Girl with the Flaxen Hair: 2 Clarinets & Keyboard Part(s)

Marlatt's arrangement captures what makes this Debussy standard so enduring: a lyrical, singable melody that sits beautifully on clarinet paired with those characteristic quartal harmonies and impressionistic colors. The duet texture gives students space to listen to each other while exploring a genuine masterwork rather than an exercise.

Delicate and impressionistic, with a melody that floats like filtered sunlight through gauzy harmonies. The piece has an intimate quality even with two instruments; there's a conversational quality between the parts that invites the listener into a very personal musical moment.

This arrangement works well for intermediate clarinet students who are ready to play genuine musical literature but need parts scaled appropriately to their reading level. It also serves duet ensembles and community bands looking to expand their repertoire beyond standard wind band arrangements.

• Shape the phrases with subtle dynamic swells rather than obvious crescendos; Debussy's lines breathe in small units, and clarinet tone benefits from this sensitive dynamic control.
• Balance the two clarinet parts so the melody emerges clearly while the secondary voice provides harmonic support without dropping into the background.
• Coordinate with the keyboard player on pedal changes if using organ; the sustain and wash of sound should enhance rather than blur the clarinet lines.
• Allow rubato in the melody, particularly in the opening phrases and at structural turning points, to honor Debussy's improvisatory writing style.

This arrangement pairs naturally with other French music of the period or with a chamber music showcase featuring various duet combinations. It also works as a transition piece between standard pedagogical repertoire and art music, helping students understand that Debussy belongs in their musical vocabulary at this level.

• Playing with sensitivity to harmonic function and non-functional harmony
• Shaping longer melodic lines without traditional phrase punctuation
• Balancing ensemble parts with distinct roles (melody vs. harmonic support)
• Responding to rubato and subtle dynamic changes in partner playing
• Understanding impressionistic compositional language and its performance requirements