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Concertino (for Clarinet). By Gaetano Donizetti (1797-1848). Arranged by Jos van de Braak. For Clarinet and Concert Band. Grade 3. Full score and set of parts. Duration 4:00. Published by Baton Music (BF.BM022-SET). A short solo work by the Italian composer Donizetti who, in addition to his many operas, also composed a few concert works for wind instruments. Suitable for beginning soloists.
$167.50

Instruments: Clarinet, Woodwinds
Genres: Opera, Miscellaneous
Intermezzo (from the Opera Rusalka). By Antonin Dvorak (1841-1904). Arranged by Erik Somers. For Wind Ensemble (2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, cello, string bass). Grade 3. Full score and set of parts. Duration 6:30. Published by Baton Music (BF.BM210-SET).
$167.50

Instruments: Flute, Clarinet, Oboe, Bassoon, Horn, Cello, Double Bass, Woodwinds, Brass, Strings
Genres: Romantic Period, Opera, Classical, Miscellaneous
A Glimpse Retraced. (Piano Solo and Chamber Ensemble). By Jason Eckardt (1971-). For Piano Solo, Flute (Dbl Piccolo), Clarinet in Bb, Violin, Cello. The world premiere was given in Weill Recital Hall at Carnegie Hall, New York City on April 12, 1999 by Marilyn Nonken, piano; David Fedele, flute; Jean Kopperud, clarinet; Rolf Schulte, violin; and John Whitfield, violoncello.. Set of parts. 129 l pages. Duration 15 minutes. Published by Carl Fischer (CF.MXE21M). ISBN 082587162X. The title of this concerto for piano with four instruments is a metaphor for its formal design: a fleeting observation, made in passing, is retraced and elaborated, then condensed and distilled. Eckardt's A Glimpse Retraced was commissioned by Carnegie Hall and is dedicated to Marilyn Nonken, who gave its first performance in Weill Recital Hall at Carnegie Hall, New York City on April 12, 1999.
$167.00

Instruments: Piccolo, B-Flat Clarinet, Violin, Cello, Flute, Woodwinds, Clarinet, Strings
Der Mann Mose. (Geistliche Oper in zehn Episoden). By Felicitas Kukuck (1914-). For soloists (TB), mixed choir, Soprano Recorder, oboe, clarinet, 2 bassoons, trumpet, 3 trombones, percussion, guitar, organ, viola and cello. Set of parts. Published by Moseler Verlag (M2.MOS-68835-60). ISBN M-2037-7122-7.
$166.95

Instruments: Choir, Guitar, Organ, Clarinet, Oboe, Bassoon, Cello, Viola, B-Flat Trumpet, Trombone, Percussion, Soprano Recorder, Vocal, Piano and Keyboard, Woodwinds, Strings, Trumpet, Brass, Recorder
Serenade Es-dur : fur Flote, Oboe, Klarinette, Fagott, Horn, 2 Violinen, Viola, Violoncello und Kontrabass, opus 14 by Bernhard Sekles (1872-1934). For flute, oboe, clarinet, bassoon, horn, 2 violins, viola, cello and double bass. Orchestral music. Set of 11 parts. Published by Noten Roehr (NR.85694).
$165.95

