11 Variazioni in Blue Jacob de Haan Set of Clarinets .pdf



Nombre del archivo original: 11 - Variazioni in Blue - Jacob de Haan - Set of Clarinets.pdf
Título: Variazioni in Blue.mus
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VARIAZIONI
IN BLUE
(Jacob de Haan)
Variazioni in Blue consists of a series of character variations, in which melodic blues-elements (blue
notes) reoccur continuously. Following a solemn introduction, in which part of the theme already
appears, there is an ornamental variation in classical style. Next we hear a variation in blues-style,
followed by a quick variation with a folkloristic Eastern-European character. Exceptionally beautiful is
the Andante con espressivo, standing out because of its pleasing harmonic changes. This variation blends
into a repeat of the previous folkloristic variation, consequently leading up to the climax as the major
variation draws the composition to its conclusion.

VARIAZIONI IN BLUE
(Cover of Clarinets, Aragón, S.XXI)

  

  


  
  




  



  

 

Maestoso 

 

Clarinet in B  1

Clarinet in B  2

Clarinet in B  3



Clarinet in B  4


 

Clarinet in B  5


 

Bass Clarinet


 

Cl. 1

Cl. 2



 


 

Cl. 4

 

Cl. 5

B.Cl.

 
 













   
   
 




 



          


































   
   
 
 

 

  






  






          

 


Cl. 3















 










©Gino Gonçals

Jacob de Haan

Arr. by Gino Gonçals










 
 
















        








 

 




           


ritenuto




 





 



 















 

 



 

 



 

 



VARIAZIONI IN BLUE

Cl. 1

Cl. 2





Allegro 





Cl. 3

 

Cl. 4

 

Cl. 5

 

B.Cl.



Cl. 1


















  





15
 


  


  





 

 



Cl. 4

 

Cl. 5

 

B.Cl.



























































3

3

3





3

3











3




 



3



3

3



Cl. 3



        

3



3






3









         

3

3

3

3







        

3







         
3




3

Cl. 2

10

2

3




























3

3

3

3


















































3

3

3

3






3

3

3

3

3


















3



VARIAZIONI IN BLUE

Cl. 1

Cl. 2

 

 


  

 

 


  

Cl. 3

 

Cl. 4

 

Cl. 5

 

B.Cl.



3

3

3

3

3

3































3

3

3

3

3

3

3

3































20




3


















3








   
    
 
3

3

3

3

3

3

3

3

3

3

3

3

3

 
 

3

Cl. 1

3

3







3

3



3



























3

3

3

3

3

3

3
                         





Cl. 3

 







Cl. 4

 







Cl. 5

 

B.Cl.



3

Cl. 2

3

3





 






3

3

3










3
















  



  




  
  

3

3













VARIAZIONI IN BLUE

Cl. 1



       
3

3

 

3



3

3

3

4

 

    
ritenuto


3
                            


3

3

3

Cl. 2

3

3

Cl. 3

 

Cl. 4

 

Cl. 5

 

B.Cl.



3











 



3

3













3












          
 
 
  



          

 

  

 





  







  





Blues 


  







 






 



 



  




Cl. 2





Cl. 3


         


         
             




           



          

 

        
   

         
           

     

    

B.Cl.

    
    















Cl. 5






 

Cl. 1

Cl. 4








30




      

  
 



         
          


    
    

  




     

    

    
  



  


 

VARIAZIONI IN BLUE



Cl. 1



Cl. 2



  

Cl. 3

Cl. 4

Cl. 5

B.Cl.

Cl. 1

Cl. 2



5


         


 
 

             


         
      

  


        
   

      

 



    
    







    



       
 
 
         

Cl. 3


         

Cl. 4

      


Cl. 5

   

  

B.Cl.







   

  

  
 
     

 
   




  



 
 

     
     



     




 
  










  
 

 
    

  

     

 
    

   
  


 
  

   
  


 
  

  
  


 
 

     
     


     
      


    




 
    

     
   

      
 


  
 
       


 
    





     
       




35

   













40





  



 


        


     

    


  

 
 

       
       


 




 


VARIAZIONI IN BLUE

Cl. 1

Cl. 2

Cl. 3

Cl. 4

Cl. 5

B.Cl.

     

 
  
     
     
        
  

 
        




Cl. 2

Cl. 3

Cl. 4

Cl. 5

B.Cl.



   
     

  
      

  
     

 


 


 


      

 
    
    





   
 
   
 
     


  
 
          




45
Cl. 1


 
      


              
    


    
 



  



  



  

 


         


 
 
             

             

 

 


42




 





 
 


 




  


  
  



6


















       
 
  
       
 
  


     

  
 

      

     




     




ritenuto



      
    

         




         






   


  



 Allegro Molto 



       
 


 
        
 



     


     



 








  


   















 
 
 
 

VARIAZIONI IN BLUE

Cl. 1







Cl. 2







Cl. 3

Cl. 4

Cl. 5

B.Cl.

