Format : Score
SKU: HL.864063
UPC: 073999681215. 9.0x12.0x0.209 inches.
Explorer Level (correlates with Book 1, p. 42).
SKU: HL.50485776
ISBN 9780634091674. UPC: 073999457360. Bach (23 x 30,2 cm) inches. Zsolt Serei.
The piece was written in honour of Pierre Boulez's 75th birthday. Besides the title, put together like a mosaic from three Pierre Boulez pieces entitled Dialogue de l'ombre double, Structures, and Pli selon pli, the homage-character of the piece is also indicated by the Reihe used as a base, originating from the composition entitled Structures. The passage-titles of the form made up of seven sections and the character of the musical material of the individual sections all point to pieces by Boulez though they do not contain a single actual quotation from them. The piece is a one-movement chamber concert in which two emphatically polyphonous clarinet parts play a leading role alongside a string quintet. During concert performances, it is an essential element of the piece that the musicians playing the clarinet parts constantly change their position. While the strings remain at the centre of the stage throughout, the two clarinet players, starting out from the left and right side of the stage, finally meet behind them (in the fourth section), then slowly begin to move off stage, one to the left, one to the right. (Tunde Szitha) The performance material can be hired under the catalogue number S-99BMC CD 073Klenyan Csaba, Szabo Balint, Componensemble, cond. Serei Zsolt.
SKU: HL.49013789
UPC: 073999452464. 9.0x12.0x0.063 inches.
For descant recorder, strings and basso continuo. For descant recorder, strings and basso continuo. With these new editions, all six recorder concertos of John Baston are now available, each with score, piano score and parts. The thoroughly edited scores follow essentially the first edition printed by John Walsh in London in 1729. Baston was regarded as an excellent recorder and flute player who worked with London opera orchestras in the early 18th century. His easy concertos anticipating the elegant melody of the early classical period enjoy great popularity representing a rewarding task for music school orchestras and advanced recorder players.
SKU: HL.49013785
UPC: 073999629149. 9.0x12.0x0.095 inches.
SKU: HL.50600899
ISBN 9790080149478. 10.25x14.25x0.337 inches. Laszlo Tihanyi.
The work was commissioned by the Budapest Strings and received its first performance on March 21, 2015, where it was conducted by the composer. It is not an orchestral piece per se, but a chamber work for an ensemble of 15 string soloists in which players divide into groups of five and sound at structurally important moments. It also features various high-pitched, tinkling percussion instruments, including: bells, wind chimes and crotales. This lends a special tinge to the night music character of the piece implied by the line from William Blake chosen as the title. The percussion play a far more essential role than one might imagine based off of the relatively few notes that they play. Their soundings both advance and impede the musical processes taking place in the strings so much so that in some places the string sound appears to be accompanying the tinkling sounds. Due to all these factors, Tihanyi's night becomes mysterious and even frightening, but never gloomy. (Janos Malina).
SKU: KN.08292S
UPC: 822795082920.
From Bizet's Carmen Suite #2, this setting of the familiar dance theme is scored so that the chromatic melody lies exceedingly well for young strings. A mix of legato and staccato bow strokes typify the lead lines, while supporting parts play a good deal of pizzicato for essential contrast. Duration 2:00. Available in SmartMusic.
SKU: HL.14021104
UPC: 884088433321. 9.75x13.75 inches.
The composer writes: Pilgrim was inspired, it will be no surprise to learn, by reading Bunyan's Pilgrim's Progress - Vaughan Williams's great opera on the subject had fascinated me from its first performance, yet it was a long time before I caught up with this essential item in any well-stocked library of English classics. It made a great impression, not least because of its theme of a journey of self-discovery, and a rediscovery or renewal of faith. These are ideas which have a strong interest for me, not in religious terms but in their application to every aspect of human life (including great journeys), and this piece reflects my response in musical terms to this concern. The tempo of the whole piece, which lasts about 18 minutes, is basically slow. There are two quick episodes, but these act somewhat like the trio sections of a classical scherzo, save that the tempo relationships are inverted (the classical trios would have been slower, not quicker) and the canvas is much larger, being that of a single, substantial, slow movement. The form of the whole is perhaps fantasia-like rather than having any relationship to classical forms such as sonata or rondo - some motifs and themes are varied as the work develops, and the opening chords are of primary importance throughout the work. There has been no attempt to convey any pictorial elements deriving from Bunyan's great book. There is, however, one feature which, upon completion of the score, struck me with some force, which is that almost all the thematic material is essentially striving upwards - there is a constant upward movement (sometimes over a lengthy period) throughout the work. Pilgrim was commissioned by the Luton Music Club for the Raphael Ensemble with funds provided by the Eastern Arts Board and Bedfordshire County Council, and is dedicated to the Luton Music Club. The first performance was given in Luton on February 10th 1997 and followed, as part of a joint scheme, by performances in the same week at the Music Clubs of Bedford and Leighton Buzzard.