Instruments: Flute, Clarinet, Oboe, Bassoon, Horn, Violin, Cello, Viola, Double Bass, Woodwinds, Brass, Strings
Concerto for Euphonium & Wind Ensemble. (Euphonium Feature). By David Gillingham. For Soloist(s) with Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1/2 , Bassoon 1/2, Eb Soprano Clarinet, Clarinet in Bb 1, Clarinet in Bb 2/3, Bass Clarinet, Contrabassoon, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Solo Euphonium, Trumpet in Bb 1/2, Trumpet in Bb 3, Horn i). Band Music. Grade 5. Score and parts. Duration 19:10. Published by C. Alan Publications (CN.15480). Scored in three movements, this concerto is a must for the serious euphonium player. The free flowing first movement pairs rubato style solo playing with strict rhythms in the ensemble while the sonorous second movement glistens with flowing melodies and Gillingham's signature mallet percussion and piano parts. The final Festival movement revisits many of the earlier themes with the flair of a festival performance.
$165.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Euphonium, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Genres: Classical
Concerto for Horn & Symphonic Band. (Horn Feature). By David Gillingham. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2 , Bassoon 1/2, Clarinet in Bb 1/2, Clarinet in Bb 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1/2, Trumpet in Bb 3, SOLO HORN IN F, Horn in F 1/3, Horn in F 2/4, Trombone 1/2, Bass ). Band Music. Grade 5. Score and parts. Duration 20:00. Published by C. Alan Publications (CN.14540). The Gower Community Band of St. John's, NL, CANADA, Edsel Bonnell, Director, commissioned the Concerto for Horn and Symphonic Band.The concerto is cast in the usual three-movement format with the first and last movements structured in sonata-rondo design. The work is not intended to be programmatic, but titles have been given to each of the movements which allude to a musical style or mood.The first movement, Fanfares, starts slowly and mysteriously, using motives from the main thematic material of the movement answered by haunting falling minor thirds in the oboes and later in the low brass. A brass fanfare ensues followed by an entrance by the solo horn hinting at the main thematic material to follow. This section grows to a fanfare-like conclusion and leads to the allegro section and the first theme group. The first theme group is a spirited melodic line saturated with intervals of the perfect fourth that are commonly found in traditional fanfares. The low brass follow with the second theme group that contrasts the first with a flowing and lyrical line. The solo horn then brings back the first theme group and closes the exposition. The development seeks to extensively exploit motives from both theme groups in various guises and leads to the recapitulation. In the recapitulation, the solo horn carries both the first and second theme groups. This is followed by a partial return of the first theme group played in augmentation by low brass and woodwinds against fanfare riffs by the solo horn. The slow tempo of the introduction returns and the horn plays a sort of quasi-cadenza that is followed by a fast and rousing coda.The second movement, Supplication, is a fantasy based on a beautiful hymn tune composed by Gower Community Band Director, Edsel Bonnell. The hymn, A Prayer from Youth, was written for the Gower Youth Band for a special performance on May 30, 1975. The first verse and chorus are as follows:We ask not for gold or fameWhen we pray in Thy Great Name;Not for self or worldly gainLord, we come to Thee.The earth, the sky, the flower, the tree,All creatures of the land and sea,Let us live at peace in Thee;Lord, this is our prayer.The third movement, Dance Refrains, is a lively and spirited romp cast mostly in 6/8 meter and Bb minor. The sonata-rondo design of the movement is unique in that the second theme group in the exposition is based on the first theme group of the first movement and the second theme group of the recapitulation features the return of the verse of the hymn tune from the second movement accompanied by fanfare motives in the solo horn. The development section primarily features first theme group material. A cadenza by the solo horn is featured after a partial return of the first theme group in the recapitulation. The cadenza reworks first theme material and the hymn tune from the second movement. The dance-like first theme material returns and leads to a joyous climax in D major.
$165.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Trombone, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Genres: Classical
Gate to Heaven: Concerto No. 1 (for Marimba & Wind Ensemble). By Gillingham. Arranged by M. Lasley. For Soloist(s) with Concert Band (SOLO MARIMBA, Flute 1, Flute 2, Oboe 1/2 , Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Bass Clarinet, Bassoon 1, Bassoon 2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2, Trumpet in Bb 3, Horn in F 1, ). Grade 5. Score and parts. Duration 16:30. Published by C. Alan Publications (CN.03285). Though "Gate to Heaven" is structured as a three-movement concerto (all movements attaca) for solo marimba and wind ensemble, it has extramusical inspiration. Each movement of the work reflects the movement of the soul into the portal of heaven. The first movement, titled "Remission," is indicative of death and the consequences of the soul's former life. From the onset of the first movement, the introduction captures the hard blows of death and the mysterious passage into the unknown world beyond. The ensuing presto is representative of the tribulations of the former life fluctuating between evil and ecstasy. The second movement, "Reflection," is a solemn look into the past life of the soul and suggests mixed emotion about former life of the soul as a human form and its present state as energy moving through the infinite universe. The use of the human voice in this movement is depictive of the dilemma. Mournful bowed passages in the marimba toward the end of this movement are followed by a passage that builds to a rather joyous resolve, perhaps suggesting the golden light of the portal of heaven at the end of the tunnel of transition. The final solemn strains of the movement represent the soul's final reflection upon its former life. "Redemption," the final movement, hopefully invokes whatever image one has of "heaven." It was the composer's intention to paint a musical image of golden light shining upon a rainbow-colored landscape. The movement is comprised of two alternating themes, the first energetic and full of sparkle and the second dramatic and full of splendor. Toward the end of the movement, a fragment of the reflective theme of the second movement is heard before the movement drives to a joyous conclusion.
$165.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Marimba, Woodwinds, Clarinet, Saxophone, Brass, Trumpet, Percussion
Genres: Classical
Concerto No. 1 in D Minor for Marimba (Marimba Feature). By Noah D. Taylor. Arranged by A. Dancy. For Soloist(s) with Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Bassoon 1, Bassoon 2, Alto Saxophone 1, Alto Saxophone 2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3,). Grade 5. Score and parts. Duration 30:00:00. Published by C. Alan Publications (CN.10923). The Marimba Concerto No. 1 in D Minor was completed in August 2003. This concerto was composed for marimbist Brenton Dunnington and was Taylor's first work for a solo mallet-percussion instrument. Taylor's Concerto displays confident youth as the composer ambitiously recalls the Romanticism of the past. The work is a large-scale undertaking for the soloist and the orchestra. Taylor has truly constructed a solo part of transcendental technique and virtuosity. The Concerto is tangible and tuneful, visually captivating and memorable from the first encounter.The first movement employs late 19th century harmony blended with Taylor's personal aesthetics. The full and rich orchestration is most evident here. The movement also displays the endurance and facility of the soloist. The opening fanfare and romantic theme form the basis for shaping the movement. Taylor thoroughly develops the theme in a romantically expanded sonata form. The solo cadenza (with improvisational intent) emerges from the end of the development and drives on to explore the theme. It demands intricate, complete command of the marimba and fearless composure from the soloist to accomplish the aggressively fluctuating tempi, the broad dynamic spectrum, and perilous octave descents. After a brief adagio, the first movement reaches an exhilarating orchestral conclusion.The slow second movement, still rooted in romanticism, slips in and out of 20th century harmonies. The movement is a tale of love and passion. Titled Adagio, the movement, opening in C major, is monothematic, but for a brief recapitulation of the first movement's main theme. The movement's poignant melody is carried by each of the oboe, clarinet, and flute solos with marimba. There is a tender, recurring duo between solo marimba and harp followed by a dramatic, climactic chorale where the soloist employs six-mallet technique. The movement culminates in a vivid new statement of the movement's main melody and fades off into the distance.A thematic transformation develops several stages further in the third movement. The Finale is a hero's tale of battle, danger, love, and triumph. Each section evokes a different account on the journey. Taylor reemphasizes the D minor tonality of the opening movement. The third movement bursts into the exhilarating and vigorous first subject, which features a thrilling rhythmic motif and interchange between the soloist and orchestra. The tale moves through a central, lyrical episode in place of a development section. Again, earlier material is recalled. As the final Vivace builds to a climax, the soloist unleashes fiery virtuosity with the orchestra. The majestic recapitulation, now in D major, surveys all of the Finale's opening material concluded by the coda in a brilliant presto and fortissimo.
$165.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, B-Flat Trumpet, Marimba, Woodwinds, Clarinet, Saxophone, Trumpet, Brass, Percussion
Genres: Classical
Monologues (Euphonium Feature). By Joseph Turrin (1947-). Arranged by Dennis Wright. For Soloist(s) with Concert Band (Solo Euphonium, Piccolo, Flute 1-2, Oboe 1-2, Bassoon 1-2, Eb Clarinet, Bb Clarinet 1-3, Bass Clarinet, Alto Saxophone 1-2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1-5, F Horn 1-4, Trombone 1-3, Euphonium, Tuba, Piano/ Harp, Timpani, Percussion 1 ). Grade 5. Score and parts. Duration 22:00. Published by C. Alan Publications (CN.17050). Monologues was commissioned by the following consortium of universities:John N. Culvahouse, UGA Wind Ensemble / University of GeorgiaDavid Waybright, UF Wind Symphony / University of FloridaJim Copenhaver, USC Symphonic Band / University of South CarolinaCody Birdwell / George Boulden, UK Wind Ensemble / University of KentuckyGary Sousa, UT Wind Ensemble / University of TennesseeJohnnie Vinson, AU Symphonic Band / Auburn UniversityDavid Willson, UM Symphonic Band / University of MississippiDwayne Sagen/Tom Verrier, VU Wind Ensemble / Vanderbilt UniversityElva Kaye Lance, MSU Symphonic Band / Mississippi State UniversityFrank Wickes, LSU Wind Ensemble / Louisiana State UniversityW. Dale Warren, UA Wind Symphony / University of ArkansasKen Ozello, UA Wind Ensemble / University of AlabamaPERFORMANCE NOTESChaconne: Although written in 4/4 the metronome marking is in two. I would like this movement to have a two feel throughout. It will probably work best conducted in a moderate two instead of a fast four. Make sure that bar 60 keeps pace and does not slow down too much. This section needs to have some breath while maintaining a forward motion. The piece that comes to mind with this movement is Ravel's Bolero.Arioso: Make sure the triplets are played musically in the ensemble. Crescendos and decrescendos should be dramatic and powerful. Intonation is important especially in the close harmonies and clusters. Bar 57 through 72 is a chamber group section with only a few instruments playing. Make sure that the solo euphonium, since he or she is out front, is balanced in the texture.Intermezzo: This movement should be light and steady. Staccatos need to be short and animated and the sixteenth note passages need to have personality and flair. Make sure that the movement keeps its tempo and does not bog down.Capriccio: Not much to know about this movement except to be careful not to cover the soloist. Pay attention to the balance. The key word here is energetic. Keep the drive and excitement throughout.
$165.60

