A good way to arrive at your grade is to estimate your level using the descriptions of each grade level below; then try out the Self-Grading questionnaire that follows. If the numerical "score" results in a grade that is higher or lower than your estimate, it is usually best to go by the standards presented in the prose descriptions. For example: over-grading yourself might well lead to an embarrasing and frustrating session. A. "Excellent." You know much of the standard repertoire, from many time periods and for a variety of ensembles including your instrument, "inside out." If your partners make a mistake, you can often bring them back in without stopping. You are a prima sight-reader and you consistently sound excellent on your instrument. You already aim for cohesive musical expressiveness with attention to fine nuance on a first reading. B. "Good." You are quite familiar with portions of the standard repertoire (perhaps pieces from certain periods or for certain instrumental combinations). You generally sound good on your instrument and sight-reading is not a problem. You usually pay attention to blend, balance, dynamics, and basic phrasing on a first reading. C. "Fair." You are in the process of exploring the standard repertoire, perhaps avoiding those works that are currently too technically challenging. You concentrate on not making major mistakes while reading an unfamiliar part, though you are aware of what the others are doing. You often slow down a fast movement for technical reasons. D. "Etc." You play a repertoire carefully chosen to be within your technical limitations. On a first reading, you usually aim to get through the music and end together without too many stops and starts in between. If a variety of the above characteristics apply to you, ask yourself what rating best applies to fellow musicians who regularly enjoy playing with you as musical equals. Also, be aware that many members revise their ratings over time as they acquire chamber music experience, or as lack of time for practice or illness or age take their toll. 1. Do you practice regularly? At least 4 days a week Three or less Rarely 2. How often do you play? Twice weekly or more Weekly Less frequently 3. How often do you get lost? Rarely Sometimes Often 4. If you get lost, do you find your way back? Always Usually Seldom 5. How good is your sight-reading? Prima OK Poor 6. How many of these works can you play well (in tune and at tempo)? a. Strings: Quartets by Haydn, Mozart, Beethoven, Op. 18 Almost all Many Few b. Winds: Baroque Trio Sonatas, Haydn Divertimento ("St. Anthoni Chorale"), Dittersdorf and other Pre-classical composers Almost all Many Few c. Pianists: Haydn Trios Almost all Many Few 7. How many of these works can you play well (in tune and at tempo)? a. Strings: Quartets and Quintets by Beethoven (Opp. 59, 74, 95), Brahms, Debussy Almost all Many Few b. Winds: Mozart Serenades, Beethoven Octet, Quintets by Reicha, Ibert, Milhaud Almost all Many Few c. Pianists: Trios, Quartets, Quintets by Schubert, Mendelssohn, Schumann, Dvorák Almost all Many Few 8. How many of these works can you play well (in tune and at tempo)? a. Strings: Quartets by Beethoven (late), Shostakovich, Reger Almost all Many Few b. Winds: Quintets by Hindemith, Nielsen, Barber, Etler; Clarinet Quintets by Brahms, Bliss; Piano Sextet of Poulenc Almost all Many Few c. Pianists: Brahms Trios, Quartets and Quintet, Trios of Ravel and Shostakovich Almost all Many Few

Copyright ©2008 ACMP - The Chamber Music Network
Suggestions? Please e-mail us at webmaster@acmp.net