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Sound Profiles
Functionality (Orchestral > Solo)
  • We asked: is the instrument better for ensemble playing or best for solo performance?
  • We took turns playing and listening to decide whether the instrument was more well-suited to blending with others, or if it is more likely to stand out.
  • Some instruments may sound sweet under your ear, but can get “lost” from an audience’s perspective.
    • These may work better for fitting into an ensemble.
    • The sound could be really attractive, but rather introverted.
    • When we play in larger groups it’s about the overall sound.
    • Individual instruments don’t need to stand out: have you ever listened to a choir where somebody’s voice cuts through and dominates unpleasantly?
  • Others might sound less pleasant under your ear, but the sound carries clearly to your listeners.
    • These can lend themselves best to solo performance or playing in a trio/quartet situation where you really need to be able to make yourself heard more distinctly.
    • We might say these are more extroverted.
General tone (Bass > Treble)
  • Bassy character or treble (ie, deeper or brighter tone)
  • Sometimes we say an instrument is “warmer” (more bass) or brighter (more treble).
  • It may be a violin that sounds almost “viola-ish” so we lean more towards “bass” on the scale.
  • A cello could be very bright and not as ‘boomy’ or big sounding on the lower strings, so we count it as more “treble” in character.
    • The standard Stradivari pattern gives the most characteristic violin/viola/cello family sound.
    • It’s quite bright and speaks out well as an instrument designed to dominate the room.
Depth of sound (Rich & Textured > Direct & Clear)
  • We asked if an instrument had more complex tones or if it was more outspoken and direct.
  • Some instruments will have a real richness in the overtones, giving a great sense of interest when we try them.
    • They probably will be slightly more introspective as well, but we can find this “depth” even in a solo instrument.
    • A good example of this is found in the Guarneri violin design, which offers a rich and intriguing character, yet we find lends itself well to solo performance.
    • The Stradivari pattern has a great blend of beautiful tone and brightness. It is brighter and clearer than the other popular designs.
Important notes regarding our sound profile
  • With every model we judged the instrument itself, not comparing it to any other instrument or price range.
  • Therefore, a $300 violin is assessed via our 3 categories based on its own voice and not compared with say, a $3000 violin.
  • It is our hope that our Sound Profile can help you find the type of voice you’re seeking, whether the instrument range is beginner, intermediate or beyond.
  • Our advice if you’re searching on our website is to filter by your preferred price range / performance level and select those instruments that suit the general character you desire.
  • This should reduce the wide number of options, helping narrow selection down to two or three instruments, making your trial process less complicated and less stressful!
String Instrument Sizing Guide
This guide is intended to give you a rough idea of the size of instrument your or your child will require. Please note that this is a rough guide only. For best results, you should consult with our string experts or your teacher before purchasing or renting.
THIS IS A GENERAL GUIDE ONLY
One of the most important tasks we find ourselves undertaking at Simply for Strings is to size a student for their instrument. Whilst we always check sizing when you purchase an instrument, it is also important to talk to your teacher first about their thoughts on the appropriate size instrument. It is important to remember that we always err on the side of caution when it comes to instrument sizing. Unlike clothes, you cannot ‘grow into’ an instrument. If the instrument is too large then you will find yourself in severe pain when practising or performing. This often leads to a decrease in practice (and interest), which inevitably leads to the player choosing to forgo learning an instrument. Play pain-free and start with the right size violin, viola, cello or double bass from Simply for Strings.
Measuring Guide for Violin & Viola

Measure in centimeters from the neck to the middle of the palm.

SIZING FOR VIOLINS

Directions for Measuring: With the player’s arm fully extended and parallel to the floor, measure in centimetres from the neck to the middle of the palm.

SIZE OF VIOLIN MEASUREMENT (CM) AVERAGE AGE OF CHILD
1/16 35 - 38 CM 3 - 4 YRS
1/10 39 - 42 CM 4 - 5 YRS
1/8 43 - 46 CM 5 - 6 YRS
1/4 47 - 51 CM 6 -7 YRS
1/2 52 - 56 CM 7 - 8 YRS
3/4 57 - 60 CM 9 - 11 YRS
4/4 > 60 CM 11 - 13+ YRS
SIZING FOR VIOLAS

Directions for Measuring: With the player’s arm fully extended and parallel to the floor, measure in centimetres from the neck to the middle of the palm.

SIZE OF VIOLA MEASUREMENT (CM)
12" 53 - 55 CM
13" 55 - 59 CM
14" 59 - 63 CM
15" 63 - 65 CM
15" 1/2 65 - 67 CM
16" >67 CM
SIZING FOR CELLOS

Directions for Measuring: Sizing cellos is slightly more complicated than sizing violins and violas. The student should be seated at the edge of a chair such that the knees are bent at a ninety-degree angle (feet flat on the floor). The upper edge (back of cello near where the neck joins the body) of the instrument should rest in the centre of the chest (on the sternum) and the C peg should be slightly behind the left ear. The knees should lightly grip the lower bouts ensuring that the corners do not dig into the side of legs. (Corners should be slightly above the inside of the knees). The student should be able to reach both ends of the fingerboard with ease. The chart below shows approximate sizing by age.

Note: 7/8 size cellos are available as well. This can be a useful transitional size or a more comfortable option for those players who prefer a slightly smaller instrument.