Instruments: Piano, Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, Harp, B-Flat Trumpet, Trombone, Euphonium, Percussion, Timpani, Tuba, Piano and Keyboard, Woodwinds, Clarinet, Saxophone, Brass, Strings, Trumpet
Double Image. (Saxophone Duo Feature). By David R. Gillingham. For Soloist(s) with Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, Bassoon 1, Bassoon 2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Eb Alto Saxophone 1, Eb Alto Saxophone 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, ). Grade 5. Score and parts. Duration 17:00. Published by C. Alan Publications (CN.17060). Double Image was commissioned by Jeff Heisler and Shawn Teichmer, two former saxophone alumni from Central Michigan University. The work is a concerto in three movements that exploits four of the common instruments of the saxophone family as performed by two players. The first movement features the tenor and baritone saxophone, the second, the alto and the tenor saxophone and the third, soprano saxophones.The movements of the concerto are starkly contrasting. The first movement, Passacaglia Lamento, is a dark, somber and mysterious set of variations on a bass line consisting of chromatic mediant relationships and angular leaps. The solo baritone saxophone begins the thematic bass line and is then joined by the solo tenor saxophone. Variation I begins with keyboard percussion accompanying the horns on the theme with the solo tenor saxophone on cascading scale passages. The solo baritone saxophone joins the tenor on the tail of the theme with added chimes. Preceded by a short transition in the wind ensemble, Variation II is abbreviated and features a dance-like interplay between the two solo saxophones in asymmetrical meter (7/16). Variation III ensues in which the solo saxophones alternate a skeletonized version of the theme in augmentation accompanied by ascending scales in the upper woodwinds. A heavy, ponderous interlude in the brass leads to Variation IV. Variation IV is perhaps the most dark and mysterious section of the movement that features a ghosted half-tone ostinato in the solo saxophones over only the harmony of the passacaglia. The tail of the variation is then played by low brass and woodwinds accompanied by piano and keyboard percussion. A brief brass fanfare leads to Variation V, which is a spirited duet by the solo saxophones alternating between 4/4 and 7/8 meter, with the wind ensemble accompanying on short articulations of the harmonic background. Horns, flutes and eventually trumpets, enter playing the tail of the theme culminating dramatically on four strongly articulated sonorities by the full ensemble with an underlying timpani solo diminishing into a coda using the head of the passacaglia and ending on an unresolved sonority.Movement II, Reveries, takes advantage of the two most expressive saxophones (in my opinion), the alto and the tenor. The movement is dreamy consisting of beautiful, lyrical melodic lines, extended tertian harmonies and an array of shifting tonality. The movement is in free form and begins with a sort of "sighing" melodic line that cascades downward and scale-wise. Both saxophones freely exchange this motive over shifting tone color. A variation of sorts follows with the solo saxophones exchanging the motive over a static F# minor tonality. An interlude follows in Bb Major, with an interplay between solo oboe and flute utilizing the motive which leads into a new section in A Major beginning with sweeping harp-like passages in the piano. The solo saxophones begin interplay amongst themselves on a contrasting motive consisting of rising and falling scale-based passages. The texture and dynamic of the section increase and rise to a dramatic moment which brings back the original descending motive in E Major. The passage diminishes in volume and segues into E Minor with the solo saxophones engaging in free development accompanied by the marimba and the piano. The development continues with a bubbly, staccato pattern in the clarinets and marimba and a return of the original motive in imitation between the solo saxophones in C Minor. A transition precipitates a change of mode into C Major and the movement concludes in dreamy fashion with the return of the descending motive and a coda beginning in A Major and coming to rest in Gb Major.Movement III, Perpetual Motion, was conceived to be an exciting "romp" from beginning to end highlighting the technical skills of the two soprano saxophones. The movement is in a free sonata-rondo form (ABACDABA) with an extended development section. The rondo theme is based on ascending and descending passages of an octatonic scale and its transpositions. Following the initial statement of the theme by both solo saxophones, a short episode follows (B) which consists of large leaps within compound duple meter, still derived from octatonic scale material. This is followed by the return of the rondo (A) after which a rather angry trumpet fanfare leads into C Major and a second episode (C) providing relief from the static harmonic nature of the octatonic scale. Shifting tonality moves the episode through a circle of fifths progression beginning on Ab Major and ending on G Major. The development section follows (D) beginning first with a textural build up utilizing fragments of the rondo theme followed by an interplay between the solo saxophones alternating between 4/4 and 6/8 meter. This is followed by a section which combines the harmonies of the C octatonic scale with that of the C# octatonic scale articulated by the piano and the woodwinds against a re-working of the rondo motive by the solo saxophones. A short section follows that features shifting major tonality with the solo saxophones recalling the material of episode C. The solo saxophones then segue into a 6/8 pattern of ghosted half tones interspersed with slap tongued notes accompanying fragments of the rondo motive in the percussion and various instruments of the wind ensemble. Low brass follow with a syncopated pattern which continues to accompany rondo motives. The percussion then begin an interplay amongst themselves which accompany motives from the rondo and the first episode (B) leading to a retransition to the rondo theme characterized by a thickening of the harmonic texture using overlapping diminished seventh chords. Following the reprise of the rondo, the second episode material is accompanied by a rather "comedic" waltz pattern in the low brass, horns, piano and tambourine. A rousing coda follows which reprises some of the rondo theme and brings the movement to an exciting conclusion.
$165.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, B-Flat Trumpet, Woodwinds, Clarinet, Saxophone, Trumpet, Brass
Concerto for Marimba & Wind Ensemble. (Marimba Feature). By David J. Long. For Soloist(s) with Concert Band (Solo Marimba, Flute 1/2, Oboe 1/2, English Horn, Bassoon 1/2, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3 , Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2, Trumpet in Bb 3, Horn in F 1, Horn in F 2, Trom). Ensemble: grade 4 / Solo: grade 6. Score and parts. Duration 30:00:00. Published by C. Alan Publications (CN.02840). You can hear a recording of this version on Nathan Daughtrey's CD, "Spiral Passages" (also available from C. Alan). Also available with wind ensemble or orchestra.
$165.60

