스크린샷, 2023-12-27 오후 2.24.38

SELECTED ORCHESTRAL EXCERPTS FOR BASS CLARINET
WITH PIANO REDUCTION
Connor Eugene O’Meara B.M. M.M.
Dissertation Prepared for the Degree of
DOCTOR OF MUSICAL ARTS
UNIVERSITY OF NORTH TEXAS
May 2017
APPROVED:
Kimberly Cole Luevano, Major Professor

Clay Couturiaux, Committee Member
John Scott, Committee Member
Benjamin Brand, Director of Graduate
Studies, College of Music
John Richmond, Dean of the College of
Music
Victor Prybutok, Vice Provost of the
Toulouse Graduate School
O’Meara, Connor Eugene. Selected Orchestral Excerpts for Bass Clarinet with Piano.
Doctor of Musical Arts (Performance), May 2017, 142 pp., 18 musical examples, 2 forms, 32
references.
The idea of reducing popular and musically satisfying operatic or orchestral works to
smaller instrumental forces is not uncommon, but the idea of reducing large scores for the
exclusive use of orchestral excerpt pedagogy is. Although there are a multitude of excellent
resources detailing how select excerpts from both the clarinet and bass clarinet orchestral
repertoire should be performed, no resources for clarinetists or bass clarinetists provide a piano
reduction of orchestral scores. Through piano reduction of orchestral scores, bass clarinetists
have access to a resource that simulates the experience of playing in an orchestra. Bass
clarinetists using a piano reduction will learn the pitch tendencies of the instrument.
Consequently, the performer will discover ways to study excerpts in-tune with other instruments
that will not compromise for the shortcomings of the bass clarinet. Use of piano transcriptions
will also aid with recognition of important moving lines, harmonic textures and rhythmic
ostinatos that might otherwise be overlooked by score study and listening alone. Finally, many of
the excerpt transcriptions provided are taken from several bars before the primary bass clarinet
excerpt, unlike many excerpt books currently available. This provides bass clarinets a more
contextual view of an excerpt by facilitating the need to count rests correctly and play solo
entrances in the correct style and affect presented by the preceding orchestral material.
Copyright 2017
by
Connor Eugene O’Meara
ii
ACKNOWLEDGEMENTS
I would like to thank my parents for their continued commitment to my education and
loving support throughout my education. I would also like to thank the numerous teachers that I
have had the pleasure to work with for their honesty and incredible investment of effort in my
collegiate studies.
iii
TABLE OF CONTENTS
Page
ACKNOWLEDGEMENTS ........................................................................................................... iii
LIST OF TABLES ......................................................................................................................... vi
LIST OF MUSICAL EXAMPLES ............................................................................................... vii
CHAPTER 1. INTRODUCTION ....................................................................................................1

1.1 Introduction ..............................................................................................................1
1.2 Purpose.....................................................................................................................3
1.3 Methodology ............................................................................................................8
CHAPTER 2. MAHLER SYMPHONY NO. 6 .............................................................................11

2.1 Transcription of Rehearsal Number 23 to 25 .........................................................11
2.2 Performance Considerations ..................................................................................13
CHAPTER 3. RAVEL DAPHNIS ET CHLOÉ SUITE NO. 2 .......................................................15

3.1 Transcription of Rehearsal Number 156 to 161 .....................................................16
3.2 Performance Considerations Rehearsal 156-161 ...................................................23
3.3 Transcription of Rehearsal 210 to the End ............................................................25
3.4 Performance Considerations for Rehearsal 210 to the End ...................................31
CHAPTER 4. SHOSTAKOVICH VIOLIN CONCERTO NO. 1 IN A MINOR OP. 77..............32

4.1 Transcription Rehearsal 23 to 25 ...........................................................................32
CHAPTER 5. STRAUSS DON QUIXOTE ...................................................................................34

5.1 Transcription of Rehearsal Number 14 to 19 .........................................................34
CHAPTER 6. STRAVINSKY LE SACRE DU PRINTEMPS .......................................................41

6.1 Transcription of Rehearsal Number 4 to 6 .............................................................41
6.3 Transcription of Rehearsal Number 139-142 ........................................................45
iv
CHAPTER 7. WILLIAM SCHUMAN SYMPHONY NO. 3 .......................................................48
7.1 Transcription of Part II, Choral and Toccata from Three before Rehearsal Number
145 to Four after Rehearsal Number 200 ...............................................................48
CHAPTER 8. CONCLUSION.......................................................................................................54
APPENDIX A. ORIGINAL ORCHESTRAL SCORES ...............................................................55
APPENDIX B. BASS CLARINET PERFORMANCE PARTS .................................................117
APPENDIX C. FINGERING CHOICES FOR SCHUMAN SYMPHONY NO. 3 ....................128
APPENDIX D. SNARE DRUM PERFORMANCE PARTS ......................................................132
APPENDIX E. PERMISSIONS ..................................................................................................135
REFERENCES ............................................................................................................................140
v
LIST OF TABLES
Page
Table 1: Bourque/Bloom and Palanker excerpt table. .................................................................... 4
Table 2: Composite list of audition excerpts. ................................................................................. 6
vi
LIST OF MUSICAL EXAMPLES
Musical examples used by permission from these copyright holders:
*1956 G. Schirmer, INC.
+1942 Associated Music Publishers, INC.
