Flexible jazz style duets with Piano accompaniment and optional Guitar chords for any combination of Flute(s) Oboe(s) and or Bb Clarinets. Also combines with Latin Pick And Mix For Saxophone (SP515) to provide duets with even more flexibility.Grade: 5 - 6

The Duet-Concertino was completed late in 1947 and was Strauss's last completed work. It was dedicated to the composer's friend Hugo Burghauser a former bassoonist of the Vienna Philharmonic. It is arranged here for Clarinet and Bassoon with a Piano reduction of the original String Orchestra and Harp parts.

This huge collection offers instrumentalists the chance to play 101 classical themes, including: Ave Maria (Bach/Gounod and Schubert) - Bist du bei mir (You Are with Me) (Stözel) - Canon in D (Pachelbel) - Clair de Lune (Debussy) - Dance of the Sugar Plum Fairy (Txhaikovsky) - 1812 Overture (Tchaikovsky) - Eine Kleine Nachtmusik (' Serenade”), First Movement Excerpt (Mozart) - The Flight of the Bumble Bee (Rimsky-Korsakov) - Funeral March of a Marionette (Gounod) - Für Elise (Beethoven) - Gymnopedie No. 1 (Satie) - Jesu, Joy of Mans Desiring (Bach) - Lullaby (Brahms) - Minuet in G (Bach) - Ode to Joy (Beethoven) - Piano Sonata in C (Mozart) - Pie Jesu (Fauré) - Rondeau (Mouret) - Swan Lake (Tchaikovsky) - Wedding March (Mendelssohn) - William Tell Overture (Rossini) - and many more./ Recueil / Clarinette

These exercises duets and trios for Saxophones introduce young players to jazz rhythms from the earliest stages of playing. The exercises in this book have been carefully written by Paul Harvey not to be toodifficult too soon so that beginning students can benefit from the entire book.The first 24 exercises are all eight bars long with two parts each for B-flat and E-flat instruments. Each can be used as four exercises forSolo Saxophone a duet for two same-pitch Saxophones a duet for Alto and Tenor a trio for two Altos and Tenor or a Trio for Alto and two Tenors. All finish with a long note so that the student can practice vibrato. The B-flatparts may also be useful as Clarinet duets for pupils just learning to cross the break. The last eight exercises are all twelve-bar blues in its most basic form covering all keys up to four sharps and four flats and finishingwith the relevant blue scale. For Grade 2-5 students.

POD-Nico Muhly's Stabat Mater Dolorosa for Soprano Baritone and Ensemble. Parts. My Stabat Mater is a very simply-constructed piece of music. I knew I wanted to write a duet a piece of religious music and something to go along with a bit of Birtwistle. My initial instinct was to base the piece on drones as Birtwistle's music has so very many notes but then I decided that an austere but ecstatic approach was the best to fill a coherent evening. I asked my friend Craig Lucas to paraphrase the Stabat Mater text - which describes the Virgin Mary weeping at the foot of the cross on which her son is crucified. The piece is organised byseparating each phrase of the text with a moment of silence with the exception of the last three which are joined with a frenzied chorale with improvised dynamics from the Harp Wind and Strings. - Nico Muhly Instrumentation: Soprano and Baritone voice Flute Clarinet in Bb Harp Violin Viola and Violoncello. 

Par SCHWEITZER BENJAMIN. The chiaroscuro-technique developed by painters of the Italian renaissance served to intensify contrasts and effects of optical depth. In Klar/Obskur, I tried to transfer the general idea of this technique on the rather unusual instrumentation of two double-reed woodwinds and piano. On the one hand, a clear, well articulated playing is characteristic for these instruments, on the other hand, they have an often underestimated potential of „twilight“: air-sounds and fragile, shady colours have a especially attractive when being produced by double-reed instruments (which are often, and superficially regarded as being less capable of differentiated sounds than flute or clarinet). The piano, too, has a broad bandwidth of possibilities between percussive and delicate playing to complement the woodwinds which, in return, can absorb and continue the fading piano sounds. The beginning introduces the two contrasting elements that form the basic material for the piece: a clear, sharp chord, followed by fragile, dim sounds. The changes between these elements as well as their combination and amalgamation produce an enormous spectrum of colours and gesture. After this „motto-like“ opening follow four quite clearly separated short sections, each of them being characterised by a well-defined texture: a partly almost imperceptible air-sound passage, a short sequence of microintervallic notes, a burst of virtuosity and a recourse to the fragile sounds of the beginning. The second, longer main part consists of three sections merging subtly into each other: a short unisono-passage, marked elastic [federnd], is being dissolved into its basic elements; from these remainders, a confrontation of low, ‚arcane‘ bassoon and piano sounds and a strongly ornamented melodic line of the oboe emerges, leading to a short but powerful climax. The piece is concluded by an extended, relaxed epilogue, containing a short piano solo and a duet of oboe and bassoon and, finally, a quotation of the „elastic“ character of the middle section. Benjamin Schweitzer / Date parution : 2007-11-20/ Répertoire / Hautbois, Basson et Piano