Instruments: Flute, B-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, English Horn, B-Flat Trumpet, Marimba, Woodwinds, Clarinet, Saxophone, Trumpet, Brass, Percussion
Genres: Classical
Lifesongs. (with SATB Choir). By David Gillingham. For Choir with Concert Band (Flute 1/Piccolo, Flute 2, Oboe, Bassoon, Bb Clarinet 1, Bb Clarinet 2/3, Bass Clarinet, Eb Alto Saxophone 1/2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2/3, F Horn 1/2, F Horn 3/4, Trombone 1/2, Bass Trombone, Euphonium, Tuba, S). Grade 5. Score and parts. Duration 20:00. Published by C. Alan Publications (CN.08400). The text for Lifesongs comes from three poems by Henry Wadsworth Longfellow, titled, "Sunrise on the Hills," "A Psalm of Life," and "The Light of Stars." These three poems divide the work into three large sections, which are performed without a break. All three poems are life affirming and hence the title Lifesongs. I have renamed each section to coincide with three stages of life, "Song of Birth," "Song of Life," and "Song of Eternity.""Song of Birth" ("Sunrise on the Hills") musically depicts the most wonderful picture of one standing on the hilltop watching the sunrise. The choir, solists, and wind ensemble collaborate in painting this colorful picture. Though this picture is radiant and upbeat, there are changes of mood along the way, such as with lines like "hosts in battle overthrown," "I heard the distant waters dash," "the music of the village bell come sweetly to the echo-giving hills," and "the wild horn, whose voice the woodland fills, was ringing to the merry shout." All of these words are scored appropriately to sway the listener back and forth between these moods. I personally believe that Longfellow was trying to say that all this beauty of the sunrise precipitates an array of emotions. But the pinnacle of the section is at the end where Longfellow suggests that it is easy for us to forget the "sorrows" of the world if we "go to the woods and hills," for "No tears dim the sweet look that Nature wears.""Song of Life" ("Psalm of Life") begins somewhat mournful and depressing with the line, "tell me not, in mournful numbers, life is but an empty dream." The section is about the whole struggle of life and our purpose here on earth. Like the first movement, there is a tug-of-war between emotions. Consider, for example, the line, "Art is long, and Time is fleeting, and our hearts, though stout and brave still, like muffled drums, are beating funeral machines to the grave." Sometimes the music becomes dark and militaristic to lines such as, "in the world's broad field of battle," and "trust no Future, howe'er pleasant!" But the lesson to be learned in this section comes later in the poem when Longfellow states, "Lives of great men all remind us we can make our lives sublime." Here the music becomes more reflective and leads to pure joy when the choir sings the final four lines, "Let us, then, be up and doing, with a heart for any fate; still achieving, still pursuing, learn to labor and to wait."In "Song of Eternity" ("The Light of Stars"), Longfellow alludes to death, but, as with all of his poetry, there is a positive overtone. Like the second section, it begins darkly with an undertone of undulating clarinets in their low register. This backdrop of sound is appropriate for lines such as "the night is come, but not too soon," and "there is no light in earth or heaven but the cold light of stars." But the darkness soon gives way to light and the D-minor tonality moves to C-major. The soprano and baritone begin by joyfully singing the line, "O star of strength! I see thee stand and smile upon my pain." Then comes excitement in the music with a brass fanfare followed by the choir singing, "The star of the unconquered will, He rises in my breast." Finally the soprano, baritone, and choir end the work by singing the final four lines, "O Fear not in a world like this, and thou shalt know erelong, know how sublime a thing it is to suffer and be strong." These lines are as meaningful today as they were in Longfellow's time, and are a true lesson of life.
$165.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Euphonium, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Trumpet, Trombone
Symphony No. 2 by Kimberly Archer. For Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon, Clarinet in Bb 1, Clarinet in Bb 2/3, Bass Clarinet, Alto Saxophone 1, Alto Saxophone 2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2, Trumpet in Bb 3, Horn in F 1/2, Horn in F 3/4, Trombone ). Band Music. Grade 5. Score and parts. Duration 21:00. Published by C. Alan Publications (CN.10180). Symphony No. 2 is my doctoral dissertation. At this significant point in my life and career, I feel it is important to pay homage to three people who have been critical in my getting this far, both personally and professionally.I. March is dedicated to Andy Waggoner, my first composition teacher in graduate school. By form it is a march, but by style, a scherzo. It is intended to be playful and humorous (reflective of our personal relationship), but also makes use of several of the concepts and skills he taught me, including how to use octatonic collections.II. Passacaglia is dedicated to Pat Dunnigan. Pat taught me to use Finale, premiered several of my early band compositions (including my first symphony), and has been my friend and mentor for more than ten years. His movement is composed in the style of Phillip Glass - one of his favorite composers. There are also allusions to the "Star Trek" theme and Mahler's Symphony No. 1.III. Theme and Variations is dedicated to my father, who is a former church organist, and particularly fond of the hymn "Blessed Assurance." All three movements of the symphony include elements of this hymn in some form, thus adding unity to an otherwise eclectic work, but the third movement takes the hymn as its outright theme. Some of my earliest musical experiences involved listening to my dad practice or having him accompany me for solos and auditions. I doubt I would have pursued music professionally, or have survived graduate school, had it not been for him.- Kim ArcherSymphony No. 2 is conceived for a full symphonic band rather than a true wind ensemble, which assumes that at least all the flute and clarinet parts will be doubled.The piano part for Movements II and III and the string bass part for Movements I and II should both be clearly audible, particularly in solo passages. String bass should be positioned near the front of the stage and the piano should use full stick.
$165.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Trombone, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Genres: Classical
Symphony for Winds & Percussion by Luigi Zaninelli. For Concert Band (Piccolo, Flute 1/2, Oboe 1/2, English Horn, Solo Clarinet in Bb 1/2, Clarinet in Bb 1, Clarinet in Bb 2/3, Bass Clarinet in Bb, Contralto Clarinet in Eb, Alto Saxophone in Eb 1, Alto Saxophone in Eb 2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1,). Band Music. Grade 5. Score and parts. Duration 14:10. Published by C. Alan Publications (CN.10420). The first movement of Zaninelli's Symphony is remarkable for its conciseness and brevity. In a very short "space in time" he creates a true Sonata-Allegro movement. The language is pure Zaninelli - restless, tender, mysterious, muscular, gentle, and at all times captivating.The second movement is a theme and variations. It begins with a theme presented by the solo flute. Three variations ensue - a sexy tango, a sensuous blues, and a rousing barn dance. There is a genuine purity to Zaninelli's feel for these diverse dance forms. One senses that he has an intimate knowledge of these idioms.
$165.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, English Horn, B-Flat Trumpet, Percussion, Woodwinds, Clarinet, Saxophone, Trumpet, Brass
Genres: Classical
Concerto No. 2 for Marimba & Wind Ensemble. (Marimba Feature). By David Gillingham. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2 , Bassoon 1/2, Clarinet in Bb 1/2, Clarinet in Bb 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2/3, Horn in F 1/3, Horn in F 2/4, Trombone 1/2, Bass Trombone, Euphon). Band Music. Grade 5. Score and parts. Duration 23:00. Published by C. Alan Publications (CN.11850). The Concerto No. 2 for Marimba is a commission by a consortium of schools and performers headed by Professor Marc Wooldridge of Northwestern College, Orange City, Iowa.The work exploits the full range of the technical and expressive ability of the five-octave concert grand marimba. It is cast in the standard three-movement format. The first movement uses sonata-rondo form and begins with a slow introduction and quasi-cadenza by the marimba. An animated first theme follows in G-minor accompanied by clarinets and tambourine. A contrasting second theme area follows featuring chromatic mediant progressions and descending chromatic lines. The return of the first theme utilizes a slightly different accompaniment. The development section reworks all the thematic material in different guises. The recapitulation presents the first theme, verbatim, as it was in the exposition. The second theme, however, changes the mode to major. The return alternates the marimba on the theme with the winds playing the theme in augmentation. The marimba quietly ends the movement with an ascending and descending arpeggiated passage.The second movement is a chaconne with eight variations. The marimba states a rather haunting chorale-like melody in Bb minor. The first variation features the low brass on the chaconne theme with the marimba on the variation. Variation II uses marimba, clarinet, bells, and vibraphone and Variation III uses marimba, oboe, and horns. Cascading muted brass against the augmented chaconne theme in the flutes and clarinets are indicative of Variation IV. Variation V changes the slow pace to fast using marimba, brass, timpani, and bells. A haunting Variation VI utilizes bowed marimba on the chaconne theme accompanied by piano and bells. Variation VII features the low brass on the chaconne theme against triplets in the upper brass. Rolled arpeggiated chords highlight Variation VIII along with a solo alto saxophone on the second half of the variation. A somber coda brings the movement to a close.The third movement, like the first, is in sonata-rondo design and is cyclic, bringing back and combining the thematic material of the first and second movements. The first theme, in D-minor, is angular and spirited, accompanied by clarinets and tambourine (reminiscent of Mvt. I). The second theme brings back the second theme of the first movement followed by the return of the first theme, now accompanied by saxophones and tambourine. The development combines and works thematic material from all three movements of the concerto. The recapitulation begins with the bassoons on the first theme, followed by the horns/trumpets and finally, the marimba. The second theme brings back the chaconne of the second movement, this time in major with the marimba accompanying using rhythmic material taken from the first theme of the third movement. There is no formal return of the first theme. Instead, the marimba plays a cadenza in which the first theme material and the second movement chaconne are developed. A galloping presto (coda) follows, ending the movement in D major.- David R. Gillingham.
$165.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Marimba, Woodwinds, Clarinet, Saxophone, Brass, Trumpet, Trombone, Percussion
Genres: Classical
Fantasy Triptych by Derek Bourgeois (1941-). For Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Eb Alto Clarinet, Bb Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Cornet 1, Bb Cornet 2/3, Bb Trumpet 1/2, Horn in F ). Band Music. Grade 5.5. Score and parts. Duration 17:40. Published by C. Alan Publications (CN.R10193). In 1972, I wrote a Sonata for Two Pianos for two friends who were piano teachers at Wellington College. When in 1995 I was asked to write a work for wind band, I returned to this Sonata and have re-arranged and in the new version renamed it "Fantasy Triptych."There are three movements:1. Le Tombeau d'Arthur BenjaminRavel wrote 'Le Tombeau de Couperin,' Arthur Benjamin wrote 'Le Tombeau de Ravel' and so the temptation to write 'Le Tombeau d'Arthur Benjamin' was overwhelming. At the end of the movement there is an oblique reference to Benjamin's own 'Jamaican Rumba' which accompanies a quote from an old Spanish folk song 'Loro, enciende el hervidor de agua.'2. Mr. Bolt goes for a ride in his motor car, and Monsieur Ravel turns in his grave.The movement is dedicated to an old friend, Geoffrey Bolt, who adores the music of Ravel. but at the time of writing was learning to drive. He always described his vehicle as a motor car. To describe him as an impatient motorist would be a gross understatement. The refined suavity of Ravel's music was in complete contrast to these early manifestations of road rage, hence the central angry outburst.3. The War March of the OstrichesThe music of Charles Ives was fascinating me at the time of writing this movement and some of the influence has rubbed off in this rondo-like march. At the end there is a quote from the very beginning of the first movement. The title was inspired by the amusing antics of a group of ostriches during a visit to Bristol Zoo.
$165.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Cornet, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Genres: 20th Century, Classical
Serenade for Band by Vincent Persichetti (1915-1987). Concert Band. For Piccolo, Flute I, Flute II, Oboe I, Oboe II, Clarinet I, Clarinet II, Clarinet III, Alto Clarinet (in Eb), Bass Clarinet (in Bb), Bassoon I, Bassoon II, Alto Saxophone I, Alto Saxophone II, Tenor Saxophone, Baritone Saxophone, Cornet I, Cornet II, Cornet . Contemporary. Score and Set of Parts. Standard notation. Opus 85. 36 + pages. Published by Theodore Presser Company (PR.165000420). With Standard notation. contemporary.
$165.55