Page
Example 6.1: Stravinsky Rhythm Practice ................................................................................... 44
Example A.1: Mahler Symphony No. 6 full score rehearsal number 23 to 25. ........................... 56
Example A.2: Ravel Daphnis et Chloé full score of rehearsal number 156 to 161. .................... 59
Example A.3: Ravel Daphnis et Chloé full score of rehearsal 210 to the end. ............................ 75
Example A.4: *Shostakovich Violin Concerto No. 1 in A Minor op. 77 full score rehearsal 23 to
25................................................................................................................................................. 100
Example A.5: Strauss Don Quixote full score of rehearsal number 14 to 19. ............................ 102
Example A.6: Stravinsky Le Sacre Du Printemps full score of rehearsal number 4 to 6. .......... 106
Example A.7: Stravinsky Le Sacre Du Printemps full score of rehearsal number 139-142. ..... 109
Example A.8: +Schuman Symphony No. 3 full score from Part II, Choral and Toccata. .......... 112
Example B.1: Mahler Symphony No. 6 rehearsal 23-25 bass clarinet part ................................. 118
Example B. 2: Ravel Daphnis Et Chloé rehearsal 157-161 bass clarinet part ........................... 119
Example B. 3: Ravel Daphnis et Chloé rehearsal 210-End bass clarinet part ............................ 120
Example B.4: *Shostakovich Violin Concerto No. 1 in A Minor op. 77 rehearsal 23-25 .......... 122
Example B.5: Strauss Don Quixote rehearsal 14-19 bass clarinet part....................................... 123
Example B.6: Stravinsky Le Sacre Du Printemps Rehearsal 4-6 bass clarinet part ................... 124
Example B.7: Stravinsky Le Sacre Du Printemps rehearsal 139-141 bass clarinet part ............ 125
Example B.8: +Schuman Symphony No. 3 bass clarinet part ..................................................... 126
vii
Example D.1: +Schuman Symphony No. 3 Snare Drum Part ..................................................... 133
viii
CHAPTER 1
INTRODUCTION
1.1 Introduction
Musicians of the twenty-first century are confronted with continually rising standards in
orchestral performance. Fortunately, this has been accompanied by an expansion of resource
materials, which helps to meet new standards of excellence for orchestral auditions. The study
and performance of orchestral excerpts is an inescapable reality for all aspiring clarinetists.
While not all clarinetists are intent on developing a career in orchestral performance, the
discipline and detailed study of orchestral repertoire continues to be a fundamental aspect of
clarinet pedagogy.
Like all musicians of the orchestra, the contemporary bass clarinetist must perform an
audition with musical insight that reflects a deep understanding of the bass clarinet’s role in both
solo and tutti orchestral performance. In reference to auditions and orchestral performance,
Robert Marcellus, Principal Clarinetist of the Cleveland Orchestra from 1953-1973, stated, “the
orchestral passages themselves have to be learned not only in terms of technique, articulation,
phrasing, and good musicianship, but students also ought to learn the harmonic and rhythmic
textures that accompany the orchestral solos”.1 Obviously, this is true not only for principal
clarinet auditions but bass clarinet auditions as well.
Most orchestral bass clarinet jobs demand doubling on soprano clarinet as well as
occasional instances of doubling on Eb clarinet. Contemporary auditions reflect this necessity
with audition roles labeled as “3rd/Utility Clarinet and Bass Clarinet Audition,” “Bass
1
Dennis Nygren, "Robert Marcellus, Yesterday and Today: An Interview," The Clarinet
(International Clarinet Society/Clarinetwork International), vol 16, no. 1, 1988: 33-42.
1
Clarinet/Utility Clarinet,” “Bass Clarinet/Third Clarinet,” or similar job titles articulating a
doubling role for the bass clarinet position. Because of these job demands, bass clarinetists
auditioning for these various jobs must display technical and musical excellence on soprano
clarinet before advancing to later rounds when bass clarinet playing will ultimately be tested.
Discourse and performance literature regarding soprano clarinet audition skills are readily
available, particularly Peter Hadcock’s The Working Clarinetist2 and Mark Nuccio’s The
Audition Method.3 Both books feature performance suggestions, fingerings and descriptions of
common problems found while studying these excerpts. However, materials for bass clarinet of
similar caliber are few. Notable exceptions for bass clarinet include: Michael Drapkin’s
Symphonic Repertoire for the Bass Clarinet, volumes 1-34 and Wagner: Orchestral Excerpts
from Operas and Concert Works for Clarinet and Bass Clarinet.5 However, neither of these
resources feature performance commentary or preparation suggestions; both include only the
printed excerpt. Therefore, the focus of this document i a preparation method for bass clarinet
excerpts.
Although there are a multitude of excellent resources detailing how select excerpts from
both the clarinet and bass clarinet orchestral repertoire should be performed, no resources for
clarinetists or bass clarinetists provide a piano reduction of orchestral scores. It is worth noting
that there are a few piano with solo clarinet reductions of orchestral literature including
Lovreglio/Giampieri arrangement of the famous clarinet solo from act III of Verdi’s Opera, La
2
Peter Hadcock, The Working Clarinetist, ed. Bruce Ronkin, Aline Benoit, and Marshall Burlingame
(Cherry Hill, NJ : Roncorp, 1999).
3
Baron, Benjamin, and Mark Nuccio, The Audition Method for Clarinet Volume 1, ed. Christine Carter
and Michael Cirigliano (Chicago: GIA Publications Inc, 2014).
4
Michael Drapkin, Symphonic Repertoire for the Bass Clarinet, 3 vols (Honolulu: Roncorp
Publications, 1979).
5
Richard Wagner, Excerpts from Operas and Concert Works for Clarinet and Bass Clarinet, ed. by F
Hinze (New York, NY: International Music Company, nd).
2
Forza del Destino and James Gillespie’s, in collaboration with Steven Harlos, arrangement of
Debussy’s Prélude à l’Après-Midi d’un Faun for clarinet and piano. The idea of reducing
popular and musically satisfying operatic or orchestral works to smaller instrumental forces is
not uncommon, but the idea of reducing large scores for the exclusive use of orchestral excerpt
pedagogy is.
Former principal flutist of the New York Philharmonic, Jeanne Baxtresser, in
collaboration with pianist Martha Rearick, created a unique resource for orchestral excerpt study.
Orchestral Excerpts for Flute with Piano Accompaniment includes some of the most commonly
requested flute excerpts in the orchestral repertoire. Each excerpt in Baxtresser’s book includes a
piano reduction of the orchestral score from the location in the piece from which the flute excerpt
is drawn. While some of the scores selected demonstrate thin orchestral texture, other orchestral
scores are extremely dense and would be difficult to play as a piano reduction. For dense scores,
Martha Rearick stated: “In many excerpts which have very complex orchestral textures
(especially those by Strauss and Stravinsky), some of the instrumental lines have been reduced to
enable the pianist to play at the proper tempo.”6 Mirroring the work of Baxtresser is Vincent
Cichowicz’s Orchestral Excerpts for Trumpet with Piano Reduction Accompaniment.7
1.2 Purpose
The goal of this project is to expand the pedagogical resources for bass clarinet in a
manner similar to Baxtresser’s and Cichowicz’s work. In order to determine which excerpts to
include, audition lists from a short survey of major 3rd/Utility Clarinet and Bass Clarinet
auditions and major music festivals were compiled. Additionally, pedagogical writings by David
6
Baxtresser, Jeanne, and Martha Rearick, Orchestral Excerpts for Flute, ed. Daniel Dorff (Theodore
Presser, 1995).