SKU: AP.47480S
UPC: 038081544892. English.
The word primal is defined as relating to an early stage in development or basic, fundamental, essential, elemental. Imagine this tune challenging your players who fit that definition. Many young and developing musicians experience difficulty with mastering rhythmic accuracy with confidence. Yet, rhythm is essential to music performance. Student proficiency in reading rhythmic figures and being able to move comfortably from one meter to another should be a goal of the orchestra director. This work provides rhythmic challenges and uses multiple meter changes to create interesting, appealing, and unique rhythmic textures.
SKU: AP.47480
UPC: 038081544885. English.
SKU: KN.08718S
UPC: 822795087185.
This entertaining original features the finger patterns and scale passages that are so important to young players. Very easy double stops create a strong, full sound and simple rhythms propel the piece to an energetic conclusion. A contrapuntal interlude gives each section a chance to play lead while providing essential textural contrast. Duration 2:20.
SKU: MN.50-7086
UPC: 688670570865. English. Psalms 145.
A big, fun festival piece. The children's choir part is prominent and often sings with or against the adults, so it's essential. The SATB writing varies from full chords to quick imitative passages to a quiet chorale-like section. The accompaniment is flashy and could be effectively done on either piano or organ. In fact, a full orchestra accompaniment is available, with winds in pairs, two percussionists, harp, and strings. Duration: 4:00.
SKU: KN.56180S
UPC: 822795561807.
Written by W.C. Handy in 1914, it has become an essential part of the jazz repertoire. This arrangement includes optional rhythm section parts as well as an optional section for blues solos with suggested solos for all instruments. Duration without optional solos 3:30.
SKU: KN.8718
This entertaining Del Borgo original features the finger patterns and scale passages that are so important to young players. Very easy double stops create a strong, full sound and simple rhythms propel the piece to an energetic conclusion. Contrapuntal interlude gives each section a chance to play lead while providing essential textural contrast. An optional piano part is included.
SKU: HL.49001911
ISBN 9790220100024. UPC: 073999695748. 9.0x12.0x0.075 inches.
SKU: SU.00220629
This CD Sheet Music collection on USB Flash Drive contains 2 complete CDSM titles: The Clarinet Solos & Duos collection makes available a wealth of music for solo clarinet including sonatas, concertos, and solo works by 28 composers from the 18th, 19th and early 20th centuries. Also included are two complete volumes of collected works: Easy Duets and Album of Short Solos by Various Composers. Works include: Baermann, C. (Duo Concertante); Baermann, H. (Adagio); Beethoven (3 Duos for Clarinet and Bassoon); Berg (4 Pieces for Clarinet & Piano); Brahms (Sonata Nos. 1 & 2); Busoni (Elegie for Clarinet & Piano); Cavallini (30 Caprices for Clarinet); Debussy (Première Rhapsodie); Fauré (Berceuse); Gade (4 Fantasy Pieces); Glazunov (Saxophone Concerto [for clarinet & piano]); Jeanjean (Variations on Au Clair de la Lune); Klosé )Souvenir); Mason (Sonata for Clarinet & Piano); Mendelssohn (Concert Piece for 2 Clarinets & Piano); Mozart, L. (Concerto in Bb major); Mozart, W.A. (3 Duets for 2 Clarinets); Paganini (14 Caprices); Pierné (Pièce in G minor); Prokofiev (Visions Fugitives); Reger (Sonata Nos. 1 & 2); Reinecke (Sonata, Undine); Saint-Saëns (Sonata in Eb major); Schumann (Fantasy Pieces, 3 Romances); Spohr (Concerto Nos. 1-4); Stravinsky (3 Pieces for Clarinet Solo); Wagner (Adagio for Clarinet & Strings); Weber (Fantasia & Rondo, Grand Duo Concertante) Easy Duets Book 1: works by Fodor, Pleyel, Volckmar, Wanhal; Book 2: works by Mazas, Bruni, Campagnoli, Gebauer, Geminiani, Haydn, Pleyal, Viotti Album of Short Solos by Various Composers: 30 familiar works arranged for clarinet, including Brahms (Cradle Song), Dvorák (Humoreske), Fibich (Poéme), Handel (Largo), Giordani (Caro mio bien), Richter (Seppl-Polka), Schubert (Ave Maria), Schumann (Träumerei), Weber (Bauernwalzer), and more Also includes composer biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 1200+ pages The Clarinet Methods, Studies & Ensembles collection makes available eight essential clarinet methods, studies and exercises, as well as over 30 works for clarinet with instruments including duos, trios and quartets by 20 familiar and lesser-known composers from the 