Written for two antiphonal "choirs", one Classical and straight-laced with the other being Jazz loving. (for performance, you might like to dress accordingly?)

Antiphonally Challenged is based on an original composition (Canzona 341) which was commissioned for 2 sets of quartets, a Clarinet Quartet who preferred a classical repertoire and a Saxophone Quartet who were much more Jazz based. Each quartet could either play their quartet (or "Choir") separately or combined. Now rewritten for two clarinet ensembles, the same rules apply and the quartets can exist independently although my preference is to have a joint performance with the dichotomy of the styles in juxtaposition.

The "choirs" should perform antiphonally in a similar manner to Gabrieli's Canzonas. The "classical" choir parts are not complex but don't be caught out by the half/double tempo feel. The "jazz" choir parts are much more demanding requiring a good understanding of playing in "swing" rhythm. The piece may easily be performed by 2 quartets of 3 Bbs and 1 Bass, and there are options to replace one of the Bbs with an Alto Clarinet in the jazz quartet and add an Eb and Contra Alto to the "classical" choir and a Contra Bass to the "jazz" group.

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	Moderate
Listen to recording - 4m 57s

An onomatopoeic title for this interesting (I think) piece which blend intricate and gutsy rhythmic patterns with some more minimalist sections. I know that all sounds very “Psued's Corner” but you will understand when you listen to the piece. In minimalist style, there is scope for some choreography - feel free to try out your performance ideas.

The parts are not too hard. The Eb part is covered by an extra Bb part and the Alto Clarinet part is covered by Clarinet 6. The Contra parts are optional but obviously add depth.

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	Moderate
Listen to recording - 5m 08s	or view:

A menacing Tarantella which drives at a fast tempo and, although not technically too difficult, the shear speed provides plenty of challenge for the performers and there are no "easy" parts. Originally written for wind quintet under the title “Don't Cry...”. Eb clarinet is covered by a Bb part as is the Alto clarinet, so a minimum of 6 Bb clarinets and a Bass are required. Better still with 2 Bass Clarinets, and then add the Eb, Alto, and Contras if you can.

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	Moderately hard
listen to recording - 3m 00s

Written as a showpiece for the solo clarinettist in a single reed ensemble, this has been broadened out to embrace the Clarinet Choir. There is plenty to do for everyone. Eb clarinet is covered by a Bb part as is the Alto clarinet, so a minimum of 6 Bb clarinets and a Bass are required. Better still with 2 Bass Clarinets, and then add the Eb, Alto, and Contras if you can.

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	Moderately hard
listen to recording - 5m 02s

Jazzablanca is infused with an off-beat drive that requires a really controlled ensemble to keep the swing intense but the pace relaxed. The 2nd Bass Clarinet part and Contra parts are optional. The Eb and Alto parts are covered by alternative parts for Bb Clarinet.

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	Moderate
listen to recording - 3m 30s

Written for a friend who wanted some music for single-reed ensemble, this version for Clarinet Choir floats along as a gentle bossanova and has no hidden difficuties.

This version (January 2022) has been scored for a slightly smaller group than the original, enabling those with smaller ensembles to be able to perform. Alternative Bb parts for the Eb Clarinet and Alto Clarinet are provided, Bass Clarinet 2 is optional as are the Contra parts.

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	Easy/Moderate
listen to recording - 3m 13s

Locomodus is the 3rd movement of a set of three, the others being “Spiritus” and “Somnium”. Locomodus has a driving beat and a locomotive feel. Straight forward to play for most, but some agility is required on the Basses if the notes are to be played at the correct octave.

The Eb part is covered by a Bb clarinet, as is the Alto Clarinet part. 2nd Bass Clarinet needs to go down to low C.

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	Moderate
Listen to recording - 5m 05s

Originally conceived as a Saxophone ensemble piece, this version for Clarinet Choir was requested by Karyn Weber for her ensemble "Clarinet Fusion" in San Francisco. It works well for the ensemble and, as always with revisions, gives a chance for some development and enhancement of the original. Although some agility is required there are no major performing difficulties if you are “slick” at crossing the break!

This version (January 2022) has been scored for a slightly smaller group than the original, enabling those with smaller ensembles to be able to perform. It will work with just 1 Bass Clarinet but better with 2! Alternative Bb parts for the Eb Clarinet and Alto Clarinet are provided, and the Contra parts are optional.

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	Mildly Difficult
listen to recording - 4m 07s

You may well guess from the title that this is a pastiche on Percy Grainger. I originally wrote it as a movement for wind quintet (available elswhere on this site). Alternative Bb parts for the Eb Clarinet and Alto clarinet parts may be substituted, and the 2nd Bass and Contra parts are not essential.

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	Moderate
listen to recording - 2m 57s

Feeling brave? Very brave?? This spectacular “Oily” Rag twists and turns and slips and slides and is a real challenge for any group of players. Originally written for Saxophone Quartet, this version is no easier on clarinets and the metronome mark of c.108 is optimistic. The bass instrument parts are not hard but the Bb and Eb parts are all challenging and (in my case) require practice.

