SKU: HL.14046089

ISBN 9788438712689. Spanish.

The Clarinet First Steps collection is divided into four volumes, aimed at young clarinetists. This second book consists of three educational parts. The following sections appear throughout the parts to achieve the basic objectives of the art of Clarinet playing: Musical Language: Explanation of music contents in the exercises, melodies and duets. Technique And Repertoire: Includes technical contents, some exercises to practice and short melodic pieces containing the new concepts presented. Activities: A fun section where the student can answer quiz questions, review issues of musical language or practice breathing exercises. Cultural Space: In this section, there arehistorical curiosities about the Clarinet and composers, a discussion on the relationship between Mozart and the Clarinet and a review of Antonio Romero, the most important Spanish clarinetist in the century XIX. 15 Progressive Duos: Duos designed with the same level of difficulty in both voices to play with the teacher or another student. CD: The book is accompanied by a CD MP3 featuring recordings of the exercises, melodies with Piano accompaniment and duets. The author of this method, Pedro Rubio , performs his musical studies in Murcia, Malaga and Barcelona, Spain. In 1997 he won the Clarinet Performing Diploma from the Royal College of Music in London and in 2003 the Bass Clarinet Diploma at the Conservatory of Rotterdam. He has taught Clarinet since 1989.

SKU: PR.114410060

UPC: 680160014859.

The solo of the opening movement is a cadenza for four suspended cymbals played in a wide variety of ways - on the dome, the face, the edge; with the tip, the shank, or the ball of the stick; with a metal rod; ect. The metric structure of this movement is utilized as framework in the third and fourth movements, creating a partial isometric relationship. Flute and clarinet form the Duet of the second movement, with light accompaniment from the rest of the ensemble. The Quartet of Movement Three is made up of violin, cello, piano and percussion. Towards the center of this movement, two duets are formed between the violin/cello and the percussion/piano, wherin they function at different, through related, speeds. The isometric relationship is more fully developed in the fourth movement where the actual metric structure of the cymbal cadenza is duplicated while the clarinet and percussion perform the rhythmic structure of the first two large segments of the cymbal cadenza and there is also a suggested augmented version in the piano part. All this leads to a rich interplay of varied and specific material from the cymbal cadenza, concluding with a large section of bell-like sounds.

SKU: PR.114424380

ISBN 9781491138076. UPC: 680160693467. 18 x 12 inches.

If you love playing Eric Ewazen’s flute sonatas or horn chamber music, or if you are fan of Brahms’s chamber music, then this exhilarating work is for you! Among Ewazen’s most performed works, the TRIO, inspired by the Brahms horn trio and originally for Violin, Horn, and Piano, has been adapted by the composer for Flute, Horn, and Piano. With a rollicking scherzo and beautiful melodic movements, this 21-minute work is a joy to play and to listen to.
I’ve always been fascinated and inspired by chamber works offering several instrumental versions of the same piece, resulting in a new feel and color. One famous example is the great Franck Sonata, originally for violin and piano, and beautifully arranged for flute and piano by Jean-PIerre Rampal. Subsequently other versions of the piece were created for an array of instruments: cello, oboe, clarinet, saxophone, and even tuba!  Creating this flute version of my TRIO (flute replacing the original violin part), considered the range, allowing the flute to sometimes sing in a bright, higher register than the original violin part; passages where there were double stops in the violin now have arpeggiated figurations. The original scoring for Horn, Violin, and Piano was commissioned by and gratefully dedicated to Chamberosity, representing an homage to one of my favorite chamber pieces of all time, the Trio for Horn, Violin, and Piano by Brahms. Having both performed (on piano) and analyzed that work, I so loved Brahms’ wonderful weaving of the colors of the instruments, creating an almost orchestral color palette. For years I wanted to write a trio for the same combination, and when my friends in Chamberosity were enthusiastic about me writing that piece for them, I was delighted. The four movements are modeled after the Brahms, with a slow-fast-slow-fast scheme to the entire work. A gentle, somewhat mysterious first movement accumulates depth and momentum as it proceeds, only to return to the gentle world of the opening. The second movement is a rip-roaring scherzo, a true energetic dance with melodies tossed back and forth from the violin to the horn, while the piano provides a resonant accompaniment, inserting its own lively melodies as counterpoint to the violin and horn. The third movement is filled with melancholy, with long lyric melodies appearing sometimes as solos, sometimes as duets, and sometimes as a chorale with all three instruments singing their soulful songs. The final movement, following an austere, dramatic introduction, turns into a grand fugue, with a jumping fugue theme full of life and excitement, culminating in the themes heard in augmentation, strong and bold.