Clarinet Solo - PDF download

ALIEN LOOP DE LOOPS for solo instrument and electronic recording by Howard J. Buss is a playful and capricious fantasy piece designed to appeal to a wide range of audiences. The title refers to both programmatic and technical elements in the composition. The composer envisioned a performer outside in an open area during an air show by an alien craft. During the opening section he/she is playing unaccompanied, but then is joined by the recording which contains sounds generated by traditional instruments as well as an "alien" voice, the spacecraft, and various electronic effects. Technically, the title refers to how the recording was made. It consists of numerous sound loops combined to form an imaginative and picturesque sonic tapestry. The publication includes the sheet music and a CD (attached to the inside of the back cover) that contains a performance track and the accompaniment track. Learn More

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For Clarinet and Piano, this is an easy version of the classic hymn "Be Thou My Vision". Learn More

Dramatic tension permeates this work as the solitary clarinet is pitted against the potentially explosive and overpowering might of the percussion ensemble.The state of fragile coexistence between the clarinetist and the percussionists at times requires the conductor to function as a “referee” in order to preserve the dynamic balance. The most theatrical example of this occurs about midway through the composition. At this point the music builds to a deafening, chaotic fury during which the clarinetist has no chance of being heard. The director restores order by “disciplining” the percussionists with a piercing blast on a police whistle. In contrast, Coexistence contains sections of relatively low intensity with delicate coloristic shadings and intricate ensemble coordination. Timbral modulations figure prominently throughout the work. Percussion distribution: Percussion 1: Xylophone, chimes (tubular bells), orchestra bells, 4 tom toms, sizzle cymbal, tam-tam, triangle and wind chimes; Percussion 2: Vibraphone, celesta (muted orchestra bells may by substituted), triangle, tambourine, temple blocks, maracas, and snare drum; Percussion 3: 2 suspended cymbals, triangle, cow bell, snare drum, bass drum, and tam tam; Percussion 4: Marimba, timpani (1), cow bell, large tam-tam (which may be shared with players 1 and 3), ratchet, whip, hi-hat, and wind chimes.“An exquisite concert piece that will keep listeners on the edges of their seats! “ - The Clarinet.”This is recommended literature.”- Percussive Notes Learn More

with Strings (2 Violins, Viola, Cello and Bass) Learn More

This concerto, commissioned by music teacher William T. Robinson, was originally scored for Bass Trombone and String Orchestra. This version for Bass Clarinet and Piano was done by the composer and is a three-movement work approximately nine minutes long, each movement leading directly to the next.

The first movement opens with a slow introduction based on quartal harmony. The main portion of the movement is an allegro that explores changing meters. The second movement is slow, with a mournful character. The modal harmony is centered around D minor. The third movement is in an Afro-Caribbean style. The second and third movements include cadenzas for the soloist.

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unaccompanied: 1. Suspect Your Tale to be Untrue (Eb Clt) 2. To Forge a Picture (Bb Clt) 3. Scherzo - The Teashop Sort (A Clt) 4. Sigh Then, or Frown (Bb Bass) Learn More

For Clarinet and Piano, each movement of "Five Places" evokes a different place or atmosphere. On the Mountain depicts a hazardous mountain climb. Uncertain footing, cliffs, and other unknown hazards confront the climber, but he is rewarded with an awe inspiring vista upon reaching the top. In the Deep evokes the mystery of the deep ocean, where only faint glimmers of light penetrate. This movement utilizes the lowest register of the bass clarinet and piano to suggest the murky depths and a great sea beast. In the Cathedral uses as its main theme an ancient Aquitanian monophonic versus titled Novum festum celebremus. This melody, tossed back and forth between the bass clarinet and piano, is usually accompanied by a melismatic line that recalls the florid organum of a millennium ago. Under the Stars evokes a night spent under a blanket of twinkling stars. On the Edge of a Cloud is about a ride on the edge of a fast moving cloud, with its thrills and perils. The piece is based on a 12-tone row, but the row is used freely and is often combined with minimalistic patterns that help to rhythmically propel the piece. Learn More

with Piano Learn More

with Piano Learn More

with Piano Learn More

Twist and Shout had its origins in some recitals that Sivelöv played with one of Sweden's brightest young clarinet virtuosos, Martin Fröst. Learn More

For Clarinet and Piano, composer William Pardus has a composed a three movement work that is appropriate for an upper High School or College student.

1. Overture

2. Lullaby

3. Bittersweet - theme and variations

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with Piano

“Urban Idyll” is one of many terms associated with the San Francisco Bay Area. The two words “Urban” and “Idyll” are somewhat contradictory since “Idyll” is defined as, “a scene, event or condition of rural simplicity and happiness.”   But, the two words go together rather well when used to describe the many contrasts of San Francisco -- its diversity ranged from the modern architecture of the Transamerica Pyramid to the scenic views of Golden Gate Park.

When I began writing “Urban Idyll”, my goal was to write a piece that was a true Twentieth-Century composition.  The piece begins with the clarinet stating the first motive without piano accompaniment. The A section is based on quartel harmony and features several rhythmic devices in the piano accompaniment. The second half of the A section begins with a dissonant piano accompaniment and contains a rhythmic pattern that is restated several times throughout the work.

The B section begins with the clarinet stating a legato and expressive theme that is based on the original motive.  The work is concluded by a partial restatement of the first theme.

I’ve dedicated this piece to Dr. Mary Jeanne Van Appledorn; she has put a lot of effort into getting my pieces performed on concerts, as well as helping organize my own recital programs.      

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