Shanty Play-Alongs für Klarinette in Bb Cover Image

Shanty Play-Alongs für Klarinette in Bb: B-flat Clarinet Book, CD & Online Audio

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Shanty Play-Alongs für Klarinette in Bb Cover Image

Shanty Play-Alongs für Klarinette in Bb: B-flat Clarinet Book, CD & Online Audio

Zwölf Shanties zum Mitspielen: Von Aloha 'Oe, La Paloma, Santiana, Sloop John B.,
The Drunken Sailor bis zu The Wellerman u.a.

By Vahid Matejko

Item: 00-20302G

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Nicht erst seit dem großen Erfolg der Neuauflage von "The Wellerman" durch Nathan Evans, das kürzlich insbesondere auf Social Media große Verbreitung fand, erfreuen sich Shantys und Seasongs einer großen Beliebtheit.
Diese Songs bringen eine einzigartige Stimmung mit, einen Hauch von Abenteuer und das Fernweh nach der großen, weiten Welt. Dem kann sich kaum jemand entziehen und mit Vahid Matejkos Shanty Play-Alongs gibt es nun die schönsten Shantys und Seasongs gekonnt arrangiert als Play-Alongs für Klarinette.
Die vielfältigen Arrangements sind in großer stilistischer Bandbreite angelegt und bieten Anklänge aus Rock, Latin, Funk, Big Band bis hin zu orchestralen und karibischen Einflüssen. So hat jeder Song seinen eigenen musikalischen und instrumentalistischen Reiz, wozu auch die eigens hinzukomponierten Teile und/oder Soli beitragen. Der mehrstimmige Chorgesang - der ursprünglich gesungenen Shantys - wird durch mehrstimmige instrumentale Backings ersetzt, die (wie der Rest der Aufnahmen) ausnahmslos von exzellenten Profimusikern live eingespielt wurden.
Jeder der zwölf Titel liegt in zwei verschiedenen Versionen vor:
1. Halb-Playback zum Mitspielen;
2. Voll-Playback zum Anhören, wie es klingen soll.

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Additional Details
Series: Shanty Play-Alongs
Publisher: Alfred Music
Page Count: 32
ISBN10: 3-94-799842-2
ISBN13: 978-3-947998-42-5
SKU: 00-20302G
Instrumentation: B-flat Clarinet

More about this title

Why we love this

Matejko's arrangements respect the storytelling power of traditional shantys while refusing to be historically locked in place. Each tune gets its own sonic identity, from funk to Latin to Big Band, which keeps students engaged and curious about what comes next. The fact that every track includes both a half-playback (for playing along) and a full version (for listening) means students hear exactly where they fit and why their line matters.

What to expect

These arrangements capture the maritime romance and rhythmic swagger of shanties while dropping them into modern musical contexts. You'll find yourself inhabiting a rock groove one moment, a Caribbean sway the next, then a big band swell, all without leaving the sea behind.

Who it's for

Intermediate to advanced clarinet students who want repertoire that sits between classical studies and contemporary exploration. This collection works equally well for players in ensembles who crave solo-with-accompaniment experience and for private students ready to tackle arranged music with rhythmic and stylistic variety.

How to get the most out of it

  • Listen to the full playback version before touching your music. Notice where the arrangement leans into rock versus orchestral sounds, and match your tone color to that world.
  • Work with the half-playback at a slower tempo first. Most students want to rush shanties because the rhythm feels propulsive; fighting that impulse with the recording's steady pulse builds both accuracy and confidence.
  • Pay attention to the composed solos and added passages. These are not filler. They define the character of each arrangement and reward careful phrasing.

How to use it

These pieces make excellent solo recital material, especially for students building a varied program. You can also program them in a pops concert or community performance where audiences expect arrangement variety rather than strict classical programming; the online audio ensures you'll never need to hunt for an accompanist.

Skills your students will build

  • Playing across multiple stylistic and rhythmic frameworks (rock, funk, Latin, big band) within a single book
  • Maintaining ensemble cohesion with professional backing recordings
  • Tone color flexibility and adaptation to different musical contexts
  • Navigating composed solos and instrumental passages that go beyond the original melody
  • Rhythmic precision in groove-based and syncopated accompaniments

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