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Study in Canon No. 2 clarinet in B Flat, bass clarinet and piano

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. Read More...

Theodor Kirchner was a highly regarded musician, composer and arranger whose career sadly did not live up to expectation because of personal failings. The trio arrangements of Schumann’s Studies in Canon date from 1888. In this arrangement for clarinet in Bb, bass clarinet and piano the imitative and canonic features of the music are very evident in the sharing of the lines between the instruments. The German term «Min innigen ausdruck » meaning with ‘heartfelt expression’ is used to describe the mood of the music at the beginning of the movement although the music editor has favoured the use of Italian terms in the score detail. There are some octave transpositions in the flute part to accommodate the range of the instrument. Parts for the clarinet in Bb and bass clarinet appropriately transposed are appended to the full score. The music editor would like to hear from bass clarinet players as to the practicality of playing the low notes in the score. The Studies in Canon Opus 56 of Schumann are excellent pieces for the music student because they refererence music of the past with the chromatic language of the romantic period and are appealing to play. The Opus 56 collection can be appreciated on so many levels and the pieces exist in a number of different arrangements. This is music that re-invents J.S.Bach style than directly imitating or copying it. The playback score or realisation is clearly not as nuanced as a live performance. The texture is straightforward to understand in that there are two melodies exploring the canonic and imitative aspects of the music, a chordal accompaniment and a bass line. The realisation plays at 66 dotted quarter note beats to the minute notes to the with the occasional slowing down or rit. The score detail in place in the sheet music score is particularly relevant to the tonal qualities of modern instruments. In addition to Schumann’s the original composition for pedal piano there are many arrangements of the Opus 56 collection namely Georges Bizet’s for piano duet and Claude Debussy’s for two pianos. The use of the sustaining pedal whilst recommended has not been indicated in the sheet music score. There is also opportunity to explore tempo rubato in a performance. In romantic music this refers to the give and take (speeding up and slowing down) as far as tempo is concerned. The mp3 accompaniment downloads available enable players to enjoy an ensemble music experience playing the clarinet in Bb part as a solo. The piano and bass clarinet sound in the accompaniment. Accompaniment 1 plays at 60 dotted quarter note (crotchet) beats to the minute, Accompaniment 2 at 63 dotted quarter note (crotchet) beats to the minute Accompaniment 3 at 66 dotted quarter note (crotchet) beats to the minute and Accompaniment 4 at 69 dotted quarter note (crotchet) beats to the minute. There is a two bar count in at the beginning of the accompaniments. Close

Lascia chio pianga

The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was revised in 1733. It is in ABA form and based on the sarabande rh Read More...

The aria or song is taken from the opera Rinaldo which first appeared in 1711 and was revised in 1733. It is in ABA form and based on the sarabande rhythm which has the stress on the second beat of the three beats in the bar. When sung the Da Capo section would be an opportunity for the soloist to improvise and ornament the melody and this is option available to the organists although it is important to keep to the style and mood of the piece. This is very appropriate music for a solemn processional in an organ playing context. The use of three registrations is suggested and are indicated in the score. Rests have been indicated in all parts so that players have a clear understanding of the voicing. It is also a movement that invites interpretation and playing in different contexts. The arrangement is in the original key of F major although the tempo for the organ solo is more Larghetto than Largo which was the tempo indication in the opera. The video score plays back at a tempo of 66 half note or minim beats to the minute. Rests are indicated in the score enabling players to have a clear understanding of the voicing of the musical lines. Moskowski has also arranged the aria for piano. Close

It’s A Date

It's A Date is a beginner level piano/keyboard piece based on a 12 bar blues. As a beginner score the letter names of the notes appear in the note hea Read More...

It's A Date is a beginner level piano/keyboard piece based on a 12 bar blues. As a beginner score the letter names of the notes appear in the note heads and suggested fingering is in place. The tempo of the playback on the video score is 84 half note or minim beats to the minute.Players need to take notice of the accent signs marked in the score and keep their hands as light as possible. Playing a blues structured piece of music does encourage fluent playing and the development of musical memory. The 12 bar blues forms the basis of much popular music of the 20th century. Close

Shenandoah arr. clarinet quartet

Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea Read More...

Shenandoah is a traditional American folk song dating from the 19th century. The song exists in many forms and arrangements becoming popular as a sea shanty in the 1800’s. The beautiful yet powerful melody is suited to being both sung and played as an instrumental. The melody is also quite expansive and clearly open to different interpretations. This arrangement is for a clarinet quartet comprising 3 clarinets in Bb and bass clarinet sounding in the key of Eb. The playback tempo is 84 quarter note beats to the minute and individual parts appropriately transposed are appended to the full score. Close

Pieds-en-l’air arr clarinet choir

This is an excellent piece for developing legato playing and instrument tone and this arrangement is for clarinets divided into parts I, II and III ( Read More...

