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1 Centennial Middle School Supplemental Band Book Bass Clarinet This book belongs to:

2 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

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10 Vocabulary List List #: Word Definition Symbol/Picture Page 8

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14 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

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16 Putting It All Together: Get ready to be music-reading STARS!!! S - SHARPS or flats in the key signature T - TIME SIGNATURE and TEMPO MARKINGS A - ACCIDENTALS not found in the key signature R - RHYTHMS; paying special attention to extended rests & difficult or new rhythms S - SIGNS; including dynamics, articulations, repeats, and endings Page 14

17 Rhythm Pyramid Whole Note Half Notes Quarter Notes Page 15 Eighth Notes Sixteenth Notes Thirty Second Notes

18 Ruler of Time & & & & & 32nds 16ths e a e a e a e a e 32nds Page 16

19 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) Page 17 43

20 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 (cresc.) Gradually increase in volume diminuendo (dim.) Gradually decrease in volume decrescendo (decresc.) Gradually decrease in volume 44 Page 18

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22 Order of Flats Order of Sharps B E A D G C F F C G D A E B CIRCLE OF FOURTHS CONCERT PITCH TO YOUR NOTE YOUR NOTE TO CONCERT PITCH B b Instruments Counter-Clockwise 2 Spots B b Instruments Clockwise 2 Spots E b Instruments Counter-Clockwise 3 Spots E b Instruments Clockwise 3 Spots F Instruments Counter Clockwise 1 Spot F Instruments Clockwise 1 Spot Page 20

23 KEY SIGNATURE CHART Page 21 31

24 HANDY-DANDY TRANSPOSITION CHART Concert (C B- flat E- flat instruments) Instruments 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. Page 22 9

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27 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. Piccolo Flute 1 st Clarinet 1 st Trumpet 1 st Alto Saxophone Oboe 2 nd and 3 rd Trumpet 2 nd Clarinet French Horn 2 nd Alto Saxophone 3 rd Clarinet Tenor Saxophone Baritone/Euphonium 1 st and 2 nd Trombone Bass Clarinet Baritone Saxophone Bassoon 3 rd Trombone Tuba 18 Page 25

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65 8 œ œ œ œ œ œ œ Ι ι œ œ œ ι œ œ œ ι œ œ œ 9 œ œ œ œ Flute Mallets Clarinet 1 Trumpet 1 Clarinet 2 Trumpet 2 F. Horn % α α α % α % α % α α Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ œ Chaconne from "First Suite in Eb" by Gustav Holst 2 œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ 5 œ œ œ œ œ œ œ œ 6 œ œ œ œ œ œ œ œ 7 œ œ œ œ œ œ œ œ Page 63 Alto Sax Tenor Sax % % α Œ Œ œ Œ Œ œ œ œ œ œ œ œ œ œ œ œ Bass Clar. Trombone Baritone Bari. Sax % > % α α α α Œ Œ œ Œ Œ œ Œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Tuba > α α α 3 2 Œ Œ œ œ œ œ œ œ œ

66 Chorale: A Childhood Hymn Flute Mallets 1 % α α 3 œ œ 2 œ 3 œ œ 4 œ 5 œ œ 6 œ œ 7 œ œ œ œ 8 ϖ Clarinet 1 Trumpet 1 % 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ϖ Clarinet 2 Trumpet 2 % 3 œ œ œ œ œ œ œ œ œ œ œ œ ϖ F. Horn 1 % α 3 œ œ œ œ œ œ œ œ œ œ œ œ ϖ F. Horn 2 % α 3 œ œ œ œ ϖ Alto Sax % 3 œ œ œ œ ϖ Tenor Sax % 3 œ œ œ œ ϖ Bass Clar. Bari. Sax % % 3 3 œ œ œ œ œ œ œ œ œ ϖ ϖ Trombone Baritone > α α 3 œ œ œ œ µ œ ϖ Tuba > α α 3 œ œ œ œ µ œ ϖ Page 64

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68 Lyrics: Francis Scott Key ( ) Music: John Stafford Smith ( ) Bass Clarinet in Bb 3 & 4 q = 90 Coll. Trombone Ó œ œ œ œ œ œ œ œ œ œ œ œ f A STAR SPANGLED MUSIC EDITIONS "The Star-Spangled Banner" Band Edition - Level I Arr. T.J. Wolfgram, & œ œ j œ œ œ œ,, œ œ œ œ œ œ œ œ œ mp & & B œ œ, œ œ j œ œ œ > œ > œ > œ > 15 mf f 18, œ > œ C rit. Rest Breathe & > œ œ œ > œ œ œ > œ > œ > œ > œ # > œ œ > Œ Œ œ œ Rest Breathe U & > œ œ j Œ Œ œ œ œ œ > œ œ j > œ > Star Spangled Music Foundation Page 66

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