Sonata for Bass Clarinet and Piano was commissioned by virtuoso former Houston Symphony clarinetist Richard Nunemaker, and takes full advantage of his prodigious technique and the instrument's extraordinary range. Although the sonata is traditional in its structure - with three movements whose tempi are ordered as fast, slow, fast - it is highly original in its musical content.
The first movement draws upon two rather disparate sources for its material - Dizzy Gillespie's bebop standard Salt Peanut , and Frank Zappa's art-rock masterpiece Eric Dolphy Memorial Barbeque , hence the title, Salt Peanut Memorial Barbeque. The second movement uses a technique much, much older, that of the isorhythmic motet. The piano accompaniment has a talea of five rhythmic events serving a color of four pitch events. The clarinet cantillates a monody against this that is comprised primarily of the pitches not displayed in the accompaniment; hence the title Motet - Ancient Incantations. The third movement is a bebob and boogie-woogie tour-de-force for the two instruments, at once paying homage to Eric Dolphy and to one of the great songs of his era, Green Dolphin Street , and hence the title, Green Dolphy Street Boogie. / Partitions classique / Bois / Clarinette / ALEA PUBLISHING

Par WEISSENBORN JULIUS. German bassoonist and pedagogue Julius Weissenborn is known primarily as an author and composer of method and etude books familiar to all bassoonists. However, he also composed a number of solo works, including this Capriccio, Op. 14. Not only is the piece educational to the player, but it is also quite entertaining to the audience. Similar to the Premier Solo of Eugene Bourdeau, the Capriccio is often regarded as somewhat of a secondary solo, good for students before they move on to the 'real' repertoire. However, it is a well thought-out and fun piece, and is perfectly suited for the bass clarinet. In this edition, the piano part has been transposed down a whole-step (toB-flat major), to better accommodate the bass clarinet. In addition, there are two solo parts included, one for extended range bass clarinet (to low C), and for standard range bass clarinet (to low E). German bassoonist and pedagogue Julius Weissenborn is known primarily as an author and composer of method and etude books familiar to all bassoonists. However, he also composed a number of solo works, including this Capriccio, Op. 14. Not only is the piece educational to the player, but it is also quite entertaining to the audience. Similar to the Premier Solo of Eugene Bourdeau, the Capriccio is often regarded as somewhat of a secondary solo, good for students before they move on to the 'real' repertoire. However, it is a well thought-out and fun piece, and is perfectly suited for the bass clarinet. In this edition, the piano part has been transposed down a whole-step (toB-flat major), to better accommodate the bass clarinet. In addition, there are two solo parts included, one for extended range bass clarinet (to low C), and for standard range bass clarinet (to low E)./ Répertoire / Clarinette Basse et Piano

Par SAINT-SAENS CAMILLE. Camille Saint-Saëns composed this Romance, Op. 51, in 1877, originally in the key of D major for cello and piano. The form of the piece is relatively simple, opening with a lyrical melody over a repetitive and somewhat rhythmic accompaniment. The middle section modulates to the key of the flattened 6th scale degree (B-flat major), using this to arrive at the dominant chord, in which there are some pseudo cadenza-like moments. Following this, a return to the opening melody with a slightly modified accompaniment, and subsequently a brief coda. To better accommodate the bass clarinet, the entire piece has been transposed up a half-step from the original version into a morecomfortable key of E-flat major. Additionally, for much of the piece, the solo part has been lowered by an octave, as to make the piece generally more accessible to students. Should there be a desire to hear the piece more in the range of the original version, one could simply play it on a standard B-flat clarinet to achieve this effect. Though only about four minutes in length, this relatively short vignette captures much of the true essence of Saint-Saëns, not only through the harmonic progressions and accompanimental figures used, but also demonstrating his gift of turning a 'simple' melody into something extraordinary. Camille Saint-Saëns composed this Romance, Op. 51, in 1877, originally in the key of D major for cello and piano. The form of the piece is relatively simple, opening with a lyrical melody over a repetitive and somewhat rhythmic accompaniment. The middle section modulates to the key of the flattened 6th scale degree (B-flat major), using this to arrive at the dominant chord, in which there are some pseudo cadenza-like moments. Following this, a return to the opening melody with a slightly modified accompaniment, and subsequently a brief coda. To better accommodate the bass clarinet, the entire piece has been transposed up a half-step from the original version into a morecomfortable key of E-flat major. Additionally, for much of the piece, the solo part has been lowered by an octave, as to make the piece generally more accessible to students. Should there be a desire to hear the piece more in the range of the original version, one could simply play it on a standard B-flat clarinet to achieve this effect. Though only about four minutes in length, this relatively short vignette captures much of the true essence of Saint-Saëns, not only through the harmonic progressions and accompanimental figures used, but also demonstrating his gift of turning a 'simple' melody into something extraordinary./ Répertoire / Clarinette Basse et Piano

