Up-Grade! Clarinet, Grades 1-2: Clarinet and Piano Book

Wedgwood avoids the trap of making grade-bridging material feel like busy work. These pieces genuinely entertain while building the technique and confidence needed to tackle grade 2 repertoire. The mix of jazz, folk, and classical styles keeps students engaged across multiple rehearsals without becoming predictable.

These pieces feel modern and conversational. You hear jazz influences alongside lyrical passages, folk-inspired melodies next to character dances. There's an underlying sense of fun and accessibility that makes repetition feel like exploration rather than drill.

This book serves clarinetists who have completed Grade 1 and are preparing for Grade 2 assessments or simply want intermediate repertoire that feels fresh. It works equally well for students taking exams through institutions like ABRSM or those working through a more general progression with a private teacher.

• Treat the jazz pieces with rhythmic flexibility. Wedgwood's swing and syncopated figures work best when the clarinet and piano find a conversational swing together rather than locking into metronomic precision.
• Balance tone clarity against character. Some pieces invite a bright, almost cheeky articulation; others need warmth. Listen for what the piano accompaniment suggests and match that color.
• Use the piano part as a model for phrasing. The accompaniment often outlines breath points and phrase shapes that clarify the melodic line.

Slot individual pieces into studio recitals as stand-alone moments, or program several together as a suite to showcase the breadth of style a young clarinetist can handle. The variety makes them useful for maintaining engagement during the mid-year stretch between major concerts.

• Swing rhythm and jazz articulation in moderate tempos
• Phrasing across longer melodic lines with varied accompaniment textures
• Tone control across multiple musical styles and dynamics
• Reading and responding to piano accompaniment cues
• Character and interpretive choices within tonal and technical constraints