SKU: SU.80603740

Band version availableClarinet & Piano Duration: 8'30 Composed: 1965 Published by: E.B. Marks.

SKU: HL.220276

ISBN 9781423483038. UPC: 884088409784. 9x12 inches.

SKU: HL.14043858

ISBN 9781780383620. 9.0x12.0x0.072 inches.

Raymond Briggs' charming Christmas story about the adventures of a boy and the snowman that comes to life is a modern children's classic. The tales popularity has been further enhanced by frequent television broadcasts of theaward-winning cartoon film The Snowman.

In this suite for B Flat Clarinet, Tenor Saxophone and Piano, composer Howard Blake recreated the story in words and music based on the scenes from the film. The musicincludes the hit song Walking In The Air.

SKU: BT.DMP9211

SKU: HL.48181635

UPC: 888680846398. 9.0x12.0x0.032 inches.

Composed by Pierre-Max Dubois, Romance is a piece for Bb Clarinet and Piano accompaniment, dedicated to Fred Lockwood. This melodious piece is perfect for intermediate players. Interesting for both players and for the audience, it is a nice piece to play during a recital. Starting with the Piano, the Clarinet begins with the main theme after four measures, ?Allegretto?. Then follows a section ?Piu Mosso?, which is quite lyrical, before the main theme is played again, leading to the harmonious Piano finale. Pierre Max Dubois (1930-1995) was a French composer who was awarded the Prix de Rome in 1955. Mainly composing classical music, his works are mainly for woodwinds. He is one of the founder of the Les Six and which included his professor, Darius Milhaud..

SKU: HL.48181347

UPC: 888680856779. 9.0x12.0x0.084 inches.

French composer, conductor and teacher, Jules Semler-Collery (1902-1988) was born to a musical father. He studied at the Paris Conservatoire where he won many prizes. Semler-Collery's works have been successful, with many of his concertos being included in the Conservatoire's list of compulsory works. Reverie and Scherzo for Clarinet and Piano is no exception to the composer's success. Published in 1950, Semler-Collery's Reverie is marked Andantino Cantabile and is in 6/8 meter. Both the Clarinet solo line and Piano accompaniment are virtousic, exploiting rhythm, tonality and harmony. A cadenza-like passage is heard towards the end. The Scherzo is marked Molta Leggiero and is staccato in 3/4 meter. Quaver and semiquaver passages are heard with the speed accelerating to a dramatic finale. For all advanced clarinetists, Semler-Collery's Reverie and Scherzo provides an exciting performance work for performers and audiences alike..

SKU: BR.EB-7515

ISBN 9790004188927. 9 x 12 inches.

Gunter Habicht composed music for folk instruments and contributions to educational literature as well as works for wind orchestra, chamber and orchestral music, including the Sinfonietta, published in 1964 by VEB Breitkopf & Hartel Musikverlag Leipzig, and the award-winning Quartettino 1969 for wind instruments, created for a composition contest organized by the Association of Composers and Musicologists on the occasion of the GDR's 20th anniversary. With an easy piano accompaniment, the sonatina for clarinet and piano Temperaments, written in the same year, is particularly aimed at more advanced music students and amateur musicians. Each of the three movements represents one temperament (1. sanguine type, 2. melancholic type, 3. choleric type) that needs to be worked out during the rehearsals. From 1935 to 1939, Gunter Habicht (1916-2010) studied with Herbert Viecenz and Boris Blacher (music theory and composition) and with Walther Meyer-Giesow and Ernst Hintze (conducting) at the Dresden Conservatory. In 1951, Gunter Habicht taught at an elementary school in Leipzig, and in 1952, he was appointed specialist lecturer for music at the Zentralhaus fur Volkskunst. From 1955 to 1981, he was a teacher of music theory and clarinet at the Leipzig City Music School.

SKU: ST.C129

ISBN 9790570811298.

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, yet entirely 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 underlying charm and, for want of a better word, simplicity, of the original music. But this is only a start – for without an energetic response from younger generations, Cornish folk music is destined to wither on the vine in much the same way as is happening with the Cornish dialect. So, put your instrument to your lips and proceed, not with caution, but with enthusiasm and a smile, for your great grandparents (and perhaps even their grandparents) would surely raise a glass if they could hear you doing your bit to ensure the survival of this splendid heritage.
Timeless Cornish melodies, cooked up for hungry clarinet players
Grades 1–4
Former Spartan Press Cat. No.: SP1218.