This is an two part arrangement of Beethoven’s Theme and Variations on a Swiss Air WoO 64 for 2 clarinet in Bb introducing players to the elements Show More...
This is an two part arrangement of Beethoven’s Theme and Variations on a Swiss Air WoO 64 for 2 clarinet in Bb introducing players to the elements of Classical style and more particularly to Beethoven’s compositional approach . The simple theme needs to be clearly articulated and played with a detached but not staccato articulation. The WoO is short for Work without Opus Number and there are many jewels to be found found in this category of work by Beethoven. A tempo of 132 quarter note beats to the minute is recommended for the playing of the theme and variations although variations 2 & 3 need to be played at a slightly slower tempo 120 quarter note bpm. Accompaniments are in place with both clarinets sounding enabling clarinettists to practice their ensemble parts. Each variation is given a short tempo click of three beats to enable accurate preparation for a performance. Close
In this arrangement for 3 clarinets in Bb the sounding key is Bb and a tempo of 132 quarter note (crotchet) beats to the minute is used in the realisa Show More...
In this arrangement for 3 clarinets in Bb the sounding key is Bb and a tempo of 132 quarter note (crotchet) beats to the minute is used in the realisation. The parts for the individual instruments are appended to the full score in the pdf download. This movement demonstrates the essential elements of Mozart’s compositional style in a work accessible to a wide range of instruments and instrument combinations. The realisations at times just lack the rhythmic lightness that is required in a Mozart performance. His music demands playing that is accurate, consistent and sensitive stylistically. The Divertimento (and the related Viennese Sonatinas) are relatively easy works well worth exploring. Accompaniments are in place enabling each of the clarinets to prepare for a rehearsal and performance. They play at 120, 132 and 144 quarter note beats per minute. This is a movement that encapsulates the musical and style of Mozart and at the same time demonstrates many of the musical elements evident in the classical style. The clarinet in Bb 3 is an octave transposition of a bass clarinet part. Close
In this arrangement for 2 clarinet in Bb and bass clarinet the sounding key is Bb and a tempo of 132 quarter note (crotchet) beats to the minute is u Show More...
In this arrangement for 2 clarinet in Bb and bass clarinet the sounding key is Bb and a tempo of 132 quarter note (crotchet) beats to the minute is used in the realisation. The parts for the individual instruments are appended to the full score in the pdf download. This movement demonstrates the essential elements of Mozart’s compositional style in a work accessible to a wide range of instruments and instrument combinations. The realisations at times just lack the rhythmic lightness that is required in a Mozart performance. His music demands playing that is accurate, consistent and sensitive stylistically. The Divertimento (and the related Viennese Sonatinas) are relatively easy works well worth exploring. Accompaniments are in place enabling each of the clarinets to prepare for a rehearsal and performance. They play at 120, 132 and 144 quarter note beats per minute. This is a movement that encapsulates the musical and style of Mozart and at the same time demonstrates many of the musical elements evident in the classical style. There are a number of octave transpositions in the bass clarinet part avoiding low notes. Close
Fauré’s Improvisation from his Opus 84 in an intermediate level arrangement for clarinet in A with piano accompaniment Both the clarinet player an Show More...
Fauré’s Improvisation from his Opus 84 in an intermediate level arrangement for clarinet in A with piano accompaniment Both the clarinet player and the pianist should be aiming for a singing legato in their playing and be prepared to use rubato, an approach to playing from Chopin’s time that embraces give and take in respect to tempo. Use of the sustaining pedal is suggested and indicated in the score but the sound needs to be controlled without too creating too ambient a sound. It is a short intense movement in which many change of moods are expressed and tonal ambiguities implied. The sheet music requires careful reading and there is some triplet figuration in place that creates a number of 3 against 2’s cross rhythms. In character the music is quite fragmentary and whilst there are some repeating elements and textural variation the essential shapes create memorable impressions and great beauty suggesting the composer very much understood contemporary times. The realisation lacks the fluidity and sensitivity of a live performance. This is not a typical Fauré piece composed at the beginning of the 20th century when Debussy’s music was widely coming to the fore in Paris. This is an the ideal encore piece possibly without suggesting the name of the composer but do suggest the century of its composition? Piano accompaniments are in place playing at 68, 70, 72 and 74 quarter note (crotchet) bpm. A clarinet in A part appropriately transposed is appended to the full score. Close
The arrangement for clarinet quartet comprising 3 clarinets in Bb and bass clarinet All the lines need to be played legato. Accompaniments are in pla Show More...
The arrangement for clarinet quartet comprising 3 clarinets in Bb and bass clarinet All the lines need to be played legato. Accompaniments are in place enabling each of the parts to be practiced in an ensemble context. The realisation and accompaniments play back at 72 quarter note or crotchet bpm. This is music appropriate for reflection or a solemn procession. The singing of congregational chorales or hymn tunes was core to the Lutheran tradition as it became established in Germany from the 17th century. This is a Bach harmonisation of the chorale melody. The melody is attributed to H.L.Hassler dates from the early 17th century. Bach harmonised the melody several times for use in St Matthew Passion and the melody line is the basis an organ piece BWV 727. Chorales melodies are associated the times of the church year, texts and particularly moods and feelings expressed with texts. The melody for the Passion Chorale is often referenced in German with the text “Herzlich thut mich verlangen” whilst in English the hymn melody is associated with the hymn“O Sacred Head Sore Wounded” usually sung in Holy Week. Close
This is a simplified and shortened version of one of J. S. Bach’s famous piece based on a chorale (hymn) melody arranged for clarinet in Bb and bass Show More...
This is a simplified and shortened version of one of J. S. Bach’s famous piece based on a chorale (hymn) melody arranged for clarinet in Bb and bass clarinet. There is a strong bass line and this is combined with the figuration gives the movement both character and appeal. This two part version has been notated in 8/8 time and needs to be played with an awareness of the 3+3+2 pattern that underlies the rhythmic template for the movement. This pattern is a shape used in much popular music of the rock and roll era giving a contemporary feel to the music as well as providing a very good opportunity to develop ensemble playing. Bach’s music demands that performers have secure technical ability and this piece is ideal for developing a fluent and flowing playing style. Accompaniments are in place playing at 98, 102 106, 110 and 114 quarter note (crotchet) beats to the minute. The sounding key is F major. Close
An arrangement of the Minuet in D minor BWV App. 132 for 2 clarinet in Bb from the Anna Magdalena Notebook. The playback tempo of the realisation is 1 Show More...
An arrangement of the Minuet in D minor BWV App. 132 for 2 clarinet in Bb from the Anna Magdalena Notebook. The playback tempo of the realisation is 108 quarter note or crotchet beats to the minute. Accompaniments are in place playing at 100, 104, 108 and 112 quarter note or crotchet beats to the minute. They feature both the clarinet in B flat 1 and clarinet in Bb 2 parts sounding and repeats are played. The clarinet in Bb 2 part sounds an octave higher than originally intended. Not all the composing contributions music in this collection have been correctly attributed since its publication date of 1725 but this was an anthology containing music by J. S. Bach and several of his contemporaries. Close
An arrangement of the Minuet in D minor BWV App. 132 for clarinet in Bb and bass clarinet from the Anna Magdalena Notebook. Not all the composing cont Show More...
An arrangement of the Minuet in D minor BWV App. 132 for clarinet in Bb and bass clarinet from the Anna Magdalena Notebook. Not all the composing contributions music in this collection have been correctly attributed since its publication date of 1725 but this was a collection containing music by J. S. Bach and several of his contemporaries. The playback tempo of the realisation is 108 quarter note or crotchet beats to the minute. Accompaniments are in place playing at 100, 104, 108 and 112 quarter note or crotchet beats to the minute. They feature both the clarinet in B flat and bass clarinet sounding and repeats are played. Close
J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for 2 clarinets in B flat & bass clarinet. If an Eb clarinet is available this can be used as a subst Show More...
