Unduh 7 Lovers Bass Clarinet Instagram
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I'm asking about it here so other people can come and find this forum topic and have a good source for hopefully not just the bass clarinet's soundfonts out there. I often make music for the contras and alto, too. Preferably, don't leave those guys out :)
This soundfont currently includes the "Expr" patch. Since only the bank number is different (100:71 and 101:71), it will be necessary to manually select it from the mixer. It's a nice bass clarinet tone. Also: "Expr" patch and dynamics work.
MuseSvore 4 already has bass clarinet and other instruments in Muse Sounds. And it also supports VST plugins which are not quite as good but are still much more sophisticated than sf2 files. Is there some specific sound you are thinking you might need an sf2 for?
Riddle slightly steps outside his usual style and produces a stunningly moody arrangement, moving between seemingly unrelated harmonies. His use of the 7(#9) chord throughout is particularly memorable. All woodwinds double on clarinets and bass clarinets, and woodwind 4 also doubles on baritone saxophone. An optional alternate woodwind 4 part is included that avoids this double (all the pitches written for the baritone sax. are playable on tenor sax.). The instrumentation includes 3 violins, viola, and 2 celli. An optional alternate synthesizer part is included in the event that string players are not available. Featured are trumpet and tenor saxophone fills and short solos. The vocal key starts in e minor and modulates to f minor.
William Rhoads (who has many titles on this list) adapted the renowned Baermann clarinet method for alto and bass clarinet. The studies are organized by key, and extended to an E-flat3 on the low end, but restricted to only D6 on the top end. The diminished chords, intervals of sixths and octaves, and staccato and trill studies were removed but an original interval study and whole-tone scales included.
Saunders and Siennicki wrote another method aimed at transitioning to the low clarinets from soprano clarinet, discussing similarities and differences among the instruments. There is information about reeds, embouchure, articulation, intonation, posture and hand position, and transposing from bass clef for the E-flat contra with a transposition etude; and exercises for tone, articulation and finger technique. There are 11 etudes and three pieces with piano, with versions transposed for alto, bass, contra-alto and contrabass. Some lower ossias are provided to avoid higher range notes.
Michel Pellegrino is a jazz player presenting a short method for bass clarinet. It includes an introduction to the instrument and its equipment, preparatory interval exercises, exercises focusing on the different registers, altissimo fingerings and descriptions of effects and extended techniques like slap tongue, growling, ghost notes and glissandi. Included are etudes from Bach, Piazzola, an improvisation in the style of Charlie Parker and an original etude by Pellegrino based on register changes. The text is in French and English.
The Selected Studies includes one etude in each major and relative minor key up through four sharps and flats, from the clarinet repertoire by Lazarus, Rose, Demnitz, Rode, Baermann, Kietzer, Mazas, Muller and Capelle. Some of the keys have been changed from the original etudes. Apart from three instances of a low E-flat in E-flat major and one in G minor, there is nothing that makes these particularly bass clarinet-specific etudes.
Youtz provides 20 studies and 10 concert pieces focusing on various technical aspects like runs, rhythm, slurring, sustain, articulation, intervals, and Caribbean, Turkish and Irish styles. The etudes make use of the full range of the low C bass clarinet and are challenging studies. These original etudes were written for low C bass clarinets, but a version for low E-flat bass clarinets is also available.
These 10 etudes are written in different Latin-American dance styles. The soloistic lines move through the full range of the low C bass clarinet and often have large leaps to make. Some are more rhythmically complex and all are good for working on the phrasing in these styles. They are also suitable as fun, short concert pieces.
This is a continuation of Book 1 with level 3 and 4 finger combinations, and nearly half of them reworked for bass clarinet. The appendix has the finger drills, different chromatic and scale studies for bass clarinet, and jazz and klezmer tips
for rhythm, articulation, ornamentation and improvisation.
Bass clarinetist Andy Hudson has teamed with composer Roger Zare to create a book focusing on typical bass clarinet problems like the extended low range, altissimo and large leaps, but also contemporary bass clarinet techniques like slap tongue, key clicks and air sounds, flutter tongue, growling, timbral trills, multiphonics and singing while playing. Each etude is accompanied by a master class by Hudson who covers technical and musical topics from fundamental through extended, exploring all aspects of bass clarinet playing. The appendix includes altissimo and quarter-tone fingering charts, and a guide to understanding bass clarinet clef notation written by me.
Dr. Jason Alder is an active performer and recording artist working with composers to present new music, particularly for low clarinets and underrepresented instruments. His research interests include practice-based research and collaboration, improvisation, technology, analysis and history. As an educator he teaches students of all ages and levels and is the author of the well-known and used quarter-tone and altissimo fingering charts for clarinet, bass clarinet, and contrabass clarinet. Jason is on the ICA New Music Committee and is formerly the editor of The Clarinet [Online]. Learn more at www.jasonalder.com.
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Offers unique perspectives on the clarinet's historical role in various styles, genres, and ensembles, from jazz and ethnic traditions to classical chamber music, concertos, opera, and symphony orchestras. With essays written by leading performer-scholars, The Clarinet offers unique perspectives on the clarinet's historical role in various styles, genres, and ensembles. Beginning with a chapter on clarinet iconography, the book continues with an overview of the instrument's early history, chapters on the clarinet in the opera orchestra and the traditional symphony orchestra, and examinations of important genres involving the clarinet (the concerto and the clarinet quintet). Also included are chapters on leading twentieth-century clarinetists, the instrument's use in the historically informed performance (HIP) movement, and an expansive look at the clarinet's use in ethnic traditions and early jazz. The emphasis on topics not covered elsewhere makes this book an important contribution to the clarinet literature. Written in an accessible style, this volume engages a wide range of readers, from professional musicians to clarinet aficionados and music lovers with less specialized knowledge. Contributors to this volume include Jane Ellsworth, Eric Hoeprich, Albert R. Rice, Ingrid Pearson, Julian Rushton, David Schneider, Marie Sumner Lott, Colin Lawson, and S. Frederick Starr.
The clarinet has a long and rich history as a solo, orchestral, and chamber musical instrument. In this broad-ranging account Eric Hoeprich, a performer, teacher, and expert on historical clarinets, explores its development, repertoire, and performance history. Looking at the antecedents of the clarinet, as well as such related instruments as the chalumeau, basset horn, alto clarinet, and bass clarinet, Hoeprich explains the use and development of the instrument in the Baroque age. The period from the late 1700s to Beethoven's early years is shown to have fostered ever wider distribution and use of the instrument, and a repertoire of increasing richness. The first half of the nineteenth century, a golden age for the clarinet, brought innovation in construction and great virtuosity in performance, while the following century and a half produced a surge in new works from many composers. The author also devotes a chapter to the role of the clarinet in bands, folk music, and jazz.
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