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French composer Jean-Baptiste Breval (1753-1823) was both a composer and a cellist, and many of his compositions therefore were written for his own instrument. This short two-movement sonata in C Major is well-known among cellists as an excellent performance piece for young players. An extended-range instrument is required if the performer wishes to play the work exactly as written; however, the use of the extended range is minimal, and an experienced performer or young student with assistance of their teacher could easily re-write a few phrases to avoid this range if an extended-range instrument is not available.

Sonata in C Major

Bass Clarinet Solo with Piano

ABOUT THE WORK: Children's Corner is a six-movement suite for solo piano by the French impressionist composer Claude Debussy (1862-1918). The work was dedicated to the composer's daughter, who was three years old at the time. The pieces were not intended to be played by children, however; rather they are meant to be evocative of childhood. In this skillful work by Keith Terrett, four of the six movements - Jimbo's Lullaby, Serenade of the Doll, The Little Shepherd, and Golliwog's Cakewalk - are arranged for clarinet sextet. With no tremendous challenge to any of the six players, this is nonetheless a piece which would provide an excellent project for a student ensemble, with the frequent changes of tempo, mood, and dynamic. Any of the four movements alone, or the piece as a whole, would make a delightful addition to any concert program. This arrangement is for 2 clarinets, alto clarinet, and 3 bass clarinets. ABOUT THE ARRANGER: Keith Terrett (b.1956), is a composer, arranger, conductor, band trainer, instrumental teacher, trumpeter, cornettist, flugelhornist &amp; multi-instrumentalist born in London. He has performed and taught throughout Europe, North America, and Asia, and is currently Director of Music at Pathways World School in India. Keith has studied with, and gained academic musical qualifications from the Royal Military School of Music, Open University, Trinity College of Music, Royal College of Music, Royal Academy of Music, London College of Music, and the Bandsman's College of Music in Manchester. Keith is an internationally acclaimed composer/arranger, writing in all genres from full orchestra, brass band, and wind band, to music for string quartet, brass ensemble, saxophone group, clarinet choir, recorder consort, oboe consort, and even for the steel drums, harmonica and accordion! His music is published in the England, Belgium, Austria, Wales, Canada, Holland, Switzerland, Germany, the USA and Norway.

Children's Corner Suite

Clarinet Sextet

Georg Muffat (1653-1704) was a Baroque composer of Scottish descent who studied composition and organ in France and Italy. His works were influenced and admired by many of the prominent composers of the day, including Jean Baptiste Lully and Arcangelo Corelli. The Three Pieces for Clarinet Quartet, arranged by Kevin Holland, were taken from Muffat's Fifth Keyboard Partita. The three dance movements - Ballet, Gavotte, and Rigodon - are lovely examples of Baroque writing. With their short length and lack of any great challenge of range or technique for any of the players, the set would make an excellent selection for a student ensemble. That said, they are also musically worthy of addition to the repertoire of any clarinet quartet!

Three Pieces for Clarinet Quartet

Clarinet Quartet

Benedetto Marcello (1686-1739) was an Italian contemporary of J.S. Bach whose compositions range from vocal music to concertos to sonatas, including this lovely four-movement Sonata in G major for 'cello and piano. In this transcription for bass clarinet and piano, the work makes an excellent choice for contest, audition, or recital. The four short movements are arranged in the slow-fast-slow-fast order common to the baroque period. The work presents no great challenges in range or technique, and would therefore be an excellent performance piece for the young player.

Sonata

Program note courtesy of the composer: Far from being a seasonal event, Spring tides occur twice each lunar month, all year round. Spring Tide Arabesque opens with a gentle motif reflecting the Earth's steady rotation. Immediately following these preparatory measures, a flowing Arabesque figure is introduced by the first bass clarinet. The ornate pattern is not confined to just one voice, but interlaced between the two players. Over the course of the composition, no one player is intended to be more of a tide-generating force than the other, since there is no upper or lower part. The two contending bass clarinets twist and overlap with the elaborate tracery as they are afforded considerable registral freedom. A surge of intertwined pitches reach high tide just before the half way mark and this is followed by a somewhat freer, more agitated central section, where disjointed gestures are presented. The brief episode is not concerned so much with the alignment of the two instruments, but with exploiting the gravitational pull as they reinforce each other. In the last quarter or so of the piece, the activity significantly decreases to reveal what's left behind by the subsiding water. Peace and tranquillity return to the remote shoreline.