This is an excellent piece for developing legato playing and instrument tone and this arrangement is for clarinets divided into parts I, II and III (ideally two instruments or more on each line) and bass clarinet. It is also a good test piece because a successful performance requires an awareness of the modal influence that exists in the lines of the music evident in the conflicting accidentals that feature in the score. For a clarinet group to play this piece perfectly in tune is quite a challenge because it requires the participants to be aware of each other’s part and rôle. The time signature is also a bit unusual but think of it as three groups of 3 whilst the tempo of the realization is played at 132 quarter note (crotchet) beats to the minute. Rhythmically there are one or two moments that need attention particularly in the inner parts and the voice leading is at times quite challenging to follow. Individual clarinet parts are appended to the full music score. Peter Warlock’s career was sadly a short lived one but he did make some important contributions to the repertoire including the Capriol Suite from which this particular movement is taken. He was very interested in folk and Elizabethan music and used the name Warlock as a pseudonym for his composition work. He was a close friend of Delius and also worked as a music journalist using his real name which was Philip Heseltine. Warlock’s particular interest in music was in discovering and exploring the modal quality of English music through its folk song and its Elizabethan vocal music. The Capriol Suite captures what could be described as a neo-Elizabethan idiom and spirit quite perfectly and it is well worth listening to the whole work played in its orchestral arrangement. Warlock’s was in many ways an unfulfilled life but it is evident in both his instrumental and vocal music that he had a quite exceptional musical ear and a true understanding of English music. Close

No Bailes Más! (Dance No More) arr. clarinet quartet

In this arrangement for clarinet quartet the specified instruments are three clarinets in Bb and a bass clarinet. The score is formatted as a one docu Read More...

In this arrangement for clarinet quartet the specified instruments are three clarinets in Bb and a bass clarinet. The score is formatted as a one document pdf file with individual parts appropriately transposed for the four clarinets appended to the full score. Ignacio Cervantes was a Cuban composer born in the capital city of Havana in 1847. He had piano lessons with Louis Moreau Gottschalk before travelling to Paris to further his music studies with Charles Valentin Alkan amongst others. This piece originates as a piano solo in the key of Eb whilst this realisation sounds in the key of D it plays at a tempo of 84 quarter note (crotchet) beats to the minute. Many performers play through the piece twice although no repeat signs are indicated in the score. Much of Cervantes piano music is well suited to being played by a variety of instrument combinations as they are well crafted and have great musical appeal. The habanera rhythmic shape also features strongly. Close

Off To California arr. clarinet in B Flat & bass clarinet in B Flat

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on lo Read More...

The hornpipe is found in the folk music of England, Scotland and Ireland and has a traditional association with sailors in that dancing was used on long sea journeys to both encourage fitness. Hornpipes are usually associated with other hornpipes in a performance context in what is described as a dance set. Most folk music is played from memory and both memory and ensemble playing should be encouraged when performing this style of music. In this arrangement for clarinet in Bb and bass clarinet in Bb the realisation plays at 132 quarter note (crotchet) beats to the minute and the hornpipe is in AB (Binary) form. The music needs to be played with a triplet feel as demonstrated in the realisation. The repeats are not played and there is no ornamentation of the melodic line in this two part version. Folk music scores are generally presented with minimal score detail as is the case with this score. Understand that the playing of ornaments whilst relevant in repetitive music of this kind requires a special study and is governed by the instrument being played, the music tradition being represented and sometimes both geography and even locality. A study of ornamentation in folk music the music editor suggests is not for the faint hearted! There are also examples of hornpipes in baroque music including Handel’s Water Music. Three accompaniments are available, with repeats, with the bass clarinet playing the bass line at tempi of (1) 132 (2) 120 and (3) 110 quarter note (crotchet) beats to the minute. There is two bar click track introduction before the music starts to play. Close

Swing Low, Sweet Chariot arr. clarinet choir

This is a very popular piece of music that in many respects transcends idiom, style and it could be suggested culture. This improver level arrangement Read More...

This is a very popular piece of music that in many respects transcends idiom, style and it could be suggested culture. This improver level arrangement for clarinet choir of 3 clarinets in Bb and bass clarinet is in common time although some of the accompanying chords and rhythmic shapes have been updated to give a more contemporary style. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. This arrangement explores a gentle rock style whilst the realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar. The full score includes a piano short score and individual parts for the three clarinets in Bb and bass clarinet are appended to the full score. Close

Swing Low, Sweet Chariot arr. bass clarinet & piano

This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level ar Read More...

