"A Knight Remembered" starts as a simple Pavane, but becomes more lush as time goes by. Although not technically demanding, it requires a degree of control and musicianship to bring off to full effect. Originally written for Saxophone Quartet, it was arranged for Clarinets by request and I think is even more effective with this scoring. It is part of a suite of dances (Saxiana), each "Elizabethan" in style the start with, but all become rather more ER II as they progress.

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	Easy/moderate
Listen to recording - 3m 09s

Perfect for Weddings, perfect for the Summer, and perfect for the Clarinet Quartet. Also available in a version for Saxophone Sextet and as a literally "breathtaking" duet for 2 Clarinets or for Flute and Clarinet.

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	Moderate
Listen to recording - 3m 24s

I first arranged this for saxophone quartet but, unusually, it also fits beautifully on clarinets. It is quite easy to play for more junior ensembles. Short and sweet!

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	Easy
Listen to recording - 1m 29s

Classic Scott Joplin and definitely my favourite Joplin Rag. It is entertaining to play for all players and although not easy, is quite achievable. Play this with a smile on your face (well think it anyway - no discussions about embouchure here!). Also available for Saxophone Quartet and as a Clarinet Duet.

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	Moderate
Listen to recording - 3m 51s

Probably the most famous Scott Joplin rag thanks to its use in the film "The Sting". This arrangement is not too hard providing that your 1st clarinettist is confident up to top F and that you have an agile Bass player. It is also available as a Clarinet Duet.

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	Moderate
Listen to recording - 4m 33s

This famous suite fits beautifully within the range of the clarinet quartet. I have carefully chosen the keys and tried to retain the character of the original. Mozart always needs excellent musicians to do justice to his music, but the technical demands of this arrangement are not so high as to prevent students gaining plenty from rehearsing and performing at least sections of the work.

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Moderate Allegro - 4m 31s Romance - 6m 32s Minuetto - 2m 08s Rondo - 4m 59s

An exquisite orchestral piece and perfectly suited to the mellow sounds of the clarinet quartet. The Bass Clarinet part is quite demanding, requiring a player (and an instrument) that sounds as beautiful in the upper register as it is sonorous in the low. The Pavane is also available in a version for Saxophone Quartet.

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	Moderate
Listen to recording - 7m 17s

This vocal duet (made more popular by British Airways) is ideally suited for the sound of "singing" clarinets. This uplifting music is ideal for weddings and other celebrations. It is also available elsewhere on this website for Clarinet Duet and Saxophone Quartet.

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	Moderate
Listen to recording - 4m 29s

This is an arrangement of nursery rhymes and children's songs originally written for performances at primary schools as a "how many tunes can you recognise" piece. It was not written with the thought that the children might join in singing, so the keys are not very accommodating, but they will sing anyway, and so will the adults! Also available for Wind Quintet.

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	Moderate
Listen to recording - 5m 04s

One of the most famous Scott Joplin Rags, played at a restrained speed by those invested in the original style of the Joplin Rags, but more often played enthusiastically at high speed by many pianists. The top parts are quite tricky on clarinets so the choice is yours, but I would suggest the more cautious approach.

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	Moderate
Listen to recording - 3m 24s

A less well known Scott Joplin Rag and the last to be published. Unusually it includes a minor section (but don't slow down) which might reflect his illness and his more serious intent with this rag. Written in 4/4, it still has a feel of 2 in-a-bar, and I would urge against playing this too slowly.

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	Moderate
Listen to recording - 5m 32s

"Manic Minstrels" is a Pavane - simple in essence but progressively more complex as it develops with "blue" influences before subsiding back to its opening simplicity.

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	Easy/moderate
Listen to recording - 2m 52s

Exciting, challenging and very satisfying to play. The key chosen may surprise some, but it sits very well on the instruments. There are very few finger-twisting sections and the main challenge is the speed of tonguing required but you will see from the score how this is managed. There is also a larger version Clarinet Choir and for Saxophone Quartet.

