Online catalog of concert music: solos, duos, chamber music and more!
Index of Clarinet Music:
Clarinet with one other instrument or voice (includes clarinet & piano, clarinet duos, clarinet and basset horn, clarinet & electronic recording, etc.):
ALIEN LOOP DE LOOPS for clarinet and electronic recording by Howard
J. Buss is a playful fantasy piece designed to appeal to a wide range of audiences. The title refers to both programmatic and technical elements in the work. The composer envisioned a performer outside in an open area during an air show by an alien craft. During the opening section he/she plays 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 sheet music and a CD (attached to the inside of the back cover) that contains a performance track and the accompaniment track. (6’47”) Grade V. B446C $20.00
COMEDIE CHALUMEAU (1994) for two B-flat clarinets by Randall Snyder was written as a wedding present for Laura and Brent Beech. This irreverent duo is a 5-minute romp through intriguing argumentative counterpoint interrupted by humorous quotes from the clarinet literature. The two friendly adversaries are presented with plenty of rhythmic and dynamic challenges. This work is fun for both the performers and the audience! (5) Grade V.
Sound Sample: Excerpt.mp3
DIALOGUE (1981) for clarinet and piano by Howard J. Buss is a modern yet tonal sonata in three movements: Florida Bound, Forest Whispers and Rendezvous. Although the musical material and its treatment involves great contrasts, on close analysis one discovers the tightly knit organic unity of this work. Florida Bound begins with energetic statements in both instruments followed by a rousing section characterized by driving rhythms and soaring melodies. A beautiful, melodious central section gives way to an exciting, developmental passage followed by a recapitulation of the opening section. The movement culminates with an exhilarating and fiery coda. The second movement, Forest Whispers, commences with an arabesque melody played on the clarinet with a background of lush, sustained chords on the piano. The mood becomes reflective and the pianist shifts from the piano to provide a soft, shimmering background for a gentle and beautiful melody (based upon a bird call) played on the clarinet. The piano reenters with a colorful passage involving delicate pedal shading and is joined by the clarinet in a variation of the opening arabesque to close the movement. Rendezvous is a jubilant rondo distinguished by flowing melodies supported by a lively accompaniment. Embedded in the final movement are references to thematic material from the previous movements. (1330) Grade IV-V.
Sound Samples: Excerpt, Movement 1.mp3; Excerpt, Movement 2.mp3; Excerpt, Movement 3.mp3
DIVERTISSEMENTS for Bb clarinet and percussion by Howard J. Buss was composed in the autumn of 2016 for clarinetist Kathleen Mulcahy. This colorful composition is designed so that either one or two percussionists can perform it. The 3 movements take listeners through a wide range of emotions and sonic atmospheres. Lyrical sections that are playfully juxtaposed with forceful passages characterize the first movement, Temporal Intrigues.The hauntingly beautiful second movement, Mystic Eyes, has a dreamy, meditative quality. Fusional Escapades is energetic and, with the exception of the clarinet cadenza, the performers are equal partners. The sometimes-playful character of the music is reminiscent to that which occurs in the first movement. (12’40”) Grade V. B462 - score & parts - $28.50
Percussion Notes.pdf; Score Samples: Movement 1.pdf, Movement 2.pdf, Movement 3.pdf
Clarinet Part Samples: Movement 1.pdf, Movement 2.pdf, Movement 3.pdf
Sound Samples: Movement 1: Excerpt 1.mp3, Excerpt 2.mp3 - Movement 2: Excerpt 3.mp3, Excerpt 4.mp3
Movement 3: Excerpt 5.mp3, Excerpt 6.mp3
FABLES FROM AESOP (2014) for violin and bass clarinet by Howard Buss, in five movements: The Dog Who Chased a Lion, The Astronomer, The Camel Who Wanted Horns, The Crow and the Pitcher, and The Rabbits and the Frogs. Each movement begins with a performer reciting the corresponding fable. The colorful and engaging music is idiomatic and sophisticated, yet it is accessible because of its strong programmatic nature. This piece is a hit with all types of audiences, including those comprised of children! It makes a great concert feature and also is highly effective on out-reach concerts in the schools. (13’) Grade V. B371C $16.00