Spring Tide Arabesque Bass Clarinet Duet

Bass Clarinet Duet

Petite Suiteafor clarinet trio (two clarinets, bass clarinet) is a wonderfully engaging and accessible work for clarinet ensemble. In keeping with the title, the work consists of four short movements, each composed in a distinct dance style: Marche, Catavina, Scherzino, and Danse.  With parts of equal difficulty, and no extremes of range or technical expectations, the work would make an excellent selection for contest or recital for students.

Petite Suite 2 Clarinet and Bass Clarinet Trio

Clarinet Trio 2 clarinets and bass clarinet

Gabriel Faur (1845-1924) composed the beautiful Elgie in 1883. Alea Publishing is pleased to make this staple of the 'cello repertoire available in transcription for bass clarinet and piano. This one-movement work would be an excellent selection for contest, audition, or recital. The piece opens with a gorgeous slow melody, allowing the bass clarinetist to exercise breath control and expressive phrasing. The brief middle section provides some rhythmic and technical challenges, before returning to the melodic material of the beginning.

Elegie

Domenico Scarlatti (1685-1757) was an Italian composer of the Baroque period who spent much of his life in the service of the Spanish and Portuguese royal families. He composed a large catalog of works in a variety of musical forms, but today is primarily known for his more than 500 keyboard sonatas. While many of these one-movement sonatas are showpieces for keyboard technique, some, such as the Sonata K. 322, are wonderful examples of simple Baroque counterpoint. In this transcription for clarinet and bass clarinet duet, the range of the original work is maintained, with the clarinet taking the lovely melody and the bass clarinet covering the simple bass line. Neither player is presented with any great challenges of technique or range, and an extended range instrument is NOT required for the bass clarinet part. The one-movement sonata, with two repeated sections, has a total duration of approximately 3 minutes. The work would make an excellent ensemble contest selection for young students.

Sonata, K. 322

Clarinet Duet

Haydn's string trios are ideally suited to young players and students of all ages. Although they require intelligent musicianship, they are short in duration and do not place any great technical demands on any of the three players. From Haydn's total output of more than 20 string trios, we have chosen eight which are well-suited for transcription for clarinet trio. We selected those trios which do not provide excess challenges of difficult keys, overly high range in the first part, or double-stops from the string original, so that they are comfortable for clarinetists without losing any of their musical value. The bass clarinet part requires an extended-range instrument in order to remain completely faithful to the original works' range. However, this range is needed only rarely, and such passages could easily be moved up one octave for a student without an extended-range instrument. Volume 2 contains: Trio Hob. V:G1 in G Major, 3 movements (Allegro molto, Menuet/Trio, Presto); Trio Hob. V:11 in E-flat Major, 2 movements (Moderato, Tempo di Menuet); Trio Hob. V:C3 in C Major, 4 movements (Allegro molto, Menuet/Trio, Andante, Allegro molto); Trio Hob. V:F1 in F Major, 3 movements (Moderato, Menuet/Trio, Presto Scherzo)

Trios: Vol. #2

Clarinet Trio

Alea is pleased to present this fine transcription by clarinetist Erica Manzo, produced as part of her DMA studies at the University of Texas at Austin. Schumann's Quintet Op.44, originally for string quartet and piano, was composed in 1842. Dr. Manzo's artful transcription of the work for clarinet quartet and piano was completed in 2003. The four-movement work is an excellent example of Romantic-era chamber music. This transcription retains the musical value of the original, while making an effective performance piece available to the clarinet quartet. The four-movement work offers a great variety of material: the sonata-allegro form first movement; a funeral march slow movement; a Scherzo; and a sonata-rondo form Finale. The work easily stands on its own as a performance piece for recitals or chamber music concerts and as a learning tool for advanced students.