J.S. Bach's Sinfonia 2 BWV 788 in an arrangement for 2 clarinets in B flat & bass clarinet. If an Eb clarinet is available this can be used as a substitute for the clarinet in Bb 1. All four parts are available in the pdf download. The realisation playback at 58 dotted quarter note or crotchet beats to the minute. In the realisation it is the sounds of 2 clarinets in Bb and bass clarinet that feature. The clarinet in Eb substitutes for the clarinet in Bb 1 if available. Bass clarinettists may want to consider some octave transpositions to avoid the low notes of this instruments register. In this version ornaments have been omitted. Playing the relevant minor scale in all its forms natural, harmonic and melodic would be excellent preparation for playing this sinfonia. The voice leading in this sinfonia is not altogether straightforward and players will need to pay attention to the accidentals in the score possibly adding reminders if required. Conflicting accidentals often appear in different voices in the same bar. A sinfonia that features arpeggios and scale runs with the rhythmic shapes in the lines having a strong repetitive element. The note values given in Bach’s Sinfonias often give an indication of intended articulations that are intended. Players should be aiming for a singing legato in their playing. The movement needs to be played, in the first instance, with an awareness of the patterns of 3 in the 12/8 time signature. (4 x 3 to the bar). Accompaniments are in place playing at 56, 58, 60, 62 & 64 dotted quarter note (crotchet) beats per minute (bpm). They feature the clarinet in Bb 2 and bass clarinet sounding voices 2 & 3 of Bach’s composition. There is a one bar click track sounding on the woodblock as an introduction. Rests have been indicated in the voices as they are in the keyboard version of the works Some of the rhythmic notation particularly with regards to the use of rests is ambiguous. Logic and rules do not universally apply. What tends to be in place is what is good for the eye. The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills, good intonation and ensemble playing. The Sinfonias are works conceived for three voices and feature compositional processes very much associated with Bach’s contrapuntal writing namely: repetition, inversion, imitation, augmentation, diminution, stretto. In these works the closely related keys of the dominant, sub-dominant, relative minor are explored The movement should not be played too quickly. The music editor’s advice is that players need to be clear in their intention as far as the articulation of the lines and the dynamics. Whilst a movement that needs to be played with control there also needs to be a lightness of intention in the playing approach. PlentyMusic arrangements provides music practice opportunities & experiences to instrumentalists of playing along with other instruments preparing the way for quality ensemble playing. Close
This is music associated with the lighter side of serious music making and is a lively, energetic piece with a fast tempo and instantly recognisable m Show More...
This is music associated with the lighter side of serious music making and is a lively, energetic piece with a fast tempo and instantly recognisable melody. This is a genuine performance piece to be enjoyed by both instrumentalists and audiences alike. It is very evident that Jacques Offenbach had a real gift and sense of melody and fun in making music. Not necessarily favoured by the music critics of the time, much of his music has nevertheless remained in the repertoire. Nietzsche & Zola also commented on his operettas for those who want to discover more about the ambivalence of his status. Clarinettists will need to pay attention to the range of articulations and dynamics needed in a performance. Repeat signs are in place in the score whilst the realisation plays back at 120 quarter note (crotchet) beats in the introductory first section and 132 quarter (crotchet) note beats in the second. Clarinet accompaniments are also in place enabling clarinettists to enjoy an ensemble experience as part of practice routines. There is a 4 bar click track at the beginning of each accompaniment sounding on the woodblock. If a clicks are required during the silent sections please advise the PlentyMusic office and these will be added. Repeats are in place and should be played to maintain the symmetry and shape of the piece. As unmistakenly music intended for dancing there is a regular phrase structure in the second section and repetition is a strong feature of the composing process. There is an opening 23 bar section marked Allegro succeeded by a faster section which has an A B C A A + Coda structure with a 2 bar link between sections B & C. “Le Galop” is often referred to as the “Can-Can” and was first performed in 1858 causing a bit of a stir because of its risqué nature though more in the visual rather than musical sense. Le Galop is from Act 2 of Offenbach’s operetta “Orpheus in the Underworld.” The can-can dance become associated with the Parisian cabarets of the Moulin Rouge and Folies Bergère. The easily remembered tune became associated with the high kicking female can-can dancers of the day. Jacques Offenbach (1819 – 1880) whilst German born is considered to be a French composer known for the lighter side of opera referred to as operetta. Many of his works are still staged and he was an important influence on later composers of the genre. In his early days he earned his living as a cellist & conductor before producing his first full length operetta “Orpheus in the Underworld” in 1858. His final work “The Tales of Hoffmann” was incomplete at the time of his death. Close
España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina arranged for clarinet quintet comprising 4 clarinets in Bb and a bass clarinet. Show More...
España Cañi | Spanish Gypsy Dance | Paso-Doble by Pascual Marquina arranged for clarinet quintet comprising 4 clarinets in Bb and a bass clarinet. One of the most familiar pieces of the Spanish repertoire this arrangement is now available to download from PlentyMusic #sheetmusic & accompaniments link: coming soon The PlentyMusic sheet music video and realisation plays back at a tempo of 112 quarter note beats per minute. The tempo in the arrangement is constant. Instrument parts are appended to the full sheet music score. Accompaniments are in place featuring clarinet in Bb 2, 3, 4 & bass clarinet parts and are available as mp3 downloads playing back at 104, 108, 112, 116 and 120 quarter note (crotchet) beats per minute. There are many arrangements of this music available from the PlentyMusic sheet music library combining many instrument combinations. Enjoy making music with PlentyMusic sheet music pdf and accompaniment downloads. Improve practice routines and playing standards using these professionally prepared resources. The melody has some tricky rhythmic patterns and shapes to play and triplets are an additional challenge. Whilst the repetitive element is strong the music is nevertheless concise, dramatic and full of musical ideas and references to the elements of the Spanish idiom and style. The second section has an appealing syncopated melody with some lightening of the musical texture. The solo line played needs to be played with confidence and accuracy. It is also an excellent test as an ensemble piece requiring good communication between the three guitarists. The solo part is quite challenging to play and needs to be learnt methodically most probably with some counting involved. Playing the melody at a slow tempo in the early stages of learning the piece is probably a sensible approach. The articulation markings featured in the score include the use of staccato, accents, marcato and legato playing. Martellato means strongly accented. Performances need to demonstrate control of the range of dynamics that feature in the writing from the quietest to the loudest sound. This movement will need to be prepared thoroughly for a performance because of its familiarity. It is probably the most instantly recognisable piece of Spanish music ever composed! A great movement for both the player and the listener for its dramatic and musical qualities. The composition dates from 1923 and was recorded as early as 1926. Spanish music is imbued with the sound of the phrygian mode which features particulary in the first section D Eb F G A Bb C D. In the phyrgian mode as it is described the scale structure is s/t T T T s/t T T (s/t = semitone & T = Tone). The cadences in Spanish music have a characteristic sound. The composer Pascual Marquina Narro was a prolific Spanish composer of orchestral and operatic music. Pascual Marquina As a composer of distinctly Spanish music he is readily identified with the musical movement known as nationalism. The suggested tempo range for a paso doble when danced is between 116 and 124 beats per minute. It can be best described as a fast Latin dance with a strong march like rhythm. The conception of the dance is a re-imagining of the movements of the Spanish matador in the bull ring. Close
Spanish Gypsy Dance | España Cañi | Paso-Doble by Pascual Marquina arranged for flute with piano accompaniment. One of the most familiar pieces of Show More...
Spanish Gypsy Dance | España Cañi | Paso-Doble by Pascual Marquina arranged for flute with piano accompaniment. One of the most familiar pieces of the Spanish repertoire this arrangement from PlentyMusic is available to download The PlentyMusic sheet music video plays back at a tempo of 116 quarter note beats per minute and the tempo in the arrangement is constant. Piano accompaniments are in place playing at 104, 108, 112, 116 and 120 quarter note (crotchet) beats per minute. There are many excellent arrangements of this music available available from the PlentyMusic sheet music library for many instrument combinations. The melody has some tricky rhythmic patterns and shapes to play and triplets are an additional challenge. The small decorative / ornamental notes do not sound in the realisation. The solo melody doesn’t appear until bar 18 so the build up to this moment is intense particularly with the long crescendo. As there are no percussion in the scoring the arranger has omitted the tremolos from 73 – 78 doubling the clarinet melody with the piano accompaniment. Whilst the repetitive element is strong the music is nevertheless concise, dramatic and full of musical ideas and references to the Spanish idiom and style. The second section has an appealing syncopated melody with some changes the musical texture. The solo line played by the clarinet needs to be played with confidence and accuracy. It is also an excellent test as an ensemble piece requiring good communication between the soloist & accompanist. The solo part is quite challenging to play and needs to be learnt methodically most probably with some counting involved. Playing the melody at a slow tempo in the early stages of learning the piece is probably a sensible approach. The articulation markings featured in the score include the use of staccato, accents, marcato and legato playing. Performances need to demonstrate control of the range of dynamics that feature in the writing from the quietest to the loudest sound. This movement will need to be prepared thoroughly for a performance because of its familiarity. It is probably the most instantly recognisable piece of Spanish music ever composed! A great movement for both the player and the listener for its dramatic and musical qualities. The composition it dates from 1923 and was recorded as early as 1926. Spanish music is imbued with the sound of the phrygian mode which features particulary in the first section D Eb F G A Bb C D. In the phyrgian mode as it is described the scale structure is s/t T T T s/t T T (s/t = semitone & T = Tone) The composer Pascual Marquina Narro was a prolific Spanish composer of orchestral and operatic music. Pascual Marquina As a composer of distinctly Spanish music he is readily identified with the musical movement known as nationalism. The suggested tempo range for a paso doble when danced is between 116 and 124 beats per minute. It can be best described as a fast Latin dance with a strong march like rhythm. Close
Spanish Gypsy Dance | España Cañi | Paso-Doble by Pascual Marquina arranged for clarinet in Bb with piano accompaniment. One of the most familiar Show More...
