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African Dances' is a continuous work for solo clarinet and wind ensemble consisting of five individual sections. The basis for the piece is the clarinet's construction from the wood of the African blackwood tree, and its subsequent development into the instrument we know today. Each movement draws on different aspects of Pan-African music, ranging from the styles and forms of the African choral tradition, through to the complex cross-rhythms and patterns that characterise so much of the music of Africa. Recorded on Polyphonic QPRM137D LINDA MERRICK - CLARINET (Royal Northern College of Wind Orchestra)

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)

This substantial work is based on the standard three-movement format of a classical concerto, but this is where the similarity ends. The opening movement contains much syncopation and is in an almost rag-like style. The contrasting second movement is full of emotion with lush harmonies. Jazz reappears in the final movement which is almost bee-bop in style and shows off the jazzier side of the clarinet. Duration: 14:15 American Grade 4. A Clarinet & Piano accompaniment edition is also available. Recorded on Anglo Records AR007-3 Masquerade

Mozart originally wrote this concerto for a clarinet with an extended lower range, compared to the conventional instrument. As early as 1802, published versions appeared with registral changes, which made the concerto playable on instruments without the extra keys. When producing an edition for the conventional clarinet there are two choices to be made about the ‘extra’ notes – is it better to maintain the musical line, and hence transpose whole phrases or passages up an octave, rather than single notes, or is the chalumeau tone more important, in which case it may possibly be better to alter one or two notes to keep the correct octave. In this edition Philip Sparke has usually gone for the former so the ‘sequences’ make musical sense, but have taken the second option in some places. This fantastic work will prove popular with soloist, band and audience alike Duration 28:00

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)

Instrumentation: piccolo, 2 flutes, 2 oboes, Eb clarinet, 3 Bb clarinets, bass clarinet, 2 bassoons, solo clarinet, 4 Bb trumpets, 4 f horns, 3 trombones, euphonium, tuba, string bass, timpani, snare drum, cymbals, bass drum

Concert Band American Grade 3/Clarinet Solo American Grade 5. Duration 9:00. Also available with piano accompaniment.

for Flute, Clarinet or Alto Saxophone with Concert Band. Philip Sparke published a book of etudes, Super Solos in 2008, the third volume in a series flute, clarinet, alto saxophone, trumpet, horn, trombone and euphoniu. A young German Flutist was so excited by these pieces that his father secretly comissioned an arrangement of three of the etudes. The result is this mini-concerto, containing Little Overture, Berceuse and Molto Perpetuo. Duration: 7:05

Flute, Oboe, Clarinet, Violin or Alto Sax Solo with Band. Featuring the exquisite violin solos of Joshua Bell, this Oscar®-nominated score is one of James Newton Howard's most memorable. Filled with sensitivity and musical drama, this arrangement for band includes several options for the solo part.

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)

Oscar-winning composer Ennio Morricone has provided Hollywood with some of its monumental film scores, including the engaging music from The Mission. This beautiful and flexible setting for soloist and band can feature oboe, flute, clarinet, trumpet, or alto sax. Duration: 2:55

This touching ballad from the landmark musical Les Miserables had established itself as a classic long before Susan Boyle scored her knock-out punch on “Britain's Got Talent.” This skillfully crafted arrangement can be used to feature a vocalist or any number of instrumental solos (including Clarinet, Alto Sax, Trumpet, or F Horn). Sure to be a showstopper wherever it is performed.

Solos feature in most concert programmes and this arrangmenet will be a welcome addition to the library. A touch of calm expressiveness could make it a welcome break from the standard band repertoire.

Clarinet Solo and Concert Band. Grade: Easy/Medium

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

Malcolm Arnold’s Clarinet Concerto No. 2, Op. 115, was dedicated to Benny Goodman, and first performed by him as part of the Red Rocks Music Festival with the Denver Symphony Orchestra conducted by Brian Priestman on 17 August 1974. The third movement, known affectionately as ‘The Pre-Goodman Rag’, is an outrageous ragtime parody with a hauntingly wistful middle section. The work has now been made more widely available in this transcription for wind band. Duration: 2:20 Recorded on QPRM137D LINDA MERRICK - CLARINET (Royal Northern College of Wind Orchestra)

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

‘Rondo Variations was a sheer pleasure to listen to with humour and wit abundant in this chamber music-like work’. – Clarino Magazine. American Grade 5. Duration: 8:00 Recorded on QPRM137D LINDA MERRICK - CLARINET (Royal Northern College of Wind Orchestra)

The Pirates of Penzance is perhaps Gilbert and Sullivan’s most popular operetta, and tells the story of Frederic, who was apprenticed to a band of tender-hearted, orphaned pirates. A Sullivan Ballad uses a hauntingly simple love duet, from the end of Act 2 ‘ Ah, leave me not to pine alone and desolate’ which is arranged here as a duet for flute and alto saxophone (or clarinet). Both performers and audience alike will love this beautiful duet.

For Violin, Clarinet, or Flute Solo and Band

A chance for your 'star' clarinetist to shine in a lively arrangement of this rip-roaring Latin and Swing piece. American Grade 4 (Clarinet 6)

Score and Parts. As in the original soundtrack from The Terminal, a featured solo clarinet is used to portray the warmth and friendliness of the main character Viktor Navorsky. This appealing dance-lke composition also captures something of his colorful ethnic background.

Extra Score. As in the original soundtrack from The Terminal, a featured solo clarinet is used to portray the warmth and friendliness of the main character Viktor Navorsky. This appealing dance-lke composition also captures something of his colorful ethnic background.

This waltz is taken from the film music that Shostakovich composed for The Youth of Maxim. Ed Keeley has composed this attractive arrangement for flute and clarinet with concert band. Very enjoyable. Duration 2:20 American Grade 3

The original work, scored for unaccompanied choir, was an inspired effort by Ukraine-born composer and educator Mykola Dmytrovych Leontovych. Douglas Wagner’s new setting, as the title implies, features your clarinetists giving them a left-handed Christmas workout. Very comfortable for the whole band and right in the pocket for the clarinet section.

Medium