Instruments: Piccolo, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Cornet, Flute, Woodwinds, Clarinet, Saxophone, Trumpet, Brass
Genres: 20th Century, Classical
Stabat Mater (Stabat Mater) by Gioachino Rossini (1792-1868). Edited by Klaus Doge. For Soli SSTB, Choir SSTB, 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 4 Horn, 2 Trumpets, 3 Trombones, Timpani, 2 Violins, Viola, Cello, Contrabass. This edition: linen cover. Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary; Use during the church year: Lent and Passiontide, Holy Week. Level 4. Score. Language: Latin. Composed 1832. 232 pages. Duration 66 min. Published by Carus Verlag (CA.7008900). ISBN M-007-08335-9. With Language: Latin. Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary; Use during the church year: Lent and Passiontide, Holy Week.
$163.95

Pages: 232
Instruments: Flute, Clarinet, Oboe, Bassoon, Horn, Violin, Cello, Viola, Double Bass, B-Flat Trumpet, Trombone, Percussion, Timpani, Woodwinds, Brass, Strings, Trumpet
Genres: Classical Period, Christian, Classical, Religious
Missa S. Spiritus. (19 Stimmen). By Johann Heinrich Schmelzer (1620-1680). Mass. For SSATTB choir, 2 violins, 2 violas, 2 clarinets, 2 horns ad libitum, 4 trombones, and organ. Score. Published by Doblinger Music Publishers (DB.WE-00004).
$163.95

Instruments: Choir, Organ, Clarinet, Horn, Violin, Viola, Trombone, Vocal, Piano and Keyboard, Woodwinds, Brass, Strings
Genres: Baroque Period, Classical
Fortune by Charles Wuorinen (1938-). Contemporary Small Ensemble. For Clarinet in A, Violin, Cello. Modern. Set of parts. Duration circa 17 minutes. Published by Edition Peters (PE.P66829A). ISBN M-3007-3049-3. Modern.
$162.00

Instruments: Violin, Cello, A Clarinet, Strings, Clarinet, Woodwinds
Genres: 20th Century, Classical
Symphonie (mit Schlusschor "An die Freude"). By Ludwig van Beethoven (1770-1827). Edited by Jonathan Del Mar. Vocal soli, mixed choir, orchestra. For Soprano voice solo, Alto voice solo, Tenor voice solo, Bass voice solo, Mixed Choir-SATB, Piccolo, 2 flutes, 2 oboes, 2 clarinets (B Flat), 2 bassoons, Contrabassoon, 4 horns, 2 trumpets, 3 trombones, Kettledrum, Drums, Strings. This edition: Urtext edition. Score (paperbound). Text language: German/English. Opus 125, No. 9. Duration 65'. Published by Baerenreiter Verlag (BA.BA9009). ISBN 9790006499465. With Text language: German/English. 31.0 x 24.3 cm inches.
$161.95

Instruments: Choir, Piccolo, Clarinet, Oboe, Bassoon, Horn, B-Flat Trumpet, Trombone, Percussion, Drums, Soprano Voice, Bass Voice, Tenor Voice, Vocal, Flute, Woodwinds, Brass, Trumpet, Voice
Genres: Classical Period, Classical
The Lark by Peter King. For Clarinet Solo & Concert Band. Swiss import. Grade 5. Score and parts. Published by Editions Marc Reift (MA.EMR-11234).
$161.29