FELINITY by Howard Buss for clarinet and English horn or for two clarinets. Both versions are included with the published set. Cast in 3 colorful movements: Alfies Dance, Behind the Cryptic Gaze , and Intrigues, the character of this entertaining work is greatly influenced by the feline qualities of grace, sleekness, stealth, and playfulness. (8) Grade Felinity for English horn & clarinet score samples (transposed score):
Excerpt, Movement 1.pdf; Excerpt, Movement 2.pdf; Excerpt, Movement 3.pdf
Felinity for two clarinets score samples (transposed score): Excerpt, Movement 1.pdf; Excerpt, Movement 2.pdf; Excerpt, Movement 3.pdf
Felinity for English horn & clarinet sound samples: Excerpt Movement 1.mp3; Excerpt Movement 2.mp3); Excerpt Movement 3.mp3
FOUR MINIATURES (2011) for clarinet & bass clarinet (playable by 2 soprano clarinets) by Howard J. Buss is a vibrant and colorful sonatina This picturesque composition is in 4 movements: Aggressive, Contemplative, Buoyant, and Energetic. The playful, yet sophisticated character of the music makes this an entertaining, audience-friendly work. (9’20”) Grade V.
THE FROG, HE FLY...ALMOST (2000) for high voice (soprano or tenor) and clarinet by Roger C. Vogel is an entertaining and humorous look at the amazing amphibian. The vocal range is c# (below the treble staff) to Bb above the staff. A great addition to any recital. (5) Grade V. Text: The Frog, He Fly...Almost (Anonymous)
What a wonderful bird the frog are--
When he stand he sit almost;
When he hop, he fly almost.
He aint got no sense hardly;
He aint got no tail hardly either.
When he sit, he sit on what he aint got almost.
IMPROMPTU (1994) for clarinet (or soprano saxophone) and marimba by Howard J. Buss is characterized by driving rhythms and ornate melodic lines. The opening motives in both parts undergo almost continuous development throughout the work, often giving the music a spontaneous, improvisatory feel. At times the music has a playful, almost frolicking quality. At other times mysterious and introspective passages contrast with aggressive, intense sections to create an atmosphere of moodiness. The lyrical melodies and interesting timbral contrasts between the instruments, combine with the tonal scheme of the music to make a sophisticated, yet audience-friendly, concert work. Two-mallet technique is prominent in the marimba part during the more intricate solo passages and there is some use of 3 and 4 A very accessible and enjoyable work. - Percussive Notes. (6) Grade V.
Sound Samples (played on soprano sax): Excerpt 1.mp3; Excerpt 2.mp3
IN MEMORIAM for basset horn and piano by Howard J. Buss is a sonic tribute to the millions of soldiers who have made the ultimate sacrifice in time of war. Originally for French horn and piano, this engaging work was written for hornist Pamela Titus during the fall of 2005 at a time when the United States marked the 2000th death of a US soldier in Iraq during the Second Gulf War. The music is loosely programmatic; the two movements reflect the sentiments of the poems In Flanders Fields by John McCrae and In Flanders Fields (An Answer) by C.B. Galbreath. Both of these poems were penned in response to “The War to End All Wars”, World War I, but their convictions are timeless, and certainly apply to the war in Iraq. In 2015 In Memoriam was adapted for basset horn by the composer in consultation with basset hornist Keith Koons. (11’) Grade V. B404BH $20.00
LEGACY OF ANCIENT SEAS for clarinet and piano by Howard Buss is a picturesque and colorful sonatina inspired by the dramatic desert landscapes of the American West. It is in four movements: Pinnacles and Spires Sound Sample 1.mp3, The Ponderosa Forest Sound Sample 2.mp3, Flight of the Raven Sound Sample 3.mp3 , and Salt Lake City Escapade Sound Sample 4.mp3 Commissioned for John Masserini and ClarinetFest 2003. (830) Grade V.
