SKU: A0.1224905

Title: Sunday Song
Composer: Max Oesten (1843-1917)
Arranger: Andrew Lamb
Description: This is a transcription Sunday Song by Max Oesten (1843-1917).

This clarinet choir arrangement of Max Oesten's Sunday Song is a uplifting musical piece that is sure to delight any audience. This arrangement expertly adapts the intricate melodies and harmonies of the original piece for the ensemble. This arrangement showcases the full range and versatility of the clarinet choir, making it an excellent choice for both formal concerts and more casual performances.

SKU: A0.1284353

An upbeat gospel swing piece by Billy Maxted, arranged by Katie Brown for clarinet sextet (5x Bb Clarinets, 1x Bass Clarinet). Score and parts, 30 pages. Optional improvised solo for clarinet 1 (written solo provided).

SKU: A0.568988

The beautiful piano ballad features all parts; some polyphonic elements are added to simulate the original piano comping to make it a great concert piece with high dynamic range which will attire maximum attraction – perfect must for your band book!  

Instrumentation:  Clarinet 1/2/3 in Bb, Clarinet 4 in Bb/Eb, Bass Clarinet in Bb            


Listen to the recording - a challenge for your ensemble.  Please don't forget to review your purchase - you will help other musicians to choose the perfect arrangement for their ensemble. Thank you very much!              


Check out our latest uploads:  http://www.sheetmusicplus.com/publishers/thomas-graf-the-hit-factory-com/smp-press/3001412+1303131?N...                      Any individual arrangement and substitute parts are available on request. Call +49 (0) 172 2515987 E-Mail: info@the-hit-factory.com. www.the-hit-factory.com facebook: https://www.facebook.com/hitfactorymusic              

Video: https://www.youtu.be/pzJoDc4sb7o  2018 Chamber Music Contest Entry.

SKU: 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.

 

SKU: F2.FM206

ISBN 9790570481057.

Clarinet Ensemble - Clarinet in Eb, 4 Clarinets in Bb, Bb Clarinet or Alto Clarinet, Alto Clarinet, Bass Clarinet, Bass Clarinet or Contr'alto Clarinet, Contrabass Clarinet. A cheeky piece featuring modern and attractive harmonies and subtly shifting rhythms, this piece keeps the audience on the edge of their seats all the way through. While not too technically difficult, it passes through many keys and time signatures which will keep all players on their toes. There are also some repeated semiquavers that will require nimble and accurate tonguing to achieve maximum impact.

SKU: 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.

SKU: A0.1085640

Aria is scored for Clarinet in E flat, 3 B flat Clarinets, Alto and Bass Clarinet. It is a very restful melodic piece based on a single motif heard in bar 1. Written in concert B flat major the piece is very hymn -like in design- with long notes and chords but has some unusual harmonies. The searing theme is stated then repeated with variation in texture. The theme is then developed using the rhythmic motif in the beginning climaxing in C major briefly before calmly returning to B flat major to repeat again. On this repeat more variation takes place before a restful conclusion. The top note is top B flat (C5) and I've tried to keep all parts interesting. The full score is 11 pages and parts are 3 pages each- it is roughly 5 mins 30 in length. I have set it to intermediate level but an early intermediate should be ok with some of the parts. The whole score is on the youtube link for you to assess suitability. Price is for the full score and all parts. Suitable for a variety of purposes: Concerts, Recitals, Contests, Festivals, Easter, Church services, Weddings, Productions or an addition to the repertoire.

SKU: A0.624784

The popular song by the American boy band the Backstreet Boys, has been freshly arranged for a Clarinet Choir (Bb-Clarinet (3), Bass Clarinet) with Piano accompaniment. Accessible and appropriate for any school or concert setting.