There are alternative Bb parts to cover the Eb and Alto Clarinets, and the Contra parts are optional.

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	Very Difficult
listen to recording - 4m 38s

Somnium is the 2nd movement of a set of three, the others being “Spiritus” and “Locomodus”. Somnium is as the name suggests, a sleepy number with pleasant dreams to start with but a much more troubled middle section. The nightmares are confined to the mood - it is not technically difficult to play.

The Eb part is covered by a Bb Clarinet, as is the Alto Clarinet part - the contra parts are optional.

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	Moderate
Listen to recording - 5m 53s

Spiritus is the 1st movement of a set of three, the others being “Somnium” and “Locomodus”. Spiritus is lively and rhythmically challenging with changing time signatures and plenty of “off-beat” playing, but is otherwise not technically difficult

The Eb part is covered by a Bb clarinet, as is the Alto Clarinet part and the Contras are optional.

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	Moderate
Listen to recording - 3m 35s

In the style of a wistful folk song, “Tales to Tell” should be performed with simplicity and flexibility in the opening and closing sections, and rhythmically in the middle where the more colourful and intricate semiquavers add harmonic complexity. It is not difficult for any of the players.

The 2nd Bass Clarinet part and Contra parts are definitely optional - the piece works perfectly in the small format. The Eb and Alto parts are covered by alternative parts for Bb Clarinet.

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	Moderate
listen to recording - 4m 47s

A piece in swing style that twists and turns to keep your clarinettists amused. The parts are not technically difficult but the rhythm needs to be very secure. The Eb part is covered by an extra Bb part. The Alto Clarinet part is covered by Clarinet 5. The 2nd Bass Clarinet is optional as are the contra parts.

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	Moderate/hard
listen to recording - 3m 12s

Developed from a composition for Single Reed Ensemble, this rondo flies through an energetic theme before launching into a soaring peaceful section in the clouds before spiraling down through some more turbulent, anxious moments. The inner parts are often more challenging than the solo lines especially in the main theme.

Alternative Bb parts for the Eb Clarinet and Alto Clarinet are provided, Bass Clarinet 2 is optional as are the Contra parts.

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	Moderate/Hard
listen to recording - 3m 45s

A touch of Havana in a Latin romp. This busy score is entertaining for all the players and is not technically too difficult but the rhythms are challenging and require excellent ensemble playing.

Alternative Bb parts for the Eb Clarinet and Alto Clarinet are provided, Bass Clarinet 2 is optional as are the Contra parts.

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	Moderate/Hard
listen to recording - 4m 38s

Soothing music to lull your children to sleep, but like all good stories there are moments of intrigue and suspense. This was originally scored for single reed ensemble (3 Clarinets, 2 Altos Saxophones and Bass Clarinet - available elsewhere on this website).

The Eb and Alto clarinet parts are covered by extra Bb clarinet parts and the 2nd Bass and Contras are optional.

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	Easy/Moderate
listen to recording - 4m 59s

This nine movement suite was written by Purcell as incidental music for a play subtitled “The Moor's Revenge” - a tragic tale of lust, revenge and murder. The most famous movement is the Rondo which was used as the theme by Benjamin Britten in his stunning “Young Person's Guide to the Orchestra”. Some of the movements are very short with others more substantial, and although of no great musical substance they are satisfying to play and provide excellent repertoire. The final movement does have two dubious notes where the rules of harmony are not strictly obeyed - these are Purcell's choice rather than the arranger's.

The parts are not difficult. The Eb Clarinet part is covered by an extra Bb part, the Alto Clarinet is covered by Clarinet 5 and the 2nd Bass and Contra parts are optional. The metronome marks are purely my suggestion, as are the dynamics. The complete suite lasts for about 16 minutes but performers have wildly differing interpretations of the speeds of the various movements - string ensembles seem to race through these movements as if the bar was about to close, for example I consider the Rondo to be a stately majestic movement but I have seen much faster performances being described as "pedestrian" but others, so you pays your money.....!

View sample	Difficulty
	Moderate
1. Overture 2. Rondo 3. Air I 4. Air II 5. Minuet 6. Air III 7. Jig 8. Hornpipe 9. Air IV		To purchase the score and parts, click the Buy Now Button. On completion of purchase you must click Return to Merchant This will take to the page containing the music. Please save the page and print at your leisure. Score and Parts - $18.00

Energetic and exciting, The Arrival of the Queen of Sheba is a favourite amongst audiences and great fun to play. Performance speed is a matter of your own taste, dexterity and tonguing ability. There is also a version for Clarinet Quartet on this site, but in this Clarinet Choir version you have a better balance and a chance to breathe.

The Eb and Alto clarinet parts are covered by extra Bb clarinet parts and the Contras are optional. If lacking 2 Basses you could play this with just one using the 2nd Bass part, but the instrument really needs to go down to low C.