MYTHIC QUEST (2000) for flute and clarinet by Roger C. Vogel. In mythology there are numerous stories of quests. Heroes such as Perseus, Hercules, Theseus, Jason, and others undertook missions of great importance during which they risked their lives, encountered strange creatures, and had many adventures. Mythic Quest seeks to capture the urgency, excitement,, and drama of such an ancient journey. The flute and clarinet, equal partners, pursue each other with animated motives throughout the musical adventure. This exciting work contains three main sections: a fast, vigorous opening gives way to a more relaxed mood before the quest is concluded with a return to an increasingly resolute version of the opening ideas. A great recital piece! (9) Grade IV-V.
NIGHTPIECE (1996) for clarinet and piano by David Alpher suggests the duality of the dark hours: One aspect of night is lyrical, romantic, yearning and warm. The other aspect is furtive, urban, on-the-edge and cool. The composer states, No other instrument can sound both warm and cool as convincingly as the clarinet. This is an exquisite recital piece. (630) Grade V.
POLEMICS (1990) for clarinet and piano in 4 short and incisive movements by Randall Snyder derives its title from the adversarial and argumentative relationship between the clarinet and piano, each trying to win over the other to its point of view. The angular rhythms and detailed dynamics create a spiky, hard-edged style. It has been recorded by clarinetist John Russo and pianist Lydia Walton Ignacio on the CD Masterworks for Clarinet and Piano (CRS - 9561). (5) Grade V. Sound Samples:
Movement 1 Sample.mp3; Movement 2 Sample.mp3; Movement 3 Sample.mp3;
Movement 4 Sample.mp3
POSTCARDS FROM VIENNA (1998) for clarinet and piano by Howard J. Buss was commissioned for and premiered at ClarinetFest 1998 by Kathleen Gardiner (Buffalo Philharmonic). It is cast in 4 picturesque movements: Around the Ring, Hundertwasser House - In Transit, Tombs of Honor, and Street Scenes, and was inspired by 1996 visit to Vienna. The first movement, Around the Ring, is suggestive of the energy and excitement of traveling on the Ring, a major transportation artery that loops around the city center. The music is characterized by driving rhythms and jazzy melodic flourishes. The second movement is divided into 2 main sections: Hundertwasser House is a tribute to the esteemed Viennese artist, Hundertwasser. The title refers specifically to the imaginative apartment house designed by this innovative artist whose colorful paintings are displayed in the adjacent Kunsthaus Wien. In Transit is reminiscent of a short hop on the Underground (subway). Tombs of Honor, the third movement, was inspired by the beautiful and stately cemetery, Zentralfriedhof, where many great musicians from Vienna's glorious past are buried next to one another- Beethoven, Brahms, Johann Strauss, Hugo Wolf, Schubert, and the clarinetist Mühlfeld to name a few. The capricious final movement, Street Scenes, was inspired by the happenings on the bustling Kärtnerstrasse, a pedestrian walkway frequented by street musicians and other artists. Included are references to segments of themes by various Viennese composers. At times these excerpts are tossed about in a kaleidoscopic manner. On other occasions they serve as the basis for organic musical development, such as when a metrically altered theme from the first Brahms Clarinet Sonata becomes the subject of a fugue. Grade V. (13)
Sound Samples: Excerpt, Movement 1.mp3; Excerpt, Movement 2A.mp3; Excerpt, Movement 2B.mp3; Excerpt, Movement 3.mp3;
Excerpt, Movement 4A.mp3; Excerpt, Movement 4B.mp3
SEASCAPE (1991) for clarinet and piano by Zack Browning.This engaging composition suggests images of the power, grandeur, and mystery of the sea. Intriguing musical development progresses throughout the work on currents of minimalism creating at times an hypnotic effect. (10') Grade V.