Instruments: Clarinet, Woodwinds
Intermedio by Geronimo Gimenez (1854-1923). Arranged by Eduardo Suba. For Clarinet Solo & Concert Band. Swiss import. Grade 4.5. Score and parts. Published by Editions Marc Reift (MA.EMR-11269).
$161.29

Instruments: Clarinet, Woodwinds
Clarinet Jam by Marcel Saurer. For clarinet section and wind band (concert band). Swiss import. Jazz / Ragtime / Dixieland. Grade 3+. Score and parts. Published by Editions Marc Reift (MA.EMR-10504).
$161.29

Instruments: Clarinet, Woodwinds
Genres: Ragtime, Jazz & Blues
Band Land by Derek Bourgeois (1941-). For Concert Band (Piccolo, Flute 1, Flute 2, Oboe, Clarinet in Eb, Clarinet 1 in Bb, Clarinet 2 in Bb, Clarinet 3 in Bb, Bass Clarinet, Bassoon, Alto Saxophone 1 in Eb, Alto Saxophone 2 in Eb, Tenor Saxophone in Bb, Baritone Saxophone in Eb, Trumpet 1, Trumpet 2, Trumpet 3). Band Music. Grade 3+. Score and parts. Duration 22:00. Published by C. Alan Publications (CN.16170). "In a far country called Band Land, there lived four families of instruments. The country was divided in half by a wide river on which there was a small island. The two main families lived on opposite sides of the river. The first was the woodwind family who lived in a dense wood on a large hill on the left hand side of the river. This family were nature lovers and lived in peace and harmony ....".
$161.00

Instruments: Flute, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, B-Flat Trumpet, Woodwinds, Clarinet, Saxophone, Trumpet, Brass
Genres: 20th Century, Classical
Give Us This Day. (Short Symphony for Wind Ensemble - Full Score and Parts). By David Maslanka. Concert Band. For Piccolo, Flute I, Flute II, Oboe I, Oboe II, Clarinet I, Clarinet II, Clarinet III, Bass Clarinet, Contra Alto Clarinet, Bassoon, Alto Saxophone I, Alto Saxophone II, Tenor Saxophone, Baritone Saxophone, Trumpet I, Trumpet II, Horn I, Horn II, Horn III, H. Carl Fischer Classic Band Editions. Score and Set of Parts. Standard notation. 80 pages. Published by Carl Fischer (CF.J757). ISBN 0825864933. With Standard notation.
$161.00

Pages: 80
Instruments: Piccolo, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Flute, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Genres: 20th Century, Classical
War is Kind. (with SATB Choir). By Daniel McCarthy. For Choir with Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bb Clarinet 1, Bb Clarinet 2/3, Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2/3, F Horn 1/2, F Horn 3, Trombone 1, Trombone 2/3, Euphonium, Tuba, Piano, Timpan). Grade 4. Score and parts. Duration 15:10. Published by C. Alan Publications (CN.05970). After the events of September 11, 2001, many composers and artists jumped on the 9/11 "bandwagon" to create pieces on that timely subject. So I must say immediately that "War Is Kind" is not really a piece about 9/11. But, being a child of the late sixties and early seventies, I remember the Vietnam war, although I was too young to be drafted. My generation, it seems, was very lucky to then come of age during a relatively long period of peace. But, war is once again a major concern in our country with the gulf war seemingly leading to the new war in Afghanistan.It is with this in mind that I have been thinking about my older friends and colleagues who fought in WWII and Korea. It is awesome to comprehend being the age of 18 and staring in the face of annihilation. Still, many of these people did what they must and are alive today to tell me about their lives....So, three of the four movements from "War Is Kind" are about; the awesome power unleashed in the machinery of war and the fear that there may be an end to the world as we know it (Beat!Beat!Drums! by Walt Whitman); the odd dichotomy in the text that seemingly was written to console a grieving parent, lover, or another who has lost a loved one - when one wonders how their loved one died - did they suffer? "Do not weep, War is kind." (War is Kind by Stephen Crane); and the utter despair of James Joyce's "I Hear An Army" (My love, my love, my love, why have you left me alone?)I am also aware of the battles that we must fight in our personal and professional lives. So the last movement, "Beyond the Havens" is about reconciliation and healing. It is titled partly after the last chapter of "the Return of the King" by J.R.R. Tolkien.
$161.00

Instruments: Piano Accompaniment, Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Trombone, Euphonium, Percussion, Tuba, Piano, Piano and Keyboard, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Aegean Symphony by Gary Ziek. For Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Bassoon 1/2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, F Horn 1, F Horn 2, F Horn 3, F Horn 4, Trombo). Grade 5. Score and parts. Duration 20:35. Published by C. Alan Publications (CN.08550). I. PhaetonII. SisyphusIII. PanIV. Pandora"The Aegean Symphony" is comprised of four narrative movements telling the story of four Greek mythological legends. Phaeton's ill fated chariot ride across the sky, Sisyphus' doomed eternity of frustration, the origin of the Pan flute, and Pandora's curiosity that released the ills of the world only to be comforted by Hope at the conclusion.
$161.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Genres: Classical
Parable for Band. (Parable IX). By Vincent Persichetti (1915-1987). Concert Band. For Piccolo I, Piccolo II, Flute I, Flute II, Flute III, Flute IV, Oboe I, Oboe II, English Horn, Clarinet I, Clarinet II, Clarinet III, Clarinet IV, Alto Clarinet (in Eb), Bass Clarinet (in Bb), Contrabass Clarinet, Bassoon I, Bassoon II, Alto Saxophone I, A. Score and Set of Parts. Standard notation. Opus 121. 91 pages. Duration 16 minutes. Published by Theodore Presser Company (PR.165000660). With Standard notation.
$161.00

Pages: 91
Instruments: Piccolo, Bass Clarinet, Oboe, Alto Saxophone, Bassoon, English Horn, Double Bass, Flute, Woodwinds, Clarinet, Saxophone, Strings
Genres: 20th Century, Classical
Zion. (For Wind Ensemble - Full Score and Parts). By Dan Welcher. Concert Band. For Piccolo, Flute I, Flute II, Flute III, Oboe I, Oboe II, English Horn, Clarinet (in Eb), Clarinet I, Clarinet II, Clarinet III, Bass Clarinet, Bassoon I, Bassoon II, Contra Bassoon, Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Tr. Score and Set of Parts. Standard notation. Composed OCTOBER 1998. 74 pages. Duration 10 minutes. Published by Theodore Presser Company (PR.165000920). With Standard notation.
$161.00

Pages: 74
Instruments: Piccolo, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Soprano Saxophone, Tenor Saxophone, Bassoon, English Horn, Flute, Woodwinds, Clarinet, Saxophone
Stargazing. (For Band with Electronic Sounds (C.D.)). By Donald Erb. Concert Band. For Piccolo, Flute I, Flute II, Bb Clarinet I, 1st, Bb Clarinet I, 2nd, Bb Clarinet II, 1st, Bb Clarinet II, 2nd, Bb Clarinet III, 1st, Bb Clarinet III, 2nd, Bb Bass Clarinet, Bassoon (Optional), Eb Alto Saxophone I, Eb Alto Saxophone II, Bb Tenor Saxophone I. Contemporary. Score and Set of Parts. Standard notation. 19 + pages. Duration 3 minutes. Published by Theodore Presser Company (PR.145400090). With Standard notation. contemporary.
$160.95

