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  • Temptation I.

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    Norbert Sándor
    7 views2 pages
    This musical composition is scored for two clarinets. It contains complex rhythmic passages and indications for dynamics, articulation, and tempo. The piece explores the interplay between the two instruments through call-and-response exchanges and overlapping melodic lines.

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    This musical composition is scored for two clarinets. It contains complex rhythmic passages and indications for dynamics, articulation, and tempo. The piece explores the interplay between the two instruments through call-and-response exchanges and overlapping melodic lines.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    7 views2 pages

    Temptation I.

    Uploaded by

    Norbert Sándor
    This musical composition is scored for two clarinets. It contains complex rhythmic passages and indications for dynamics, articulation, and tempo. The piece explores the interplay between the two instruments through call-and-response exchanges and overlapping melodic lines.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    of 2

    Temptation

    I.
    Norbert Sándor
     = 96

      
    equale

       
    
     
    tenuto

      
    Clarinet in Bb 1

        

    tenuto 3

            

    Clarinet in Bb 2

    5     
      
       
        
    Cl. 1

      
               

    Cl. 2

    10     3  
      
                    
       
    Cl. 1

      
           
    3

             
    Cl. 2

    14     
         
                

    Cl. 1

        
        
               


    Cl. 2

    19     
        
               
       

    Cl. 1

        
       
                  

    Cl. 2

    23  3  
       
                     
     3  
    Cl. 1

       
    
                
    Cl. 2
    27
    2

               



          
    Cl. 1

       
                  
    Cl. 2

    31 
          
         

    rall.

       

    Cl. 1

           
              
    Cl. 2

    35    
      
                               
    3 3

     3    3
    Cl. 1

     
    
                      
    Cl. 2


    39   
      
    rall.

              
     
    Cl. 1

      
     
         
    3

              
    Cl. 2

    43
       
                  

    Cl. 1

     
                     
    3


    Cl. 2

    46 

        
    rit.

         

    Cl. 1

      
        
       

    Cl. 2

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