Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.549213 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 45 pages. Jmsgu3 #3464933. Published by jmsgu3 (A0.549213). A musical monument: the first composition to employ dynamics. Minimum Instrumentation:  8 Bb clarinets, 1 alto clarinet, 1 contralto clarinet, 1 contrabass clarinet. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.  

Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.549204 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 56 pages. Jmsgu3 #3461855. Published by jmsgu3 (A0.549204). Instrumentation: 2 Eb clarinets, 4 Bb clarinets, 2 bass clarinets. Arranged as a double quartet. Includes Full Score: 28 pg. Study Score: 14 pg. and instrumental parts: 2 pg. Duration: ca. 3:00. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

Woodwind Ensemble Clarinet - Level 4 - Digital Download SKU: A0.813438 Composed by Johann Pachelbel. Arranged by Regis Bookshar. Baroque,Multicultural,Standards,Wedding,World. 36 pages. Regis Bookshar #6260467. Published by Regis Bookshar (A0.813438). Canon (Pachelbel) (Bb) (Clarinet Octet) - Advanced/Intermediate - Digital Download. This selection, Johann Pachelbel's celebrated Canon, is perhaps the most famous canon ever written and has been one of my favorite compositions to arrange. A canon is a polyphonic device in which several voices play the same music, entering in sequence. Pachelbel's Canon, was originally written in the key of D Major and was scored for three violins arranged in canon, accompanied by a basso continuo which repeats the same harmonic progression throughout the entire piece. The common musical term for this is ostinato or ground bass. Regis Bookshar has now arranged this music for a Clarinet Octet. Three Clarinets play the melody in canon while the ostinato accompaniment is played by the other five instruments. This arrangement is suitable for high school and college students but could also be performed by professional performers. It is perfect for concerts and church services, especially for Weddings, but could be performed for any occasion. Included are a score and a complete set of parts (36 pages). This version is written in the key of Bb Major, to make it a little easier for some younger performers, but another version is also available in the key of D Major if you would prefer. Other versions of Pachelbel's Canon have also been arranged by Regis Bookshar and are available for a wide variety of instrumental Quintets and Octets, in both the keys of D Major and Bb Major. I think that String players would probably prefer to play the versions in the key of D Major while the Brass and Woodwind musicians might prefer to play the Bb Major versions. I hope you take the time to compare the different versions to find the right version for you. To help you decide which version, or versions, you may want to choose, I have included several musical samples for you to listen to and to hear what these arrangements may sound like and so that you may compare the various arrangements. Also, just to let you know, the Octets written in the key of Bb Major have full-length recordings while the Octets in D Major and all Quintets have only the first 25 measures, or so, available to hear. Please feel free to search for other arrangements by Regis Bookshar which are also available. There are quite a few other arrangements in a variety of styles and I'm certain you will find something else which might interest you as well. Please keep checking because I plan to continue to add new arrangements as often as I can. I'm certain that this exciting arrangement of Pachelbel's Canon will be a challenge to some performers but will continue to entertain both performers and audiences alike for years to come.

Woodwind Ensemble Clarinet - Level 4 - Digital Download SKU: A0.813483 Composed by Johann Pachelbel. Arranged by Regis Bookshat. Baroque,Multicultural,Standards,Wedding,World. 36 pages. Regis Bookshar #6265565. Published by Regis Bookshar (A0.813483). Canon in D (Pachelbel) (Bb) (Clarinet Octet) - Advanced/Intermediate - Digital Download. This selection, Johann Pachelbel's celebrated Canon in D, is perhaps the most famous canon ever written and has been one of my favorite compositions to arrange. A canon is a polyphonic device in which several voices play the same music, entering in sequence. Pachelbel's Canon in D, was originally written in the key of D Major and was scored for three violins arranged in canon, accompanied by a basso continuo which repeats the same harmonic progression throughout the entire piece. The common musical term for this is ostinato or ground bass. Regis Bookshar has now arranged this music for a Clarinet Octet. Three Clarinets play the melody in canon while the ostinato accompaniment is played by the other five instruments. This arrangement is suitable for high school and college students but could also be performed by professional performers. It is perfect for concerts and church services, especially for Weddings, but could be performed for any occasion. Included are a score and a complete set of parts (36 pages). This version is written in the key of D Major, as is the original version, but, if you prefer, another version, written in the key of Bb Major, to make it a little easier for some younger performers, is also available  Other versions of Pachelbel's Canon have also been arranged by Regis Bookshar and are available for a wide variety of instrumental Quintets and Octets, in both the keys of D Major and Bb Major. I think that String players would probably prefer to play the versions in the key of D Major while the Brass and Woodwind musicians might prefer to play the Bb Major versions. I hope you take the time to compare the different versions to find the right version for you. To help you decide which version, or versions, you may want to choose, I have included several musical samples for you to listen to and to hear what these arrangements may sound like and so that you may compare the various arrangements. Also, just to let you know, the Octets written in the key of Bb Major have full-length recordings while the Octets in D Major and all Quintets have only the first 25 measures, or so, available to hear. Please feel free to search for other arrangements by Regis Bookshar which are also available. There are quite a few other arrangements in a variety of styles and I'm certain you will find something else which might interest you as well. Please keep checking because I plan to continue to add new arrangements as often as I can. I'm certain that this exciting arrangement of Pachelbel's Canon in D will be a challenge to some performers but will continue to entertain both performers and audiences alike for years to come.

Clarinet Choir,Woodwind Ensemble Bass Clarinet,Contra Alto Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.764956 Composed by Lori Archer Sutherland. Contemporary,Folk,Standards. 50 pages. Lori Archer Sutherland #4597193. Published by Lori Archer Sutherland (A0.764956). For clarinet choir (Eb, 4 Bb, Alto, Bass, Eb Contra, Bb Contra. Alternate Bb parts included for Eb and Alto. Basset horn part included (doubles Alto)).You may print multiple parts as needed for your ensemble.The Monk’s Turned Topsy-Turvy is an original fantasy for clarinet choir, based on the old French-Canadian children’s song, Ah! Si mon moine voulait danser! (Danse, mon moine, danse). The title is a play on words: moine means both monk and spinning top in French. The lyrics speak of persuading mon moine to dance by offering various articles of clothing, such as a hood or cap.After a brief, yet bold, introduction, the piece jumps into a straightforward rendition of the tune. From there, the melody is repeated, bringing in other voices and added flourishes. While the tune starts to repeat a third time, it doesn’t get to finish its full statement. It’s interrupted by a run up through the ensemble into a rollicking 7/8 section.With a rhythmic accompaniment underneath, the jaunty melody begins in the third clarinets. The upper instruments take over briefly in 6/8, then the tune returns to 7/8. After a quick breather, the accompaniment introduces an upward sweep motif. This alternates with the accompaniment pattern heard at the beginning of the 7/8 section.The lower voices then take control, driving downward into a different tonality and mood. An undulating accompaniment sets a dreamlike feel, with different voices quoting fragments of the theme. The accompaniment transfers between voices throughout the section, eventually changing back into a 3/4, then a 2/4 feel, resulting in a transition back to the original feel of the piece.The low voices get the melody, with rhythmic accompaniment and racing runs throughout the other sections. The melody goes a bit topsy-turvy before the group comes together in the descending quarter note motif from the beginning of the piece, bringing us to the coda. There’s one final quote of the opening of the main theme from the low voices, leading to a whirlwind in the first and Eb with accented notes and suspensions underneath. The Eb pipes up with one last comment and the group closes out the piece.Also available for concert band (S0.708971)