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C7873DCF-E64D-47BC-A258-9E4F92F602D3
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Update Title: C7873DCF-E64D-47BC-A258-9E4F92F602D3
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Transcribed and edited by clarinet virtuoso, Richard Stoltzman, the Chromatic Fantasy and Fugue can be performed as either a trio or as a solo with the edition’s companion audio, available for free download at keisersouthernmusic.com.
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Bb Clarinet solo with Clarinet 2 in Bb and Bass Clarinet (live performers or CD accompaniment)
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Performance notes (arranged from Chromatic Fantasia and Fugue, BWV 903 ) Breath marks are only suggestions. The length of time between breaths is not a contest. Varying the places in the music where you breathe is good to practice and allows for expressive use of the breath for spontaneous performances. In the Fugue, legato groupings are simply suggestions for supple phrasing. Feel free to try alternative tonguing and legato combinations. Remember that Bach did not indicate dynamics, breath marks, nuances or tempi in his scores. I use them to give some ideas for shaping the music. As you become more familiar with the piece through practice and performance, you will find your own path to communicate Bach’s amazing music. Recitativo (as it appears in the Fantasy) connotes a spoken style, less rhythmical in a particular tempo. Here, Bach is venturing through many harmonies to explore the descending chromatic half-step. The last section of the Fantasy, which I marked Adagio cantabile, is a poignant dénouement unfolding of the chromatic scale, as only Bach, in his genius, can create. Two chromatic lines descend hand in hand. With stems up, we hear the melodic line finish each phrase: E-D# (m. 75), D-C#, C-B (m. 76), B-A#, A-G# (m. 77), and G-F#, F-E (m. 78). With grace notes stems down, we hear the top note of each chord (which I have indicated with a tenuto marking): A-G# (m. 75), G-F#-F-E (m. 76), E-D#-D-C# (m. 77), and C-B-A#-A (m. 78). Inspired art transcending craft. In general, start trills from above on the upper auxiliary note.
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