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	Moderate/Hard
listen to recording - 3m 24s

Quintessentially English music! During his short life, George Butterworth followed the musical fashion of the time, collecting English folk-songs, often with his friend Vaughan Williams, and incorporated two of them (“The Banks of the Green Willow” and “Green Bushes”) in this “Idyll”. Butterworth was killed in August 1916, aged 31, at the Battle of the Somme.

Arranged for Clarinet Choir, it is scored for Eb Clarinet, 5 Bb Clarinets, 1 Alto and 2 Bass Clarinets. There are alternative Bb parts to cover both the Eb and Alto Clarinet parts, so it may be played by a minimum of 7 Bb Clarinets and 2 Basses. There also optional parts for Contra Alto and Contra Bass Clarinets.

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	Moderate
listen to recording - 6m 42s

The most beautiful song originally written for SATB choir. Calm and serene this is the perfect secular piece for a resonant acoustic such as a church. I approached this arrangement with some trepidation as I adore the music and did not wish to upset my chorally devoted friends but I think it works very well.

The lake lay blue, below the hill. As I looked, there flew across the waters cold and still, a bird whose wings were palest blue. The sky above was blue at last, the sky beneath me blue in blue, was blue in blue. A moment ere the bird had passed, it called, as if in a trance he flew.

Excellent pianissimo playing is required and I would recommend reading the text before performing. With a full scoring including Eb Clarinet, 4 Bb Clarinets, 1 Alto, 2 Bass Clarinets and Contras, the low clarinets need to be subtle and not overpowering if using all the parts, and the Eb needs to blend so do not be afraid to use the alternative Bb part instead. There are alternative Bb parts to cover both the Eb and Alto Clarinet parts, so it may be played by a minimum of 6 Bb Clarinets and 1 Bass. The 2nd Bass and Contra Alto and Contra Bass Clarinet parts are optional.

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	Moderate
listen to recording - 3m 03s

The Brandenburg Concertos are all delicious in their own ways and there is plenty for everyone in No 3, originally for string orchestra. The relatively small scoring covers all the parts. The arrangement is in the original key so you will need to practice your A major (or E major) scales. The first movement is quite acrobatic and the third is full of running scales. The 2nd movement is just 2 chords with some decoration.

(This arrangement is new in November 2021 with revised scoring and the addition of movements 2 and 3)

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	Moderately difficult
Movement 1 - 6m 33s
Movement 2 - 0m 12s
Movement 3 - 3m 42s

Giovanni Gabrieli is a Venetian composer famous for his writing for antiphonal instrumental choirs. They were written for performance in St. Mark's Cathedral in Venice where he was organist and principal composer for most of his life. This, and No.2 (see below), were written as part of the Sacrae symphoniae collection of 1597.

Gabrieli did not generally specify the instruments to be used and they were often quite mixed ensembles but we now tend to hear performances on brass instruments - but why should they have all the fun! This arrangement uses 2 clarinet quartets with the possibility to expand the ensembles. The groups should be spatially separated either side of the audience if possible and a resonant acoustic is ideal.

The notes are easy but the rhythms can be complex and in my experience it is very easy to get lost, and once lost it is hard to find your place.

The intended scoring is for Choir 1 to be 3 Bb Clarinets and a Bass Clarinet, with the option of an additional Eb Clarinet, an alternative Alto Clarinet part to cover clarinet 3, and a Contra Alto if one is available. Choir 2 is similar but without the Eb Clarinet and with a Contrabass Clarinet rather than the Contra Alto.

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	Moderate
listen to recording - 3m 54s

Giovanni Gabrieli is a Venetian composer famous for his writing for antiphonal instrumental choirs. They were written for performance in St. Mark's Cathedral in Venice where he was organist and principal composer for most of his life. This, and No. 1 (see above), were written as part of the Sacrae symphoniae collection of 1597.

Gabrieli did not generally specify the instruments to be used and they were often quite mixed ensembles but we now tend to hear performances on brass instruments - but why should they have all the fun! This arrangement uses 2 clarinet quartets with the possibility to expand the ensembles. The groups should be spatially separated either side of the audience if possible and a resonant acoustic is ideal.

The notes are easy but the rhythms can be complex and in my experience it is very easy to get lost, and once lost it is hard to find your place.

The intended scoring is for Choir 1 to be 3 Bb Clarinets and a Bass Clarinet, with the option of an additional Eb Clarinet, an alternative Alto Clarinet part to cover clarinet 3, and a Contra Alto if one is available. Choir 2 is similar but without the Eb Clarinet and with a Contrabass Clarinet rather than the Contra Alto.

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	Moderate
listen to recording - 3m 07s

A famous piece with spectacular clarinet parts, here condensed down for Clarinet Choir for those brave enough to try. Some fast tonguing required and the occasional tricky key signature. The Eb part is covered by an extra Bb part and the Alto Clarinet part is covered by Clarinet 5. The 2nd Bass Clarinet is optional as are the contra parts. In addition, the Bb parts also have the final section transposed for Clarinet in A. This is to avoid a tricky key signature rather than for the added depth of tone. There is only one “Alborada” because of the keys and scoring of the original but it may be played again as a Movement 3 to retain the original structure.