Piano Quintet

Clarinet Quintet

Daniel Adams composedaVerticesain 2016 as a commissioned work for Richard Nunemaker's ensemble at the University of St. Thomas. Alea is delighted to add the work to our catalog, making it available to more clarinetists! The single-movement piece, which has a duration of just over seven minutes, is scored for 1 E-flat clarinet, 3 B-flat clarinets, 2 E-flat alto clarinets, and 2 B-flat bass clarinets (extended-range not required). The composer has also designed for possible substitution of one alto and/or one tenor saxophone if necessary given the players available.

Vertices Clarinet Ensemble

Clarinet Ensemble

This volume for clarinet quartet (two clarinets, two bass clarinets) contains five fugues from J.S. Bach'saWell-Tempered Clavier. Bach's original work for solo keyboard includes two sets of preludes and fugues in each major and minor key. Here, we have selected for transcription the following fugues: Book 1, Fugue 12 in F minor, BWV 857; Book 1, Fugue 16 in G minor, BWV 861; Book 2, Fugue 9 in E major, BWV 878; Book 2, Fugue 22 in B-flat minor, BWV 891; Book 2, Fugue 23 in B major, BWV 892.  The collection would provide student ensembles with excellent challenges, or provide the experienced/professional ensemble with outstanding additions to the repertoire. There are no extremes of range or difficult technical passages; challenges come in the form of difficult key signatures and contrapuntal texture. Original keys and range have been maintained throughout, providing clarinetists with an outstanding opportunity to experience the masterful counterpoint of J.S. Bach in its original form.

Fugues

The Allegro Appassionato of Camille Saint-Sans was composed in 1873, and has since become a staple of the 'cello repertoire, a frequent choice of young 'cellists for contest, audition, and recital. The piece is equally effective in transcription for bass clarinet and piano, and should prove an important addition to the bass clarinet repertoire. This accessible one-movement work provides moderate technical challenges for the developing bass clarinetist, making an excellent choice for contest or audition purposes.

Allegro Appassionato

Marin Marais (1656-1728) is considered to be one of the outstanding French composers of the Baroque period. As a virtuoso viol player himself, many of his works were for strings, either in solo or ensemble. This Chaconne, composed in 1711, was originally for viola da gamba and basso continuo. We find that it is quite effective in transcription for bass clarinet duet. The key and range of the original work have been maintained. Extended-range instruments are not required for either player. The top part is the 'solo' part of the original, and as such, places more demands on technique and range than the lower part. However, neither part requires a great deal of technique. Therefore, this arrangement would work well as a training piece for student to play with teacher, or perhaps a fun project for two students, one slightly more advanced than the other. The few double-stops that existed in the original have been presented in this transcription as grace notes, and can be included or omitted at the discretion of the player. Tempo, phrasing, and dynamic markings have been added sparingly, but the performer or teacher should be aware that these are merely a guide, and not original to the composer.

Chaconne

Nymphasawas originally written in 1995 for a mixed ensemble of 8 players: clarinet, alto saxophone, trumpet, French horn, vibraphone, piano, viola and double bass. This reworking of the piece for clarinet choir was completed in 2016. The work was inspired by Monet's series paintings of water lilies. The movement in the sixteenth-note septuplets creates harmonic saturation and is intended to suggest an aquatic environment. The structure, punctuated by periodic changes in the bass, takes on an arch-shape, where a melodic element is presented. The single-movement work has a duration of ca. 4 minutes.  The first performance of the original version took place whilst Andrew was studying at the Royal College of Music in July 1995. Later that year, Andrew was awarded the Cobbett &amp; Hurlstone Prize for the piece. In 2006,aNymphasawas recorded for Volume 11 of ERM Media's "Masterworks of the New Era" with players from the Kiev Philharmonic. In 2001, Andrew reworkedaNymphasafor two pianos, for pianist brothers, Peter and Patrik Jablonski. The duo premiered the piece at Royal Palace Stockholm in the Autumn of 2002.

