I finally got around to tweaking my huge collection of II-V-I patterns for clarinet. Enjoy.

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Ian Ross Drummond writes “In the BIABFSG files section is a folder, which has within it a complete book of jazz guitar studies. I happen to possess this book and the BB files have made the manuscript ‘come alive’ for both me and my students. I wanted to contribute therefore a standard woodwind text in BB form to continue this worthy tradition. The Demnitz Clarinet studies are a ‘standard text’ for the clarinet and ties in nicely with the ‘scale project’ as a course of study to develop basic instrumental technique upon an instrument; in this case, the Clarinet.

I want to make this important point: – TO PLAY THESE STUDIES, POSSESSION OF THE MUSIC IS ESSENTIAL. (I used the Shirmer edition although there are others.) The notation will not display correctly in BB but will sound correctly and I have made no attempt to alter this because the music should, in my opinion, be bought!””
Now I have to state an apology. I am no expert in the field of harmony and many of the more knowledgeable members of BIABFSG will doubtless find fault with these files and will be perfectly entitled to do so!
Now to the files themselves! The musical purist will not approve of Demnitz etudes done in this way! I teach students from age 7 to 18 in a culture where ‘western music’ is rock, pop, rap etc, etc. (I have ‘plugged in’ to this perception to try and make the studies attractive to my students.) The files are for young students to hopefully enjoy practicing these etudes with their own computers at home or in a group situation at school, college etc. I have made no attempt whatsoever to make these studies ‘Classical’ or ‘Serious’ (I hate that type of labelling in music) so be aware that the files use standard BB12 styles from jazz to hip-hop. In the original Demnitz text no chords are indicated hence the potential for harmonic controversy. Mature BB users are aware of the difficulties of key signatures, dynamics and tempo changes in BB and the limitations in this regard impact on the files themselves. Nevertheless, I hope that the members, and clarinettists in particular, will find these files of interest and use.

Ian Ross Drummond

Kuwait City May 2003

PS. TO PLAY THESE STUDIES, POSSESSION OF THE MUSIC IS ESSENTIAL!”

NOTE: These are available via groups.yahoo.com. Look for the Band in a Box group.

I just got done making some backgrounds for use with the etudes in Walt Weiskopf’s book Around the Horn.

The backgrounds were generated with Band in a Box 10 and tweaked with Digital Performer 3, and recorded using my Alesis NanoPiano and Roland Sound Canvas.Bb Backgrounds

The number after the name is the metronome marking the song was recorded at.

• Dorian Grey 120
  
• Dorian Grey 140
  
• Dorian Grey 160
  
• Mixolydian Mood 120
  
• Mixolydian Mood 140
  
• Mixolydian Mood 160
  
• Ionian The Iconoclast 120
  
• Ionian The Iconoclast 140
  
• Ionian The Iconoclast 160
  
• Ionian The Iconoclast 180
  
• Ionian The Iconoclast 200
  
• Lydian Lyllabye 60
  
• Lydian Lyllabye 70
  
• Lydian Lyllabye 80
  
• Lydian Lyllabye 90
  
• Lydian Lyllabye 100
  
• Aeolian Heart 120
  
• Aeolian Heart 140
  
• Aeolian Heart 160
  
• Phrygian Phixation 120
  
• Phrygian Phixation 140
  
• Phrygian Phixation 160
  
• Phrygian Phixation 180
  
• Phrygian Phixation 200
  
• Locrian Lope 60
  
• Locrian Lope 70
  
• Locrian Lope 80
  
• Locrian Lope 90
  
• Locrian Lope 100
  
• Locrian Lope 110
  
• Locrian Lope 120