(A note on the MP3 recordings - I used the Bb parts which cover the Eb Clarinet and Alto parts. I used 2 Basses and no Contras. I stuck to the Bb parts in the Fandango rather that using the alternative parts for Clarinet in A. The 'A' Clarinet parts would certainly be easier but I thought I should prove that it was playable on Bbs. The speed of the Fandango depends on the speed of your performers'' tonguing - mine is not that fast!)

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	Moderately hard
Alborada - listen to recording - 1m 21s   Variazioni - listen to recording - 4m 55s   Scena and Fandango - listen to recording - 9m 26s

These six movements are taken from Bizet's Carmen Suites 1 and 2. They are very playable - even the faster movements fit nicely under the fingers in the chosen keys which have been carefully selected to accommodate the technical difficulties that clarinettists may encounter. The only problem I have had in producing the recordings is with the final "March du Toréadors" as I really cannot tongue as fast as I would like, so I have stuck to my written articulation, but others might decide to sacrifice articulation for speed - you will hear the orchestral versions performed at a wide variety of Tempi.

The scoring is for 1 Eb (with alternative Bb part provided), 4 Bbs, 1 Alto (with alternative Bb part), 1 Bass, with optional parts for 2nd Bass, Contra Alto and Contra Bass, so a minimum requirements of 6 Bbs and 1 Bass. The recording is played using the Bb parts instead of Eb and Alto Clarinet, and with 2 Basses but without the benefit of Contras.

View sample	Difficulty
	Moderate
1. Prelude 2. Habanera 3. Aragonaise 4. Chanson du Toréadors 5. Danse Bohême 6. March, Les Toréadors		To purchase the score and parts, click the Buy Now Button. On completion of purchase you must click Return to Merchant This will take to the page containing the music. Please save the page and print at your leisure. Score and Parts - $20.00

The “Dance of the Hours” is a ballet sequence from Ponchielli's opera, "La Gioconda". The Opera music is beautifully scored and the melodies are charming. Those of a certain age will recognise the section popularised by the comedian Allan Sherman (“A letter from camp”). The Introduction is quite tricky for first clarinet and the Eb part is necessarily high and so tuning is challenging, but the Eb should be used in preference to the alternative Bb part if at all possible. If the introduction is too difficult the piece could be started at the Dance (letter F) from where the piece has no substantial challenges.

This arrangement is for 1 Eb (with alternative Bb part provided), 4 Bbs, 1 Alto (with alternative Bb part), 1 Bass with optional 2nd Bass, Contra Alto and Contra Bass parts, so a minimum requirements of 6 Bbs and 1 Basses.

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	Moderate
listen to recording - 7m 19s

A scary piece - especially if you don't like tonguing! At midnight on Halloween, the devil comes out to play - to play the clarinet on this occasion. Some of the high sections are tricky for the top parts but for the others the main challenge is the tonguing. This arrangement (revised in Jan. 2022) is for 1 Eb (with alternative Bb part provided), 4 Bbs, 1 Alto (with alternative Bb part), 2 Basses and optional Contra Alto and Contra Bass parts, so a minimum requirements of 6 Bbs and 2 Basses.

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	Hard
listen to recording - 7m 46s

The most beautiful Hymn of all! I have sung it at weddings and funerals, although it usually chokes me up so much that I cannot sing more than a few phrases. The original, "Long Since in Egypt's Plenteous Land" was part of the Parry's Oratorio "Judith", with these words added later by John Whittier.

It works well as an instrumental pre-wedding piece or as an interlude or may be used as an accompaniment for a congregation. As you will hear, the congregation need to be musical or have some sort of direction as there are several traps to fall into but it is definitely worthwhile pursuing. A single line vocal part is included and there is also a full SATB choir score available here.

This arrangement is for 1 Eb (with alternative Bb part provided), 4 Bbs, 1 Alto (with alternative Bb part), 1 Bass, with optional parts for 2nd Bass, Contra Alto and Contra Bass, so a minimum requirement of 6 Bbs and 1 Bass.

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	Easy/Moderate
listen to recording - 3m 56s (without repeats)

Wind players are usually well aware of Dvořák's superb Wind Serenade but his Serenade for Strings is, if anything, more beautiful and this first movement is serene and atmospheric with smooth lines and mystical harmonic shifts.

It is not too difficult and there are alternative Bb parts to cover the Eb and Alto Clarinets, and the Contra parts are optional.

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	Moderate
listen to recording - 4m 36s	or listen on:

Holst uses a similar arrangement to this in both his 2nd Suite for Military Band, and the St. Pauls' Suite for Strings. Holst juxtaposes the 16th century English folk tune “Dargason”, with “Greensleeves”, purportedly written by King Henry VIII (although this is now pooh-poohed by those spoilsports historians!). This arrangement (revised in March 2022) is for 1 Eb (with alternative Bb part provided), 4 Bbs, 1 Alto (with alternative Bb part), 1 Bass, with optional parts for 2nd Bass, Contra Alto and Contra Bass, so a minimum requirement of 6 Bbs and 1 Bass.

