For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Traditional pop and vocal standards. Series: Hal Leonard Fake Books. 424 pages. 9x12 inches. Published by Hal Leonard.

200 Songs for All Occasions. Easy Piano Songbook (Easy arrangements for piano and voice). Size 9x12 inches. 514 pages. Published by Hal Leonard.

By Ruth Bonetti. For Clarinet Method Piano Accompaniment. Clarinet. Pieces and Studies. Accompaniment book

Chamber Music Clarinet, Piano, Violin

SKU: PR.164002390

Composed by Dan Welcher. Set of Score and Parts. With Standard notation. Composed 1995. 26+14+14 pages. Duration 14 minutes. Theodore Presser Company #164-00239. Published by Theodore Presser Company (PR.164002390).

UPC: 680160038091.

I became interested in the work of Plato through my friend and collaborator, the writer and philosopher Paul Woodruff. Paul's new translation, with Alexander Nehamas, of the Symposium gave me insights into ancient Greek ways of thinking about Love, Beauty, and Wisdom -- and managed to keep the earthy, and often bawdy side of it all in full view. But their new translation of Plato's later dialogue Phaedrus went even further: the beauty of the speeches is breathtaking, and the discourse itself is enough to keep one awake at night. Basically the Great Speech of Socrates in the Phaedrus dialogue has to do with the place of Eros in the world, and with the conflict in the soul between fleshly pleasure and philosophic discovery. I will not attempt to encapsulate this brilliant discourse in a program note: suffice it to say that reading it gave rise to my two-sided work for clarinet, violin, and piano, Phaedrus. The first movement represents the Philosophic life, and is thus subtitled Apollo's Lyre (Invocation and Hymn). It begins with an unaccompanied melody for the clarinet, which (after a pair of harp-like flourishes for the piano, expands into an accompanied canon. The voices in the dialogue (clarinet and violin) follow each other by a prescribed number of beats, but the music is totally devoid of any meter at all. The piano, representing the lyre, accompanies this lyric love-feast with repeated strummed chords. The canon has three large sections, and ends with violin echoing the unaccompanied clarinet invocation as the sound of the lyre fades. The second movement, called Dionysus' Dream-Orgy (Ritual Dance) presents, after a brief introduction, another kind of unmetered music. Rather than long lyric flights of philosophic song, however, this time we hear a unison dance of unbridled energy and sensual transport. The piece soon forms itself into a loose arch form, with contrasting metered dance sections divided by the unison unmetered orgy tune. Midway through the movement, Apollo's melody returns from the first movement, but it is a temporary reminiscence. The orgiastic dance returns, reaches a climax, and ends with a stomping of feet. While Plato asserts that a proper balance between lust and reason is necessary in all men, he (naturally) gives the nod to Philosophy as the better choice in which to live. Not so in my music: the two sides are meant to coexist and to complement each other. No sides are taken. Phaedrus was commissioned of the Verdehr Trio by Michigan State University. It is dedicated to the Vedehr Trio with great affection and admiration.

For Clarinet. By Various. Instrumental Folio. Softcover. 128 pages. Published by Hal Leonard

By Mack Wilberg. For TTBB and Solo Instrument. Published by Oxford University Press.

101 Popular Songs for Accordion composed by Various. Arranged by Jay Latulippe. For accordion. This edition: Paperback. Collection. Popular. Book. Text Language: English. 192 pages. Published by Santorella Publications

(for Clarinet). By Various. For Clarinet (Clarinet). Instrumental Solo. Softcover. Published by Hal Leonard

