Gorno di bassetto Clarinete contrabajo 101 studies. for bass clarinet Basset hom or Contrabass clarinet Estudios de los siglos XVIII y XIX —— adaptados por Pedro Rubio a 30 progressive studies for German Nofation System. en sistema aleman de escritura =MUsica DIDACTICA S.L.—Introduccién Durante fa segunda mia del siglo XX el clarnete bajo ha sufrdo una sorprenenetrasormacidn, Haste hace relative poco era conserado an isimunemosecundario, ero gracias a phonersespeciaisas com Jost Hort Hary Sparasyy Hest Be Sin oier rc Dolpy en el mundo del Tat el iosramenta hy taspacdo lites he etd lo eae dee Compostores Fl reprtorie exists en axes momentos e nmenco) hoy da pouemos tabard une suena emancipacte del ‘rove (Uns de tas carencias que encontramos en el mundo del clarincte bajo es Ia escascz deestedics originales, La amplia literatura del clarnete soprano, si bien en un principio es la opcién mis Iigica, en los comicnzas mis que Tesolver problemas puede ‘rearis. Por otro lado, el repertorio Contempordaco susceptible de vs en el clarincte bajo es enorine pero en detemimadas, ‘edades hay que apcoximarse« con cautcla, As. y como complemento a la misica de puestts dias be pad port literatura ce los sighs XVII y XIX esctia para otros instumentos con el misino regisi~ y que en mi opition se asemejen mas 2 sa petsonalidad. El inatcra a sido, en mayor o mencr medida, wedificado y adaptado las particulars caractersicas del elarincle bajo. He variado wonalidades, registos, tempos, compases, ariculaciones, matices ¥ ‘sfacido, a modo de sugerencie Tas respiraciones. 1 eat eet een eaten tnne feiimarn Ge fld wrath aacanineaer cians erteaeesiceete are Fe ne eerie eae eaten cee periane een nae iene er eee Pees hae een oe ange ee See ety aneg ence Sean eee Sees ee Sa race a een oeemncaien teen Eee Se ete aie wit aeei tise omermmnan ety a Para intentaraclarat cualquier dia ef primer estudio est esrito en los rs sistemas, Del segundo al décimo cada estudio ests en dos: francés (A) y alemn (B). A partir del estudio once hasia el firal slo en el sistema alemén. Los estucios van anando progresivamenie dificultad y tesitura Ast, para las nolas mas agudas he sper alguns digiteciones. Ua tabla de pesiciones ‘is exhaustiva aparece en uno de les apéndices del Método de clarinte bajo publicado tambisn por Misies Didictict. Las vatro vokimenes de studios 101 en total-han sido concebides como complememto de este metodo. Pedro Rubio “Madrid, diciembre de 2005, Dring the second half of the twentieth century the bast clarinet hot surprisingly changed, Until relatively recently. it was ‘considered secondary instrument but thanks to specialists pioneers such as Jef Hordk, Harty Sparnaay and ene Boke without forgeting Eric Dolphy in the Jazz world this instrament has surpassed limits and atrcted the etcntion of the composes. The ‘esting repertory nowadays is huge and we can speak ofan aubemtc liberation ofthis istrument, One of the wesknesses that we discover inthe world ofthe bass clarinet isthe shortage of original studles ofthis insure ‘On the one hand, the wide literature ofthe soprano clarinet. although atthe beginning using the Ierature of the soprano csrnet is tive most logical option, can initially create problems insted of solving them. On the other hand, the coateryporary repertory that ‘can be used with the bass clarinet is enormous but within certain age proups it's necessary to approach it with caution. Therefore, and as a complement (o our music nowadays. 