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	Moderate
listen to recording - 3m 21s

This elegant Pavane was originally written for piano but is mostly known in Fauré's arrangement for small orchestra. He also added an optional (and invisible) chorus part with some very strange lyrics. The chorus parts largely double the melody but some of the other interjections are included in the arrangement. The Pavane is perfectly suited to the mellow sounds of the clarinet choir.

The Eb part is covered by an extra Bb part and the Alto Clarinet part is covered by Clarinet 5. The Contra parts are optional. The Pavane is also available in a version for Clarinet Quartet and Saxophone Quartet.

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	Moderate
listen to recording - 6m 56s

This well loved operatic duet suits the clarinet choir very well. It can be performed by a minimum of six Bb clarinets and one bass clarinet. The Eb part is covered by an extra Bb part. The Alto Clarinet part is covered by Clarinet 5. The 2nd Bass Clarinet is optional as are the contra parts. It is also available elsewhere on this website for Clarinet Duet, Quartet and Saxophone Quartet.

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	Moderate
listen to recording - 5m 40s

A fitting end for a broken puppet. Written while Gounod was living in Blackheath in London, it was originally a piano piece which he later orchestrated. This arrangement is not difficult to play, scored for a minimum of 6 Bb Clarinets and 1 Bass, but with a full scoring of 1 Eb (with alternative Bb part), 4 Bbs, 1 Alto (with alternative Bb part), 2 Basses (the 2nd being optional) and optional Contra Alto and Contra Bass.

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	Moderate
listen to recording - 5m 30s

Mendelssohn's Hebrides Overture (Fingal's Cave) conjures up the sea, both lashing in fury on the rocks outside the island of Staffa and in calmer times in the occasional lull between storms. There are energentic moments in the clarinet parts and moments of serene beauty.

This arrangement includes 2 Eb parts (but they are adequately covered by the alternative Bb parts provided), 4 Bbs, 1 Alto (with alternative Bb part), 2 Basses and optional Contra Alto and Contra Bass, so minimum requirements are 7 Bbs and 2 Basses. The 2nd Bass really needs to go down to low C for maximum effect. The energetic sections in the contra parts are at the players discretion depending on the mechanical efficiency of their instruments.

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	Moderately hard
listen to recording - 11m 03s

This delightful 2nd movement from the “First Suite for Military Band” shows off all facets of the clarinet section, with chirpy accompaniments, mellow melody and acrobatic dexterity - a little masterpiece.

The speed chosen for the recording is my compromise - in some ways the opening enjoys being a little more exciting and speedy, whilst the middle section can be more “laid-back” but I selected a speed which allows for a true “L'istesso tempo” between sections. Scored for Eb, 4 Bbs, Alto, 2 Basses and Contra Alto and Contra Bass, the Eb and Alto parts are covered by an extra Bb clarinet parts, and the 2nd Bass and Contra parts are optional, so it can be played by a minimum of 6 Bbs and 1 Bass Clarinet.

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	Moderate
listen to recording - 3m 00s

One of a set of “Humoresques”, No. 7 is by far the most famous. It should be played flexibly and with imagination as the mood takes you. This is not difficult to play, even if the opening rhythm in the 1st clarinet part looks daunting at first glance, it will be soon understood by even the more junior player.

The Eb part is covered by an extra Bb part and the Alto Clarinet part is covered by Clarinet 5. The 2nd Bass and Contra parts are optional.

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	Moderately Easy
listen to recording - 3m 07s

Smooth and serene and frequently played at weddings and at Christmas, this famous movement from J.S.Bach's Cantata BWV147 presents little technical difficulty.

Alternative Bb parts are provided to cover the Eb and Alto Clarinets, so it may be played by a minimum of 6 Bb clarinets and 1 Bass, with the 2nd Bass and Contra parts being a bonus if you have that luxury.

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	Moderate
listen to recording - 3m 22s

If you want a challenge, this is for you. The scoring is flexible but most parts are challenging in both range and technique. Essential are: Eb Clarinet - but with an alternative Bb part provided (high), 4 Bb Clarinet parts, Alto Clarinet - but with an alternative Bb part provided and Bass Clarinet. Optional: Eb Clarinet 2 - not essential but adds great colour, Bass Clarinet 2 often enriches the harmonies above the 1st Bass part. The Contra parts are a wonderful luxury but not essential If you have spare Bb clarinettists, start by doubling the Alto part (Cl5) Jupiter is also available for various Saxophone ensembles.

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	Very Hard
listen to recording - 8m 57s

A medley of children's nursery rhymes, 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! The Eb and Alto Clarinet parts are covered by extra Bb parts, and the 2nd Bass and Contra parts are optional. “Kiddy Litter” is also available for Wind Quintet and Clarinet Quartet.

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	Moderate
listen to recording - 4m 54s

Exciting, challenging and very satisfying to play. There are a few finger-twisting sections for some (especially 2nd Clarinet) and a little double-tonguing for clarinets 3 and 4 (but in a very manageable part of the range). Alternative Bb parts for the Eb Clarinet and Alto clarinet parts may be substituted, and the Contra parts are not essential.