Spanish Gypsy Dance | España Cañi | Paso-Doble by Pascual Marquina arranged for clarinet in Bb with piano accompaniment. One of the most familiar pieces of the Spanish repertoire. The realisation plays back at a tempo of 116 quarter note beats per minute and the tempo in the arrangement is constant. Piano accompaniments are in place playing at 104, 108, 112, 116 and 120 quarter note (crotchet) beats per minute. The melody has some tricky rhythmic patterns and shapes to play and triplets are an additional challenge. The small decorative / ornamental notes do not sound in the realisation. The solo melody doesn’t appear until bar 18 so the build up to this moment is intense particularly with the long crescendo. As there are no percussion in the scoring the arranger has omitted the tremolos from 73 – 78 doubling the clarinet melody with the piano accompaniment. Whilst the repetitive element is strong the music is nevertheless concise, dramatic and full of musical ideas and references to the Spanish idiom and style. A work in two sections in different keys The second section has an appealing syncopated melody. The solo line played by the clarinet needs to be played with confidence and accuracy. It is also an excellent test as an ensemble piece requiring good communication between the soloist & accompanist. The solo part is quite challenging to play and needs to be learnt methodically most probably with some counting involved. Playing the melody at a slow tempo in the early stages of learning the piece is probably a sensible approach. The articulation markings featured in the score include the use of staccato, accents, marcato and legato playing. Performances need to demonstrate control of the range of dynamics that feature in the writing from the quietest to the loudest sound. This movement will need to be prepared thoroughly for a performance because of its familiarity. It is probably the most instantly recognisable piece of Spanish music ever composed! A great movement for both the player and the listener for its dramatic and musical qualities. The composition it dates from 1923 and was recorded as early as 1926. There are many excellent arrangements of this music available for many instrument combinations. Spanish music is imbued with the sound of the phrygian mode which features particulary in the first section D Eb F G A Bb C D. In the phyrgian mode as it is described the scale structure is s/t T T T s/t T T (s/t = semitone & T = Tone) The composer Pascual Marquina Narro was a prolific Spanish composer of orchestral and operatic music. Pascual Marquina As a composer of distinctly Spanish music he is readily identified with the musical movement known as nationalism. The suggested tempo range for a paso doble when danced is between 116 and 124 beats per minute. It can be best described as a fast Latin dance with a strong march like rhythm. Close
Joaquin Malats Serenata Española from his Impressions of Spain arr. clarinet sextet comprising clarinet in Eb or a clarinet in Bb playing the melody Show More...
Joaquin Malats Serenata Española from his Impressions of Spain arr. clarinet sextet comprising clarinet in Eb or a clarinet in Bb playing the melody line , 3 additional clarinets in Bb & 2 bass clarinets Individual instrument parts are appended to the full sheet music score in the pdf download A sunny piece that features many characteristics typical of Spanish music. Individual instrument parts are appended to the full score available as a pdf download. Accompaniments are in place enabling the clarinet in Eb or clarinet in Bb 1 player to practice and play as part of an ensemble. They play at 104, 108,112, 116 & 120 bpm. There is a 4 bar click track to prepare players for this ensemble experience. In this arrangement the long trill in the clarinet in Eb or clarinet in Bb 1 part should be considered as an option and probably best omitted whilst the music is being learnt. The workability of this arrangement does need to be evaluated and PlentyMusic would value feedback from musicians trying out this arrangement. It is possible that there are better octave options in the parts that could be explored. animando used in the score implies an increase in tempo and has been placed above the stave as a score marking The music in this sounds in the key of G minor. Playing the scale in the sounding key of G in all its forms would be excellent preparation for playing this work major, harmonic & melodic minor and the phrygian mode. The origins of this piece are as a piano solo although there are many arrangements to be discovered for different instrument combinations. Interestingly, much of the Spanish piano repertoire of the 19th and early 20th centuries is more familiar transcribed to being played on the guitar and this is certainly the case with the Serenata. This is a movement that dates from the late romantic era when nationalism became an identified as an important trend in composition. The music of composers from countries on the fringes of Europe were appearing in concert programmes including music of Dvorak, Smetana, Grieg, Granados & Albeniz amongst others. In this movement many of characteristic musical sounds of Spain are captured in a score that suggests many images of the country. There is also much figuration and decoration used in Spanish music and these feature in the melodic, accompaniment, harmonic & timbral detail. This movement music was composed and published in the last decade of the 19th century. There were some ambiguities in the source scores available to the music editor who has spent time removing most errors and inconsistencies. It is the phyrgian mode that is features strongly in Spanish music. The structure of the phyrgian scale is S/T-T-T-T-S/T-T-T (S/T = semitone T = tone) Modal shifts from minor to major also feature The realisation plays back at a tempo of 116 quarter note or crotchet beats to the minute although there are occasionally speeding ups (marked animando in the score) and slowing downs particularly at the end of phrases. Formally the music has a sectional structure and can be described as being in ABA ternary form. (AABB’A) Spanish music is often dramatic and on occasions invites exaggeration in performance. The extensive melodic range is a particular characteristic of this movement and instrument ranges are often challenging. Close
Tchaikovsky’s Chanson Triste arranged for clarinet quintet comprising 5 x Bb clarinets and bass clarinet. An Eb clarinet can be used to play the cla Show More...
Tchaikovsky’s Chanson Triste arranged for clarinet quintet comprising 5 x Bb clarinets and bass clarinet. An Eb clarinet can be used to play the clarinet in Bb 1 part. The clarinet quintet realisation plays back at 100 quarter note (crotchet) beats to the minute This is a 5 part arrangement with the option of substituting a clarinet in Eb for the Clarinet in Bb 1 part. Individual parts for the clarinet players are appended to the full score in the pdf download. Accompaniments are in place to provide opportunity for the clarinet in Eb or clarinet in Bb 1 player to practice in an ensemble context. They playback at 96, 98,100, 102 & 104 quarter note or crotchet bpm. In the arrangement there are a number of octave transpositions (upwards) in the bass clarinet part. For instrumentalists this is an excellent piece for improving intonation (aka playing in tune) in an ensemble context. The clarinet is a great ensemble instrument whatever the playing level . The music editor does feel sorry for the status of clarinet 4 because the number 4 doesn’t suggest the difficulty of the part in the arrangement as far as exploring the lower pitch range of the clarinet. One of Tchaikovsky’s most popular pieces composed in 1878 for piano and arranged for clarinet quintet in the original key of G minor. It is a ternary form ABA movement in a reflective melancholy mood. It has a regular phrase structure and the melodic line needs to be played with a singing legato. When performing the music be aware that tempo changes particularly at the end of phrases are appropriate. The music needs to be delivered with expression and a broad range of dynamics. Playing the A minor scale (sounding in G minor) in both the harmonic and melodic forms would be excellent preparation for playing this intermediate level work. Close
Joaquin Malats Serenata Española from his Impressions of Spain. This is a sunny piece that features many of the idioms and stylistic characteristics Show More...