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	Hard
Listen to recording - 4m 06s

All connoisseurs of wind chamber music fall into raptures when the have the chance to play in the Serenade (No. 10) for 13 wind instruments (except for the flautists who are left out - not being Mozart's favourite instrument). Included in the 13 are 2 clarinets and 2 bassett horns (clarinets in F, similar to the modern alto clarinet). So this arrangement feels good on a clarinet quartet, although missing the brightness of the oboes, sobriety of the horns(!) and flamboyance of the bassoons, it is excellent fun to play for the clarinets.

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	Moderate/Hard
Listen to recording - 3m 46s

The Overture Miniature works brilliantly for the quartet. The Bass Clarinet is written quite high but this is essential to convey the character of the piece. The "wizzy" bits in the other parts are all under the fingers (if not the tongue) and should respond to some satisfying practice!

The Dance of the Mirlitons (or Reed-Flutes) is famous as a flute piece but hey! We are the ones with the reeds! Very effective on clarinets, even thought the key is wildly different. My Google reckoned the Mirlitons might be Kazoos or Cajun vegetables, but more interestingly "Eunuch flutes"!

The Dance of the Sugar Plum Fairy was arranged for performances at Junior Schools and served to show off the Bass Clarinet. Who needs a Celeste? Well, if you dont fancy the 1st Clarinet part for that bit there is a judicious cut (hence the listing as of moderate difficulty).

Trepak is fast and furious. "Lung-cracker" might be a better desciption! I have tried to accommodate breathing in clarinets 1 and 2 and it is possible, and of course the faster it goes, the better! All the glory may be in the 1st Clarinet part, but it is the 2nd part that is the hardest to play.

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Moderate Overture Miniature Dance of the Mirlitons Dance of the Sugar Plum Fairy Trepak

An entertaining Slow-March style rag, which is easily playable although your 1st clarinettist needs to be secure up to top G. The "Pineapple" is most prominent towards the end of the piece!

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	Moderate/Hard
Listen to recording - 3m 50s

One of the most distinctive gems of English music, used by Benjamin Britten in his "Young Persons Guide to the Orchestra" and more recently in the film "Pride and Prejudice". If you have many clarinets, my Clarinet Choir version is also available.

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	Moderate/Easy
Listen to recording - 2m 37s

These traditional Christmas carols and songs have been arranged for Clarinet Quartet in suitable keys for carol-singing. The suggested introductions are generally short, so tht the singers do not think they are supposed to be singing too soon.

Included in the set are parts for Eb Clarinet (for Cl.1) and Alto Clarinet (for Cl.3). I would use the Eb part as an addition, rather than as a replacement for Clarinet 1.

They are also available in other combinations - Brass Quartet, Saxophone Quartet and Woodwind Quartet - but the parts are not interchangeable as the keys and harmonies have been changed to better suit each combination.

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	Easy
Listen to recording - 17m 15s

A spirited original Christmas carol which interpolates the words and music of "O Little Town of Bethlehem" as a countermelody. This version for Clarinet Quartet was conceived principally as a "stand-alone" instrumental, but there is no reason why it cannot be performed with a choir, either full SATB or SA, or just the Soprano line wih a junior choir. It could even be performed as an instrumental with male voices singing the ("O Little Town") countermelody. The choir versions are available under the Christmas - Carols - section of this website and are free to download.

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	Moderate
Listen to recording - 2m 50s

In "the West" we know this as "The Carol of the Bells", but the original was written as a New Year's carol (or Shchedrivka) by Mykola Leontovych based on a Ukrainian folk song melody which tells the story of a Swallow which flies into the house and tells of the joys of spring to come. It is still regularly performed by choirs in its original form in the Ukraine and beyond with their magnificent choral sound.

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	Moderate
Listen to recording - 3m 19s

A bright cheerful carol for Christmas or to guide in the new year. The parts are not too hard although some dexterity is required.

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	Moderate
Listen to recording - 3m 25s

The Huron Carol has one of the most beautiful and simple melodies I know. The resulting arrangement has a slightly "rocky" feel and is not an accompaniment for choir, just incidental music for the season.