This is a very popular piece of music that in many respects transcends idiom, style and at times it could be suggested culture. This improver level arrangement for bass clarinet and piano is in common time whilst some of the accompanying chords and rhythmic shapes have been updated to give a contemporary rock style. There are so many interpretations that it is almost impossible to decide how it should be sung, played and performed. This familiar spiritual gained popularity during the 1960’s with the Civil Rights movement and since 1988 it has become associated with the English rugby team. The realisation plays back at a tempo of 100 quarter note (crotchet) beats to the bar whilst the repeat is not played in the realisation. As players become familiar with the content and chordal structure there is opportunity to develop the melodic material through improvisation in an additional repeat especially if it is possible to recruit a percussion player. A bass clarinet part appropriately transposed is appended to the full score. The sounding key is F. Close

Skye Boat Song arr. bass clarinet & piano

This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles Read More...

This familiar Scottish folk song begins and ends with a chorus (chorus-verse-chorus) and whilst its text describes the escape of Bonnie Prince Charles the song is often sung as a lullaby. This improver level arrangement is in 6/8 time and is suited to being played by a number of instrument combinations This arrangement keeps the melody as usually as it usually sung but some of the accompanying chords have been updated to give a more contemporary feel. A bass clarinet part appropriately transposed is appended to the full score. There are three piano accompaniments available playing at (1) 52 (2) 50 (3) 48 dotted quarter note (crotchet) beats to the minute. Close

Prelude in C arr. flute, clarinet in B flat & bass clarinet

An arrangement for flute, clarinet in Bb and bass clarinet of the Little Prelude BWV 936 originally composed for the keyboard.

Notturno arr. clarinet choir

The arrangement is scored for four clarinets and bass clarinet and uses the first theme from the third movement of Borodin’s String Quartet No. 2 in Read More...

The arrangement is scored for four clarinets and bass clarinet and uses the first theme from the third movement of Borodin’s String Quartet No. 2 in D. Dating from 1881 the movement is commonly referred to as “Notturno” meaning night piece and is a very melodic movement and like much of Borodin’s music is very adaptable to being played by a number of different instrument combinations. There are 4 sections in the arrangement – theme, repeat of the theme with a varied and fuller accompaniment, the theme played in canon and a closing section which can best be be described as a coda. A tempo of 70 quarter note beats to the minute is used in the realisation and there are some octave transposition in the parts whilst the appoggiaturas that appear in the string quartet score have been omitted. Wherever possible material from the original work has been incorporated into the arrangement whilst individual clarinet parts are appended to a copy of the full score. Close

The Happy Farmer arr. bass clarinet & piano

A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement w Read More...

A movement from Schumann's Album for the Young Opus 68 (1848) which was composed at a very happy time in his life. This is a very uplifting movement with a tempo of 110 quarter note beats (crotchet) to the minute used in this arrangement for bass clarinet accompanied by the piano. The solo part is also appended to the piano score. There is a two bar click introduction on the accompaniment mp3. Close

Rondo (Sonatina) arr. two B Flat & bass clarinets

This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this arrangement for two Bb clarinets ,and bass cla Read More...

This is an attractive piece which has in the recent past been used as the basis for a pop tune. In this arrangement for two Bb clarinets ,and bass clarinet of the first section of the piece, the melody is played by the first clarinet in Bb while the chords and bass are played by the second clarinet and bass clarinet respectively. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and the sounding key is F The rondo was composed by Clementi, known in his own time as a teacher, composer, performer and even as a manufacturer of pianos spending most of his adult life living in England. His Opus 36 Sonatinas are a rich source of music for piano players. A rondo is a piece with a recurring theme although only the A or first section is featured in this improver level arrangement intended to introduce players of these instruments to ensemble playing. Close

Theme & Variations arr. B Flat clarinet & bass clarinet

This is an two part arrangement of Beethoven's Theme and Variation on a Swiss Air WoO 64 for clarinet in Bb and bass clarinet introducing players to t Read More...

This is an two part arrangement of Beethoven's Theme and Variation on a Swiss Air WoO 64 for clarinet in Bb and bass clarinet 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 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. Close

The Good Time’s Rag arr. B Flat & bass clarinet

An arrangement for clarinet in Bb and bass clarinet of this piece intended to introduce players to the musical elements that feature in ragtime. The c Read More...