Joaquin Malats Serenata Española from his Impressions of Spain. This is a sunny piece that features many of the idioms and stylistic characteristics that are typical of Spanish art music in the late 19th century. The origins of this piece are as a piano solo although there are many arrangements to be discovered for different instrument combinations. Interestingly, much of the Spanish piano repertoire of the 19th and early 20th centuries is more familiar transcribed to being played on the guitar and this is certainly the case with the Serenata. This is a movement that dates from the late romantic era when nationalism became an identified as a trend in composition. The music of composers from countries on the fringes of Europe were appearing in concert programmes including music by Dvorak, Smetana, Grieg, Granados & Albeniz amongst others. Playing the G scale in all its forms would be excellent preparation for playing this work major, harmonic & melodic minor and the phrygian mode. In this movement many of characteristic musical sounds of Spain are captured in a score that suggesting images of the country. There is much characteristic figuration and decoration used in Spanish music and these feature in the melodic, accompaniment, harmonic & timbral detail. This is a sunny piece that features many of the idioms and stylistic characteristics that are typical of Spanish art music in the late 19th century. This movement music was composed and published in the last decade of the 19th century. There were some ambiguities in the source scores available to the music editor who has spent time removing errors and inconsistencies. It is the phyrgian mode that is features strongly in Spanish music. The structure of the phyrgian scale is S/T-T-T-T-S/T-T-T (S/T = semitone T = tone) Modal shifts from minor to major also feature The realisation plays back at a tempo of 112 quarter note or crotchet beats to the minute although there is occasionally speeding ups (animando) and slowing downs particularly at the end of phrases. Formally the music has a sectional structure and can be described as being in ABA ternary form. (AABB’A) Spanish music is often dramatic and on occasions invites exaggeration in performance. The extensive melodic range is a particular characteristic of this movement. Where appropriate there are some octave transpositions in the clarinet in Bb part to keep to the instruments more appealing range. The element of contrast is also to the fore with legato & staccato, loud and quiet playing, speeding up and slowing down. Spanish has been used to describe the score detail in the pdf sheet music download Apart from approaching the playing of the score with a lightness in the hands, Pianists, when playing the accompaniment, will need to make use of the sustaining pedal although its use is not indicated in the sheet music score. Piano accompaniments are in place & can be downloaded as mp3 files from the PlentyMusic website. They playback at 104, 108, 112, 116 & 120 quarter note beats to the minutes. A clarinet part appropriately transposed is appended to the full score. Close
Debussy’s Arabesque No. 1 arranged for clarinet quartet, comprising 3 clarinets in Bb and bass clarinet sounding in the key of F. This is music comp Show More...
Debussy’s Arabesque No. 1 arranged for clarinet quartet, comprising 3 clarinets in Bb and bass clarinet sounding in the key of F. This is music composed whilst Debussy was still in his 20’s. The first Arabesque has a tempo marking Andantino con moto whist the realisation for clarinet quartet plays back at an initial 112 quarter note (crotchet) beats to the minute. The music has been transposed from the original key of E to F. There are some of octave transpositions in the arrangement keeping the instrument parts within the range of the instrument. It is a three section work. Clarinet parts appropriately transposed are appended to the full music score. Tempo considerations have great relevance in the performance of this music. In terms of beauty of music lines this is a hard piece of music to beat which makes it an enthralling and challengeing ensemble piece possibly best performed with a conductor in place or by the clarinet in Bb 1 player who is a competent leader. Learning 3’s against 2’s as a cross rhythm (and 2’s against 3’s) are probably best learnt as clapping/tapping games in a group context. Much of the writing in this movement references triadic chords played as arpeggios. The intervals of the thirds and tenth (compound third) feature strongly in the parallel motion It is a three section work with the reflective middle section referencing the key of the sub-dominant. The triplet pattern is a strong feature of the movement. Instrumentalists new to playing cross rhythms need to practice playing triplet rhythms for a bar and then change it to eighth notes (quavers) so that they develop a clear sense of pulse in their playing. This a movement where the tempo often ebbs and flows in what is referred to as Tempo Rubato. This is an important aspect of performance practice and something that is first associated with the music of Chopin. Instrumentalists need to have a clear understanding of all the terms used in the score detail. 20th century music scores do generally have more graphics and terms in place to assist how the music is to be played and interpreted. A quite stunning and impressionable piece in all senses of the word with a strong sense of melody that lends itself to being arranged for an ensemble such as a clarinet quartet. Debussy composed his two Arabesques between 1888 and 1891 whilst still in his 20’s. They were originally composed for piano. They are movements that challenge the established pathways of his late romantic contemporaries. They are often described as early impressionist pieces although Debussy himself didn’t like references of his music using the term. Debussy has famously been described as the composer who opened the door to 20th century musical composition in the sense that his compositional approach was different to that of many of his contemporaries whose music was generally becoming increasingly dissonant. Debussy’s writing is more about exploring the beauty of sound without necessarily following the rules of harmonic writing that prevailed in the 19th century. Debussy created a new approach to composition in which beauty of sound and line were paramount exploring connections between the visual arts, nature and the environment around him His music is frequently described as being evocative in that he describes in music what he sees, hears and observes from his experiences of life. He is a composer of visual music. Debussy also lived at a time when the world as such was coming to Europe with exhibitions and as a composer he was open and influenced by the many cultures as his music suggests. Clarinet accompaniments are in place to encourage ensemble practice playing at 100-88 -100 quarter note (crotchets) beats per minute and also 104-092-104, 104-100-104, 108-100-108, 112-096-112 and 112-104-112 bpm with the tempo referring to the music as a three section work. If there clarinettists who would like additional accompaniments in place please advise the PlentyMusic office with tempo suggestions. Whilst there are tempo changes in these accompaniments rubato playing is not as such represented. Arabesque is a term that refers to artistic decoration and line which are terms relevant to music. The art in respect to Arab culture is also extremely relevant as the term suggests having both historical and modern contexts. Spend time looking at Arabesque graphics. There are related aspects to line and position in ballet music so as a description of a piece of music the term Arabesque has several references and meaning. Close
J. S. Bach’s Invention No. 2 BWV 773 arr. clarinet duo and sounding in the key of C minor offers excellent music practice and performance opportuni Show More...
J. S. Bach’s Invention No. 2 BWV 773 arr. clarinet duo and sounding in the key of C minor offers excellent music practice and performance opportunities. A melodic two part invention with ornaments in place that needs to be played with feeling and sensitivity. The full score appropriately transposed has appended individual clarinet parts. The realisation plays back at 52 bpm Pdf sheet music and play-a-long mp3 accompaniments are available to download. Playing the Bach Inventions as part of a duo encourages good intonation, that is, playing in tune, in duet playing. Legato playing is required when performing this invention in what is a slow tempo and melancholy movement. This is music that requires both method and determination in the way that it is approached. There are some octave transpositions in the clarinet part in the closing section to keep to the instrument’s range. Bach composed much music as a teacher with the performing and teaching context often relating to his own children. Four of his sons became important composers relevant in music history because they link the baroque era with the classical. The inventions offer excellent opportunities to instrumentalists to improve their ensemble playing skill set and develop an understanding of baroque compositional processes. The inventions are uncompromising in the demands they place on performers requiring accuracy technique and concentrated listening. In the sheet music score the ornaments are both indicated and sound in the realisation. The music editor has avoided placing ornaments in the two parts at the same time. Accompaniments are in place allowing clarinettists to participate in play-a-long ensemble activities as part of music practice routines. Clarinet 1 sounds on one side of the stereo channel and the clarinet 2 on the other. The accompaniment tracks play back at 48, 50, 52, 54, 56, 58 & 60 quarter note (crotchet) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks. Accompaniments are available with and without ornaments in place. In the keyboard video score, which clarinettists may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation representing exactly what is being played. Understand that ornaments can be interpreted differently and that performance practice is both an evolving and often reviewed subject. How ornaments are played at cadences in particular is a fascinating subject in the baroque era. Improvised and often complex cadential phrases are an aspect of performance that feature in performances. The best advice is to listen to the performances and learn to discriminate as a performer between good practice and bad practice. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. Levels when they are played on different instruments may be different. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key system established in Bach’s own time. Inversion, repetition, sequence, transposition, rhythmic augmentation & diminution and other processes are evident in Bach’s inventions as in most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent ensemble movements. Close
Invention 9 BWV 780 sounding in the key of F minor, with the score and parts transposed to the key of G minor, is a challenging invention to play part Show More...