Instruments: Piccolo, B-Flat Clarinet, Bass Clarinet, Alto Saxophone, Tenor Saxophone, Bassoon, Flute, Woodwinds, Clarinet, Saxophone
Turn the Page by Daniel McCarthy. For Full Orchestra (Piccolo, Flute, Oboe, English Horn, Bb Clarinet 1-2, Bass Clarinet, Bassoon, Bb Trumpet 1, 2, 3, F Horn 1, 2, 3, Trombone, Tuba, Timpani (5), Percussion 1 (suspended cymbal, 4 tom-toms, snare drum, rain stick, claves, bongos), Percussion 2 (suspended cymb). Orchestra Music. Score and parts. Duration 7:30. Published by C. Alan Publications (CN.11300). The writing of "Turn the Page" was the result of my association with conductor and good friend Jung Ho Pak (New Haven Symphony and World Youth Symphony Orchestras). Maestro Pak and I met at The Interlochen Arts Camp where we are both faculty and we collaborate on the orchestra reading project with the student composers.Our conversations over the years have included the future of the orchestra and new orchestral music in our society. Audiences have lost a great deal of context with new music over the past 90 years, in my opinion, and new music has remained an anomaly for many listeners.So when I decided to write Jung Ho an orchestra piece, I knew it had to be music that meant something to listeners--something that would have cultural context to an audience and yet be challenging and interesting to play. And a piece that would be played more than just once.I seek a certain drama and excitement in my music. Perhaps that is why I am so attracted to composers like Mahler, Stravinky, and Daugherty. But I also have a diverse listening palate having played big band jazz as a lead trumpet player and funk as a synthesizer player.Often when I travel, especially on long driving trips, I will listen to old "art-rock" of bands such as "Yes," "Genesis," and "Led Zeppelin." One of my favorite tunes is "Heartbreaker" from the album "Led Zeppelin II." It has a very unusual guitar solo in the middle of the song--Unusual, because the band stops playing and Jimmy Page takes a motivically oriented solo, much like a cadenza in a concerto. It was the first time anything like that was ever done in that genre and was really the beginning of guitarists becoming virtuosos on their instruments. Actually, that solo had all the fire of a Tchaikovsky or Mendelssohn concerto cadenza.Hence, the idea came to be to combine the suggestion of this solo with orchestra and, later, to use an electric guitar or CD recording of the actual solo with the orchestra. It seemed to me that all the power of Led Zeppelin was certainly in good company with a full-sized symphony orchestra--Witness Stravinsky's "Rite of Spring." Could any rock band create that much excitement?-DWM.
$160.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Bassoon, English Horn, B-Flat Trumpet, Trombone, Percussion, Timpani, Tuba, Woodwinds, Clarinet, Trumpet, Brass
Genres: Classical
Symphonie Nr. 3 "Die Tageszeiten" (1944) by Ernst Pepping (1901-1981). For 2 flutes, 2 oboes, 2 clarinets (b flat), 2 bassoons, 4 horns, 3 trumpets (c), 2 trombones, tuba, kettledrum, drums, strings. Score. Composed 1944. No. 3. 277 pages. Duration 42'. Published by Baerenreiter Verlag (BA.BA2258). ISBN 9790006498444. Print on demand (POD).
$159.95

Pages: 277
Instruments: Flute, Clarinet, Oboe, Bassoon, Horn, B-Flat Trumpet, Trombone, Percussion, Drums, Tuba, Woodwinds, Brass, Trumpet
Paulus (St. Paul) (Oratorium). By Felix Bartholdy Mendelssohn (1809-1847). Edited by R. Larry Todd. For Soli SATB, SATB Choir, 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 4 Horn, 2 Trumpets, 3 Trombones, Serpente, Timpani, 2 Violins, Viola, Cello, Contrabass, Organ. Score available separately - see item CA.4012900. Oratorios; Stuttgart Urtext Editions. Level 3. Set of instrumental parts (except strings). Language: German/English. Composed 1834-1836. 36. 188 pages. Duration 145 min. Published by Carus Verlag (CA.4012909). With Language: German/English. Oratorios; Stuttgart Urtext Editions.
$159.95

Pages: 188
Instruments: Choir, Organ, Flute, Clarinet, Oboe, Bassoon, Horn, Violin, Cello, Viola, Double Bass, B-Flat Trumpet, Trombone, Percussion, Timpani, Vocal, Piano and Keyboard, Woodwinds, Brass, Strings, Trumpet
Genres: Classical
Concertazioni a quattro by Bruno Bartolozzi (1911-1980). For Flute, Oboe/Clarinet, Bassoon. Brass/Wind Instruments. Set of parts. 86 pages. Published by Edizioni Suvini Zerboni (M7.ESZ-7116).
$158.95

Pages: 86
Instruments: Flute, Clarinet, Oboe, Bassoon, Woodwinds
Stony Brook Jam by Sydney Hodkinson. For Flute(Piccolo), Clarinet(Bclarinet), Percussion, Piano, Violin, Cello. Score and parts. Standard notation. Duration 13 minutes. Published by Theodore Presser Company (PR.144404070). With Standard notation.
$158.95

Instruments: Piano, Piccolo, Clarinet, Violin, Cello, Percussion, Piano and Keyboard, Flute, Woodwinds, Strings
Glenn Mucks About with the Clarinet by J. Penders. For Fanfare Band. Real Big Band Sound / Original Works Light Music Repertoire. Real Big Band Sound. Grade 3. Score and Parts. Published by Molenaar Edition (ML.022431060).
$158.95

Instruments: Clarinet, Woodwinds
Ma Mere l'Oye by Maurice Ravel (1875-1937). Arranged by Erik Somers. For piccolo, 2 flutes, 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, 2 horns, string bass, harp. Baton Music Ensemble Series. Suite From the Ballet. Grade 5. Full score and parts. Duration 17:30. Published by Baton Music (BF.BM351-SET). Ravel originally wrote Ma mere l'oye (Mother Goose) as a piano duet for the Godebski children, Mimi and Jean, ages 6 and 7. Ravel dedicated this work for four hands to the children (just as he had dedicated an earlier work, Sonatine to their parents). Jeanne Leleu and Genevieve Durony premiered the work. The piece was transcribed for solo piano by Ravel's friend Jacques Charlot the same year as it was published (1910). In 1911, Ravel orchestrated the work. Then, in 1912, he expanded it into a ballet adding new movements (Prelude and Danse du rouet et scene) and interludes. Erik Somers transcribed the suite from the ballet for Wind Ensemble.
$158.75