7
Vincent Cichowicz, Orchestral Excerpts for Trumpet, (Montrose, CA: Balquhidder Music, 2005).
3
Bourque (third/bass clarinet of the Toronto Symphony) in collaboration with Lawrie Bloom
(third/bass clarinet of the Chicago Symphony) and Edward Palanker (former third/bass clarinet
Baltimore Symphony) were consulted.
Table 1 is a list of orchestral excerpts most likely to be asked, according to Edward
Palanker8 and David Bourque,9 listed in order they appear in their documents:
Table 1: Bourque/Bloom and Palanker excerpt table.
Bourque/Bloom Palanker
Grofé: Grand Canyon Suite Grofé: Grand Canyon Suite
W. Schuman: Third Symphony Gershwin: Rhapsody in Blue
Shostakovich: Violin Concerto Khachaturian: Piano Concerto
Strauss: Don Quixote Mahler: Symphony #4
Strauss: Till Eulenspiegel Mahler: Symphony #6
Ravel: La Valse Dukas: Sorcerer’s Apprentice
Ravel: Daphnis and Chloe Suite #2 Ravel: La Valse
Mahler: Symphony #6 Ravel: Daphnis and Chloe Suite #2
Meyerbeer: Cadenza from Les Huegenots W. Schuman: Symphony #3
Shostakovich: Seventh Symphony Shostakovich: Symphony #6
Shostakovich: Eighth Symphony Shostakovich: Violin Concerto
Stravinksy: Le Sacre Du Printemps Strauss: Death and Transfiguration
Stravinksy: Petrushka Strauss: Till Eulenspiegel
Ravel: Concerto for the Left Hand Strauss: Don Quixote
Khatchaturian: Piano Concerto Stravinky: Rite of Spring
Hindemith: Symphonic Metatmorphosis Wagner: Tristan and Isolde
Berg: Violin Concerto Wagner: Die Walkure
Wagner: Die Götterdämmerung
8
Edward Palanker, “Bass Clarinet Articles & Finger Chart,” Eddies Clarinet, Accessed March 29,
2016,
http://eddiesclarinet.com/eddiesclarinet.com/Bass_clarinet_articles&fingering_chart_files/Mahler%20Sy
m.%236.pdf.
9
Bourque, David and Bloom, Lawrie, “Orchestral Bass Clarinet - Selected Excerpts in Detail,” David
Bourque Teacher, Performer, Wind Coach, Conductor, last updated 2014, Accessed March 29, 2016,
http://davidbourque.com/clbcl/Downloads_files/Orchestral%20Bass%20Clarinet%20-
%20Bloom%3ABourque.pdf.
4
The next list is a compilation of ten 3rd and ass Clarinet audition lists of typical artistic
organizations. Represented in the list are six full time symphony orchestra audition lists, two per
service orchestra audition lists and audition lists for the Aspen School of Music and Tanglewood
Music Center. Each of these auditions occurred within the last ten years.
1. Detroit Symphony Orchestra (2007)10
2. San Francisco Symphony Orchestra (2011)11
3. Springfield Symphony Orchestra, Massachusetts (2014)12
4. St. Louis Symphony Orchestra (2014)13
5. New York Philharmonic (2015)14
6. Kansas City Symphony Orchestra (2016)15
7. The Cleveland Orchestra (2016)16
8. The El Paso Symphony Orchestra (2016)17
9. Aspen School of Music Audition Requirements (2016)18
10
CK Dexter Haven, “Orchestral Audition Repertoire Lists,” All is Yar, accessed March 8, 2016,
https://allisyar.files.wordpress.com/2012/06/bassclarinet.pdf.
11
---ibid, accessed 3 8, 2016, https://allisyar.files.wordpress.com/2012/06/bass-clarinet-complete-
repertoire-list.pdf.
12
Springfield Symphony Orchestra, “Bass Clarinet/Third Clarinet Audition,”accessed March 8, 2016,
http://www.springfieldsymphony.org/assets/PDFs/June-2014-Bass-Clarinet-3rd-Clarinet-Audition-
Repertoire.pdf.
13
St. Louis Symphony Orchestra, “Bass Clarinet/Utility Clarinet Audition,” accessed March 8, 2016,
http://www.stlsymphony.org/media/pdf/auditions/bcl_aud_info_pos_details_v2.pdf.
14
New York Philharmonic, “Bass Clarinet/Utility Clarinet,” accessed March 8, 2016,
http://nyphil.org/~/media/pdfs/auditions/1415/2015-16-bcl-and-utility-clarinet-packet-2.pdf?la=en.
15
Kansas City Symphony Orchestra, “3rd/Utility Clarinet and Bass Clarinet,” accessed March 8, 2016,
https://www.kcsymphony.org/ResourceCtl?fileId=GUc8txlJh8GEGDIlkKaAKA%3D%3D.
16
The Cleveland Orchestra, “Bass Clarinet/Clarinet Audition Repertoire,” accessed March 8, 2016,
http://www.clevelandorchestra.com/globalassets/pdfs-general/audition-repertoire/bassclarinet-
clarinetrepertoirelist.pdf.
17
The El Paso Symphony Orchestra, “EPSO News,” accessed 3 8, 2016,
http://www.epso.org/files/doc_159_2.pdf.
18
Aspen Music Festival and School, “Programs of Study / Orchestra,” last modified 2016, accessed
March 8, 2016, https://www.aspenmusicfestival.com/students-welcome/programs-of-study/instrumental-
orchestral/clarinet/.
5
10. Tanglewood Music Center Audition Requirements (2016)19
Table 2 is a composite of every audition excerpt listed on each of the ten audition lists.
