14 Best-Selling Pieces from the Band Series - Bass Clarinet, Grade 2. By Irving Berlin, Henry Fillmore, Gioachino Rossini, Eric Osterling. Edited by Andrew Balent. Arranged by Andrew Balent; Gerald Sebesky; James Swearingen; Lloyd Conley; Mitchell S. Bender. Text: Peter J. Wilhousky. For Bass Clarinet. Set of parts. 16 pages. Published by Carl Fischer.

By James "Red" Mcleod And Norman Staska. For B-Flat Bass Clarinet (B-Flat Tenor Saxophone). Band Supplement. Book. 36 pages. Published by Alfred Publishing.

Bass clarinet

SKU: GI.G-MBCL

Introducing the Instruments. Composed by James Froseth. Band Method. Other Band Methods. Music Education. Book. 32 pages. GIA Publications #MBCL. Published by GIA Publications (GI.G-MBCL).

English.

For the teacher of instrumental music classes, individual differences among students are inevitable. Unfortunately, the lack of flexible materials frequently forces teachers to adopt a quasi-instructional procedure best described as lockstep, where all students in the class rehearse each exercise until the slow members of the class succeed or until the teacher gives up. The Individualized Instructor was designed with the expectation that students are different. With this method, high-, average-, and low-achieving students in a class are able to progress simultaneously at their own rate according to their interest and ability. In addition, the flexibility of the instructional format often allows twelve or more students to perform different musical material simultaneously, thereby eliminating the “follow the leader” approach to music learning. All study materials in the series are musical. Nonmusical exercises are excluded in favor of folk song literature, musical rounds, and musical ensembles. Furthermore, The Individualized Instructor encourages students to think about their music: to analyze unfamiliar material, generalize previously learned concepts and skills, and synthesize all elements into a musically proficient performance. In addition, this series develops many fundamentals (tonality, phrasing, tempo, and musical style) through the use of the singing voice. Singing best provides the “musical” experience that, subsequently, can be applied to the development of musically sensitive instrumental performance. Books 1, 2, and 3 and the supplementary books ensure that these fundamental ideas are carried well beyond the first year of instruction.