Invention 9 BWV 780 sounding in the key of F minor, with the score and parts transposed to the key of G minor, is a challenging invention to play particularly from the note reading point of view. There are many accidentals to read and it is easy to make music reading errors. Listen to performances of the music so that the melodic and shapes are familiar. A legato playing approach is required in the playing in what is a slow tempo and melancholy movement. In the sheet music score the ornaments are indicated but do not sound. The realisation plays back at 58 quarter note or crotchet beats per minute. Accompaniments are in place allowing clarinet players to participate in ensemble activities as part of practice routines. The clarinet in Bb sounds on one side of the stereo channel and the bass clarinet in Bb 2 on the other. The accompaniment tracks play back at 52, 54, 56, 58, 60, 62 & 64 quarter note (crotchet) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks. In the keyboard video score, which clarinettists may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key system. Inversion, repetition, sequence, transposition, rhythmic augmentation & diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. In addition, that he was not sadly. They are excellent pieces for ensemble playing. Close
Invention 9 BWV 780 in the key of F minor is a challenging invention to play particularly from the note reading and voice leading point of view. There Show More...
Invention 9 BWV 780 in the key of F minor is a challenging invention to play particularly from the note reading and voice leading point of view. There are many accidentals to read and it is, if you believe the music editor, so easy to make music reading errors. The octave range or more is not in place in this arrangement presenting quite challenging intonation (tuning) issues. That said an excellent test piece for those who have a good musical ear and need to clarify their understanding of the term voice leading / leading note in their playing. A legato playing approach is required in the playing in what is a slow tempo and melancholy movement. In the sheet music score the ornaments are indicated but do not sound. The realisation plays back at 58 quarter note or crotchet beats per minute. Accompaniments are in place allowing clarinet players to participate in ensemble activities as part of practice routines. The clarinet in Bb 1 sounds on one side of the stereo channel and the clarinet in Bb 2 on the other. The accompaniment tracks play back at 54, 56, 58, 60, 62 & 64 quarter note (crotchet) beats per minute. There is a two bar count in /click track at the beginning of the accompaniment tracks. In the keyboard video score, which clarinettists may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the key system. Inversion, repetition, sequence, transposition, rhythmic augmentation & diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. In addition, that he was not sadly. They are excellent pieces for ensemble playing. Close
J .S. Bach’s Invention 11 BWV 782 arranged for clarinet in Bb duo is a work exploring the minor scale. The chromatic element in the movement is str Show More...
J .S. Bach’s Invention 11 BWV 782 arranged for clarinet in Bb duo is a work exploring the minor scale. The chromatic element in the movement is strong and the accidentals make this a challenging score to both read and remember. The best preparation for playing this movement is to play the minor scale appropriately transposed in both its forms slowly until the sound of each is familiar. The movements sounds in the original key of G minor whilst the sheet music parts are appropriately transposed. In this version ornaments do not sound in the realisation or playback score although they are indicated in the sheet music score. The movement is probably best learnt without the ornaments in place in the first instance. In the original piano version of the inventions the use of treble and bass clef ensures an interval distance of usually in excess of an octave. In this arrangement the music editor has maintained this where it is appropriate but when necessary the clarinet 2 part has some octave transpositions to keep to the range of the instrument. The playback score in the arrangement for the clarinet in Bb duo has a tempo of 60 quarter note or crotchet beats to the minute. The suggestion is that the movement can be played both at slower and faster tempo. The inventions are concentrated demanding movements to play in an ensemble context but excellent for encouraging listening skills, good intonation and accurate playing. Legato playing is needed in a performance although there is scope to broaden the detail of how the notes are articulated. Any exaggerated playing does need to be avoided. Accompaniments are in place allowing clarinet players to participate in ensemble activities as part of practice routines. Clarinet 1 sounds on one side of the stereo channel and Clarinet 2 on the other. Accompaniment tracks play back at 56, 58, 60, 62, 64, 66 and 68 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks. Instrumentalists should spend time listening to performances of the work by a range of musical instruments to understanding playing approaches. Players will possibly need to edit their scores with reminders about accidentals within the bar. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument. Playing levels will perhaps need to be reviewed when different instrument combinations are involved. The principle behind J. S. Bach’s two part Inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. When played in an ensemble context there is not much other music that can better prepare players for this type of music activity. Those learning how to use music notation software and improve their listening skills will find this an excellent study to copy simply because of the many accidentals that require attention from the listening and notation point of view. Accurate notation will suggest an excellent understanding of staff notation. Close
J.S. Bach’s Invention 14 BWV 785 arr. clarinet in Bb & bass clarinet sounding in the key of Bb is a rhythmical work and a movement in which figurati Show More...
J.S. Bach’s Invention 14 BWV 785 arr. clarinet in Bb & bass clarinet sounding in the key of Bb is a rhythmical work and a movement in which figuration is a substitute for ornamentation. Ornaments are omitted in this movement but make way for some exacting and rhythmic figuration. Players should have an understanding of the phrasing needed before playing. J.S. Bach’s music, is from the baroque era in music history and the convention is that there is minimal score detail in place in sheet music scores. The realisation plays back at 56 quarter note or crotchet beats to the minute. This said the movement is probably best played with an awareness of an eighth note or quaver pulse. Accompaniments are in place allowing clarinet in Bb and bass clarinet players to participate in ensemble activities as part of practice routines. The clarinet in Bb sounds on one side of the stereo channel and the bass clarinet on the other. The accompaniment tracks play back at 52, 54, 58, 60 and 62 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks. There are different approaches to playing this invention and instrumentalists should spend time listening to performances of the work by a range of musical instruments on streaming media. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. Close
J.S. Bach’s Invention 14 BWV 785 arr. clarinet in Bb sounding in the key of Bb is a rhythmical work and a movement in which figuration is a substitu Show More...
J.S. Bach’s Invention 14 BWV 785 arr. clarinet in Bb sounding in the key of Bb is a rhythmical work and a movement in which figuration is a substitute for ornamentation. Ornaments are omitted in this movement but make way for some exacting and rhythmic figuration. Players should have an understanding of the phrasing needed before playing. J. S. Bach’s, is from the baroque era in music history and the convention is that there is minimal score detail in place in sheet music scores. The realisation plays back at 52 quarter note or crotchet beats to the minute. This said the movement is probably best played with an awareness of an eighth note or quaver pulse. Parts appropriately transposed are attached to the full score. In this arrangement the clarinet in Bb 2 part has been transposed up an octave so that the two clarinets are an octave closer than in the original version. Accompaniments are in place allowing clarinet in Bb players to participate in ensemble activities as part of practice routines. Clarinet in Bb 1 sounds on one side of the stereo channel and clarinet in Bb 2 sounds on the other. The accompaniment tracks play back at 48, 50, 52, 54, 56 59 and 61 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is one bar count in /click track at the beginning of the accompaniment tracks. There are different approaches to playing this invention and instrumentalists should spend time listening to performances of the work by a range of musical instruments on streaming media. The Bach Inventions are generally intermediate level movements when played on a keyboard instrument The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure keyboard technique. Close
J.S.Bach’s Invention 8 BWV 779 arranged clarinet in Bb & bass clarinet. One of the most popular of the two part inventions with scale runs and chord Show More...
J.S.Bach’s Invention 8 BWV 779 arranged clarinet in Bb & bass clarinet. One of the most popular of the two part inventions with scale runs and chord shapes to master. The sheet music score available as a pdf download from the website has individual parts appended to the full score. Accompaniments are also in place to help players improve their technique and ensemble playing skills. The realisation plays back at 92 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments. Clarinettists players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections. Music cannot be played quickly until it can be played slowly. Ornaments are not generally featured in this movement whilst the realisation plays back at 92 quarter note or crotchet beats to the minute. Accompaniments are in place allowing trumpet and trombone players to participate in ensemble activities as part of practice routines. The trumpet sounds on one side of the stereo channel and the trombone on the other. The accompaniment tracks play back at, 80, 84, 88, 92, 96 and 100 quarter note (crotchet) beats per minute. This reflects the fact that this particular invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. It is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement especially with regard to articulation. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. They are possibly more challenging works when played on other instruments. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other compositional processes and techniques are evident as in most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing ensemble playing in the duo format encouraging listening, accuracy in playing and good intonation. Close
J.S.Bach’s Invention 8 BWV 779 arranged for clarinet in Bb duo sounding in the key of F. One of the most popular of the two part inventions with sca Show More...
