Gabriel Pierné (1863-1937) was a French composer conductor and organist. Despite being predominantly remembered as a conductor his Canzonetta remains a recognised piece in the Clarinet repertoire. Pierné studied at the Paris Conservatoire before taking up the position of chief conductor for the concert series Concerts Colonne in 1910. He remained in the post until 1933 and during this time he notably conducted the world premiere of Igor Stravinsky's The Firebird. Pierné composed for a variety of instruments Canzonetta for Clarinet with Pianoaccompaniment being one of four solo works by the composer. This Pierné piece for Clarinet contains many characteristics typical of the French style such as lyrical melodies a significant number of performance directions flourishes of semiquavers chromaticism and many changes in dynamics. Canzonetta is a varied piece essential to the repertoire of aspiring clarinetists.

Par POULLOT FRANCOIS. Transcribed by popular brass arranger, Robert King, this edition of Giovanni Gabrieli's Sonata pian'e forte provides an exciting performance piece for a large Brass Ensemble. Being one of the most influential musicians during the shift from the Renaissance to the Baroque era, it is no secret that the composer leaned himself primarily to vocal and sacred works. Sonata pian'e forte means an instrumental piece using soft and loud dynamics. Composed in 1597, this piece is composed in the Venetian polychoral style, and would have been written to be played in Catholic services at St. Mark's in Venice. King 's arrangement of this historical work is indispensable for Brass Ensembles./ Répertoire / Clarinette en Sib et Tryptique

A diverse and timeless collection of 66 famous chorales arranged for concert band by Frank Erickson. The chorales are all arranged in four parts (SATB) and, in addition to full band, are playable by a wide variety of smaller groups, from quartet on up. Besides being an excellent warm-up tool, 66 Festive and Famous Chorales for Band provides a perfect opportunity to work on musicianship, phrasing, balance and intonation. / Clarinette

Contemporary Italian-French composer, Armando Ghidoni brings together influences of both Italy and France in his music. Also, as an expert on jazz, the harmonies and rhythms of the composer's works reflect a huge diversity, Jazzy Celtic Suite for Clarinet and Piano or Harp being no exception.Ghidoni is significant within the contemporary French music school and his works are regularly chosen as set pieces for leading national and international competitions. Jazzy Celtic Suite reflects Ghidoni 's mastery of a range of instruments, suitable for intermediate players. With a typical performance lasting about thirteen minutes, Jazzy Celtic Suite is an exciting addition to the intermediate Clarinet repertoire, with the option of Piano or Harp accompaniment. / Clarinette

A diverse and timeless collection of 66 famous chorales arranged for concert band by Frank Erickson. The chorales are all arranged in four parts (SATB) and, in addition to full band, are playable by a wide variety of smaller groups, from quartet on up. Besides being an excellent warm-up tool, 66 Festive and Famous Chorales for Band provides a perfect opportunity to work on musicianship, phrasing, balance and intonation. / Clarinette

A diverse and timeless collection of 66 famous chorales arranged for concert band by Frank Erickson. The chorales are all arranged in four parts (SATB) and, in addition to full band, are playable by a wide variety of smaller groups, from quartet on up. Besides being an excellent warm-up tool, 66 Festive and Famous Chorales for Band provides a perfect opportunity to work on musicianship, phrasing, balance and intonation.

Par GAUBERT. Philippe Gaubert (1879-1941) was a distinguished performer on the Flute. It comes as no surprise, therefore, that his compositions for woodwind are at the forefront of the musical family's repertoire, Fantasy for Clarinet being no exception. After a prominent career as a flautist with the Paris Opera, Gaubert was appointed as professor of Flute at the Paris Conservatoire, as well as principal conductor of leading orchestras. It was during this time that Gaubert composed, including his Fantasy for Clarinet, which he wrote towards the beginning of his career. Addressing many technicalfeatures, including flourishing semiquaver passages, a wide range, lyrical melodies, intervals, chromaticism and complex rhythms, Fantasy is a challenging, yet riveting and stirring piece for aspiring advanced clarinetists./ Répertoire / Clarinette et Piano

Par SCHUMANN ROBERT. These three pieces for Clarinet and Piano are already well known under the title Phantasiestucke Op.73 . What is not generally known is that numerous important differences exist between the original manuscript and the first published version (the further model for all later editions). For the first time ever, the pieces are being published exactly as they appear in Schumann's manuscript entitled Soireestucke .All points of difference between the manuscript and the first edition are outlined in a full commentary by Richard Platt and the significance of these differences emphasised by Alan Hacker in his Foreword where he comments on the superior strength of the original: 'greater assymetry, slightly varied harmony and many other touches all intensify passionate and impulsive instability, the main expression of the work.' / Niveau : Elémentaire / Répertoire / Clarinette et Piano

