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[2] [3] Richard Hadlock has cited Trumbauer's "Clarinet Marmalade" as "a triumph in terms of logical overall structure, melodic symmetry and rhythmic drive, a most extraordinary jazz recording" and opines that Beiderbecke's palette of color through his use of ninths, elevenths and thirteenths and substitution of scales for arpeggios was "about ...
The Caprice sur des airs danois et russes (Caprice on Danish and Russian Airs), Op. 79, is a caprice for flute, oboe, clarinet and piano, composed by Camille Saint-Saëns in 1887. The inspiration for using Danish and Russian airs can be linked to the dedicatee Maria Feodorovna , a Danish princess who became Empress of Russia in 1881 as the ...
However, this is short lived as the work comes back to E-flat with the original melody being stated again first in E major, and then the tonic. The work finishes with one of the most glittery, virtuosic passages in the clarinet repertoire marked "brillante", made up of largely arpeggios and scalic runs in sextuplet semiquavers.
The Clarinet Trio's timbre is more dark than sunny, but Brahms lightens the atmosphere by making full use of the clarinet's wide range and its facility with arpeggios and rapid passagework. [2] The work incorporates a considerable amount of arpeggio patterns in its theme, complemented by conversation-like passages in the upper register of the ...
As the secondary theme comes to a close, the clarinet has another chance to improvise briefly, and this time leads the canonic material that follows. The Alberti bass and arpeggios over diminished chords for the soloist recur before the movement ends in a cheerful final orchestral ritornello. [29]
This march takes its title from the emblem of the Marine Corps. It was one of several military-related titles chosen by Sousa while he was an orchestra conductor. The form unusually has three strains before the Trio, which in turn features many dramatic chromatic scales in the woodwinds.
These scales are given to the clarinet in the recapitulation (bar 51). In the last few bars of the movement, more chromatic than the rest, the scales turn into triplet arpeggios traded between the strings under the closing clarinet phrases.
Wind, brass, and fretted-stringed-instrument players can perform an extremely rapid chromatic scale (e.g., sliding up or down a string quickly on a fretted instrument). Arpeggio effects (likewise named glissando) are also obtained by bowed strings (playing harmonics) and brass, especially the horn. [6]