     
     
  


  
  

  

  










Cl. 1





Cl. 2





Cl. 3

Cl. 4

Cl. 5

B.Cl.




















51

 
 
 
 
55

 
            

 

 

















 
 
 










 
  

  
  
 

 














 



 
            


7








 



 



 



 



          


          




             


    
        
 



 
 

 



 

 
 







VARIAZIONI IN BLUE

Cl. 1

Cl. 2

        
  



        

  









  
 








Cl. 5









B.Cl.







Cl. 4

 

 


 
 

      



60



                        



  
 


Cl. 3

8







   
     
   



  











  









  









  






  
   
   
  










  
  

  








Cl. 1



      





 



Cl. 2

    

      





 





Cl. 3

        





       









 
 

Cl. 4

 

    

 

Cl. 5

 

B.Cl.















  






  







  










  






  









   











 















  






  






   

  











 




 





 






 






 


















 



VARIAZIONI IN BLUE




65
Cl. 1

Cl. 2

Cl. 3

Cl. 4

  
     







  
     








 



 




 





















 


 

 


 

 


Cl. 5



B.Cl.



Cl. 1

        

Cl. 2

        





Cl. 3







 

 




        





Cl. 4



Cl. 5



B.Cl.



9



      




 














  







  

       

       







  


      

    







    



       





    





   






  
  



   

      


  



   

      


  







  








  








  

      


       

70












 


 


 





 




 

 






 




 









 









 





VARIAZIONI IN BLUE

Cl. 1

Cl. 2

Cl. 3




 
 

 


Cl. 4



Cl. 5



B.Cl.

Cl. 1












 


 

 

 


2ª Salta a CODA

 
 



2ª Salta a CODA

Cl. 2

 



 

 



 

2ª Salta a CODA

Cl. 3

2ª Salta a CODA

Cl. 4

Cl. 5

B.Cl.




2ª Salta a CODA





 

2ª Salta a CODA





 

     

 


      


 

 








  

  
     


 

 

 




 

  
     









  

           






10



75






















 






 






 












 






 
         



















 












 




 





 




 




 




 



        





Andante con espressivo





    






 

80

       





















VARIAZIONI IN BLUE

Cl. 1





  

      




    


    

11



     
     



  


 

  



Cl. 2



Cl. 3

 















Cl. 4

 















Cl. 5












  

















B.Cl.




 

 



Cl. 1









Cl. 2

 





Cl. 3

 















Cl. 4

 


















Cl. 5












B.Cl.














85

       

       


    

       

    

       













VARIAZIONI IN BLUE

Cl. 1

Cl. 2

 

Cl. 4



Cl. 5



B.Cl.



Cl. 2

90

 
   

Cl. 3

Cl. 1

    
   

        

 
   

   



  
  






    
  

    
  
























































  



       

 

  



       



12

Cl. 3

 

Cl. 4

 

Cl. 5



B.Cl.






3

3

95



   















 



       

































































       





 





VARIAZIONI IN BLUE

Cl. 1


       



Cl. 2

        

       

       

     
 

Cl. 3



       

    

Cl. 4



       


Cl. 5



B.Cl.



Cl. 1


               

            



Cl. 2

                

     
 

 
 

  

Cl. 3

 

  

      




  



       

Cl. 4

 



























Cl. 5





























B.Cl.

 


 


 

    







   

13









   












































































 






 


 


 


 


 


 


 


 


 


 









3


 




VARIAZIONI IN BLUE

Cl. 1

 



Cl. 2

 



Cl. 3



105

Cl. 4

Cl. 1

Cl. 2




       




























  

 





  


B.Cl.

















 



 


       
3

  


























 


 

  








   



   



 



Cl. 4

 

  









  

Cl. 5













B.Cl.



  






   


 


 






 




 

  

Cl. 3



      


  












       








Cl. 5





 

14


   





    






 


















  









 










VARIAZIONI IN BLUE

Cl. 1



Cl. 2



Cl. 3



Cl. 4

Cl. 5

B.Cl.

Cl. 1

Cl. 2

Cl. 3

Cl. 4

Cl. 5

B.Cl.
































 

 


















115



 

 


     

 


  



 



 


     


 


  























 


 









 


 





























     

 


     


 












15

























 




    

  






    

  



























ritenuto



  
  





A la





A la





A la



A la



A la



A la





 

 



 











Cl. 1



Cl. 2



Cl. 3



Cl. 4



Cl. 5



B.Cl.