An “x” in a column represents whether the excerpt is required for a specific artistic organizations
audition. Artistic organizations are listed left to right at the top of the table and the number
corresponds to the list above. The third column tallies the number of times each excerpt appears
between the ten artistic organizations.
Table 2: Composite list of audition excerpts.
Artistic Organization # Frequency

Orchestral Work 1 2 3 4 5 6 7 8 9 10
Barber: Second Essay for Orchestra X 1
Bartók: Second Suite X 1
Bartók: The Miraculous Mandarin X 1
Berg: Violin Concerto X X X 3
Dukas: Sorcerer’s Apprentice X X X 3
Gershwin: Rhapsody in Blue X X 2
Gershwin: Concerto in F X 1
Grofé: Grand Canyon Suite X X X X X X X X 8
Hindemith: Symphonic Metamorphosis X 1
Khachaturian: Piano Concerto X X X X X X 6
Mahler: Symphony No. 1 X X X 3
Mahler: Symphony No. 6 X X X X 4
Mahler: Symphony No. 9 X 1
Meyerbeer: Les Huguenots X 1
Pintscher: Chute d’Etoiles X 1
Ravel: Daphnis et Chloé Suite No. 2 X X X X X X X X 8
Ravel: La Valse X X X 3
Respighi: The Pines of Rome X 1
W. Schuman: Symphony #3 X X X X X X X 7
Shostakovich: Concerto For Violin op. 77 X X X X X X X 7
Shostakovich: Symphony No. 6 X X 2
Strauss: Don Quixote X X X X X X X X 8
(table continues)
19
Tanglewood Music Center, “Fellowships and Audition Information,” last modified 2016, accessed
March 8, 2016, http://www.bso.org/micro-sites/tanglewood-music-center/fellowships/instrumental.aspx.
6
Strauss: Till Eulenspiegel X X X 3
Stravinsky: Le Sacre du Printemps 1947 X 1
edition20
Stravinsky: Le Sacre du Printemps X X X X X X X 7
Stravinsky Symphony in Three Movements X 1
Tchaikovsky: The Nutcracker X X X X X 5
Tchaikovsky: Manfred Symphony X 1
Verdi: Aida Act 4 X 1
Wagner: Götterdämmerung: Siegfried’s X X X X X 5
Rhine Journey
Wagner: Tristan und Isolde X X X 3
In comparing the above charts, the following ten excerpts can be viewed as the most
significant audition excerpts for bass clarinet. Therefore, these ten works represent the most
relevant excerpts to transcribe for piano and bass clarinet, and serve as a first step in creating a
resource of comparable quality to the Baxtresser and Cichowicz excerpt books.
1. Ravel: Daphnis et Chloé, 2nd Suite
2. Grofé: Grand Canyon Suite
3. Strauss: Don Quixote
4. Stravinsky: Le Sacre du Printemps
5. W. Schuman: Symphony No. 3
6. Shostakovich: Violin Concerto No. 1 in A Minor op. 77
7. Khachaturian: Piano Concerto
8. Wagner: Götterdämmerung: Siegfried’s Rhine Journey
9. Tchaikovsky: The Nutcracker
10. Mahler: Symphony No. 6
20
In this edition, Stravinsky reduced the orchestration of the original Le Sacre du Printemps and
combined both the 3rd/bass clarinet part with the bass clarinet 1 part. The primary difference between the
two editions for performance is in the 1947 edition, where the bass clarinetist is performing solo excerpts
that were originally divided between two players.
7
This document will only include the following six transcribed works due to the time
limitations of a lecture recital and limitations of copyright approvals:
1. Mahler: Symphony No. 6
2. Ravel: Daphnis et Chloé, 2nd Suite
3. Shostakovich: Violin Concerto No. 1 in A Minor op. 7721
4. Strauss: Don Quixote
5. Stravinsky: Le Sacre du Printemps

22
6. W. Schuman: Symphony No. 3
Lastly, many audition lists for major symphony orchestras may not list specific excerpts
but instead list the work in its entirety for auditions. It is a fairly common practice for major
symphony orchestras to expect auditioning candidates to be familiar with a work in its entirety.
The excerpts chosen for this project represent the most common sections of a work to appear in a
live audition. A few of the audition lists surveyed are specific to which sections of each work are
to be performed which are reflected in this transcription project. Most excerpt books currently
available for bass clarinet reflect the most commonly requested sections that appear on auditions,
as well as in this project.
1.3 Methodology
The process of reducing orchestral scores to a playable piano reduction varies between
different works. In many of the included excerpts, the bass clarinet part appears as a solo or
21
Dmitri Shostakovich Copyright © 1956 (Renewed) by G. Schirmer, Inc. (ASCAP) International
Copyright Secured. All Rights Reserved. Used by Permission. Measures 1-31.
22
William Schuman Copyright © 1942 (Renewed) by Associated Music Publishers, Inc. (BMI)
International Copyright Secured. All Rights Reserved. Reprinted by Permission. Piano transcription and
excerpted snare drum with bass clarinet part from part II, Toccata (measures 142-203).
8
prominent melodic voice above thin orchestral texture. Transcribing these works to a piano
reduction while observing the original orchestral texture in regard to octave placement and
number of orchestral voices is rather straightforward.
Other works present transcription challenges, either due to dense orchestration that would
be unplayable on the piano or complex voice leading. Fully reducing them to piano would create
awkward hand crossings and fingerings. With scores that present these issues, there are
alternative resources for creating viable piano transcriptions. For instance, with excerpts drawn
from operas, vocal scores with piano reductions are particularly helpful references in creating
playable transcriptions. The vocal score for Wagner’s Götterdämmerung is readily available. In
the cases of Stravinsky’s Le Sacre du Printemps and Tchaikovsky’s The Nutcracker, Dover
Publications republished Stravinsky’s original piano four hands edition published by Russe de
Musique, Paris 191323 and The Nutcraker: Complete Ballet for Solo Piano, op. 71.24 When
transcribing difficult and dense scores for this project, octave displacement and voice omissions
were used when alternative solutions could not be found.