J.S.Bach’s Invention 8 BWV 779 arranged for clarinet in Bb duo sounding in the key of F. One of the most popular of the two part inventions with scale runs and chord shapes to master. An appropriately transposed sheet music score is available from the website. Accompaniments are also in place. An uplifting and appealing invention with many scale runs and chord shapes that make this an appropriate movement for clarinettists to play to improve technique. There are some octave transpositions in the lower part to keep to the range of the instruments. The realisation plays back at 104 quarter note or crotchet beats to the minute. Many musicians play this invention faster and interestingly it is a movement usually played without ornaments. Clarinet players need to choose a tempo at which the whole movement can be played consistently. It is a good test piece for players because this piece can very easily run away with itself requiring a tempo adjustment in the challenging sixteenth /semi-quaver sections. Remember that music cannot be played quickly until it can be played slowly. At times in the arrangement the contrapuntal lines are an octave closer together than in the piano version. Ornaments are not generally featured in this movement whilst the realisation plays back at 96 quarter note or crotchet beats to the minute. Accompaniments are in place allowing clarinettists to participate in ensemble activities as part of their practice routines. Clarinet in Bb 1 sounds on one side of the stereo channel and Clarinet in Bb on the other. The accompaniment tracks play back at 76, 80, 84, 88, 92, 96, and for the brave 100 quarter note (crotchet) beats per minute. This reflects the fact that this particular invention can be played at many different tempi. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. It is wise for players to listen to performances of this invention on streaming media to understand the different approaches that players have when performing this movement especially with regard to articulation. The Bach Inventions are generally considered to be intermediate level movements when played on a keyboard instrument. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the harmonic journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst other compositional processes and techniques are evident as in most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing ensemble playing in the duo format. Close
Invention 4 BWV 775 arranged for clarinet in Bb and bass clarinet sounding in the key of D minor is an appealing work featuring an opening motif or me Show More...
Invention 4 BWV 775 arranged for clarinet in Bb and bass clarinet sounding in the key of D minor is an appealing work featuring an opening motif or melodic shape that combines stepwise movement with the interval of a falling diminished seventh. The realisation plays back at 45 dotted quarter note or dotted crotchet beats to the minute. The time signature for this movement is 3/8 and the music editor suggests approaching playing the movement with a one in a bar feel or pulse rather than trying to count in eighth notes or quavers. The long trills bar 19 and bar 29 need to be played rhythmically and with control. There is some debate as to the notes to be played in the trill commencing in bar 29. The music editor suggests a written G natural (sounding F natural) but many alternate a G# (sounding F#) with the E. In the video score, which clarinet players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. Accompaniments are in place allowing clarinet players to participate in an ensemble activity as part of practice routines. The Clarinet in Bb sounds on one side of the stereo channel and the Bass Clarinet on the other. The accompaniment tracks play back at 39, 42, 45, 48, 51 and for the brave 54 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. This is an invention where it is interesting to observe the different approaches to playing the movement particularly with regard to tempo and articulation. The Inventions are always worth revisiting and the collection should be understood to be one that benefits from this. Valuable time can be spent on streaming media listening to and perhaps watching different approaches that players have when performing this movement. Whilst there is considerable contrast to the tempo that the invention is played remember that movements cannot be played quickly until they be played slowly! The inventions offer excellent opportunities to improve ensemble playing in a duo context. Individual clarinet parts are also appended to the full scores available as a pdf download from the PlentyMusic website. The Bach Inventions are considered to be intermediate level movements. The key journey that features in this movement embraces the closley related keys of the relative major, sub-dominant and the V7 – VI progression bars 48 - 49 further adds to the harmonic journey. Imitation, inversion and sequence are all in evidence as compositional processes. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure playing technique and good intonation. Close
Invention 4 BWV 775 arranged for two clarinets in Bb sounding in the key of D minor is an appealing work featuring an opening motif or melodic shape t Show More...
Invention 4 BWV 775 arranged for two clarinets in Bb sounding in the key of D minor is an appealing work featuring an opening motif or melodic shape that combines stepwise movement with the interval of a falling diminished seventh. In this arrangement the contrapuntal lines are an octave closer than in the original piano version with both instruments notated in the treble clef. The realisation plays back at 48 dotted quarter note or dotted crotchet beats to the minute. The time signature for this movement is 3/8 and the music editor suggests approaching playing the movement with a one in a bar feel or pulse rather than trying to count in eighth notes or quavers. The long trills bar 19 and bar 29 need to be played rhythmically and with control. There is some debate as to the notes to be played in the trill commencing in bar 29. The music editor suggests a written G natural (sounding F natural) but many alternate a G# (sounding F#) with the E. In the video score, which clarinet players may wish to refer to on the PlentyMusic YouTube channel ornaments have been written out as they sound in the realisation to represent exactly what is being played. Accompaniments are in place allowing clarinet players to participate in an ensemble activity as part of practice routines. Clarinet 1 sounds on one side of the stereo channel and Clarinet 2 on the other. The accompaniment tracks play back at 39, 42, 45, 48, 51 and for the brave 54 quarter note (crotchet) beats per minute. Accompaniment backing tracks are recorded with a dry acoustic to encourage accuracy in playing. There is a four bar count in /click track for each of the accompaniment tracks. This is an invention where it is interesting to observe the different approaches to playing the movement particularly with regard to tempo and articulation. The Inventions are always worth revisiting and the collection should be understood to be one that benefits from this. Valuable time can be spent on streaming media listening to and perhaps watching different approaches that players have when performing this movement. Whilst there is considerable contrast to the tempo that the invention is played remember that movements cannot be played quickly until they be played slowly! The inventions offer excellent opportunities to improve ensemble playing in a duo context. Individual clarinet parts are also appended to the full scores available as a pdf download from the PlentyMusic website. The Bach Inventions are considered to be intermediate level movements. The key journey that features in this movement embraces the closley related keys of the relative major, sub-dominant and the V7 – VI progression bars 48 - 49 further adds to the harmonic journey. Imitation, inversion and sequence are all in evidence as compositional processes. The principle behind J. S. Bach’s two part inventions is to take a musical idea or motive and then process it following the rules of good contrapuntal writing using the compositional processes of the baroque and at the same time referencing the closely related keys in the journey. Inversion, repetition, sequence, transposition, rhythmic augmentation/diminution amongst processes are evident in Bach’s inventions as most other music of the baroque period. J. S. Bach composed 15 Inventions in a collection dating from 1723 intended to introduce keyboard players to composition techniques of the baroque. They are excellent pieces for developing a sound and secure playing technique. Close
Clara Schumann’s “Warum willst du And’re fragen” (Why do you question others?) in an arrangement for clarinet in Bb & piano. Dating from 1841 Show More...
Clara Schumann’s “Warum willst du And’re fragen” (Why do you question others?) in an arrangement for clarinet in Bb & piano. Dating from 1841 this is a reflective and contemplative romantic instrumental arrangement. The realisation plays back at 74 quarter note crotchet beats per minute. In the arrangement the piano generally doubles the melody which whilst reassuring for the instrumental soloist doesn't represent best practice in a musical sense. There should always be a focus on communicating beauty of sound and tone when playing Clara Schumann’s and music by her contemporaries. The voicing particularly in the piano accompaniment is always very considered with the harmonic writing demonstrating chromatic elements typically found in music of its composition date. Players who want to understand or even confirm phrasing options should simply sing the melody and identify places in the score where it is necessary to breathe. There are subtle tempo changes needed as the movement progresses with slowing downs required at the ends of phrases. Returning to a tempo particularly at the start of phrases is an important aspect of performing this music successfully. Use of the piano sustaining pedal is recommended in the accompaniment but is only indicated in the opening bars. The music editor suggests only light use so that the harmonic lines are not blurred or become muddy. Piano accompaniments are available playing at 72, 74 and 76 quarter note or crotchet beats to the minute. These provide an opportunity for instrumentalists to incorporate ensemble practice as part of regular home music practice routines. There is quite obviously a strong connection and similarities between the composition approach of Robert and Clara Schumann's music. Clara in fact edited much of her husband's music for publishers in the 19th century and was an immense musical talent in her own right. The melody is quite reminiscent of the opening song from Robert Schumann's Dichterliebe song cycle. Additionally, this is one of the songs that Clara Schumann contributed to Robert Schumann’s 12 Gedichte Aus Liebesfruling Opus 37 Close
An intermediate level arrangement for clarinet in Bb and piano of an encore shortened version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6 In t Show More...