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	Hard
listen to recording - 4m 19s

Like many, I think this amongst the most exquisite pieces of music ever written. In the film “Amadeus”, Salieri says of this movement "It seemed to me that I was hearing the voice of God". I have had the privilege of playing the Serenade many times but when it was suggested that I score the Adagio for clarinet choir I was a little reluctant - it seemed like sacrilege... however, it is increasingly difficult to find the bassoonists and horn players necessary to complete the full ensemble so this transcription does give us mere clarinettists the chance to enjoy playing this masterpiece.

“Musicologists” have recently decided to change some of the notes. There is a manuscript held at the US Library of Congress which includes some accidentals in bars 19 (Eb Cl.) and the answering phrase, but all performances up until the 1990s are played without, presumably because these notes sound like mistakes and do not sound like Mozart. I have noted them in the score in case you would like to enjoy them! The ornamentation used is that which is usually performed.

Performance speeds vary from the deliciously slow (Klemperer) to unacceptably fast “romps” which can be found on YouTube performed by people with no soul. Dynamics are very minimal. The solo lines should all be played with expression whilst the underlying pulse remains calm and serene. Listen to Otto Klemperer with The London Wind Quintet and Ensemble, Edo de Waart with Netherlands Wind Ensemble, Leopold Stokowski with American Symphony Orchestra and Neville Marriner from the Amadeus soundtrack, with The Academy of St Martin-in-the-Fields.

The Eb and Alto clarinet parts are covered by extra Bb parts, and the Contra parts are optional

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	Moderate
listen to recording - 5m 35s

Glorious Bach! Bach wrote several versions of the chorale “Nun danket alle Gott” and this is the 1st movement from Cantata BWV192. All the parts are busy and require concentration resulting in a glorious sound on clarinets. This arrangement is for 1 Eb (with alternative Bb part), 4 Bbs, 1 Alto (with alternative Bb part), 2 Basses and optional Contra Alto and Contra Bass, so minimum requirements are 6 Bbs and 2 Basses.

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	Moderate
listen to recording - 5m 13s

Four movements: Overture Miniature, Dance of the Mirlitons, Dance of the Sugar Plum Fairy and Trepak

I think “finger-cracker” might be a more appropriate title, with some challenging parts in this suite of four movements from Tchaikovsky's ballet, “The Nutcracker”.

Originally arranged for the larger scoring, I have rearranged the suite for those of you with a smaller number of available players. In both versions the Eb and Alto Clarinet parts are covered by alternative Bb parts and the Contra parts are optional. Although the two versions follow identical structures, the majority of the parts in the smaller version have slight changes to accomodate the reduced scoring. The MP3 recordings are of the smaller ensemble version, using Bb parts for the Eb and Alto, and 2 Basses and no Contras.

View sample	Difficulty	To purchase the score and parts, click the Buy Now Button. On completion of purchase you must click Return to Merchant This will take to the page containing the music. Please save the page and print at your leisure. Score and Parts - $20.00 Choose LARGER Ensemble or choose SMALLER Ensemble
Difficult Overture Miniature - 3m 21s Dance of the Mirlitons - 2m 46s Dance of the Sugar Plum Fairy - 1m 57s Trepak - 1m 11s

The Waltz "Les Patineurs" (The Skaters), after a rather slippery start develops into a most elegant waltz. Full of memorable melodies this waltz is easy to play once you have negotiated the short precarious opening section (which you could always miss out)

This arrangement is for 1 Eb (with alternative Bb part), 4 Bbs, 1 Alto (with alternative Bb part) and 1 Bass with optional 2nd Bass, Contra Alto and Contra Bass parts, so a minimum requirement of 6 Bbs and 1 Bass.

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	Moderate
listen to recording - 8m 42s

The Overture to The Pirates of Penzance contains some of the best melodies from one of Gilbert and Sullivan's most popular operettas. "With Cat-like tread" the policeman parade, the Eb Clarinet begs not to be left to "pine alone" and the overture ends with "a paradox".

This arrangement is for 1 Eb (with alternative Bb part), 4 Bbs, 1 Alto (with alternative Bb part) and 1 Bass with optional 2nd Bass, Contra Alto and Contra Bass parts, so a minimum requirement of 6 Bbs and 1 Bass.

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	Moderate
listen to recording - 7m 56s

A beautiful, peaceful aria from Bach's Cantata BWV 208, "freely transcribed" for Clarinet Choir with its tonal range allowing the rich Chalumeau register to contrast with the upper register (which must always remain sweet - dolce)! Purists might prefer a stricter interpretation of the original, but I have gone for rich harmonies which are possible within Bach's outline. Although not as wild as Grainger's wonderful “Blithe Bells”, it is still quite delicious to play.

There are alternative Bb parts to cover the Eb and Alto Clarinets, and the Contra parts are optional.