For advice on the playability of each orchestral transcription, pianist Brad Robin has
agreed to consult. Brad Robin is currently a DMA student at the University of North Texas
studying composition with additional studies in piano. Brad’s work as a consultant will include
advice on notation issues, use of accidentals within each stave of the piano reductions (such as
notation of a written interval of an augmented octave vs. a minor 9th notation), and advice
regarding whether or not a score reduction is idiomatic to the piano.25
23
Igor Stravinsky, The Rite of Spring for Piano Four Hands, (Mineola, New York: Dover Publications,
INC. 2005).
24
Peter Ilyich Tchaikovsky, The Nutcracker: Complete Ballet for Solo Piano, op. 71, arr. Sergey
Taneyev (New York: Dover Publications, INC. 2005).
25
Brad Robin, “Brad Robin Composer/Performer/Educator,” accessed March 1, 2016,
http://www.bradrobin.com/home.html.
9
With regard to the particularly dense and complicated score of Richard Strauss’ Don
Quixote, Janos Starker, in collaboration with Emilio Colón, published a solo cello edition with
piano reduction of the entire orchestral score.26 A verbatim transcription of Starker’s work would
not fit the aim of this project as the bass clarinet line has been included in his transcription.
However, it is useful for consulting which instrumental doublings, omissions and octave
displacements that Starker chose to omit from the original score in order to create a playable
piano reduction.
For each transcription, the piano reduction include the bass clarinet part notated as a
solo line in concert pitch. All measure numbers or rehearsal markings in each transcription are
identical to the original score for ease of reference. Small cues are given indicating which
instrument or instrument groups were reduced into the piano score.
26
Colón, Emilio and Starker, Janos, Don Quixote Fantastic Variations on a Theme of Knightly
Character for Violoncello and Piano (Boca Raton, Florida: Masters Music Publicatins INC, 2007).
10
CHAPTER 2
MAH ER S MPHON NO. 6
2.1 Transcription of Rehearsal Number 23 to 25
Mahler Symphony No. 6

Rehearsal 23-25 Gustav Mahler
1860-1911
Grazioso Trans. Connor O'Meara
(q=66-72) 23
b 4
Bass Clarinet in C & b b4 ∑ ∑ ∑
23 ˙ n œ nb˙˙˙ ˙˙
b 4 ˙ ˙
& b b 4 w œ œ œ œœ œœ ˙œ™ ‰ œ ‰
œ™ J p œ
vln. > hrn.
J
pp
Piano
œ œ œ œ >
cello
? bb 4 œ™ œj ‰ J œ œ œ ‰ nœ œ™ œ
{ b4
p
œ- œ- œ œ
- - œ
J
4
b
Cl. &b b ∑ ∑ ∑ ∑ ∑
sich Zeit lassen
b#˙n˙˙ n œ˙˙ b œ œ n œ œ bn >˙w
solo vln.
œ œ œ n>˙ œ nœnœ ˙ œ ™ œ -œ - -
b w nnw
w bw #œ ™ œnœ -œ
&b b w ‰ w
w J
Pno.
œ™ œ nœ œ ™ nœ -œn-œ - n˙ nœ,bœ bœ œ œ
? bb
{ b ˙ ‰ œJ n˙ ‰#œJ nœ J œ œ- ˙
p
9 24
b œœœœ w w œ™ œ œ œ
Cl. &b b ∑ œ™ œJ J œœ
p espr. pp
n ˙˙ ™™™ œ
b vlns. ˙ n# œœœ bn œœœ œœ n#œœœ œœœ n#œœœ œœœ bbœœœ nnœœ b œœ nnnœœœ œœ b œœœ
& b b ˙w
w b˙ œ bœ nœ
Pno. ppp
? bb ˙ n˙ dbl. bass
{ b w
pp
w w w
11
2
4
b
Cl. & b b œ ™ œj œ ∑ ∑
œœ œ ˙
p
bbœœ œœœ n œœœ œœ œœ œ œœ œœ œœ œœ œ œ œ œ œœ bb œœ bœ œœ
b œ œ œ œ b œ
œ œ œ œ bœ œ œ
œœ œ
&b b n œ
Pno.
htrns vla ˙˙˙ ˙˙ ˙˙˙
? bb
{ b w ˙ bb˙˙˙ ˙˙˙
˙
p
b œ œ˙ œ œ˙ œ™ œ bœ bœ œ
Cl. &b b J œ
p œ
n œœ œœ b œœ bœ œœ b œœ bœ œœ b œœ bœn œœ œœ nœn œœ œ œœ œœ œ
bbb ˙˙˙˙ ™™™™ vlns.
œ
œ œœ œ œ bœ œ œ
&
se pre pp
Pno. cellesta bass
? b œœœœharp ˙˙˙ ˙˙
{bb œ
œ œ œ œ
timp.
œ œ œ
pp
˙
b
Cl. &b b ∑
˙ ˙
˙ ˙ pp
œœ œ œ r c halten
œ œ œ œ œ œœ œ œœ œ œœ œ bœ œ
b
&b b œ œœ nœ œ nœ œ œ œ bœ œœ bœ œœ œ
Pno.
? b ˙˙ ˙ ˙ n˙ œ œ vla
˙ œ̇ œ
{bb ˙ ˙˙ ˙
˙ ˙
2
˙
b ####
Cl. &b b # ∑
w w
Tempo . subito.
s ren ehr ener isch
b w ob
#### œ
&b b w w œ œ œ ##œœ # œ™
‰
s ren
Pno.
˙™ #>œ >
? bb œ œ œ œ w
cello bass
#### œ >œ
{ bw w #
12
2.2 Performance Considerations
Mahler’s Symphony No. 6 presents interesting challenges for the bass clarinetist. The
first consideration in performing the large solo from movement 1 is transposition. Originally
written for bass clarinet in A, contemporary musicians are expected to transpose the solo to bass
clarinet in Bb. Due to the complex key signature in the solo section from rehearsal 23 to 25 for
bass clarinet in A, six flats, bass clarinetists are best served by obtaining a transposed part.27 A
transposed part for bass clarinet in Bb allows the musician to read in the key of F Major. This is
a more idiomatic and less visually challenging key than transposing Gb Major down a half-step.