VARIAZIONI IN BLUE

   
     

  

      







  

121 Allegro Molto 
CODA





CODA

CODA

         

 

  

CODA

        



 
CODA


 

 






 
CODA



  




   



  
  
  

Cl. 1

Cl. 2

Cl. 3

Cl. 4

Cl. 5

B.Cl.

         


   

 

  
  


        






       






 




  


 
  





 









         
  



              



125

              






              






 
            

  

  



  
  

16

      



    





  







 




  



  


 






 








 



 

    



   







 
  






 


  


 






 







 



     
   


     
   




  


VARIAZIONI IN BLUE

Cl. 1

Cl. 2

Cl. 3



  



Cl. 5





Cl. 2



Cl. 4

Cl. 5

B.Cl.



1.


  




 


1.




 



1.








 






 








 




2.

1.



1.













 

 







 




  



  



     
   


  
 



2.



 


 
       


2.

1.



 

 











 





      
 

   





     

    




  



    




     


 



            



   


  



Cl. 1

Cl. 3



 


Cl. 4

B.Cl.



17





2.

    



2.

2.












 

 




 





    






   












    






 
     



  


    



 






 

    

136














































Cl. 1

Cl. 2

Cl. 3

Cl. 4




       
       

VARIAZIONI IN BLUE

       
       

        
       

       
       

        
       

       
       

       
       

       
       

Cl. 5



B.Cl.



       





       





18


  



  





  

  

  


  







VARIAZIONI IN BLUE

Clarinet 1ºB 

         
 



            
  











ritenuto


    
3

3

3

3

Arr. by Gino Gonçals

            

         

Maestoso 



Jacob de Haan

(Cover of Clarinets, Aragón, S.XXI)



Allegro 
10



 
3




3

3


      
15

3

3

3

3

3

3

3

3

3

3

3
20
































3

3

3

3

3

3



       



       

3

3

3

3

35





 

3

3

3

    
3

3

3

3

3

3

3

3

ritenuto

3

3



  Blues 



                 
 
3

3

3

3

3

3

3



3

30



3

       


    
          


           

    
40

   
  
 



         45           
    


 
    





©Gino Gonçals

 

   

ritenuto

VARIAZIONI IN BLUE

 Allegro Molto 
  


         
  


          




  

  



50



60

2


          

          
55





 
65  



 
   


                       


75
   
 
          

     

70

        


          

  


 



2ª Salta a CODA



Andante con espressivo



80







  




  




    




       85   




  


90


           
95

3

 


           


                    


VARIAZIONI IN BLUE

3

                                       


115



   






   
 

 








  






             


105

3



 







 CODA

121
             


Allegro Molto 

 








2.



    

 
  























 

A la



ritenuto

125
               
      

1.
  

      







 
 
 

        
 
 

  
  

135
        


                
   

VARIAZIONI IN BLUE

Clarinet 3ºB 
Maestoso 

    


  



Jacob de Haan

(Cover of Clarinets, Aragón, S.XXI)



 

   


  
  


ritenuto

    
 

   
  

  
  

   



   
 

   



  
  

         



 

30

 

    
ritenuto

  
    

       

  

   



  
  


  

Blues 

©Gino Gonçals

  
  

  
    

 
  

 

           


          

 

                   
  
 



40

 

  
  

                 

 
 


35



  
  

  
  

                    

         


  


  
  

15

20

    

  
 

Allegro 
10

 

    
 

  


Arr. by Gino Gonçals

   
       


          
  



VARIAZIONI IN BLUE

        
 

2

         45      
          




  
   


 

ritenuto

 


    
      
 
  
 
 




            


55

 
  



       
50





 


            
 


 
 

 
       


65

                                       
               




60

             
 

           
           

70


   

               


 











 
   
 


Andante con espressivo
2ª Salta a CODA 
80







   
 
 
 

 


75

 

85

   

 


 

 

90

     




VARIAZIONI IN BLUE













105

           
110

   





   



   


            




121



  
   
 

  

1.

2.

  
   






136









      




   



   

Allegro Molto 
CODA

125

            


  


3

  
115

  

100

 

  


95

3

   




 



   




 





 

A la

ritenuto

    
           


    

    



    
 

    
 




     


    



                   
 

VARIAZIONI IN BLUE

Clarinet 2ºB 

Jacob de Haan

(Cover of Clarinets, Aragón, S.XXI)

Maestoso 

               




    
3

3

3

3

         


        




Allegro 
10



          

ritenuto

   

Arr. by Gino Gonçals





 
3




3

3


      
15

3

3

3

3

3

3

3

3

3

3

3
20
































3

3

3

3

3

3



    



       

 



    
 

3

30



35



3

3



3




 

 


3

3

3

3

3

3

3

3

3

3

3

ritenuto





                 


               
        


            
   


40

©Gino Gonçals

3

3



       

3

3

3

3

3

3

3




3

Blues 



3





            



    


     



     
  



 


     


VARIAZIONI IN BLUE



         



 Allegro Molto 





  

 

2

          



45



50



55

ritenuto

       



          



60
          
                                 




65 
   





        
       



           


                                       
             



2ª Salta a CODA 
75

 


   






















         


 

70

Andante con espressivo





 












  

 



      
85

80

  


           



 

90

  



           
95

3

      


VARIAZIONI IN BLUE

3

                                     
100



                          
105


















115



Allegro Molto 
CODA
121

        

110














 















A la



125


     


1.

