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Sonata in B Minor K.87 L.33 : for String Orchestra

Scarlatti's Sonata in B Minor, K. 87, L. 33 is a plaintive work originally written for keyboard. This beautiful transcription by Yukiko Nishimura presents the piece in the key of a minor, making the musical and technical apects easier to play, yet retaining the harmonic richness of Scarlatti's score, with interesting counterpoint in each part.

Symphony No. 5 in B-flat Major, Op. 100

Symphony No. 5 in B-flat Major, Op. 100

The Break : Mastering the Middle Register of the Clarinet

Crossing the break can be a source of frustration for developing clarinetists. The Break is a logical guide for mastering this important step in clarinet performance. The method is divided into two parts: Part I contents: the clarinet overtone series - how new note names attach to previously learned fingerings; how to incorporate 'right hand down' as a developmental technique; one octave scales across the break; first melodies in the clarion register that teach basic musical concepts needed for advanced performance. Part II contents: studies from Rhythmical Articulation by Pasquale Bona, selected and edited for clarinet to prepare students for upper level performance.Rhythmical Articulation was originally written to assist singers with rhythmical and pitch accuracy. Range: The range is appropriate for developing clarinetists (low B to B just above the treble staff). Third-line B natural is often referred to as the break because it is the note where the register key is added to produce the middle register. These studies and exercises center around third-line B natural and provide a means to develop smooth connections between the lower and middle registers of the clarinet. Technique: The studies have been adapted for clarinet to cover nine key signatures. Appropriate articulations, dynamics, and expressive markings have been added to reflect common practice in the classical style. Advanced rhythms and time signatures are introduced with moderate tempos. Musical terms have been added to identify phrases and suggest expression. The Break also includes an introduction to the altissimo register.

So You Want to Play the Clarinet : Method Book

So You Want to Play the Clarinet is a carefully sequenced book for beginner clarinetists that emphasizes good tone quality and phrasing. The range is moderate, from the lowest E to third line B-flat. Rhythms and basic techniques needed for first semester performance are included. For the best result, follow the lessons in order. With regular practice, you can teach yourself to play. Visit clarinetcity.com to find articles, videos, and helpful information that is free to download.So You Want to Play the Clarinet is a carefully sequenced book for beginner clarinetists that emphasizes good tone quality and phrasing. The range is moderate, from the lowest E to third line B-flat. Rhythms and basic techniques needed for first semester performance are included. For the best result, follow the lessons in order. With regular practice, you can teach yourself to play. Visit clarinetcity.com to find articles, videos, and helpful information that is free to download.

Symphony No. 9, Op. 160 : for Large Wind Band

Premiered on September 21, 2018 in Lawrence, Kansas by the University of Kansas Wind Ensemble (Dr. Paul Popiel, conducting), James Barnes' Ninth Symphony was composed between January and late June of that same year. This large work was commissioned by a consortium of twenty-one college bands, community bands, professional bands and individuals to help mark the 70th birthday of the composer (b. 1949). It is an expansive forty-minute work in four movements, of which the composer writes, This is my last symphony... this work represents a compendium of all that I have learned during the fifty years of composing and scoring for this wonderful new medium: the modern wind band. The first movement, subtitled Elegy, is based around G minor. It is the longest movement of the symphony. Tragic and despondent in character, it is cast in sonata-allegro form. The second movement is entitled Scherzo. Barnes claims that I have always wanted to write a waltz, and that is how this movement is cast, in a modified rondo form in D minor. In contrast to the mood of the first movement, the scherzo is a delightful posy of expansive melody, splashy color, humor and rhythm. The third movement, which is in a modified tertiary form, is entitled Night Music. In contrast to the scherzo, this movement begins with a mysterious incantation, first displayed by solo Alto flute. The music becomes even darker and more mysterious, while overall the movement effectively expresses an otherworldly mood, ending with a solo soprano offstage which suddenly emerges, eerily singing a modified version of the opening incantation. Cast in sonata-allegro form, the fourth movement is most definitely a rousing Finale, beginning with a brilliant fanfare and undergoing several mood transformations before emerging into the final coda, ending the symphony with an energetic splash of color.

Symphony No. 9, Op. 160 : for Large Wind Band

Premiered on September 21, 2018 in Lawrence, Kansas by the University of Kansas Wind Ensemble (Dr. Paul Popiel, conducting), James Barnes' Ninth Symphony was composed between January and late June of that same year. This large work was commissioned by a consortium of twenty-one college bands, community bands, professional bands and individuals to help mark the 70th birthday of the composer (b. 1949). It is an expansive forty-minute work in four movements, of which the composer writes, “This is my last symphony... this work represents a compendium of all that I have learned during the fifty years of composing and scoring for this wonderful new medium: the modern wind band.'' The first movement, subtitled Elegy, is based around G minor. It is the longest movement of the symphony. Tragic and despondent in character, it is cast in sonata-allegro form. The second movement is entitled Scherzo. Barnes claims that “I have always wanted to write a waltz,” and that is how this movement is cast, in a modified rondo form in D minor. In contrast to the mood of the first movement, the scherzo is a delightful posy of expansive melody, splashy color, humor and rhythm. The third movement, which is in a modified tertiary form, is entitled Night Music. In contrast to the scherzo, this movement begins with a mysterious incantation, first displayed by solo Alto flute. The music becomes even darker and more mysterious, while overall the movement effectively expresses an “otherworldly” mood, ending with a solo soprano offstage which suddenly emerges, eerily singing a modified version of the opening incantation. Cast in sonata-allegro form, the fourth movement is most definitely a rousing Finale, beginning with a brilliant fanfare and undergoing several mood transformations before emerging into the final coda, ending the symphony with an energetic splash of color.