For this project, the bass clarinet performance part is transposed for Bb bass clarinet.28
Mahler’s written dynamics, as well as approximate tempo, make this solo difficult due to
the vast amount of air required to play the opening measures of the bass clarinet solo. David
Bourque has an excellent performance recommendation for this excerpt with regard to air use.
st
He states “the solo in the 1 movement should be played as softly as possible. The hairpin dim.
to pp in the middle of the solo should become almost inaudible. This will also help ration the air
to get through the full solo in one breath.”29 For tempo, Edward Palanker suggests approximately
quarter note = 66-72.30
27
There is a performance part available on IMSLP in which all sections that call for bass clarinet in A
are transposed to bass clarinet in Bb.
28
See appendix B for all performance bass clarinet parts relative to this project
29
Bourque Teacher, Performer, Wind Coach, Conductor, modified 2014, accessed January 24, 2016,
30
Edward Palanker, “Bass Clarinet Articles and Finger Chart,” Eddies Clarinet, accessed March 29,
2016
http://eddiesclarinet.com/eddiesclarinet.com/Bass_clarinet_articles&fingering_chart_files/Mahler%20Sy
m.%236.pdf.
13
When performing this excerpt with piano reduction, the issue of intonation becomes a
defining factor of a successful performance, since intonation is also an especially important
consideration when performing this excerpt in an orchestra. Note that in the original orchestral
score, Mahler has several fixed or near fixed pitch instruments playing through portions of
rehearsal number 23-25. These instruments include the celesta, harp and timpani, which cannot
move up or down in pitch to accommodate a bass clarinetist’s intonation tendencies; therefore, a
competent bass clarinetist must find solutions to play in tune. Of particular importance is
attention to the bass clarinet’s throat tones which include concert pitch F, F#, G and Ab. These
notes will have different tendencies depending on the manufacturer and model of bass clarinet.
Bass clarinetists are well advised to spend time playing the excerpt with a drone on the
individual pitches of Bb and F, which outline the major key areas of rehearsal 23 to 25.
A final area to address with this excerpt is the style and rhythm seen in the piano
reduction at bars 18-19. Bass clarinetists must realize that the eight note/sixteenth note figure is
mirrored in the timpani and, therefore, must match in style and articulation. This suggests
playing the eighth note with an implied tenuto to give a little more weight to ensure full value.
For the sixteenth note, bass clarinetists are advised to avoid over emphasizing the articulation by
making notes overly short or clipped, this requires active air support.
14
CHAPTER 3
RAVEL DAPHNIS ET CHLOÉ SUITE NO.2
Most any clarinet, Eb clarinet or bass clarinet audition will include at least some part of
Daphnis et Chloé. Lawrie Bloom writes “This will be on all auditions. If it’s not, practice it
anyway. I’ve almost never seen a clarinet audition that didn’t include Daphnis.”31 This statement
is further illuminated by Table 2 on page seven of this document. Of the ten audition lists
surveyed, only two lists did not include bass clarinet excerpts from Daphnis et Chloé. For the
purposes of this document, the two most requested sections have been included: rehearsal 156 to
three measures after rehearsal 161 and rehearsal 210-218. Additional material from 218-end of
the work is included in the transcription for additional study of this very demanding work.
The transcription of rehearsal 156-161 covers more material than is often asked on
auditions. Rehearsal 156 to three after 157 is the most commonly asked section, though there are
several audition lists that ask for material from rehearsal 165, 167 and 170.32 These sections were
not included because the accompanying texture is near identical to 156-three after 157, the only
major difference being different thirty-second note dodecuplets patterns and harmonic texture.
The purpose of transcribing rehearsal 156-161 is to inform bass clarinetists of the predominant
orchestral melodies and accompaniments that are pervasive throughout the beginning of Daphnis
et Chloé to rehearsal 170.
The transcription of rehearsal 210-end covers most every section that is commonly asked
for on an audition from material in the Animé section at rehearsal 194 to the end of the work. A
31
Bourque Teacher, Performer, Wind Coach, Conductor, modified 2014, Accessed March 29, 2016,
32
Specifically, the San Francisco, St. Louis Symphony and the Detroit Symphony list.
15
majority of audition lists that request material from the Animé only ask for rehearsal 212-214,
though the New York Philharmonic audition pre-screening round asks for two measures before
rehearsal 202 to two measures before 204.33 A second exception is the San Francisco audition list
which includes audition material starting at one measure before rehearsal 208.34
A full transcription of every moving line between number 156 and 161 from Ravel’s
Daphnis et Chloé would not be feasible for one pianist. This is an example of an extremely dense
score where octave displacements and omission of doubled voices are necessary. An example of
omission is some of the orchestral instrument lines with thirty-second note dodecuplets that are
often in tight harmonies of major and minor thirds which would be difficult to perform on piano.
While this distorts Ravel’s original harmonic texture, the key element of rhythm is still
maintained, reinforcing two of the key goals of this project: providing bass clarinets with a
contextual understanding of an excerpt and observing the important melodic lines during rests.
For this transcription, the moving thirty-second note dodecuplets were not included in the piano
transcription for the first ten bar so that other melodic and harmonic lines could be present and
playable by one pianist. By omitting the thirty second-note dodecuplets from the first ten bars,
bass clarinetist can focus on refined unison playing with the bass clef melodic material,
originally contra bass and cello parts, for tuning and rhythm.
33
34
https://allisyar.files.wordpress.com/2012/06/bass-clarinet-complete-repertoire-list.pdf.
35
Maurice Ravel, Daphnis et Chloé, (New York, New York: Dover. 2006).
16
Daphnis et Chloé
Rehearsal 156-161
Maurice Ravel
q=50 1875-1937
Trans. Connor O'Meara
156
## 3 ∑ j
œ ‰
Bass Clarinet in C & 4 Œ Œ
œ œ œ
pp
œ
Vlns. 3 3
3 3
#3 j j
& # 4 ˙˙ ™™ ‰ œ œj œ Œ
œ
j Œ ‰ œj œ ‰ ‰ œj œ œj œ ‰ œj œ ‰
˙˙ ™™
Hrns œœ œ. œ
mf .
œ. œ œ. œ œ. œ œ. œ
Piano
∏∏∏∏∏∏∏∏
? ## 43 œ œ œ œ
∏∏∏∏∏∏
Left hand
{ œ œ œ œ œ œ œ œ
silently hold
low D with
˙™
Bass Div.