Sound Samples: Excerpt 1.mp3; Excerpt 2.mp3; Excerpt 3.mp3
SKYLINES (2002) for clarinet and piano by Howard Buss. Cast in two powerful and engaging movements, it is a picturesque musical urban portrait. Skylines is loosely programmatic in that no specific city is depicted; rather, the composer captures, in a broad manner, the essence of the big city spectacle. The lyrical and majestic first movement, Panorama, suggests the expansive grandeur of cityscape. The second, Amid the Spires, is hugely influenced by jazz and captures the dynamic energy 30) Grade V.
Score samples (score in C): Excerpt, Movement 1.pdf; Excerpt, Movement 2.pdf
SYLVAN MAGIC for clarinet and vibraphone by Howard J. Buss was written in the autumn of 2016 and is dedicated to clarinetist Barry McGinnis. He and vibraphonist John Roberts premiered it on March 28, 2017 at Newberry College in Newberry, South Carolina. The three movements, Seasonal Transformations, Musing, and Bustle, were inspired by the change of the seasons in the beautiful Lehigh Valley area of Pennsylvania. (11’47”) B464 Grade V. – score and part - $22.00
Score Samples: Movement 1.pdf, Movement 2.pdf, Movement 3.pdf
Clarinet Part Samples: Movement 1.pdf, Movement 2.pdf, Movement 3.pdf
Sound Excerpts: Movement 1.mp3, Movement 2.mp3, Movement 3: Excerpt 1.mp3, Excerpt 2.mp3
TEMPERAMENTS (2015) by Roger C. Vogel. The title refers to the mental, physical, and emotional traits of a person as manifested by peculiarities of feeling, temper, action, etc. The five movements illustrate various types of traits or feelings: Searching (3’10”), Wavering (3’), Pursuing (2’40”), Floating (2’45”), and Quivering (2’55”). The movements may be play individually, or in any grouping. The performers read from score, two scores are provided. Duration: @ 14’30” with no pauses. Grade V.
THREE DANCES for clarinet and trombone (or bassoon) by Thomas Zugger in 3 movements : Jazz Waltz, Slow Dance, and Irish Jig. In this charming, entertaining work the composer envisions 2 people dancing with one another. The "lead" in each dance is shared in alternation between the two instrumentalists. The first movement, Jazz Waltz, is in ABA form with the middle section being a waltz in 4/4. The melody is introduced by the bassoon (or trombone) and is passed back and forth throughout. In the enchanting second movement, Slow Dance, the musical material undergoes continuous development with the equality of the parts being paramount. The energetic final movement, Irish Jig, opens with an intriguing mixed meter section which leads to the rousing jig. It concludes with an exciting and frenzied accelerando and fugue. This work is fun to perform and has a great audience appeal! The clarinet and trombone version is recorded on the CD Dances and Dreams [Mark Records 8290-MCD] (1130) Grade IV.
Sound samples: Excerpt, Movement 1.mp3; Excerpt, Movement 2.mp3): Movement 3.mp3
Note: Other works in the Brixton catalog for clarinet & trombone are Capriccio for clarinet, trombone & percussion, and Florida Tableau for clarinet, trombone & piano, both by Howard J. Buss; and Tom Zugger's A Thousand Words for clarinet, trombone & viola - see clarinet in chamber music: trios.