Dan Welcher’s most enduringly and frequently played orchestral work, Prairie Light is a fascinating musical companion to three of Georgia O’Keeffe’s most unusual paintings, Light Coming on the Plains, Canyon with Crows, and Starlight Night. This work is ideal for performances using visual projections of the paintings, and is frequently programmed for subscription concerts as well as those for educational settings. Duration: 14’ Parts available on rental.
This work for full orchestra was inspired by three paintings of the noted Americanartist Georgia O’Keeffe. These three watercolors were done in 1917 while the artist was living in Canyon, Texas (near Amarillo), and deal primarily with color and shape. Consequently, the music is primarily concerned with broad lines and shapes rather than rhythms, with subtle washes of color rather than constant harmonic movement, and with arching melody instead of linear counterpoint.The first movement, Light Coming on the Plains, is an elliptical-shaped painting, deep blue to indigo with a “horizon” at the bottom that seems flat and unchanging. The sun hasn’t risen yet, although it does in the course of this movement, but it seems instead to be providing light from behind the canvas. The music is unmoving in terms of rhythm or harmony (although there is a modulation midway through), a color-infused mantra of sound that is almost Eastern.At the height of the sun, we proceed to the second movement, entitled Canyon with Crows. The canyon is red-orange, with black crows circling above friendly unfolding hills. The music is gentle but lively and more rhythmic, with the birds represented by solo oboe, clarinet, and sometimes flute. Halfway through, the brass have a chorale version of the opening motive, played very slowly, over the unending triplets of woodwinds and strings. At the end of the movement, the birds return for a duo-cadenza, accompanied by the dying rays of the sun in muted strings and the ongoing triplets of the solo quartet.The stage is set for the final movement, Starlight Night. In O’Keeffe’s painting, the stars are represented by regularly-spaced rectangles of bright pale yellow on a blue-black sky, with the same shape to the field of vision and the horizon that is found in Light Coming on the Plains. The stars become audible: harp, celesta, glockenspiel, and string pizzicati all lend a sparkle while a solo flute introduces a slowly unfolding theme. After this theme has been heard twice and the sky has begun to really brighten, there is a sudden interruption: a xylophone and a piano begin another “mantra” in brittle staccato chords. This is the same mechanical eternity as O’Keeffe’s regularly-spaced square stars, and it continues on its own as the night progresses. The music builds and grows as the moon rises and arcs, then falls as the pre-dawn light that opened the work returns to bring it to a close. Acycle of light, changing with the movements of sun, moon, and stars, appearing differently from various points of view

This collection presents ten of the most popular Celtic melodies of all time arranged for intermediate clarinet solo with piano accompaniment. For those without an accompanist, it also includes a free CD which features only the piano part. Selections include All Through the Night, Charlie Is My Darling, Danny Boy, The Ash Grove, and more. Pull-out solo part included

For Clarinet. Classical (with piano accompaniment). Includes a high-quality printed music score and a compact disc with stereo accompaniments to each piece minus you, the soloist. Published by Music Minus One

(Flexible Four-Part Concert Pieces). By James Rae. For Part 1: Flute / Oboe / Violin / Bb Clarinet / Eb Saxophone, Part 2: Flute / Oboe / Violin / Bb Clarinet / Eb Saxophone, Part 3: Violin / Bb Clarinet / Bb Saxophone / Viola / French Horn, Part 4: Cello / Double Bass / Bassoon / Bb Bass Clarinet. 11 pages. Published by Universal Edition

Clarinet, cello, piano

SKU: FG.55009-539-7

Composed by Mikko Heinio. Score. Published by Fennica Gehrman (FG.55009-539-7).

ISBN 979-0-55009-539-7.

One of the finest Finnish chamber works of recent years involving a clarinet is Mikko Heinio's Treno della notte for clarinet, cello and piano (2000). The composer says of his work: I wanted to write a long, fairly fast-moving composition proceeding without a break in which the moods are at least to some extent dream-like, nocturnal. May 'Treno della notte', the term for a night train in Italian, be a tribute to my much-admired Federico Fellini and Marcello Mastroianni, who in the film Citta della donne (City of Women) falls asleep on a train and is led by a representative of the stronger sex along the most fantastic paths. During a journey lasting a good 17 minutes the listener has time to proceed through 12 connected carriages: the composition has five calm, melodic sequences and four rhythmically dashing dances. It begins with an Introduzione, has a Transitio in the middle and ends with a Coda. In addition to its nocturnal shades, the Heinio work is of sizzling virtuosity, hot Latin rhythms and glowing, sustained melody. The clarinettist plays both a normal B flat instrument and a bass clarinet, thus enriching the timbral scale even further. Heinio does not expect the clarinettist to improvise or to master novel techniques, but otherwise the clarinet part is as challenging as many a concerto.