natsuda: West, or Evening Song in AutumnBerio,
Luciano: Sequenza VIIb en IXb
Lauba, Christian: Sud Havel,
Christophe: Oxyton
Itoh, Hiroyuki: The Angel of Despair
8.11 Piccolo
M1
Mike Mower Piccolo Sonata
Antonio Vivaldi, Concerto in C RV443
Thea Musgrave, Piccolo Play
Niccolo Castiglioni, Musica VneukokvahjaJan
Huylebroeck, Kay'Ellem

M2
Piet Swerts, Le Tombeau De Ravel
Lowell Liebermann Piccolo Concerto
Bruce Broughton Piccolo Concerto
Antonio Vivaldi, Concerto in a RV445
Franco Donatoni, Nidi

8.12 Cor anglais

Studies
Gillet, Georges & Gillet, Fernand: Études pour l'enseignement supérieur du hautbois
Lamorlette, Roland: 12 etudes
Silvestrini, Gilles: 6 Etudes pour Hautbois

M1
Hindemith, Paul: Sonate for English Horn and PianoYvan,
Carlo: Sonate

M2
Rorem, Ned: Concerto for English Horn
Pasculli, Antonio: Amelia

8.13 Bass Clarinet

M1
Osborne, Willson: Rhapsody
Semler-Collery Jules: Legende et DivertissementVon
Koch, Erland: Monolog 3
Barboteu, Georges: Rencontre
Craens, Alain: Experience
Hindemith, Paul: Sonate (fagot)

M2
Hadermann, Jan: Spotlights on the bass clarinet
Castérède, Jacques: Erinnerungen
Henderickx, Wim: Ronddolen Martinu,
Bohuslav : Sonate (clarinet)Schoeck,
Ottmar: Sonata
Yun, Isang: Monolog