Clarinet  Up a Level         

BATTLES AND CHANTS is in three movements. The solo clarinet can be heard in the role of Cassivellaunus defending his territory against the Romans (the wind and brass instruments), and on occasions the clarinet wins the upper hand. The first movement, ‘Foreign Invader’, starts slowly on the timpani and leads to a clarinet solo followed by a full-blooded fanfare representing Cassivellaunus, commander of the Southern Tribes. This section soon changes tempo, anticipating battles and skirmishes to come. The second movement, Betrayal’, is the emotional core of the concerto, with Cassivellaunus contemplating defeat. The timpani start the movement, reflecting the opening of the first. A hymn-like chant in the wind and brass allows the soloist to soar over the top of the band with melancholic phrases. The third and final movement, Defeat of the Southern Tribes, starts with Caesar, represented by the percussion section, marching towards Cassivellaunus’ Hertfordshire stronghold for the final showdown. After a full-blooded battle the work ends with the final sounding of Cassivellaunus’ fanfare, but this time heralding his defeat and Caesar’s victory. (Grade 5 - Soloist 6) Performance time 21’02” (This work was commissioned by and is dedicated to Linda Merrick, Philip Ellis and the Hertfordshire County Youth Wind Orchestra and is featured on the recording QPRM137D LINDA MERRICK, Linda Merrick and the RNCM Wind Orchestra)

The opening ‘Carousel’ takes a leaf out of the American minimalist composers’ book and is energetic and resourceful throughout, conjuring up images of a fairground ride that is not too much of an intrepid adventure! The central ‘Cameo’ presents and re-presents a delicate, highly legato, melisma for the soloist. A somewhat brooding central episode provides both a moment of contrast and the opportunity for the soloist to deliver some free cadenza-type material before returning to the security of the opening calm. The closing ‘Charabanc’ is a freely developed rondo-style finale embracing influences from jazz and other light music forms. Listeners are encouraged to use their own imagination, as it is intended to be whatever you want it to be! Performance time 15’16” (This work was commissioned by and is dedicated to Linda Merrick and is featured on the recording QPRM137D LINDA MERRICK, Linda Merrick and the RNCM Wind Orchestra)

Not only will your clarinets have a ball with this section feature, but there is something here for every section of the band. In a style reminiscent of Copland, John Moss uses lively themes, clever harmonies and effective percussion writing in creating this appealing composition. (2:55)

Solo feature for Fl, Vln, Clar, Sax, or Xylo and opt. narr. Take your best soloist and turn him (or her) loose to do musical battle with the devil! In this cleverly designed novelty number, solo parts are provided for flute, violin, clarinet, alto sax, and mallet percussion. In addition, an optional narration is included along with alternate passages to work with any of the soloists. This tune was a number 1 hit for the Charlie Daniels Band back in 1979, and it could very well be the number 1 hit of your next band concert! (Hint: have your Head play the devil, or do the narrating)

Performer level. Here's a wonderful easy march that features the clarinet section. Fun to play and easy to learn. Dur: 1:20

The solo part can be played by a trumpet, clarinet or alto saxophone. Sir Hubert Parry (1848-1918) belongs to a forgotten generation of English composers who are often over-shadowed by Sir Edward Elgar, and the result has been that much of their work is little played or forgotten. In Parry's case, he is now mostly remembered for his hymn tunes, such as Jerusalem and Repton, both marvellous melodies, of course. The latter first appeared in Parry?s oratorio Judith and was adapted as a hymn tune after the composer's death. Duration: 3:00

For Violin, Clarinet, or Flute Solo and Band