Instruments: Piccolo, Bass Clarinet, Oboe, Bassoon, English Horn, Double Bass, Harp, Flute, Woodwinds, Clarinet, Strings
Genres: Impressionism, 20th Century, Classical
Shadowed Narrative by Roger Reynolds (1934-). Contemporary Small Ensemble. For Clarinet, Violin, Cello, Piano. Modern. Set of Parts. Composed Composed: 1977-82. Duration circa 23 minutes. Published by Edition Peters (PE.P66899A). ISBN M-3007-3160-5. Modern. N. B. : the set of parts includes the scoreClarinet, Violin, Violoncello, Piano (set of parts; for the score, see EP66899).
$158.00

Instruments: Piano, Clarinet, Violin, Cello, Piano and Keyboard, Woodwinds, Strings
Symphonie Nr. 1 e-moll op. 39 by Jean Sibelius (1865-1957). Edited by Timo Virtanen. For 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, cymbals, strings*. This edition: Urtext. Score. Opus 39. 172 pages. Published by Breitkopf and Haertel (BR.PB-5358). ISBN 979-0-004-21215-8.
$157.95

Pages: 172
Instruments: Flute, Clarinet, Oboe, Bassoon, Horn, B-Flat Trumpet, Trombone, Percussion, Timpani, Tuba, Woodwinds, Brass, Trumpet
Genres: 20th Century, Scandinavian, Classical, World
Concertino Opus 26 (Klarinet Solo). By Carl Maria von Weber (1786-1826) and Carl Maria von Weber (1786-1826). Arranged by C. Lhomme. For Concert Band. Arrangements of Classical Pieces / Solo Concerts / Clarinet Solo and Wind Band. Solo and Band Series. Grade 5. Score and Parts. Published by Molenaar Edition (ML.010168060). Carl Maria von Weber (1786-1826) was a pupil of Michael Haydn. Before he was fifteen years old he had already composed an opera, a mass and piano music. He was subsequently director of the Prague Opera House and Music Master at the Dresden Court. The overtures to his operas DER FREISCHa!1TZ and OBERON are still often performed by wind bands, though it is often lesser known that von Weber also wrote pieces for 'Harmoniemusik', such as a CONCERTINO IN C for oboe and small wind band. Von Weber wrote most of his clarinet works for the famous German clarinettist Heinrich Ba!!rmann (1784-1874). This was the case for his CLARINET CONCERTO No1 in F and his CLARINET CONCERTO No2 in Eb and for the CONCERTINO, all composed in 1811. Von Weber was very impressed by Ba!!rmann's virtuosity and the expressiveness of the clarinet. The CONCERTINO is one of the very great works of the classical clarinet repertoire. A slow introduction is followed by a cheerful theme repeated with several contrasting variations. This pre-eminently romantic clarinet piece was scored for symphonic band by the French composer and arranger Charles Lhomme (Hargicourt 1889).
$157.95

Instruments: Clarinet, Woodwinds
Genres: Classical, Classical Period, Romantic Period
Pajtas. (Clarinet-Solo Bb and Eb). By F. H. Schorer. For Concert Band. Solo Concerts / Clarinet Solo and Wind Band / Light Pieces. Solo and Band Series. Grade 4. Score and Parts. Published by Molenaar Edition (ML.011238060).
$157.95

Instruments: Clarinet, Woodwinds
Clarinet Jubilee by Kees Vlak. For Concert Band. Little Solo concerts / Clarinet Solo and Wind Band / Original Works Light Music Repertoire / Light Pieces. Solo and Band Series. Grade 4. Score and Parts. Published by Molenaar Edition (ML.011667060).
$157.95

Instruments: Clarinet, Woodwinds
Glenn Mucks About with the Clarinet by J. Penders. For Concert Band. Real Big Band Sound / Little Solo concerts / Original Works Light Music Repertoire. Real Big Band Sound. Grade 3. Score and Parts. Published by Molenaar Edition (ML.012431060). To Jef Penders the influence of Glenn Miller on light music in the second half of the twentieth century is still alive. After 'Glenn meets Wolfgang', 'Glenn beats the Battle of Jericho' and 'Glenn plays after the Ball' here we have 'Glenn mucks about with the Clarinet'. We guess both the musicians and the audience will be fond of that kind of mucking. Enjoy the 'Penders touch'.
$157.95

Instruments: Clarinet, Woodwinds
Catena III by Donald Sur. For Flute, Bass Clarinet, Percussion, Violin, Cello. Score and parts. Standard notation. Duration 5 minutes, 20 seconds. Published by Theodore Presser Company (PR.144403360). With Standard notation.
$156.95

Instruments: Flute, Bass Clarinet, Violin, Cello, Percussion, Woodwinds, Clarinet, Strings
Die Jahreszeiten (Oratorium 1799-1801). By Franz Joseph Haydn (1732-1809). Edited by Armin Raab. For flute 1, flute 2/ piccolo, oboe 1, oboe 2, clarinet (b flat) 1, clarinet (b flat) 2, bassoon 1, bassoon 2, contrabassoon, horn 1, horn 2, clarin trumpet 1, clarin trumpet 2, clarin trumpet 3, trombone 1, trombone 2, bass trombone, kettledrum. This edition: Urtext edition. Set of wind parts. Language: German. Hob. XXI:3. 279 pages. Published by Baerenreiter Verlag (BA.BA4647-65). ISBN 9790006535989. With Language: German. 32.5 x 25.5 cm inches.
$156.95

Pages: 279
Instruments: Piccolo, Clarinet, Oboe, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Percussion, Flute, Woodwinds, Brass, Trumpet, Trombone
Genres: Classical, Classical Period
Concerto by Juraj Filas. For horn and symphonic wind band (horn solo; piccolo, flute 1and 2, oboe, english horn, clarinet 1,2,3, alto clarinet, bass clarinet, bass 1 and 2; saxophones: altos 1 and 2, tenor, baritone; horns 1, 2, 3, 4, trumpet 1, 2, 3; trombone 1, 2; bass - trombone; baritone, euphonium; tuba Eb, ). Contemporary. 4-5. Parts. Composed 2004. Duration 15'. Published by Editions BIM (ET.CO71E).
$156.25

Instruments: Flute, Bass Clarinet, Oboe, Saxophone, English Horn, B-Flat Trumpet, Trombone, Euphonium, Tuba, Woodwinds, Clarinet, Trumpet, Brass
Genres: Classical
Concertino Opus 26 (Klarinet Solo). By Carl Maria von Weber (1786-1826) and Carl Maria von Weber (1786-1826). Arranged by Charles Lhomme. For Concert Band. Solo and Band. Grade 5. Score and set of parts. Published by Molenaar Edition (ML.01016806). "Carl Maria von Weber (1786-1826) was a pupil of Michael Haydn. Before he was fifteen years old he had already composed an opera, a mass and piano music. He was subsequently director of the Prague Opera House and Music Master at the Dresden Court. The over".
$155.95

Instruments: Clarinet, Woodwinds
Genres: Classical Period, Romantic Period, Classical
Variazioni (For Clar.Or Soprano Saxophone.And Band). By Gioachino Rossini (1792-1868). Arranged by Willy Hautvast. For Concert Band / Fanfare Band. Solo and Band. Grade 5. Score and set of parts. Published by Molenaar Edition (ML.0102185606).
$155.95

Instruments: Clarinet, Soprano Saxophone, Woodwinds, Saxophone
Genres: Classical Period, Classical