Par BOURDEAU EUGENE. Eugene Bourdeau came from a family of bassoonists and eventually became the professor of bassoon at the Paris Conservatory from 1891 to 1922. Though not well-known as a composer, he composed three solos for bassoon, consisting of a a variety of styles. The Deuxieme (Second) Solo, composed for the 1907 concours of the Paris Conservatory, is in three sections: a stately introduction, a slow middle section, and a brisk allegretto. Originally in the key of B minor/D major, the entire piece has been transposed up one half-step, to better accommodate the range of the bass clarinet, as well as to make it a more comfortable key.Eugene Bourdeau came from a family of bassoonists and eventually became the professor of bassoon at the Paris Conservatory from 1891 to 1922. Though not well-known as a composer, he composed three solos for bassoon, consisting of a a variety of styles. The Deuxieme (Second) Solo, composed for the 1907 concours of the Paris Conservatory, is in three sections: a stately introduction, a slow middle section, and a brisk allegretto. Originally in the key of B minor/D major, the entire piece has been transposed up one half-step, to better accommodate the range of the bass clarinet, as well as to make it a more comfortable key./ Répertoire / Clarinette Basse et Piano

Composée par Cadée Jean-Louis la partition Ballade pour Clarinette Basse (cl b piano) est éditée par les célèbres éditions françaises Robert Martin sous la référence SL10284.De ce fait, si vous êtes un grand amateur de Clarinette et encore plus de Clarinette vous trouverez dans cette pièce tout ce que vous cherchez. Alors plus que quelques clics et cette partition vous appartiendra!!! / Clarinette / Partition

Par PROUST PASCAL. Un caractère de feu à donner à cette pièce pour les instrumentistes d'un niveau déjà avancé... - Pascal PROUST - Une pièce pour un début de Cycle II. - Formation : Musique de Chambre, Duo, Solo and Accompagnement Piano - Instrumentation : 1 Clarinette Basse 1 Piano - Niveau de Difficulté : 3/6 - Intermédiaire - Durée : 3 mn 30 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale - Compositeur : Pascal PROUST - / Niveau : Intermédiaire / Classique, Pédagogique / Répertoire / Clarinette Basse et Piano

Comme ' Cheminement ' et ' Mutances II ', ' Mutances III ' fut écrite à la demande de Jean-Noël Crocq. Le désir d'exploiter au maximum les ressources de l'instrument y est toujours présent. Des traits rapides, parfois entremêlés de ' slapps ' balayent l'ensemble de la pièce dans une pluralité rythmique où se trouvent superposées ou juxtaposées des pulsations binaires et ternaires mêlées à des mesures hétérogènes. Cette pièce, tant dans sa partie flûte que sa partie piano, peut être donnée à travailler en cours Supérieur ou faire l'objet d'exécutions publiques. Elle pourra également être jouée sur une clarinette en Sib. / Clarinette Basse En Sib Et Piano

Par WEBER ALAIN. La clarinette parcourt par phrases mélodiques successives l'étendue de l'instrument. Passant en son début du souffle au son, l'oeuvre s'anime par la suite à travers l'emploi de traits et de staccatos rapides. L'écriture pianistique procède par grappes d'agrégats, ne relevant d'aucun système d'écriture préétabli. C'est une improvisation continuelle dans la recherche de sonorités acoustiques. De niveau supérieur, l'oeuvre pourra être utilisée comme pièce de travail, de concours ou pour le concert. / Niveau : Assez Difficile / Contemporain / Date parution : 2009-05-25/ Répertoire / Clarinette Basse et Piano

Professionnel ou amateur de Classique vous apprécierez cette partition de musique. Composée par Coiteux Francis et éditée par Billaudot cette partition est idéale pour les joueurs de Clarinette. Si l'instrumentation Clarinette Et Piano correspond à ce que vous cherchez, vous en ferez alors un très bon usage. / Clarinette Et Piano / Partition

Instrument : CLARINETTE BASSE
Compositeur : VOLTA J.M.
Collection : CALAMUS
Directeur de collection : VOLTA J.M.
Difficulté : 3-8