Duration: 2:30, score: 8 pages, solo part: 2 pages, piano part: 5 pages. A well-known favorite masterpiece suitable for a recital or school program.

Pyotr Ilyich Tchaikovsky
Tchaikovsky is probably the most popular of thegreat composers in America. His music certainly appeals to musicians. Likewise,it appeals even to folks who don?t normally listen to serious music. This isprobably because of his most noteworthy melodies. Above all, he writes withgreat emotion. This certainly makes a most noteworthy if not an unforgettableimpact.

Education
First of all, He attended classes at the RussianMusical Society. Even more, He also attended the St. PetersburgConservatory. There he studied music theory with Nikolai Zaremba. He alsoconsequently studied composition with Anton Rubenstein. It seems likeRubenstein came under criticism from a group of Russian composers known as ?theFive.?

The Five
The Five certainly rejected Western musicalinfluences. They rather sought to use elements from Russian music. Theyfurthermore wanted to use more exotic musical materials.

Western Techniques
More than other Russian composers, Tchaikovskystudied modern Western music. He certainly develops his music like the Europeanmasters. So, rather than repeating a motive, he moves to a new key. He thenintroduces a different theme in the new key. Hence, he maintained hisindependence from ?the Five.? Even more, he became the first Russian composerof international stature.

Influences
Tchaikovsky was probably influenced in his balletscoring by L�o Delibes. Richard Wagner influenced his symphonic writing.Tchaikovsky?s most famous works include the 1812 Overture, The Nutcracker Suite,and Swan Lake. Also famous are the Violin Concerto in D and the six symphonies.The greatest of the six symphonies may be No. 6, the ?Path�tique.?

Swan Lake Op. 20
Tchaikovsky composed Swan Lake in 1875-76. To beginwith, most noteworthy the ballet failed to attract a positive reception. Overtime, however, the ballet became probably one of the most popular of all ofTchaikovsky?s works. The ballet was certainly first performed by the BolshoiBallet in Moscow.

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Arranged for Bb Clarinet, Bb Bass Clarinet and Piano, "Tico-Tico no fub�" ("sparrow in the cornmeal", or, literally, "rufous-collared sparrow in the cornmeal") is a Brazilian choro song written by Zequinha de Abreu in 1917. A great duet for your next performance, sure to be a big hit with your audience!

Its original title was "Tico-Tico no farelo" ("sparrow in the bran"), but since Brazilian guitarist Am�rico Jacomino "Canhoto" (1889?1928) had a work with the same title, Abreu's work was given its present name in 1931, and sometime afterward Aloysio de Oliveira wrote the original Portuguese lyrics.

Eros Volusia and her dancers dance to "Tico-Tico" in 1942 Rio Rita. Ethel Smith performed "Tico-Tico" onscreen in Bathing Beauty (1944). Carmen Miranda performed "Tico-Tico" onscreen in Copacabana (1947); It was also featured in the "Aquarela do Brasil" segment of the Walt Disney film Saludos Amigos (1942) and in Woody Allen's Radio Days (1987).

In Quebec the song has been used for several decades in commercials for Sico paint.

In season three of Mama's Family episode "An Ill Wind," an intoxicated Iola briefly sings the song's chorus before passing out onto a bed.

This song can be heard on various episodes of the Belgian Kabouter Wesley cartoon.

In season one of Narcos: Mexico, episode 3 ("El Padrino?), the orchestral version of the song is played by a band during a reception. A biographical movie about Zequinha de Abreu with the same title, Tico-Tico no Fub� was produced in 1952 by the Brazilian film studio Companhia Cinematogr�fica Vera Cruz, starring Anselmo Duarte as Abreu.

The title phrase also features in the lyrics to the song "O Pato" made famous by Jo�o Gilberto.

Choro (Portuguese pronunciation: [and#712;and#643;oand#638;u], "cry" or "lament"), also popularly called chorinho ("little cry" or "little lament"), is an instrumental Brazilian popular music genre which originated in 19th century Rio de Janeiro. Despite its name, the music often has a fast and happy rhythm. It is characterized by virtuosity, improvisation and subtle modulations, and is full of syncopation and counterpoint. Choro is considered the first characteristically Brazilian genre of urban popular music. The serenaders who play choros are known as chor�es.

'Point forms' was suggested by a group of five diagrams found in Wassily Kandinsky's book Point and Line and Plane. Many explanations of the geometric shapes, including Kandinsky's use of the words 'stippled', 'sprayed' and 'compact' suggested musical ways to amass textures. line development and manipulation, for example by the interleaving of one idea temporarily intertwined with a previous one, allow the form to determine its own organic development. In writing for the specific quality of the basset clarinet, which extends the pitch range of the normal A clarinet, the structure of the piece allows various timbres and extended effects to come to prominence as mood and momentum change. Static or forward-moving, playful, aggressive or wailing, the musical narrative seeks through abstract paths to communicate an 'inner beauty' as well as 'inner necessity'. Processes in the work are often varied as they are repeated, in a single line or between the two performers, echoing Kandinsky's proposition that 'forces coming from without, which transform the point into a line, can be very diverse indeed. 'Point forms' was commissioned by the Rushworth Trust, and is dedicated with affection to Mark Simpson. Ken Hesketh (2010).