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Sound Innovations for Concert Band: Ensemble Development for Advanced Concert Band: B-flat Bass Clarinet Book

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Sound Innovations for Concert Band: Ensemble Development for Advanced Concert Band: B-flat Bass Clarinet Book

Chorales and Warm-up Exercises for Tone, Technique and Rhythm

By Peter Boonshaft and Chris Bernotas

Item: 00-43935

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Sound Innovations: Ensemble Development for Advanced Concert Band builds upon the concepts in Ensemble Development for Intermediate Concert Band with 399 new exercises that are more technically and musically challenging, including over 70 chorales written by some of today's most renowned composers for concert band, including: Roland Barrett, Chris Bernotas, Andrew Boysen, Ralph Ford, Rossano Galante, David Gillingham, Stephen Melillo, Robert Sheldon, Todd Stalter, Jack Stamp, Randall Standridge, and Michael Story. This book is a valuable resource in helping students grow in their understanding and abilities as ensemble musicians. Exercises are grouped by key and presented in a variety of intermediate to advanced difficulty levels. Where possible, several exercises in the same category are provided to allow variety while accomplishing the same goals. Its flexibility makes it perfect for large ensemble rehearsals, lessons, and studio use. The Ensemble Development Series is also available for Intermediate Band and Young Band. Learn more at www.alfred.com/SIED.
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Sample Pages

Sample Audio
1 Exercise 09 - Scale Pattern --:--
2 Exercise 11 - Chromatic Scale Pattern --:--
3 Exercise 15 - Chromatic Flexibility --:--
4 Exercise 17 - Arpeggios --:--
5 Exercise 37 - Chorale by Jack Stamp --:--
6 Exercise 39 - Chorale by Andrew Boysen, Jr --:--

Exercise 09 - Scale Pattern

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Sample Video
Additional Details
Series: Sound Innovations for Concert Band: Ensemble Development
Publisher: Alfred Music
Page Count: 56
ISBN10: 1-4706-1819-2
ISBN13: 978-1-4706-1819-3
UPC: 038081492704
SKU: 00-43935
Instrumentation: B-flat Bass Clarinet

More about this title

About the Authors

Peter Boonshaft
Peter Loel Boonshaft stands as one of today's most dynamic and inspiring voices in music education. Recognized internationally as a thought leader in the field, he has been invited to speak and conduct across all fifty states and throughout the world. As Director of Education for Jupiter Band Instruments, he continues to shape the profession through his widely-read weekly blog that reaches music educators globally.

His achievements have earned him numerous prestigious honors. Boonshaft received the inaugural "George M. Parks Award for Leadership in Music Education" from the National Association for Music Education and Music For All. He holds memberships in Pi Kappa Lambda and Alpha Chi honor societies and has been selected three times as a National Endowment for the Arts "Artist in Residence." Additional recognitions include the Al G. Wright Award of Distinction from Women Band Directors International and official proclamations from five state governors. He performed for former Presidents George H. W. Bush and Bill Clinton, as well as former Prime Minister Margaret Thatcher of the United Kingdom, and received a Certificate of Appreciation from former President Ronald Reagan.

Boonshaft earned his Bachelor of Music (Summa Cum Laude), Master of Music Education in Conducting, and Doctor of Musical Arts degrees. He completed specialized training at the Kodály Musical Training Institute through a Connecticut General Fellowship. A Professor Emeritus of Music at Hofstra University, he previously taught at the University of Hartford and Moravian College. He founded and directed both the Pennsylvania Youth Honors Concert Band and the Connecticut Valley Youth Wind Ensemble.

Chris Bernotas

Why we love this

This book moves beyond warm-up drills by offering carefully curated chorales from a roster of working composers who understand contemporary concert band literature. The progression within each key area gives you multiple pathways to address the same technical goal, so you can rotate material across rehearsals without feeling repetitive. Bass clarinet players will appreciate that they have 399 exercises designed specifically at the advanced level rather than exercises adapted downward from treble parts.

What to expect

Opening this book, you encounter the kind of writing that feels like stepping into real concert band literature rather than exercises divorced from it. The chorales, composed by voices like David Gillingham and Robert Sheldon, have harmonic depth and phrase shape that keep musicians engaged intellectually while building technical control.

Who it's for

Advanced high school and college-level concert bands seeking systematic development of blend, intonation, and ensemble musicality. Bass clarinet players in these ensembles will find material that treats their voice as a structural anchor rather than an accompaniment part.

How to get the most out of it

  • Balance the harmonic foundation by listening across the bass clarinet section rather than matching volume to the soprano line; this book's choral writing depends on clear voice leading from the lower reeds.
  • Use the variety within each key signature to diagnose what's happening in your section; if one exercise in B-flat exposes ensemble attacks but another exposes tuning, cycle through both to build complete facility.
  • Apply these exercises in the week or two before programming a new work by a featured composer in the book; students will recognize the harmonic language and rhythmic vocabulary already set in their ears.

How to use it

Integrate a chorale or two into the final ten minutes of rehearsal each week, working backward from a concert date to align the featured composers with pieces on your program. The intermediate-to-advanced range within each key allows you to front-load challenging keys early in the season and circle back to reinforce them as your ensemble matures.

Skills your students will build

  • Tuning and balancing within the bass clarinet section and across woodwind parts
  • Reading and interpreting multiple harmonic progressions in each key signature
  • Maintaining consistent articulation and phrase shape across sustained harmonic movement
  • Responding to compositional voice leading from contemporary concert band arrangers and composers
  • Sight-reading chorales with intermediate to advanced harmonic vocabulary

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