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	Moderate
Listen to recording - 3m 45s

A famous and beautiful Christmas carol, with all three verses set so it would be possible to accompany a choir, although it is intended as an instrumental (the key is concert Eb which is a common choice of choirs).

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	Moderate
Listen to recording - 5m 18s

This Christmas Carol is based on an old German melody made popular by Gustav Holst. It has a strong driving melody and is usually sung by the men of a choir. This arrangement uses the melody quite loosely and exploits its ambiguous rhythmic feel.

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	Moderate
Listen to recording - 4m 39s

At Christmas in the depths of the English countryside on the Kent and Sussex border, steam railways run Santa Specials as a Christmas treat for young and old alike. This popular piece, originally for saxophones, captures the hurrying-along of the steam engine with its cargo of excited children hoping to see Santa Claus - and they will! The Santa Express is available in many versions including those for Orchestra, Wind Band, Saxophones, and even a Piano Duet.

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	Moderate
Listen to recording - 3m 52s

A beautiful, peaceful aria from Bach's Cantata BWV 208 frequently associated with Christmas. In this transcription there are some slightly lush harmonies, but not as wild as in Percy Grainger's wonderful "Blithe Bells".

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	Moderate
Listen to recording - 5m 16s

The Shepherds' Farewell is taken from Berlioz's oratorio L'enfance du Christ depicting the flight of the holy family from King Herod's massacre of new-born children. Apparently, Berlioz's music was not generally appreciated by Parisian audiences, finding it too discordant and harmonically advanced for their taste but this Oratorio, and in particular this movement, was appreciated for its simplicity in form and beautiful melody, and is now sung by choirs across the world at Christmas.

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	Moderate
Listen to recording - 3m 48s

Spaced Out in more ways than one! Keeping 2 metres apart is easily achieved. Written in minimalist style, this quartet for Bb clarinets may equally well be performed by a larger group. It is 'staged' and involves some choreography and sections of (mild) improvisation (trills) played in free time - enjoyable to play and interesting and entertaining for the audience. Detailed performance instructions are included at the end of the score. The off-stage clarinet part is included at the back of the 1st Clarinet part. Please don't be tempted to add a Bass Clarinet or any other variation - it is written for Bb Clarinets.

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	Moderate
Listen to recording - 5m 25s	or view:

This is the same piece as "Pacemaker" but uses the metronome.

Conceived as a slightly tangential piece incorporating tone-changing and a metronome, but it is tonal and "audience-friendly". I have since re-written it so that it may be performed equally well without the metronome and renamed "Pacemaker". It is your choice! The sets of music are identical.

If you like being theatrical then use the metronome. Ideally use an old-fashioned, wooden, clockwork metronome, placed centrally and ceremonially on a stool in centre-stage and start before the performers go on stage (a stage-hand in a white coat or other costume, perhaps?). Performers should then walk on in sequence for their entries. The metronome will need to be loud enough for the performers to hear clearly. If you have a clockwork metronome, wind it up so that it lasts for the duration of the performance (about 5min 20secs) so that it runs down soon after the performers have finished. If you need to use an electronic metronome or an iPhone App, get a stage-hand (or performer) to carry it off-stage at the end of the performance (still "ticking"), ideally down a long corridor so that you hear it "ticking" further and further away for as long as possible.

Although the piece uses tone-changing (fingerings are marked) it is not hard to play - except, of course, that you need to be able to play in time to a metronome!!

This is the same piece as "Ticked Off" but without the metronome.

Originally conceived as a slightly tangential piece incorporating tone-changing and a metronome I have since re-written it so that it may be performed equally well without the metronome and renamed "Pacemaker". It is your choice which you perform! The sets of music are identical.

Although the piece uses tone-changing (fingerings are marked) it is not hard to play. Careful counting is essential and although "Pacemaker" does not use a metronome, the parts still need to have metronomic accuracy.

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	Moderate / 5m 20s
Recording of "Ticked Off" (with metronome)
Recording of "Pacemaker" (unadorned)