Clarinet & Piano Book 1 by ASQ Series
SKU:
am308-63
£13.50
£13.50
per item
Description
Composer: ASQ Series
Instrumentation: clarinet & piano
Size: score 28 pages - 1 part @ 10 pages
Astute code: am308-63
ISMN: 979 0 57031 050 0
Trinity: Grade 5
Download available HERE
Instrumentation: clarinet & piano
Size: score 28 pages - 1 part @ 10 pages
Astute code: am308-63
ISMN: 979 0 57031 050 0
Trinity: Grade 5
Download available HERE
Trinity Grade 5 piece - You Never Know
Eight characterful & fun pieces for clarinet and piano of Medium standard.
These pieces are for clarinetists of all ages looking for exciting and fun repertoire.
These pieces are for clarinetists of all ages looking for exciting and fun repertoire.
1. Bad Hair Day - Andy Scott
2. Da, Comrade Sax! - David Roach
3. Never the Same - Rob Buckland
4. You Never Know - Rob Buckland
5. Rain on Sand - David Roach
6. Free-Running - Rob Buckland
7. Best Left Unsaid - Andy Scott
8. Shuffletown - Rob Buckland
2. Da, Comrade Sax! - David Roach
3. Never the Same - Rob Buckland
4. You Never Know - Rob Buckland
5. Rain on Sand - David Roach
6. Free-Running - Rob Buckland
7. Best Left Unsaid - Andy Scott
8. Shuffletown - Rob Buckland
Bad Hair Day - Andy Scott
‘Bad Hair Day’ is all about energy, intensity and ‘drive’. Careful attention to articulation, dynamics and rhythmic precision will help achieve this, it doesn’t need to be a ‘thrash’! (although it might be fun that way as well !!). Thanks to Georgina for the title.
Da, Comrade Sax! - David Roach
“Play as if, like Kruschev, you are banging your shoe on a table”.
Never the Same - Rob Buckland
Try to maintain a really flowing line, with a clear beginning, middle and end to each phrase, regardless of the tempo fluctuations beneath. The barlines gradually get closer and closer together to increase the tension.
You Never Know - Rob Buckland
A good rhythmic feel is vital here, especially in the more syncopated middle section. Accent the tied quavers at the end of the bars to really make this come through.
Rain on Sand - David Roach
“Play delicately,
With freedom of rain shower
Sun will reappear.”
Arigatou gozaimasu
Free-Running - Rob Buckland
This must have a really solid foundation, so that the shifting rhythmic patterns fit perfectly over the accompaniment. Lots of forward moving energy will help.
Best Left Unsaid - Andy Scott
Create contrast between the two ideas in this piece - a warm gentle sound in the opening section and a fuller and intense sound in the second section.
Shuffletown - Rob Buckland
Stick to a steady groove tempo, keeping the quavers in a 12/8 feel throughout. In the middle section (bar 25) aim towards the top A each time, and let the shifting time signatures help the shape come through.
‘Bad Hair Day’ is all about energy, intensity and ‘drive’. Careful attention to articulation, dynamics and rhythmic precision will help achieve this, it doesn’t need to be a ‘thrash’! (although it might be fun that way as well !!). Thanks to Georgina for the title.
Da, Comrade Sax! - David Roach
“Play as if, like Kruschev, you are banging your shoe on a table”.
Never the Same - Rob Buckland
Try to maintain a really flowing line, with a clear beginning, middle and end to each phrase, regardless of the tempo fluctuations beneath. The barlines gradually get closer and closer together to increase the tension.
You Never Know - Rob Buckland
A good rhythmic feel is vital here, especially in the more syncopated middle section. Accent the tied quavers at the end of the bars to really make this come through.
Rain on Sand - David Roach
“Play delicately,
With freedom of rain shower
Sun will reappear.”
Arigatou gozaimasu
Free-Running - Rob Buckland
This must have a really solid foundation, so that the shifting rhythmic patterns fit perfectly over the accompaniment. Lots of forward moving energy will help.
Best Left Unsaid - Andy Scott
Create contrast between the two ideas in this piece - a warm gentle sound in the opening section and a fuller and intense sound in the second section.
Shuffletown - Rob Buckland
Stick to a steady groove tempo, keeping the quavers in a 12/8 feel throughout. In the middle section (bar 25) aim towards the top A each time, and let the shifting time signatures help the shape come through.
