Bass Clarinet - · PDF fileCentennial Middle School Supplemental Band Book Bass Clarinet...

Centennial Middle School

Supplemental Band Book

Bass Clarinet

This book belongs to: _____________________

Table of Contents: History 1 Instrument assembly and care 2 Tone production problems and remedies 6 Pitch tendencies and adjustments 7 Vocabulary lists 8 How to practice 12 How to read music 14 Rhythm Pyramid 15 Ruler of Time 16 Dynamics 17 Articulations 19 Circle of Fourths/Fifths 20 Key Signature Chart 21 Transposition Chart 22 Intonation - Six step process 23 Balance, blend and intonation 24 Pyramid of sound 25 Fingering chart 26 Warm-up routine 27 Scale book (in order chromatically) 28 Pitch Grids 56 Chorale 1 and 2 62 Chaconne 63 Chorale: A Childhood Hymn 64 Happy Birthday 65 The Star Spangled Banner 66

VocabularyList List#:_____

Word Definition Symbol/Picture


Page 8



Page 9



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Page 11

How to Practice Correctly 1) Try to practice 15 minutes EVERY day.

2) Find a nice, quiet place to practice with NO DISTRACTIONS.

(No TV, iPod, little brothers)

3) SIT ON A CHAIR, not on the end of your bed.

4) USE A MUSIC STAND (do not lay music on floor or bed, or prop up on little brother’s back).

5) PUT A PENCIL ON YOUR STAND so you can mark your mistakes.

6) WARM-UP (whole notes, lip slurs, buzzing) using your best sound.

7) Practice memorizing your assigned scales.

8) Practice your weekly playing test and/or assignment from the book.

9) Practice the hard parts in your band music.

10) Before you are done, play something that you LOVE to play, even if it’s not part of the assignment!

*******************************HINTS******************************

v Circle any mistakes that you make! v On difficult parts, take them apart measure by measure until you learn

them. v If you are getting frustrated, put your instrument away and come back to it

at a later time. Do not throw instrument at little brother!!!

1

Page 12

Putting It All Together:

Get ready to be music-reading STARS!!!

S - SHARPS or flats in the key signatureT - TIME SIGNATURE and TEMPO MARKINGSA - ACCIDENTALS not found in the key signatureR - RHYTHMS; paying special attention to extended rests & difficult or new rhythmsS - SIGNS; including dynamics, articulations, repeats, and endings

Page 14

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Page 15

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Page 16

43

DYNAMICS The term dynamics is used when discussing how loud or soft the music should be performed. These are dynamic symbols and terms that every musician should know. Symbol Italian Meaning

fff fortississimo Extremely loud (with good tone)

ff fortissimo Very loud

f forte Loud

F mezzo-‐forte Medium loud

P mezzo-‐piano Medium soft

p piano Soft

pp pianissimo Very soft

ppp pianississimo Extremely soft (with good tone)

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44

sfz sforzando Play with a sudden, strong accent

fp forte-‐piano Suddenly loud and then immediately soft

sfzp sforzando-‐piano Suddenly loud and then immediately soft

GRADUAL DYNAMICS crescendo Gradually increase in volume (cresc.) diminuendo Gradually decrease in volume (dim.) decrescendo Gradually decrease in volume (decresc.)

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39

Page 19

Order of Flats

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Page 20

31

KEY SIGNATURE CHART

Page 21

9

HANDY-DANDY TRANSPOSITION CHART

Concert (C instruments)

B-‐flat Instruments

E-‐flat Instruments F Instruments

C D A G C#/Db D#/Eb A#/Bb G#/Ab D E B A

D#/Eb F C A#/Bb E F#/Gb C#/Db B F G D C

F#/Gb G#/Ab D#/Eb C#/Db G A E D

G#/Ab A#/Bb F D#/Eb A B F#/Gb E

A#/Bb C G F B C#/Db G#/Ab F#/Gb

Why does written pitch differ from concert pitch? Historically, many instruments have just come to be manufactured that way over time, so music has been written that way. Whatever the reason, it’s your job to know how to transpose from concert pitch to your written pitch, so the director doesn’t have to call out every single instrument’s individual note in rehearsal. As a side note, there are also a handful of instruments that actually sound in a different octave than their written pitch. Piccolo, for example, sounds an octave higher than written. The reason for this is so that the composer doesn’t have to write the entire piccolo part using ledger lines. Bass clarinet, tenor saxophone, and baritone saxophone all sound an octave lower than they are actually written.

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18

THE PYRAMID OF SOUND

Our model for perfect balance is called “The Pyramid of Sound.” The lower your instrument is in the pyramid, the louder you need to play in order to maintain proper balance within the ensemble’s sound. Think of it like a stereo system. If you were to turn the bass all the way down on your stereo, you wouldn’t like the sound very much. The lower pitched instruments are what give the band a warm, full-‐bodied sound.

Oboe 2nd and 3rd Trumpet

2nd Clarinet French Horn

2nd Alto Saxophone

3rd Clarinet Tenor Saxophone

Baritone/Euphonium 1st and 2nd Trombone

Bass Clarinet Baritone Saxophone

Bassoon 3rd Trombone

Tuba

Piccolo Flute

1st Clarinet 1st Trumpet

1st Alto Saxophone

Page 25

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Chorale: A Childhood Hymn

www.JustinDickson.com/Band

Page 64

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© 2014 Star Spangled Music Foundation

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Arr. T.J. Wolfgram

Lyrics:Francis Scott Key(1779-1843)

Music:John Stafford Smith(1750-1836)

STAR SPANGLED MUSIC EDITIONS

Band Edition - Level I

"The Star-Spangled Banner"

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