18th, 19th and early 20th centuries. Scores and parts are included for many ensemble works. Methods, Studies & Exercises include: Baermann (Complete Method for Clarinet, Op. 63); Klosé (Conservatory Method, 25 Daily Exercises, 30 Studies after Aument); Langenus (Complete Method for Clarinet); Rose (32 Etudes for Clarinet) Ensembles include: Amberg (Fantasiestücke, Suite for Flute, Oboe, Clarinet & Piano); Beethoven (Quintet for Piano and Winds); Brahms (Quintet for Clarinet & Strings, Trio for Clarinet, Cello & Piano); Bruch (8 Piece for Clarinet, Cello & Piano); Cavallini (Rêverie Russe for Flute, Clarinet, and Piano); d'Indy (Trio for Piano, Clarinet, and Cello); Fibich (Quintet for Clarinet, Violin, Cello, Horn, & Piano); Glinka (Trio Pathétique, for Clarinet, Cello, & Piano); Hummel (Serenade No. 1 for Flute, Clarinet, Viola, & Cello); Liadov (8 Russian Folk Dances); Mozart (Twelve Minuets for 2 Clarinets or Basset Horns, Five Divertimenti for 2 Clarinets & Bassoon), Quintet for Clarinet & Strings, Quintet for Piano & Winds, Trio for Clarinet, Viola & Piano); Ravel (Intruduction & Allegro); Reger (Quintet for Clarinet & Strings); Rimsky-Korsakov (Quintet for Piano & Winds); Saint-Saëns (Tarantella for Flute, Clarinet & Piano); Schubert (Der Hirt auf dem Felsen); Schumann (Märchenerzählungen, for Clarinet, Viola & Piano); Spohr (Fantasy & Variations); Titl (Serenade for Violin, Clarinet & Piano); Zemlinsky (Trio for Clarinet, Violin & Cello) Also includes composer biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 2100+ pages Published by: CD Sheet Music.
SKU: SU.50600030
Commissioned by the Colonial Symphony, Paul Hostetter, Music Director and Conductor First performed in 2006 Published by: Dunsinane Music Composer's Note: My inspiration for Smiling Dennis is the great bass clarinet virtuoso Dennis Smylie. I have had the pleasure of getting to know Dennis over the past several years owing to our mutual affiliation at Montclair State University. We would meet unintentionally in the halls and begin conversations regarding all manners of topics: from the colorful history of the bass clarinet—and bass clarinetists—to the furious appetite of the New Jersey groundhog. Dennis inevitably finds the humor in things—he revels in discovering the comic story that can often be found, just underneath the topic. When Maestro Hostetter asked me to compose a new piece during his initial season with the Colonial Symphony, and mentioned the possibility of a work related to humor, I immediately thought of the Dennis. When I spoke with Maestro Hostetter the following day, I had already conceived of the title (very unusual for me—I’m much more a musical/visual thinker than a verbal one) as well as the overall musical narrative. Smiling Dennis is a concerto in one movement for one bass clarinetist and twenty string players. Somewhat unusually, each performer has a unique musical assignment—that is, the string players are not aligned into their typical alliances of first violins, second violins and so forth. This permits a more complex string texture, allowing each performer to assert his or her individuality. Indeed, the notion of individuality is essential to this concerto, as it often is in concerti. For example, Smiling Dennis begins with the bass clarinet not quite obeying the conventions of tuning to the orchestra. Rather than simply take the A offered by the Concertmaster, the soloist playfully performs a gently descending series of notes. Offered another A, the soloist repeats this gesture (though with a different descending series). This exchange occurs four times. In the final one, members of the string orchestra join the soloist in the first significant statement of one of the central melodies. The bass clarinet completes this introductory section alone, playing all the way down to a low A, a third below the lowest note in the celli. Following the introduction, Smiling Dennis consists of six sections, somewhat along the lines of a dance suite: an energetic Allegro, a lyric Arioso, a forward Piú mosso, a light-hearted and syncopated dance, a even more energetic passage for strings alone, and finally a modified return to the introduction. In the return, the string ensemble is no longer at all oppositional to the soloist. Rather, in response to the soloist’s gentle cajoling and supportive commentary, the strings accompany—with pleasure, you might say—the quiet, individual playfulness of the bass clarinet. The work ends with a return to the soloist’s substratum A, accompanied quietly by the strings.