An intermediate level arrangement for clarinet in Bb and piano of an encore shortened version of Tchaikovsky’s Valse Sentimentale Opus 51 No.6 In this cut down version an alternative ending is provided which simplifies Tchaikovsky’s original cadenza like coda. Formally this short version of the movement can be described as in ternary form ABA with a short coda as a closing section. Originally composed as a piano solo and dating from 1882 it is described as salon music intended in its time to be performed as drawing room music rather than in the concert hall. This is music ideally suited to being performed in intimate surrounds. As a movement a waltz needs to have a one in the bar feel to it rather than three beats to the bar. The playback tempo is 40 dotted half notes (minims) to the bar. It is a movement that requires subtle changes of tempo in the tempo rubato sense. The waltz is a dance and as much of Tchaikovsky’s music is associated with ballet, the Valse Sentimental needs to played with an awareness of movement. The music needs to glide or ebb and flow. If played strictly in time the music becomes quite dull. A movement that is excellent for developing an understanding of performance practice in the romantic / late romantic tradition. A perfect movement to understand how to manage tempo in music in the playing sense and to understand how rubato should work and be used in a music performance. The melody needs to be played legato. Players should be working to improve both the intonation and quality of tone in their playing. Piano accompaniments are available playing at 40, 42 44 and 46 beats per minute where the beat is a dotted half note or minim. In the cadenza like coda beginning at bar where the music has a more dramatic quality and is marked meno mosso it is more practicable to approach this section with a three in the bar feel to the music. Use of the sustaining pedal is recommended by the piano accompanist but not indicated in the sheet music score apart from the first couple of bars. The music editor’s preference and recommendation is for minimal use the pedal. The bracketed notes in the piano accompaniment are editorial and can be omitted. Tchaikovsky's exceptional gift as a composer apart from writing beautiful melodies and accompaniments is his ability to express a great range of moods from the happiest to the saddest moments probably better than anybody else. Close
Serenade by R. Hoffstetter is a movement from a popular classical string quartet. The arrangement for clarinet quartet marked Andante cantabile includ Show More...
Serenade by R. Hoffstetter is a movement from a popular classical string quartet. The arrangement for clarinet quartet marked Andante cantabile includes a clarinet in Eb, 2 clarinets in Bb and a bass clarinet in the arrangement and sounds in the key of B flat. The PlentyMusic sheet music realisation plays back at 90 quarter note (crotchet) beats to the minute. Improve music practice strategies by downloading this sheet music score and accompaniments from PlentyMusic. The music possesses classical beauty and is sustained in its quality and whilst attributed to Haydn is now known to have been composed by Roman Hoffstetter. The melody does sound easy to play although there are challenges in playing music of this era well and musically. In a performance, the articulation of the notes needs to be consistent - the melody is to be played legato with the accompaniments playing staccato or at least detached . A tempo in the range from 90-102 quarter note (crotchet) beats to the bar is suggested while individual instrument parts are appended to the full score available as a pdf download from the website. The repeats which are not marked in the video score do not play in the realisation or video score. mp3 clarinet accompaniments are available playing at 86, 90, 94, 98 and 102 quarter note (crotchet) beats to the minute. The accompaniments feature the clarinet in Bb 2, clarinetin Bb 3 and bass clarinet parts and gives opportunity to the clarinet in Bb 1 player to practice in an ensemble context. A two bar click track sounding on a wood block can be heard at the opening of the accompaniments to establish the tempo. An ideal concert item because the music epitomises so much of classical style although surprisingly not composed by one of the famous and familiar classical composers. The repetitive element in the melodic writing is strong whilst the melody line combines chordal and stepwise shapes. The appoggiaturas do often create dissonance in the melodic line whilst the chromatic harmonic colour add to the music’s appeal and interest. In the PlentyMusic sheet music score pdf available for download the appoggiaturas (leaning notes) have been notated as they are to be played whilst the acciaccaturas (crushed notes) are indicated as ornaments with the appropriate symbol. In the video score all the ornaments are notated to add clarity to what is a frequently a contentious area. The ornaments, acciaccaturas (crushed notes) whi are probably best omitted in the early stages of playing the movement. This is an excellent movement for developing an understanding of performance practice and the understanding of dissonance, harmonic rhythm and other musical elements that feature in compositions from the classical era. One of the best reasons to play classical music is that it is a positive element in giving players an awareness of basic structures and shapes in music. Additionally, it is also one of the best ways of developing a secure performing/playing technique on an instrument. Classical style features elements of contrast particularly with regard to key and dynamics. As there is also a strong repetitive element that requires the music to played with both simplicity and consistency. The melody can be played with a variety of articulations but in the first instance particularly as an ensemble piece a legato approach is suggested. How the melody is shaped and played in the opening section is how the melody should be played for the rest of the movement. Listening to a number of performances of the score the music it is surprising how different interpretations can be particularly in respect to tempo, articulation of the melody line, the range of dynamics used and particularly the interpretation of ornaments whether appoggiaturas or acciaccaturas. Instrumentalists should appreciate that classical music can be interpreted differently and what is indicated on the page particularly with regard to ornamentation, phrasing and articulation are discussion points. Listening to available recordings will give an awareness how differently the same music can be played but appreciate that the music editor has been intent upon producing a score that is both consistent and has clarity. Roman Hoffstetter, the composer of this music, was interestingly a Benedictine monk, strongly influenced by Haydn in his music so much so that this perfect imitation of Haydn’s style has in the past been assimilated into Haydn’s own catalogue. Close
Serenade by R. Hoffstetter is a movement from a popular classical string quartet. The arrangement for clarinet quartet marked Andante cantabile in thi Show More...
Serenade by R. Hoffstetter is a movement from a popular classical string quartet. The arrangement for clarinet quartet marked Andante cantabile in this arrangement sounds in the key of B flat whilst the PlentyMusic sheet music realisation plays back at 90 quarter note (crotchet) beats to the minute. Improve music practice strategies by downloading this sheet music score and accompaniments from PlentyMusic. The music possesses classical beauty and is sustained in its quality and whilst attributed to Haydn is now known to have been composed by Roman Hoffstetter. The melody does sound easy to play although there are challenges in playing music of this era well and musically. In a performance, the articulation of the notes needs to be consistent - the melody is to be played legato with a pizzicato strings style detached accompaniment. A tempo in the range from 90-102 quarter note (crotchet) beats to the bar is suggested while individual instrument parts are appended to the full score available as a pdf download from the website. The repeats which are not marked in the video score do not play in the realisation or video score. mp3 clarinet accompaniments are available playing at 86, 90, 94, 98 and 102 quarter note (crotchet) beats to the minute. The accompaniments feature the clarinet in Bb 2, clarinetin Bb 3 and bass clarinet parts and gives opportunity to the clarinet in Bb 1 player to practice in an ensemble context. A two bar click track sounding on a wood block can be heard at the opening of the accompaniments to establish the tempo. An ideal concert item because the music epitomises so much of classical style although surprisingly not composed by one of the famous and familiar classical composers. The repetitive element in the melodic writing is strong whilst the melody line combines chordal and stepwise shapes. The appoggiaturas do often create dissonance in the melodic line whilst the chromatic harmonic colour add to the music’s appeal and interest. In the PlentyMusic sheet music score pdf available for download the appoggiaturas (leaning notes) have been notated as they are to be played whilst the acciaccaturas (crushed notes) are indicated as ornaments with the appropriate symbol. In the video score all the ornaments are notated to add clarity to what is a frequently a contentious area. The ornaments, acciaccaturas (crushed notes) whi are probably best omitted in the early stages of playing the movement. This is an excellent movement for developing an understanding of performance practice and the understanding of dissonance, harmonic rhythm and other musical elements that feature in compositions from the classical era. One of the best reasons to play classical music is that it is a positive element in giving players an awareness of basic structures and shapes in music. Additionally, it is also one of the best ways of developing a secure performing/playing technique on an instrument. Classical style features elements of contrast particularly with regard to key and dynamics. As there is also a strong repetitive element that requires the music to played with both simplicity and consistency. The melody can be played with a variety of articulations but in the first instance particularly as an ensemble piece a legato approach is suggested. How the melody is shaped and played in the opening section is how the melody should be played for the rest of the movement. Listening to a number of performances of the score the music it is surprising how different interpretations can be particularly in respect to tempo, articulation of the melody line, the range of dynamics used and particularly the interpretation of ornaments whether appoggiaturas or acciaccaturas. Instrumentalists should appreciate that classical music can be interpreted differently and what is indicated on the page particularly with regard to ornamentation, phrasing and articulation are discussion points. Listening to available recordings will give an awareness how differently the same music can be played but appreciate that the music editor has been intent upon producing a score that is both consistent and has clarity. Roman Hoffstetter, the composer of this music, was interestingly a Benedictine monk, strongly influenced by Haydn in his music so much so that this perfect imitation of Haydn’s style has in the past been assimilated into Haydn’s own catalogue. Close
Lullaby by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for clarinet quartet comprising 3 clarin Show More...