THREE JAZZICALS (2009) for Bb clarinet and tuba by Howard J. Buss is dedicated to tubist Jay Hunsberger. This colorful composition is cast in 3 movements - To Bop or Not to Bop, Sounds from the Cool Smoke, and Hotish. The composer states, “ In Three Jazzicals it was not my aim to create a specific hybrid style by synthesizing jazz and modern classical music; rather, my intent was to systematically strip away the fundamental elements of jazz to explore at what point the music ceases being jazz and becomes classical. The style of Three Jazzicals is the resultant this procedure. It is understood that because the subject of what constitutes jazz (there are so many kinds) is so complex, depending upon the background and views of the listener, Three Jazzicals will sound jazzy (in varying degrees) to most, and mostly classical to some.” The instruments employed have been traditionally used in jazz. However, stripped away is the rhythm section; traditional chord progressions; melodic, rhythmic and formal clichés; and improvisation. Among the elements kept is the allowance for personal expression through each player’s tone, inflections, and articulations. The players are specifically asked not to swing at any time. (12’) Grade VI.
Sound samples: Excerpt, Movement 1.mp3; Excerpt, Movement 2.mp3; Excerpt, Movement 3.mp3
TIME CAPSULE (1996) by Howard J. Buss is a sonatina in 4 movements: Daybreak, Chorale, Rendezvous, and Homeward Bound and is both fun to play and listen to. The first movement has a frolicking and optimistic character. Chorale breaks with the traditional structure of the chorale in that each phrase gets a measure longer. The harmonies of the second movement contain some spicy dissonances as well. Rendezvous, is in a lilting 6/8 and really "works up a lather" as it progresses to an exciting climax. The final movement, Homeward Bound, begins with a fanfare-like passage that gives way to a spirited dance characterized by an intriguing interplay between the two instruments. (7) Grade IV-V.
Time Capsule for flute and clarinet Sound samples: Excerpt, Movement 1.mp3; Excerpt, Movement 2.mp3;
Excerpt, Movement 3.mp3; Excerpt, Movement 4.mp3
View on Time Capsule: YouTube Video (flute & clarinet version)
TWIN MOONS (1997) for flute and clarinet by Roger C. Vogel. The title refers to the moons of Mars, Phobos and Deimos, which are quite different in appearance and the speed of their orbits. Phobos is rugged with many large impact craters and completes its orbit in only 7 hours. Deimos is smooth and takes almost 30 hours to orbit Mars.This composition is suggestive of the interweaving paths of these two celestial bodies as seen from the surface of Mars.
Sound Sample.mp3 (6) Grade IV.
TWO TO TANGO (2012) for clarinet & horn by Roger Vogel in 5 movements: Tango 1, Foxtrot, Quick Step, Waltz, and Tango 2. This charming suite of dances is a significant concert work written in an accessible modern style. The movements may be played individually, or any grouping. (18’) Grade V.
THE WORLD WITHIN (1999) for clarinet & cello by Howard J. Buss. In recent years this American composer has written a number of works which address the human condition in our rapidly changing, technology-laden society. The World Within is a musical metaphor reflecting an individual's yearning to be reconnected with his spiritual past while at the same time endeavoring to be effective in business and social interactions in the modern day world. While writing this work Buss was fascinated by how an acquaintance was resolving this dichotomy in his own life. Six days a week he works 10-hour days as a businessman, immersed in, and sometimes overwhelmed by, the fast-paced world of business. Yet without exception, he spends the entire day every Saturday at his Synagogue in worship, studying the Talmud, following ancient rituals, and reverently assisting the Rabbi in his sacred duties. In this work the 2 worlds, that of one's modern secular existence and that of one's spiritual heritage, are represented musically by two markedly different compositional procedures. The former is represented with a highly-structured, lyrical 12-tone style. The latter is more spontaneous and is influenced by Jewish musical idioms. In the slow, mysterious opening section these styles are juxtaposed; however, as the composition develops they become synthesized in a thoroughly integrated manner. This is an significant work that is meaningful to perform, and enjoyable (an thought-provoking) to listen to. (10) Grade V.
Excerpt 1.mp3; Excerpt 2.mp3; Excerpt 3.mp3 Hear in its entirety:YouTube video
The World Within was written for clarinetist Keith Koons, and cellist, Melissa Kraut. It was premiered by these artists on February 6, 2000 at the University of Central Florida in Orlando.
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