SIZE OF CELLO AGE OF CHILD
1/10 4 - 5 YRS
1/8 5 - 6 YRS
1/4 6 - 8 YRS
1/2 8 - 10 YRS
3/4 10 - 12 YRS
4/4 12 - 13+ YRS
SIZING FOR DOUBLE BASSES

Directions for Measuring: The 3/4 size double bass is the standard size for adults. 7/8 size basses and 4/4 sizes basses are made but they are less commonly used. As a rough guideline, when both the bass and the player are standing upright, the bridge should be approximately at the same height as the large knuckles of the student's right hand. The most important issue is that the instrument is comfortable and that the student can reach the higher registers of the fingerboard without difficulty.
The chart below shows approximate sizing by age.

SIZE OF BASS AGE OF CHILD
1/16 3 - 4 YRS
1/10 4 - 5 YRS
1/8 5 - 7 YRS
1/4 7 - 9 YRS
1/2 9 - 13 YRS
3/4 13+ YRS

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AMEB Clarinet Orchestral and Chamber Excerpts

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Contains all of the orchestral and chamber excerpts required by the AMEB Clarinet Syllabus for examinations from Sixth to Eighth Grade. The Orchestral and Chamber Excerpts book features over 100 excerpts for bass clarinet and clarinet of varying degrees of difficulty selected from periods of music appropriate to the instruments.

Contents:

  • SONATINA 1ST MVT BASS CLA
  • HISTOIRE DU TANGO 3RD MVT BASS CLA
  • TRIO 3RD MVT BASS CLA
  • RODEO: 4 DANCE EPISODES MVT 1& 3 & 4 BASS CLA
  • PNO CONCERTO MVT 1 & 2 BASS CLA
  • SYMPHONY NO 1 3RD MVT BASS CLA
  • PINI DI ROMA MVT 2 & 4 BASS CLA
  • NUTCRACKER TREPAK PAS DE DEUX VAR 2 BASS CLA
  • AIDA ACT 4 SCENE 1 BASS CLA
  • SEPTET MVT 1& 3 BASS CLA
  • PHANTASY QUINTET OP 93 1ST MVT BASS CLA
  • FACADE NO 3 & 19 BASS CLA
  • PSYCHE OP 47 NO 4 BASS CLA
  • GRAND CANYON SUITE MVT 2 & 3 BASS CLA
  • AN AMERICAN IN PARIS BASS CLA
  • RHAPSODY IN BLUE BASS CLA
  • SYMPHONY NO 6 1ST MVT BASS CLA
  • PICTURES OF AN EXHIBITION MVT 4 & 9 BASS CLA
  • DON QUIXOTE OP 35 BASS CLA
  • ENYATO IV 1ST MVT BASS CLA
  • LADDER OF ESCAPE BASS CLA
  • DIVERTIMENTO 3RD MVT BASS CLA
  • SYMPHONIC METAMORPHOSES WEBER MVT 2 BASS CLA
  • PLANETS MVT 1 & 4 BASS CLA
  • LA VALSE BASS CLA
  • VLN CONCERTO NO 1 2ND MVT BASS CLA
  •  RITE OF SPRING 1ST PART BASS CLA
  • TRISTAN UND ISOLDE ACT 2 SCENE 3 BASS CLA
  • TRIO OP 114 3RD MVT CLA
  • TRIO K498 KEGELSTATT 1ST MVT CLA
  • QUINTET K581 1ST MVT CLA
  • OCTET D803 2ND MVT CLA
  • CARMEN ACT 2 ENTRACTE & 4 ENTRACTE CLA
  • SYMPHONY NO 3 OP 90 2ND MVT CLA
  • SYMPHONY NO 40 MVT 1 & 2 & 4 K550 CLA
  • TOSCA 3RD ACT CLA
  • LITALIANA IN ALGERI CLA
  • SYMPHONY NO 5 OP 47 MVT 1 & 3 CLA
  • SYMPHONY NO 5 OP 64 1ST MVT CLA
  • DER FREISCHUTZ OVERTURE CLA
  • FANTASY TRIO OP 26 MVT 1 & 4 CLA
  • TRIO K498 KEGELSTATT 3RD MVT CLA
  • WIND QUINTET OP 43 MVT 1 & 2 CLA
  • SYMPHONY NO 4 OP 60 2ND MVT CLA
  • SYMPHONY FANTASTIQUE OP 14 MVT 2 & 3 CLA
  • PRINCE IGOR CLA
  • RHAPSODY IN BLUE CLA
  • DIE LUSTIGEN WEIBER VON WINDSOR OVERTURE CLA
  •  MA MERE LOYE MVT 1 & 2 & 3 CLA
  • BOLERO CLA
  • FRANCESCA DA RIMINI OP 32 CLA
  • KLEINE KAMMERMUSIK OP 24 NO 2 1ST MVT CLA
  • CONCERT PIECE NO 1 OP 113 CLA
  • SUITE FROM HISTOIRE DU SOLDAT 1ST MVT CLA
  • WIND QUINTET OP 43 3RD MVT CLA
  • LE TOMBEAU DE COUPERIN 1ST MVT CLA
  • DER HIRT AUF DEM FELSEN D965 CLA
  • CLARINET QUINTET IN B FLAT 4TH MVT CLA
  • SYMPHONY NO 4 OP 98 2ND MVT CLA
  • SYMPHONY NO 6 OP 68 MVT 1& 2 CLA
  • SYMPHONIC METAMORPHOSES WEBER 1ST MVT CLA
  • DANCES OF GALANTA LENTO CLA
  • SYMPHONY NO 3 OP 56 2ND MVT CLA
  • CREATION OF THE WORLD 1ST MVT CLA
  • PETER AND THE WOLF MODERATO CLA
  • PINI DI ROMA 3RD MVT CLA
  • SPANISH CAPRICCIO OP 34 CLA
  • IL BARBIERE DI SIVIGLIA OVERTURE CLA
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