Nympheas

Clarinet Choir

Alea Publishing is delighted to add to our catalog theaPRELUDIO e ALLEGRO for Bass Clarinet and Pianoa(2015) by Brazilian composer Andersen Viana. The work, which Dr. Viana dedicated to ouraDuo Alea, features a wonderful range of rhythmic and expressive challenges for both players, without overwhelming reliance on modern techniques. TheaPRELUDIOafeatures several tempo changes bringing distinct episodes, while theaALLEGROais a tight dance, primarily in 5/8 time. We believe this is an outstanding performance piece which makes an important addition to the duo repertoire.   ABOUT THE COMPOSER:

Preludio e Allegro

KELADOS in D for flute and clarinet was composed in 2012. Kelados (an ancient Greek word) means: noise of rushing waters, loud, screaming, agitation (Aeschylus) and musical sound (Euripides). Also, it means sound, voice of providential laws (Pindar). The work describes all these contrasting emotional tones. The piece is written in one of the 55 multiharmonic, multispectral modes which the composer has devised. The specific modes are based upon new formations of sounds beyond the octave and consist of much smaller intervals of semitones. Simultaneously with the multiharmonic, multispectral mode, there is an ancient greek enharmonic tetrachord which is function as a key figure throughout the whole piece. Ancient Greek music theory distinguished between three genera of tetrachords: diatonic, chromatic and enharmonic. An enharmonic tetrachord is divided (descending) as a ditone (major third) plus two micro-intervals. The work begins with an isocratic on D which is constantly changing and new rhythmic values and timbral techniques are being added. There is a richness of tone colours with contrasting parts which sometimes interchange with thick or dense texture, and other times with transparent or thin textures which give the feeling of relaxation and meditation. Musical sounds, noises, strokes, multiphonics, and the voices of the performers are alternated, as a feast of tones, giving an ancient primitive color. The work is dedicated to the excellent musicians, George Skrivanos and Alexander Michaelides.

Kelados

Flute/Clarinet Duet

September Song (2015) for bass clarinet and piano is based on an identically named piece for harp or piano solo composed while the composer was a Mozart Fellow at the University of Otago, Dunedin, New Zealand in September 2000. The piano part of the current work quotes this earlier piece in full. Over a series of parallel ninth chords in the piano, the bass clarinet articulates a spacious melody.September Song was completed in October 2015 in Cyberjaya, Malaysia.

September Song

Dutch composer Henk Tromp's charming Six Trios are an outstanding addition to the clarinet trio repertoire. They are quite effective in performance, but make minimal demands on range or technical skill, so could be used with a young ensemble. The trios do stand alone, so can be used individually for teaching purposes, but also make an excellent performance piece as a set for recital or ensemble contest. The Trios are titled as follows: On the Beach; Gentle Waves; Diving Dolphins; At the Coral Reef; Memories of a Old Sailor; and Going Home. Mr. Tromp's Learning to Play the Clarinet, a three-book series, is available from Broekmans &amp; Van Poppel, a prominent Dutch publisher.

Six Trios

American composer Alastair Hood (1935-2003), originally from Portland, Oregon, spent most of his life in Seattle, Washington. Hood played many roles in his musical life: composer of concert music, respected jazz pianist and free improviser, and teacher to a generation of Seattle jazz musicians. Makyo was composed in 1980 for Michael Davenport, and performed numerous times by the two musicians, who also collaborated as an improvisatory duo. The expressive one-movement piece alternates sections of precise notation, spatial notation, and improvisation. For the improvised sections, the composer allows the performers much freedom, within the context of developing the preceding composed material. The second of the three improvised sections asks the bass clarinetist to improvise with multiphonics. Because of the composer's use of spatial notation, both performers are provided with a score. The piano score (spiral bound) presents the bass clarinet at sounding pitch. The bass clarinet score (loose leaf to prevent page turns) presents the bass clarinet in B-flat.

Makyo

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