An arrangement for clarinet in Bb and bass clarinet of this piece intended to introduce players to the musical elements that feature in ragtime. The clarinet in Bb plays the melody whilst the bass clarinet plays the accompanying bass line. A tempo of 110 quarter notes (crotchet) beats to the minute is recommended. Players are welcome to repeat the 8 bars in performance. Both instrument parts have been transposed to sound in the key of Bb. Close

Wilson’s Rag arr. clarinet in B Flat & bass clarinet

A two part arrangement of this ragtime waltz for clarinet in Bb and bass clarinet. A tempo of 110 quarter note (crotchet) beats to the minute is sugge Read More...

A two part arrangement of this ragtime waltz for clarinet in Bb and bass clarinet. A tempo of 110 quarter note (crotchet) beats to the minute is suggested and is used in the realisation. The sounding key is F so that the instrument parts are appropriately transposed. Close

La Paloma arr. clarinet in B Flat & bass clarinet

This improver level two part arrangement is for clarinet in Bb and bass clarinet sounding in the key Bb. A tempo of of around 60 quarter note (crotche Read More...

This improver level two part arrangement is for clarinet in Bb and bass clarinet sounding in the key Bb. A tempo of of around 60 quarter note (crotchet) beats to the minute is suggested. The melody needs to be played legato whilst the accompanying bass figuration should be played staccato or certainly in a detached manner. There are many different versions of this piece and the triplet figuration provides various options on how the music can be both notated and played. Sebastian Yradier was a Spanish born composer who despite the universal popularity of the piece died in obscurity in 1865. Based on the Cuban habanera rhythm, La Paloma (The Dove) was written after the composer visited Cuba around 1860 and became very popular world wide. Close

Soirée Polka arr. 3 B Flat clarinets & bass clarinet.

This is an arrangement for 3 clarinets in Bb with a bass clarinet. The polka is a lively characterful dance that originated from the area now known as Read More...

This is an arrangement for 3 clarinets in Bb with a bass clarinet. The polka is a lively characterful dance that originated from the area now known as the Czech Republic (Bohemia) and its popularity spread widely throughout Europe and subsequently North and South America. The dance is upbeat and celebratory in character and written in 2/4 time. Foster's Soirée Polka is an appealing and rhythmic piece suited to being played by a wide range of instruments and instrumental groups although the musical material needs to be played lightly. A tempo of 110 quarter note (crotchet) beats to the minute is recommended. The individual clarinet parts are also appended to the full music score. Stephen Foster (1826-1864) is known as the father of American music, responsible for writing over 200 songs many of which are still very well known today. His My Old Kentucky Home has been the official state song of Kentucky since 1928. He began composing as a teenager and attempted to live his life as a professional songwriter at a time before copyright laws protected a composers work so it was impossible for him to earn a decent living. Close

Twinkle, Twinkle arr for B Flat clarinet & bassoon

A familiar melody used to introduce some of the elements of classical performance style in a two part context. This arrangement is for Bb clarinet and Read More...

A familiar melody used to introduce some of the elements of classical performance style in a two part context. This arrangement is for Bb clarinet and bassoon will help players understand about legato playing and phrasing and to assistthe letter names of the notes appear in the noteheads. Close

Twinkle,Twinkle Variations arr. B Flat & bass clarinet

A very familiar melody used to introduce some of the elements of classical performance style in melody and accompaniment playing. This intermediate le Read More...

A very familiar melody used to introduce some of the elements of classical performance style in melody and accompaniment playing. This intermediate level arrangement for clarinet in Bb and bass clarinet explores classical compositional techniques in a two part texture and features an alberti style bass, the melody played in the bass clef and changes of time signature. Close

Minuet in G minor BWV App.115 arr. clarinet in B Flat & bass clarinet

An arrangement for clarinet and bass clarinet of this minuet from the Anna Magdalena Notebook sounding in the key of G minor and like most dance music Read More...

An arrangement for clarinet and bass clarinet of this minuet from the Anna Magdalena Notebook sounding in the key of G minor and like most dance music from this era in AB or binary form. The movement has a haunting quality and is often performed with the Minuet in G BWV App.114. Like so much of the music from the collection it is a great study piece for music students and can be played by a combination of different instruments. Keep the eighth notes (quavers) as even as possible and a tempo of around 116 quarter note (crotchet) beats to the minute is suggested. Close

Prelude in C arr for flute, clarinet in B Flat & bass clarinet

An arrangement for flute, clarinet in Bb and bass clarinet of this elegant piece with flowing lines that trancribes most effectively to this instrume Read More...

An arrangement for flute, clarinet in Bb and bass clarinet of this elegant piece with flowing lines that trancribes most effectively to this instrument combination. The realisations are played at a tempo of 60 half note (minim) beats to the bar. Close