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	Moderate
listen to recording - 5m 34s	or view:

So, I started off aiming to write an original piece and set up a good syncopated rhythmic introduction. Time for a melody and for some reason I played a snippet of Ravel's Bolero theme - and that was it - I couldn't get it out of my head so the piece transformed into a flirtation with everything Bolero.

There are no technical difficulties providing you can cope with syncopation, but the melodies are often written around the “throat” notes so tuning must be a focus and you may wish to project more that the dynamics suggest.

There are alternative Bb parts to cover the Eb and Alto Clarinets, and the 2nd bass and Contra parts are optional.

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	Moderate
listen to recording - 4m 01s

Vltava is a famous piece of programme music describing the course of the river Vltava from its gentle rippling origins, through rapids and past landmarks as it builds in intensity. Smetana's score is rich and there is plenty to do for all. I have generally used the original dynamics but these are somewhat overstated and what you see as a dynamic change is often more an indication of phrasing, so treat these with caution. Arranged for Eb Clarinet (with alternative Bb part provided), 4 Bbs, 1 Alto Clarinet (with alternative Bb part), 2 Basses and optional Contra Alto and Contra Bass, so minimum requirements are 6 Bbs and 2 Basses. All the parts are challenging - don't think that opting to play Clarinet 4 will give you an easy time!

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	Hard
listen to recording - 13m 19s

A spirited original Christmas carol which interpolates the words and music of "O Little Town of Bethlehem" as a countermelody.

This version for Clarinet Choir 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.

The Clarinet Choir may consist of as few as 6 Bb Clarinets and 1 Bass Clarinet, as the Bb and Alto parts are covered by special Bb parts, and the 2nd Bass Clarinet and Contra parts are optional.

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	Moderate
listen to recording - 4m 08s

Many of the carols in this medley date from times well before their first publication and may come from the medieval period. Whereas we now associate Carols with Christmas, traditionally they were a popular form of song and dance devoted to a seasonal or ecclesiastical occasion, but the Church disapproved so the melodies became separated from the dance. For example the famous “Deck the Hall” was originally a Welsh carol celebrating the coming of spring and had decidedly secular words (bosums, blossums, blisses and kisses). This medley includes the Cherry Tree Carol, Ding Dong Merrily on High, The Boar's Head Carol, Past 3 O'clock, Adam Lay yBounden, Come all ye Worthy Gentlemen and the Goucestershire Wassail.

The parts are not too hard. The Eb part is covered by an extra Bb part and the Alto Clarinet part is covered by Clarinet 5. The 2nd Bass Clarinet is optional as are the contra parts. (This version revised in November 2022)

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	Moderate
listen to recording - 7m 39s	or view:

This medley takes four traditional carols and adds a little modern Christmas spice.

In Sussex, a county on the south coast of England, the magnificent chalk cliffs named “The Seven Sisters” provide wonderful views of any approaching ships, although on Christmas Day in the morning one might hope that the sailors were all safely tucked up in bed. The words of “I Saw Three Ships” are from the 17th Century and as they claim to see ships sailing into Bethlehem, seeing them from the Sussex cliffs seems just as likely.

“Mummers” were seasonal plays performed by amateur actors and the Sussex Mummers' Carol has ancient origins but is now most usually heard in a gloriously rich instrumental version by Percy Grainger. The melody of “The Sussex Carol” (On Christmas Night all Christians Sing) was noted down by Ralph Vaughan Williams (a notable collector of folk-songs) in Horsham in the 1900's but its origins are thought to be from the 17th Century. “Wassailing” involves singing and most probably involves drinking copious quantities of “Cider”. The southern counties are home to cider orchards where the traditional ritual of “Wassailing” celebrated the apple harvest and the hopes for the coming year's crop. It also came to mean going from door to door singing carols. “Waes Hael” comes from the Anglo-Saxon and translates as “are you well” or “be thou hail”.

The Eb and Alto parts are covered by alternative Bb parts and contra parts are optional.

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	Moderate
listen to recording - 5m 20s

This five movement suite consists of three lively movements which featured trumpets in the original score, interspersed by two slow chorales, totalling about 12 minutes.

The parts are not difficult. The Eb part is covered by an extra Bb part and the Alto Clarinet part is covered by Clarinet 6, and the Contra parts are optional

View sample	Difficulty
	Moderate
1. Chorus - Herr, wenn die stolzen Feinde - 4m 21s 2. Choral - Seid froh, dieweil - 1m 20s 3. Chorus - Herrscher des Himmels - 1m 51s 4. Choral - Ach, mein herzliebes Jesulein! - 1m 10s 5. Chorus/Choral - Nun seid ihr wohl gerochen - 3m 06s		To purchase the score and parts, click the Buy Now Button. On completion of purchase you must click Return to Merchant This will take to the page containing the music. Please save the page and print at your leisure. Score and Parts - $20.00

“God Rest You Merry, Gentlemen”, so why is the music so miserable? Tidings of comfort and joy about the birth of Jesus? They don't seem very pleased! Actually the medieval feel of the original make this one of my favourite carols and in this Fantasia on the theme, the Gentlemen end up a little more cheerful although they do have some stressful times along the way. The parts are not too hard although some agility is required in the Bb parts. The Eb part is covered by an extra Bb part and the Alto Clarinet part is covered by Clarinet 5. The 2nd Bass Clarinet is optional as are the contra parts.