˙™ ˙™
sostenuto “‘
prior to
beginning pp cresc. poco a poco
4
#
Cl. &#œ œ œ œ œ œ œ
œ
œ œ œ
œ
3 Fl
Ÿ~~~~~~~~ . œj
Pic.
œœœœœœ œœ œ œj œ œ œ -œ -œ -œ œ œ œ œ œ œ Ÿœ~~~~~~~~ œ. œj œ. œ œ œ œ œ œ œ Ÿœ~~~~~~~
# œœ
&#‰ ‰ ≈ ≈
6 6 12
Pno.
? ## œ œ œ œ œ œ œ
∏∏∏∏∏∏∏
∏∏∏∏∏∏∏
∏∏∏∏∏∏
œ œ œ œ
{
sostenuto sempre ˙™
:“;
˙™
œ
˙™
cresc. poco a poco
7
# œœœœœœœ œœœœœœœœœœœ œœœœœœœœœœœ œœœœ
Cl. &# œ œ œ
12 12 12
“” 3
œj œj œj œj œj
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
# Picc œ. œ. œ. œ. œ œ
&# ≈ ‰
Pno.
œ œ
∏∏∏∏∏∏∏∏∏
œ œ
? ## ˙ ™
{ :“;
˙™
cresc. poco a poco
12
17
2 15
# œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ
Cl. &#œ
12 12 12
f
“” 3
. j
. . j . . 3
œ ‰ œ
.
## œ
œ j
œ œ
œ
œ œ
j
œ ‰œ œj œj œ ‰
&
f
Pno.
Vla, Vln, Bsn
? ## œ œ œ œ
{ ˙™
:“;
# œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ
Cl. &#
12 12 12
3
:“; oco
œj
j œ
j
œ. œ. œj œ.
# œ œ.
&#‰ ‰ ‰
Pno. . . œ
. .sempre
œ œ œ
? ## œ œ œ œ
{ :“;
˙™ oco
oco
#
Cl. &#œ ‰™ Œ Œ
Fl2, Vln 1 lower divisi

12 12 12
# œ œ œ
&# œœœœœœœœœœœ œœœœœœœœœœœ œœœœœœœœœœœ
Pno.
cello
∏∏∏∏∏∏∏∏
? ## ˙ œ
{ :“;
˙™
18
#
Cl. &#
œ œ œ œ
12 12 12
#
&#œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ
Pno.
? ## œ ˙
{ :“;
˙™
#
Cl. &#
œ œ œ œ
12 12 12
#
Pno.
∏∏∏∏∏∏∏∏
? ## œ œ œ œ
{ :“;
˙™
15
#
Cl. &# Œ Œ
œ pp
12 12 12
# œ œ œ
Pno.
∏∏∏∏∏∏∏∏
? ## œ
Cl1 Vla
œ œ œ
{
4
:“;
˙™
#
Cl. &#Œ Œ Œ
12 12 12
#
pp
Pno.
œ
∏∏∏∏∏∏∏∏
? ## œ œ œ œ
{ :“;
˙™
19
# j
Cl. &#Œ Œ ‰ œ
pp
Vl 2, o divisi 12
12 12
# œœœœœœœœ œœœœ
&#œœœœœœœœœœœœœœœœœœœœœœœ œ
Pno.
œ œ
∏∏∏∏∏∏∏∏
? ## œ œ
{ :“;
˙™
#
Cl. &#œ œ œ œ
12 12 12
# œ œ œœœœœœœœ œœœœœœœœœœœ œœœœ

&# œ œœœœœœœœ œ œ
Pno. œ
∏∏∏∏∏∏∏∏∏∏
œ œ œ œ
? ##
{ :“;
˙™
7
#
Cl. &#
œ œ œ
12 12 12
# œœœ œ
&# œ œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ
Pno.
? ## œ œ œ œ
∏∏∏∏∏∏
œ
{ :“;
˙™
# 15
4 3
Cl. &# 4 4
#œ œ œ
ru ato
12 “”
12 12
Picc olo
## œœœœœ œ œœœœœœœœ œ œœœœœœœœ œ œœœ 4 ‰ œ œœœœœ œ œ œ œ ™™ œ œ œ œœ ™œœœœœœ 3
& œ œœ œ œœ œ œœ 4 œ 4
Pno. mf
6
? ## œ
∏∏∏∏∏∏∏∏
œ œ œ œ 4 3
œ
{ :“;
˙™
4 4
20
#3
Cl. & #4
˙™
:“; oco 12 12
## 3 œ œ œ œ œ œ œ œ œ œ œ œ œ
& 4œ œ œ œ œœ œ œ œ œ œœ œ œ œœ œ œ œœ
Pno.
? ## 43 Œ˙ ™
pp
œ œ
{ ˙™
:“;
#
Cl. &# j ‰ Œ Œ
œ
12 12 12
# œ œ œ
Pno.
? ## œ œ œ œ œ
{ :“;
˙™
#
Cl. &#Œ Œ
œ œ
p
12 12 12
#
Pno.
∏∏∏∏∏∏∏∏
? ## œ œ œ
{ :“;
˙™
œ
16
#
Cl. & # œj ‰ Œ Œ
#œ #œ œ
mf
12 12 12
Cl
#œ œ#œ œ œ œ œ œ œ œ œ œ
# œ œ œ
& # œœœœœœœœœœœ œœœœœœœœœœœ œœœœœœœœœœœ ‰
Pno.
? ## œ œ œ œ œ ##˙˙œ ™™ #œ œ
{ :“;
˙™
mf
21
# j
Cl. &# œ ‰ Œ Œ
œ œ œ
œ#œ œ œ œ œ œ œ œ
#
&# ‰ œ œ#œ œ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3 3
Pno. 12 12
œ j
? ## œ #œ ™ #œ
{ ˙™
# ˙™ # œ˙ ™ œ œ
:“;
7
#
Cl. & # #œ œ #œ
# #œ #œ œœœœœœœœ œœœœœœœœœœœœœœœœ
& # #œ œ œ œ œ #œ œ œ œ œ
Pno. 12 12 12
? ###œ œ j
{ ˙™
œ™ #œ
#
Cl. &# œ #œ œ
# œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&#
12 12 12
Pno.