1 have chosen the lterature of the eighteenth ad nineteenth century which Was \riten for otbersinsiruments with the same register which Try opinion are more similar to the perconalty ofthe bas elesnet. ‘The materia has been, to 2 greater of lesser extent, modiied and adapted tothe particular features of the bass cline. have changed onalites, registers, tempos, ime signatures, bars, articulations and dynamics and added, ws « suggestion, the beethings. “Tee pncplain fti and book he ey ofthe Goma Noatn Sytem. The compas fhe ss age sini that oF rsrument such she assoon or sell: fas fevured the development oF diferent hetaaon spre The wojny ‘arposers ot forte bis lef, wh s closer othe sounds tha the nsument produce: meannle jor enw eter the treble cle The bss clarinet as Been and sila nstumrt that lant ete vite sopano clase But eng 8 diferent clei foreach insane san atonal complication ht few plage ae hippy wth Ass Conequence two sytene Sree developed cated te Hench and German sytem: Marevera thi one east et we wil ele fo fgor Seavey te ME ‘yas one a the most pote composers who thee The common he Othe tre sysers has generated Sone confaon and ‘arnt Pave know them wel as they wil find them inthe eperry. the same thing haps wih he Basel hm Sod ie xnttabase caine. Thee the sles fe lo usu or ose who pay these nso. have ape the pages an the totes cof reise for hve payers whose he Low fat bs carne othe fat canes arin “To clarity ny posible doubt, he fist study hs been writen inthe three systems. From the second study to te tenth, dey atin French system () and the Geran System (B) rom th eleventh the ast std, tcy ate tn German Syste ony. Re studies gradelly gain on cempleity and Gmpess. So fur te highest utes [have segyeed sone Rageings Ase exustive fingering char oppears in one ofthe appeadix ofthe Meth for Bass Cerne. ssa published by Masks Desctes ‘The fou-volume stakes 101i toal- have been conceived esa complancnt af ts meth Pedko Rubio Said Decent ms PUBLICIDADA. Sistema franeés de eseritura: El mss usaco, Se eseribe en lave de Scly suena una novena grave ala nota exert, B, Sistema alemain de eseritura. Se escribeen vie de Fa y de Sol. Suena una segunda stave at ht nota even. El lari de ster qc en ee Nise lave de So © toca una oxseva ata ala vs pe ee Sistem usado por Stravincki, entre otros: Mezcla kos dos sistemas. ex det. eusndo apetece Ia clive de Fa suena tuna segunda mayor a To escrito y cwando aparece la do Sol. luna rovers. Lo’ encontramos. en partituras com Lat Concugraciin dela Primavera, Petrus (version de 1911) 9 El pijere de fuego (version ballet AA. French Notation System I: i tie most commonly used. I is ‘writen in the treble clef and it sounds & mith lower to the writen 1B. German Notation System: Its written in the bassitble elt and sounds a second lover tothe written rote. The clarinetist has to know that in this system the teble vet is played an octave ier than the note tha is read, G Notation system used by Stravinsky. amonp others: ons of mire of the eves Wa, which eae Ta 3 major second (0 the wiinen nove Te played when the bass clef appears and ninth nthe case of the