  

      
2.

 135
  




                
   





                        
           


 
       







    

 


  
 







ritenuto

     


























   


VARIAZIONI IN BLUE

Clarinet 4ºB 
Maestoso 

    


  





ritenuto

   
  
  
  





 

 



  

  



20



 












15

  












  

  
 

  





  




 
  
  

  



  

 

      


Blues 
  
           






  
  

                 

    




  

                  



 








  



30

        


Arr. by Gino Gonçals



 

Allegro 
10

      
  
 
   ritenuto

40

Jacob de Haan

(Cover of Clarinets, Aragón, S.XXI)

         

 
  
 
       

35

    
    


  
 
          

©Gino Gonçals

   




 
 
         


42

VARIAZIONI IN BLUE


 
        



 



    

2

        
 

 
45



 Allegro Molto 
       
          
   
   

            

ritenuto


50



55







  
   

 

 


             



 







            
 

 

       
       


    
           
  


60

    
 

   
      

65

70




          

























 
 



75

  

 



  







  


2ª Salta a CODA









85



  

  
 
 

Andante con espressivo

  




        







80
















VARIAZIONI IN BLUE
90

















           
105

       


110

    



  

Allegro Molto 
CODA

 
 
1.

   
  

  

 


   


      

                


               115 

  

            
ritenuto


   
   


121



95

      

 

  



 


    








3





125

2.

  



 
       




   







135




 



 





                 


   








 
    




A la











      


    









    
 



VARIAZIONI IN BLUE

Clarinet 5ºB 

(Cover of Clarinets, Aragón, S.XXI)

Maestoso 

  















ritenuto

  
 











  






    
    










  








  
 

  



30





  


 



 

  

  



ritenuto

  
  

          

  
      

    
    

       
    


35




  
  


 
  



 

Allegro 
10

15

20



  

 



  



 



Jacob de Haan
Arr. by Gino Gonçals







  



  
  


 




Blues 





  
  

  
  
  




 
 

     
      


     

  
 

  
  

 
  

                 
   
   


40

©Gino Gonçals



VARIAZIONI IN BLUE
42

               
   








   

55

   









     



  


51

 


 




 



     

   
      

 

  






 

           
           

60



    
 




   


 


65




   


70






       




   


  
 
Andante con espressivo
2ª Salta a CODA 
80





  










 

 
 
 








   






 










     

Allegro Molto 
 

     

 
ritenuto


45

                  
    
 
   



2

75

85



90

  















VARIAZIONI IN BLUE










   





  

105

  

3

95







   
   


  



   

  
  

   

   
  

   

     




        

  






      
 





115
A la 



           







          
  





ritenuto
   




121

Allegro Molto 
CODA

 




   


      
1.

   
  




 
      

2.

  


  
    
 





           
 




136

 
 

    







   











125

      


  









 
       



  
  
 



VARIAZIONI IN BLUE

Clarinet Bass

(Cover of Clarinets, Aragón, S.XXI)

Arr. by Gino Gonçals

Maestoso 

  




 






 

 
ritenuto



15



 












Blues 

Jacob de Haan

 

  











 


Allegro 





  

10







 




   




 



 









 



 





 
 


20

 





  



    
ritenuto



 

    
    
    
    
  
  
  
    

30


    
    
    
    
  
  
  
   
35


    


 
  
    
       



40

   




    
    
    
    
  
  
  
  


42

 


    


             
  
         
ritenuto 

45

©Gino Gonçals



VARIAZIONI IN BLUE

 Allegro Molto 
  
  

  
  

 

60



 
  


 

  


51

 



 



  

      


   


  


      

       



 

 

      






           
  





   




   
  


2ª Salta a CODA



 










90



 


      

       



 

70





            





               
  






   



65

55





2





85






  


  


Andante con espressivo
80





 






  

      

75











95






  











   
 


   
   
      
   
   

 
 
 
 
 
 

VARIAZIONI IN BLUE






    
     


105



    
     
  

115



121







 CODA











  


  

  


3




   





   
 
 





  













A la 
  












ritenuto 

  
  
  
              





 
125



              




  
 
  
 




 

136









  



 




 

 








   
   

               
 



 

   


1.

2.

  






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