Scribd
Upload
88 views3 pages

Bas Step

1) The document is a musical composition titled "BASSTEP" written for bass clarinet and drums by Alejandro Portela. 2) It contains musical notation spanning multiple pages with rhythmic patterns and instructions for growling techniques. 3) The composition explores interplay between the bass clarinet and drums through shifting rhythmic patterns and techniques like growling.

Uploaded by

Vinícius Vilar
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
88 views3 pages

Bas Step

1) The document is a musical composition titled "BASSTEP" written for bass clarinet and drums by Alejandro Portela. 2) It contains musical notation spanning multiple pages with rhythmic patterns and instructions for growling techniques. 3) The composition explores interplay between the bass clarinet and drums through shifting rhythmic patterns and techniques like growling.

Uploaded by

Vinícius Vilar
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
You are on page 1/ 3

BASSTEP

  
for Bass Clarinet & Drums by Alejandro Portela

   

 = 160
    
        
.
iss
gl


                
  
9

          

              
13

                 

           
   
    
17

        

               
     
21

                

     
25

          
with growl

    
  
   
           
29

                 


with growl

  
   
    
  
   
    
 
   
33

   
 


             
  
37

   
 
      

   
41

                     
Alejandro Portela

2

           
 
44

                    

      

47

             

          
  
      
49

        
       

   

 

  

   
53

    
   
      

              
  
57

          

                   
61

                 
 

                  
65

              
gliss.
 gliss.


 
                

69

            



          
73

                    

   
    
     
              
76

    

        
      
79

       

Alejandro Portela

3

                 
81

                 


                  
85

                


                 
89

                  

               

93

                  


       
                               
97

 
gliss. 
 
 
                     
101

               

105

                  

               

109

                  


  
  
    

 
113

       
          

 
  



  

   
117

   
   
 
      
Alejandro Portela

You might also like