tele clef. We find sin scores lie The Rite of Spring. Perroushba 191 version) sn The Firebird Balle. JULIUS WEISSENBORN (1837 - 1888)FRIEDRICH DOTZAUER (1783 - 1860) simiteFRIEDRICH DOTZAUER, Allegro (1783-1860) 7. Allegro oe dina Pp similepesanteA. SAMIE, ModeratoA. SAMIE, Moderato —. EDUARDO COMPTA ‘Tempo di Vals (1835 - 1882)a tempo 134B ‘Tempo di Vals — ? —— EDUARDO COMPTA (1835 - 1882)atempo 15ETIENNE OZI (754 1813) Allegro moderato (wy a eeAllegro moderato ETIENNE O21 (1754-1813)F DOTZAUER Andante sostenuto2 dim, WN a? NSS TONLE:F DOTZAUER Andante sostenuto eres f© rivard. P dim. dim. 2Allegro SH7B Allegro f E.OZI 23Moderaio CLEMENTE SALVIANI P SS SS25CLEMENTE SALVIANI Moderato 8B Dee! oe afSSS ete nf = —— F a7CARL SCHROEDER (1848-1935) ModeratoCARL SCHROEDER (1848-1935) Moderatoee Tn. th 3110A ‘THADDAUS BLATT Allegro (1793 - 1856)THADDAUS BLATT Allegro (1793-1856) 33HILARION ESLAVA Andante mosso (18-1878) 34Pies E Eteecis — Leb, iS £ Ptbee # gazes! co See etch apiacere 35Vivace ANTONIO ROMERO (U8I3 - 1886) 36 Uggeroee = EA g lave de medio agujero © ‘halt hole key ave de registro 12 rogister key 37Andante sostenuto a “teins J. WEISSERBORN 13 FSP p canrabite __oe haw chee! Ss £ $) P con espressione 39)EMILIO ARRIETA Andante ao | (1823-1884) nee - ra a tempo ,41SEBASTIAN LEE all a (1805 - 1887) zo? Allegro non tanto 16 Ppoco a poco eres 43Allegro F DOTZAUER 17 P sempre staccato - mp — Estudio para la prictica de los meftiques y el pulgar derecho en las horas més graves, Por esta razn no hay ossiaa * para el clarinete bajo corto, Study for practising the litle fingers and the right thumb for the ex ‘ossia for the Low E-fla bass clarinet. ne low register, the reason why there is roPF eS =— oy — ’ Petes lecnsesge cece’, T= P senpre din © ral Pp 45‘TBLATT — aye SIS ppp =j = | = SoS = Bg eat See + bigs =F Pa ie — ~ Po varatempo 47PIERRE RODE, (1774-1830) Adagio SSS af | fi — SS = ;—— 6 pe eee ps Ss Renettet SSS SS SSS Sk —————__, a ee prnG irs SeAllegretto 4952 LUDWIG MILDE (1849-1913)_ aeDAVID POPPER (1843+ Moderato SSS: JEAN PIERRE DUPORT (741-1818) Allegro Dp Trese 563738 esante£ a = PE ce 59J ateteit tee — Eee 6061L.MILDE,bb a on dolce molto legatotempo == —— tetee ‘ 65Allegro non troppo F DOTZAUER 66L. MILDEAllegretto agitato ms pi aoe a . at E = So 27 = = pu Se. Fe tee oe ON NN E tee Pons Pon SS heel eet! a a a —> a a > Re ——= «> == t i Seo> A, 2oTAllegto risoluto eee fier te Pe te Renee b= ———— = a= ei74J.P, DUPORT Allegro 29 ae Pp . poco eres — PP (pace crese. of tt dm P cresc. poco a poco16 te fe — 1 dim.Tareas 1sempre Prie . pe je 18 iw ie ie nll fey wv 1 te . 17 s i hy 2 af 2 Ee gtiogietctes fel EPeSrER Sr tempo | yee iit erese sempre ff PP subivo 19p vec v “6 orese. . sempre crese pesante 80J.B DUPORT Allegro ~ co 81crese, molto nf or Zs Pe Foe? po Ee as ee — > rs 8283MUSICA DIDACTICA, S.L. OTROS TiTULOS DE OBRAS INSTRUMENTALES EL PEQUENO CLARINETISTA (CUATRO CURSOS) ARMENTIA PIANO COMPLEMENTARIO (CUATRO CURSOS) GARCIA VEGAS LA FLAUTA ROMANTICA ESPANOLA (edicién Jericd) — DIVERSOS AUTORES EL VIOLIN ROMANTICO ESPANOL (edicién PLeén) MONASTERIO 25 ESTUDIOS OP.60 (edicién J.L. Rodrigo) SOR 15 DUOS PARA GUITARRA (edicién M:A. Jimenez) VALERIO ESTUDIO PARA CLARINETE BAJO (CUADERNO 1) PEDRO RUBIO ESTUDIO PARA CLARINETE BAJO (CUADERNO II) PEDRO RUBIO