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	Moderately hard
listen to recording - 4m 08s	or view:

A light hearted piece for Christmas time but can be enjoyed at any time! Originally for a small clarinet ensemble (see Clarinets at Christmas), this version expands to give the extreme instruments a good crack of the whip (does Santa use a whip?) The Eb and Alto Clarinet parts may be covered extra Bb parts, and the 2nd Bass and Contra parts are optional (so the core is 6 Bb Clarinets and a Bass) There is also a part for Sleigh Bells which adds a festive touch. (This version re-scored and revised October 2021)

Also available for Wind Band and smaller clarinet ensemble.

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	Moderate
listen to recording - 3m 32s	or view:

A bright cheerful carol for Christmas or to guide in the new year. The parts are not too hard although a little dexterity is required in the Bb parts. The Eb part is covered by an extra Bb part and the Alto Clarinet part is covered by Clarinet 5. The 2nd Bass Clarinet is optional as are the contra parts.

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	Moderately hard
listen to recording - 3m 20s	or view:

The melody for this delightful carol comes from 15th century France. The words we know were added much later by the Anglican priest, George Ratcliffe Woodward, who also provided words for "Past 3 O'clock" and published several books of Carols.

It may be performed as an instrumental or with a choir. If performing with a choir, the words for Verse 1 need to be repeated for Verse 4 - Woodford only wrote 3 verses, but this arrangement has 4, or you could always write a new verse! The third verse might by be sung by men's voices. A vocal guide is provided to show what happens between verses.

The Eb part is covered by an extra Bb part and the Alto Clarinet part is covered by Clarinet 5. The 2nd Bass Clarinet is optional as are the contra parts, but any added bass is always a joy!

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	Moderate
listen to recording - 3m 02s

This arrangement may be played with or without choir. It has a Fanfare which may be played at the start of the piece or before the final verse, in which case use the last 2 bars of verse 1 as an introduction.

If playing with a choir, Verses 1 and 2 may be sung in traditional (Mendelssohn's) four part harmony. The harmonies will fit even though the instrumental parts are developed. The final verse should be sung in unison with the optional descant part.

The Clarinet Choir may consist of as few as 6 Bb Clarinets and 2 Bass Clarinets, as the Bb and Alto parts are covered by special Bb parts, and the Contra parts are optional. Bass Clarinet 2 is essential and Bass Clarinet 1 is not intended to be optional although the arrangement will work without it if you have no choice.

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	Moderate
listen to recording - 3m 43s

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. This version was revised in December 2022 and is an extensive reworking of my original arrangement for saxophones.

The parts are not too hard. The Eb part is covered by an extra Bb part and the Alto Clarinet part is covered by Clarinet 5. The 2nd Bass Clarinet is optional as are the contra parts.

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	Moderate
listen to recording - 4m 58s	or view:

A traditonal Christmas Carol (Adeste Fideles) with a new Fanfare and Descant.

The Eb part is covered by an extra Bb part and the Alto Clarinet part is covered by Clarinet 5. The 2nd Bass Clarinet is optional as are the contra parts.

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	Moderate
listen to recording - 4m 11s

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).

There are alternative Bb parts to cover the Eb and Alto Clarinets, and 2nd Bass and the Contra parts are optional. (This version revised in April 2023)

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	Moderate
listen to recording - 6m 11s

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.

There are alternative Bb parts to cover the Eb and Alto Clarinets, and 2nd Bass and the Contra parts are optional. (This version revised in March 2023)

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	Moderate
listen to recording - 3m 51s	or view:

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. This arrangement can be played with a small ensemble - just 5 Bb Clarinets and Bass Clarinet. The Contras are optional, the Alto part is covered by Clarinet 5 and the Eb part is non-essential but adds colour.

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	Moderate
listen to recording - 3m 23s	or view:

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.

There are alternative Bb parts to cover the Eb and Alto Clarinets, and the 2nd Bass and Contra parts are optional.

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	Moderate
Listen to recording - 3m 59s

A simple interpretation of this classic carol, with brief introduction and three different harmonic verses. Suitable for unison choir accompaniment or purely instrumental

There are alternative Bb parts to cover the Eb and Alto Clarinets, and the 2nd Bass and Contra parts are optional.

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	Easy
Listen to recording - 3m 05s

This Sinfonia is the only purely instrumental movement from Bach's Christmas Oratorio. There is plenty to play in all the parts and it is not difficult. Good to play at any time of year with its sense of uplifting spirituality. The original scoring is for 2 Flutes, 2 Oboe D'amore, 2 Oboe da caccia, Strings and Continuo.

There are alternative Bb parts to cover the Eb and Alto Clarinets, and the Contra parts are optional.

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	Moderate
listen to recording - 5m 07s