SKU: SU.00220335
This CD Sheet Music™ collection makes available eight essential clarinet methods, studies and exercises, as well as over 30 works for clarinet with instruments including duos, trios and quartets by 20 familiar and lesser-known composers from the 18th, 19th and early 20th centuries. Scores and parts are included for many ensemble works. Methods, Studies & Exercises include: Baermann (Complete Method for Clarinet, Op. 63); Klosé (Conservatory Method, 25 Daily Exercises, 30 Studies after Aument); Langenus (Complete Method for Clarinet); Rose (32 Etudes for Clarinet) Ensembles include: Amberg (Fantasiestücke, Suite for Flute, Oboe, Clarinet & Piano); Beethoven (Quintet for Piano and Winds); Brahms (Quintet for Clarinet & Strings, Trio for Clarinet, Cello & Piano); Bruch (8 Piece for Clarinet, Cello & Piano); Cavallini (Rêverie Russe for Flute, Clarinet, and Piano); d'Indy (Trio for Piano, Clarinet, and Cello); Fibich (Quintet for Clarinet, Violin, Cello, Horn, & Piano); Glinka (Trio Pathétique, for Clarinet, Cello, & Piano); Hummel (Serenade No. 1 for Flute, Clarinet, Viola, & Cello); Liadov (8 Russian Folk Dances); Mozart (Twelve Minuets for 2 Clarinets or Basset Horns, Five Divertimenti for 2 Clarinets & Bassoon), Quintet for Clarinet & Strings, Quintet for Piano & Winds, Trio for Clarinet, Viola & Piano); Ravel (Intruduction & Allegro); Reger (Quintet for Clarinet & Strings); Rimsky-Korsakov (Quintet for Piano & Winds); Saint-Saëns (Tarantella for Flute, Clarinet & Piano); Schubert (Der Hirt auf dem Felsen); Schumann (Märchenerzählungen, for Clarinet, Viola & Piano); Spohr (Fantasy & Variations); Titl (Serenade for Violin, Clarinet & Piano); Zemlinsky (Trio for Clarinet, Violin & Cello) Also includes composer biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 2100+ pages
Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.
SKU: SS.50600030
Commissioned by the Colonial Symphony, Paul Hostetter, Music Director and Conductor. First performed in 2006. Composer's Note: My inspiration for Smiling Dennis is the great bass clarinet virtuoso Dennis Smylie. I have had the pleasure of getting to know Dennis over the past several years owing to our mutual affiliation at Montclair State University. We would meet unintentionally in the halls and begin conversations regarding all manners of topics: from the colorful history of the bass clarinet - and bass clarinetists - to the furious appetite of the New Jersey groundhog. Dennis inevitably finds the humor in things - he revels in discovering the comic story that can often be found, just underneath the topic. When Maestro Hostetter asked me to compose a new piece during his initial season with the Colonial Symphony, and mentioned the possibility of a work related to humor, I immediately thought of the Dennis. When I spoke with Maestro Hostetter the following day, I had already conceived of the title (very unusual for me - I'm much more a musical/visual thinker than a verbal one) as well as the overall musical narrative. Smiling Dennis is a concerto in one movement for one bass clarinetist and twenty string players. Somewhat unusually, each performer has a unique musical assignment - that is, the string players are not aligned into their typical alliances of first violins, second violins and so forth. This permits a more complex string texture, allowing each performer to assert his or her individuality. Indeed, the notion of individuality is essential to this concerto, as it often is in concerti. For example, Smiling Dennis begins with the bass clarinet not quite obeying the conventions of tuning to the orchestra. Rather than simply take the A offered by the Concertmaster, the soloist playfully performs a gently descending series of notes. Offered another A, the soloist repeats this gesture (though with a different descending series). This exchange occurs four times. In the final one, members of the string orchestra join the soloist in the first significant statement of one of the central melodies. The bass clarinet completes this introductory section alone, playing all the way down to a low A, a third below the lowest note in the celli. Following the introduction, Smiling Dennis consists of six sections, somewhat along the lines of a dance suite: an energetic Allegro, a lyric Arioso, a forward Piu mosso, a light-hearted and syncopated dance, a even more energetic passage for strings alone, and finally a modified return to the introduction. In the return, the string ensemble is no longer at all oppositional to the soloist. Rather, in response to the soloist's gentle cajoling and supportive commentary, the strings accompany - with pleasure, you might say - the quiet, individual playfulness of the bass clarinet. The work ends with a return to the soloist's substratum A, accompanied quietly by the strings.
SKU: HL.49027657
ISBN 9790220100130.
With these new editions, all six recorder concertos of John Baston are now available, each with score, piano score and parts. The thor-oughly edited scores follow essentially the first edition printed by John Walsh in London in 1729. Baston was regarded as an excellent recorder and flute player who worked with London opera orchestras in the early 18th century. His easy concertos anticipating the elegant melody of the early classical period enjoy great popularity representing a rewarding task for music school orchestras and advanced recorder players.
SKU: HL.49027655
ISBN 9790220100093.