Philippe Gaubert (1879-1941) was a distinguished performer on the Flute. It comes as no surprise therefore that his compositions for woodwind are at the forefront of the musical family's repertoire Fantasy for Clarinet being no exception. After a prominent career as a flautist with the Paris Opéra Gaubert was appointed as professor of Flute at the Paris Conservatoire as well as principal conductor of leading orchestras. It was during this time that Gaubert composed including his Fantasy for Clarinet which he wrote towards the beginning of his career. Addressing many technicalfeatures including flourishing semiquaver passages a wide range lyrical melodies intervals chromaticism and complex rhythms Fantasy is a challenging yet riveting and stirring piece for aspiring advanced clarinetists.

Avrahm Galper Clarinet Series-Being a student of the clarinet is exciting. If you invest time at the beginning learning the basics of clarinet playing you will reap rewards for many years to come. Practicing the exercises in this book can help you master theclarinet. The exercises will help you refine your tone improve your technique and enhance your musical expression. These are the cornerstones of great clarinet playing. Time spent with these exercises will make you more able tohandle difficult passages and concentrate on the music rather than the technique.

Classical Music for Children' wants to introduce clarinet pupils to the beauty of Baroque, Classical and Romantic concert literature. The book includes original clarinet literature as well as catchy tunes and themes from various operas (The Freeshooter, The Magic Flute and others) and the concert hall (Four Seasons, Capriccio Italy, Reverie and others) were used as well. The edition starts with a piece from the Renaissance period, followed by the great composers of the Baroque, European Classical and Romantic eras and completed by several discoveries from the common concert programmes (Blasius, Reinagel, Sullivan). The pieces are presented in easy arrangements and can be mastered after about two years of tuition, with the three-line octave being left out. / Clarinette Et Piano

As I sit myself down to write this brief foreword I ask myself can there be music more stirring than these old Cornish folk melodies? Though not Cornish myself (I confess to being born a little further up the road in Bristol) I feel I have spent sufficient time in these 'ere parts to resonate with the sturdy brass band tradition that continues to permeate this incomparably beautiful rugged county. One can almost detect a French 'accent' when listening to the piano music of Debussy and likewise speaking as a lapsed brass player there is undoubtedly something of the Cornish twang about Trelawny when played on a cornet or euphonium. Then again one gets a different yetentirely convincing effect upon hearing these melodies rendered on woodwind instruments; hence with a little gamesmanship on my part I am pleased to see my collection of these fifteen delectable ditties come to fruition in the form of arrangements for treble clef brass instruments (in B flat and E flat) trombone and tuba (bass clef) horn in F flute clarinet and bassoon.While many will find themselves humming the likes of Going up Camborne Hill Lamorna or The Helston Furry Dance even before they have turned to the first page - for these are indelibly intertwined with Cornish culture I wonder if I might draw your attention to The Cornish Squire The Pool of Pilate and Cold Blows the Wind Today Sweetheart which are quite simply sublime melodies perhaps needing that extra bit of help in bringing them to mind nowadays. In the best tradition of musical hand-me-downs Cornish folk music works equally ideally sung and played and only by doing so on a regular basis can such traditions hope to continue forward with vigour and authority. A legitimate way of achieving this is to revitalise the harmonic scheme of these ancient tunes and bring them up to date for a modern audience; after all it was such an approach that fuelled the imagination of Benjamin Britten and Ralph Vaughan Williams in decades past while skilfully paying homage to the

This nocturne was one of a set of six composed for the second wedding of the Duke of Nassau which were published simultaneously as sets of duos or solo pieces for Violin Cello clarinet or concertina with harp or Pianoaccompaniment. Charles Oberthür was a celebrated harpist during his long career in the 1800?s most of which he spent in Britain. Besides being a distinguished instrumentalist Oberthür was a prolific composer creating morethan two hundred works.

Par BRAHMS JOHANNES. Brahms’s Clarinet Trio, composed in 1891, was inspired by the exceptional musicality of clarinettist Richard Mühlfeld. As he did for his horn trio, Brahms prepared a viola part as a possible alternative to the clarinet. Both scorings were rehearsed (the viola part being played by Joseph Joachim) prior to the premiere and publication of the work. Bärenreiter’s scholarly-critical edition, prepared by Christopher Hogwood, offers a foreword on the trio’s compositional process with comments on performance practice, as well as a comprehensive critical commentary and facsimile excerpts of the manuscript. Viola part included as an alternative to the clarinetpart With a detailed foreword (Eng/Ger) on the work’s genesis and performance Practice/ Répertoire / Clarinette ou Alto/Violoncelle/Piano