Written by Garland E. Markham, Michael Story, Richard C. Crain, Robert W. Smith, Susan L. Smith. Instructional book and accompaniment CD for bass clarinet. Series: Band Expressions. 56 pages. Published by Alfred Publishing.

Bass Clarinet Solo

SKU: IS.BC6926EM

Composed by Iain Matheson. Woodwinds - Bass Clarinet / Basset Horn. Metropolis Music Publishers #BC6926EM. Published by Metropolis Music Publishers (IS.BC6926EM).

ISBN 9790365069262.

Iain Matheson is a Scottish composer and musician, based in Edinburgh. He writes concert music in the classical tradition. Most of his work is based on some aspect of time, the medium in which music happens. It doesn’t represent programmatic ideas: instead it explores memory, and invites listeners to notice the ways in which time passes. This composition was written for bass clarinet soloist Sarah Watts, who did extensive research on bass clarinet multiphonics. This piece is a great illustration on the integration of multiphonics in contemporary music.

By John Edmondson, Anne McGinty. Band. For bass clarinet. Program/technic book. Queenwood Beginning Band. Grade 1. Program/technic book. Published by Queenwood Publications . program/technic book.

A Must-Have Collection of Well-Known Songs, Including Some Bass Clarinet Features. Composed by Various. Instrumental Folio. Pop, Standards. Softcover. 64 pages. Published by Hal Leonard

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.

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.