Lullaby by J. Brahms is a famous and familiar melody from the classical music repertoire. In this arrangement for clarinet quartet comprising 3 clarinets in Bb and bass clarinet sounding in Eb with the PlentyMusic realisation of the sheet music score playing back at 76 quarter note (crotchet) beats to the minute. The free sheet music score available from PlentyMusic has individual parts appended to the full score. Clarinettists can view and hear the video sheet music score on our YouTube channel. One of the most beautifully shaped and sounding melodies to be found in the history of Western music. A movement that needs to be played and communicate simplicity even though there is a hint of something a little more complex in the lilting accompaniment. Improve music practice strategies with PlentyMusic pdf sheet music and mp3 accompaniment downloads playing at 72, 76, 80, 84 and 88 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. These are available from the website. The function of these accompaniments is to provide an ensemble playing experience from clarinet in Bb players in a home studio situation. The lilting clarinet in Bb parts 2 and 3 are quite challenging to play and so an introductory 2 bar wood block intro can be heard on the accompaniment mp3. Should an additional parts be required for a clarinet in Eb please advise the PlentyMusic office. The melody needs to be played legato and there is opportunity to use rubato or robbed time which is associated with the performance of music from this time. There are wide variations in tempo as to how the music is performed. The music editor suggests learning the movement at a tempo of 80 quarter note (crotchet beats) to the minute. This is an excellent performance piece that can be played at a range of tempi and players should experiment with the tempo particularly in different acoustics and venues. As a familiar melody it needs to be learnt thoroughly and is an excellent piece for the clarinet in Bb 1 player to memorise. This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Formally the pattern of the music can be described as binary represented as ABAB The ornaments have been incorporated into the sheet music in the notation to add clarity of intention. Analysis reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this time in music history. Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This song arrangement requires a relatively basic technique and is an excellent introduction to playing his music. Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances. For those who have the time, skill set and imagination working the melody with a different accompaniment and stylistic approach can be a rewarding and broadening musical experience. Re-invention is an important aspect of music making and PlentyMusic are keen and willing to both listen and publish work in this category. Close
Bach J.S. Sinfonia 8 BWV 794 arranged for clarinet trio of 2 clarinets in Bb and bass clarinet. The Sinfonia arrangements from PlentyMusic are excelle Show More...
Bach J.S. Sinfonia 8 BWV 794 arranged for clarinet trio of 2 clarinets in Bb and bass clarinet. The Sinfonia arrangements from PlentyMusic are excellent movements to improve music practice routines. Download sheet music and accompaniments from PlentyMusic. The Sinfonia 8 in the key of F is a cheerful and appealing movement with some attractive figuration and a movement that can be played at a range of tempi. Clarinet parts appropriately transposed are appended to the full sheet music score. In this arrangement clarinet in B flat 1 plays the higher voice 1, the clarinet in Bb 2 plays the middle voice 2 and the bass clarinet voice 3. The trio realisation plays back at 76 quarter note or crotchet beats to the minute Ornaments have been omitted in the music scores although those familiar with the performance practice of the baroque may choose to add ornaments particularly at cadences. A guiding principle is that the any ornaments introduced should be imitated in the voices The Sinfonias were originally composed for harpsichord the keyboard instrument of J.S. Bach’s time although they do provide excellent ensemble material for various instrument combinations. This transcription keeps to original voicings and key although pitch levels in baroque times were lower than in contemporary times. The Sinfonias are works conceived for three voices and feature compositional processes associated with contrapuntal writing of the baroque era: repetition, inversion, imitation, augmentation, diminution, sequence. For all musicians it is important to understand these terms in both in playing and listening contexts. Accompaniments playing at 72, 86, 80 and 84 quarter note or crotchet beats to the minute and featuring the clarinet in Bb 2 and bass clarinet parts are available as mp3 downloads from PlentyMusic. The 3 part Sinfonias and 2 part Inventions are excellent movement for developing listening skills in ensemble playing. Do make use of these and other resources available on the PlentyMusic website. Score detail is usually omitted in music from the baroque era although there is scope to introduce crescendos and diminuendo’s with the rise and falls of the music and rits. and ralls are sometimes appropriate at cadences occurring in bars 7, 15 and 23. Close
F.J. Gossec’s Tambourin arranged for clarinet quintet. Improve music practice routines by downloading sheet music and piano accompaniments from Ple Show More...
F.J. Gossec’s Tambourin arranged for clarinet quintet. Improve music practice routines by downloading sheet music and piano accompaniments from PlentyMusic. A short but very appealing movement ideal as an encore for a well prepared clarinet group. The arrangement is scored for 3 clarinets in Bb and 2 bass clarinets. If there is an Eb clarinet available please advise the PlentyMusic Office and the music editor will update the score. The dance element is particular strong in French music and this is a dance inspired instrumental with a sectional structure has a strong repetitive element. The realisation plays back at 112 quarter note crotchet beats to the minute. The music editor has chosen not to indicate the tempo in the music score using an appropriate Italian term but players do need to play the movement at a brisk tempo. There is a modulation to the dominant key at bar 51 where some attention needs to be paid to playing the correct accidentals. A performance piece to challenge solo players to step up to advanced level standards although rhythmical and articulation aspects can be micro-managed in presenting the movement for performance to an audience There are some rhythmic options that can be explored in the clarinet in Bb 1 part in the section 51-57. The music editor suggests first playing the 7 bars as eighth note or quavers and then introducing rhythmic options and complexity of sixteenth notes, sixteenth note triplets and thirty second notes. (quavers, semi quavers and demisemiquavers!) Notes need to articulated clearly and particularly in the final section from bars 80 to 88 players may wish to play the sixteenth note semi quavers with a staccato touch. Individual parts for the 5 instruments are appended to the full score. Accompaniments / backing tracks are available playing at 112, 118, 124, 132 quarter note or crotchet beats to the minute giving the clarinet in Bb 1 the opportunity to practice in context. Gossec was a French composer and pupil of Rameau although little known outside France. He composed symphonies, operas and is identified with the revival of instrumental music in France. A colleague of Cherubini he introduced and conducted the symphonies of Haydn in Paris. France has always enjoyed a strong reputation for the quality of its woodwind playing and woodwind teaching and not surprisingly many of its composers have explored this tradition in their creative. Close
An arrangement for four clarinets in Bb and bass clarinet – 5 parts in total of this improver level ternary form (ABA) work from Tchaikovsky’s 1 Show More...
An arrangement for four clarinets in Bb and bass clarinet – 5 parts in total of this improver level ternary form (ABA) work from Tchaikovsky’s 1878 Album for the Young, Opus 39. It is a melodic movement with a regular phrase structure which is not surprising for a composer known for his ballet music. There are editions where accent markings are placed very generously in the music scores although the music editor suggests that modern instruments with their stronger tone quality do not require such score markings. This is an excellent piece for developing legato playing and tone quality in the melody playing. The realisation plays back at a tempo of 84 quarter note or crotchet beats to the minute. The score and parts can be downloaded as a one document pdf file from the website. Accompaniments are in place featuring the clarinet in Bb 2, 3, 4 and bass clarinet playing at 82,84 and 86 quarter note (crotchet) beats to the minute. There is a two bar count in featuring the sound of the wood block. Close
An arrangement for clarinet in Bb and bass clarinet of this characterful and lively march written in cut time. A tempo of 76 half note or minim beats Show More...
An arrangement for clarinet in Bb and bass clarinet of this characterful and lively march written in cut time. A tempo of 76 half note or minim beats is used in the realisation and accompaniments are in place enabling both clarinet in Bb and bass clarinet players to enjoy duo playing as part of practice routines. Accompaniment tempos are 72, 76, 80 and 84 half note or minim beats to the minute and there is a 4 bar count in sounded on the wood block. Close