? ## œ ™ j œ œ
#œ
{#
˙ œ
Cl. & # #˙ œ
## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ #œ œ #œ œ #œ #œ œ
&
12 12 12
Pno.
? ## #œ œ
{ œ
˙
œ #œ œ
œ
22
161
# #œ œ #œ œ‰ Œ Œ
Cl. &# œ ∑
p
#œ œ 161
œ œ# œ œ œ œ œ œ œ œ œ œ#œ œ œ œ #˙˙ ™™
œ œ
## #œ #œ œ#œ œ œ œ œ œ œ œ œ#œ œ œ œ ∑
& ˙™
12 12 12
Pno.
? ## œ #˙˙ ™™ ∑
{ #˙ ™ œ #œ œ œ œ
3.2 Performance Considerations Rehearsal 156-161
Like the Mahler Symphony No. 6 example, outside resources from authors such as
Edward Palanker and David Bourque were consulted. In many instances, the bass clarinet part
writing is similar to the soprano clarinets in A. Due to this similarity, performance
suggestions from soprano clarinet excerpt books such as The Working Clarinetist36 and The
Audition Method37 offer good insight into practice techniques.
One bar before rehearsal 157, the bass clarinet begins playing thirty second note
dodecuplets in unison with 2nd flute, alto flute, oboes and English horn. It is important to note
that the melodic motion of the bass clarinet is different than that of the other instruments playing
in rhythmic unison with the bass clarinet. In Michael Lowenstern’s YouTube video, he advocates
grouping the bass clarinet thirty second note dodecuplets into three groups of four thirty second
36
Peter Hadcock, The Working Clarinetist, ed. Bruce Ronkin, Aline Benoit and Marshall Burlingame
(Cherry Hill, NJ : Roncorp, 1999).
37
Baron, Benjamin, and Mark Nuccio, The Audition Method for Clarinet Volume 1, ed. Christine Carter
and Michael Cirigliano (Chicago: GIA Publications Inc, 2014).
23
notes.38 Lowenstern’s video notes that the metronome is set to performance tempo of quarter
note equals 50, pulsing the eight note triplet subdivision. While this is a good practice technique,
grouping the thirty second note dodecuplets into three groups of four notes would contrast with
the rhythmic underpinning of the low strings. The low strings have moving eight notes at the end
of each bar from rehearsal 156 to 159 which consistently implies that the thirty second note
dodecuplets are best felt in two groups of six to keep the rhythmic alignment secure. In Peter
Hadcocks The Working Clarinetist, he advises that the thirty second note dodecuplets in the
soprano clarinet parts are to be played subdivided into groups of six with the eighth note pulse at
100.39
38
Michael Lowenstern, “Bass Clarinet orchestral excerpt: Daphnis and Chloe, Suite No 2 (part 1 of2)”
Earspasm Music, accessed September 28, 2016, https://www.youtube.com/watch?v=rvFDnPg1Zk4.
39
Peter Hadcock, The Working Clarinetist, ed. Bruce Ronkin, Aline Benoit and Marshall Burlingame
(Cherry Hill, NJ : Roncorp, 1999), pp 92.
24
3.3 Transcription of Rehearsal 210 to the End40
Daphnis et Chloé
Rehearsal 210-End Maurice Ravel
1875-1937
Anime q = 168 Trans. Connor O'Meara
210 3 3
### 5 3
Bass Clarinet in C & 4 ∑ ∑ nœ j ˙ œ œ œœœ
pp
œ œ
3
? ### 45 Cello
™ nœ j ˙ œ œ œ3œ œ
# ˙˙ ™™ ˙˙ # ˙˙˙ ™™ ˙˙˙ œ
3
œ
Piano pp
Dbl Bass + Snare
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
? ### 45
{_
Press and hold low E with sostenuto e
4
j j j j j j j j j j j j j j
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ
j
## 3 3 3
j
Cl. & # nœ j ˙ œ œ nœ ‰ Œ Œ Ó
œ œ œ œ œ
3 Fr. Hrn 3 3 3 3
3
? ### nœ œj ˙ œ œ
œ œ œ œ & nœœ nnœœœ ###œœœ œœœ œœœ œœœ œœœ nœœœ œœœ œœ nnœœœ ###œœœ œœœ bœœœ.
3 œ œ
pp
Pno.
3 3 3 3 3 3 3 3 3 3
? ###
Cl.
{
6
##
&#
j j j
œ œ œ œ œ œ œ
∑
j
œ œ œ
j
œ
j
œ œ
j
œ œ
j
œ œ
j
œ œ œ
j
˙™ ˙
pp
## Alt. Fl 3 Fl 3
&# Œ nœ œ bœ œ œ n œ œ b œ Œ nœ œ bœ œ œ n œ œ b œ
mf n œ œ # œ n œ œ. mf n œ œ # œ n œ œ.
Pno.
? ### Œ ˙˙ œœ ™™ j Œ ˙˙ ˙˙
{
8
œ œJ œ
3 3
œJ œ
3
œJ œ
3
œœ
œJ œ œJ œ œJ œ
3 3 3
œJ œ
3
œJ œ
3
œJ œ œJ
3
# # 211
Cl. & # j‰ Œ Œ Ó ∑ ∑
œ
VLA+ Cl Fr. Hrn
## 3 3 3 3 3 3 3 3 3 3
&# œ j˙ œ œ œœœ œ j ˙ œ œ œ œ œ œœ nn œœœ ### œœœ œœœ œœœ œœœ œœœ œœœ œœœ b œœ nnn œœœ ### œœœ œœœ œœœ.
p œ œ œ œ œ œ
Pno. p
? ### n˙ ™ œ bœ n˙ ™ œ bœ n˙ ™
{ œ œJ œ œJ œ œJ œ œJ œ œJ œ œJ œ œJ œ œJ œ œJ œ œJ œ
p 3 3 3 3 3 3 3 3 3 3 3 3
˙
œJ œ œJ œ œJ œ
3 3
œJ œ œJ
3
40
Maurice Ravel, Daphnis et Chloé (New York, New York: Dover. 2006).
25
2
212
##
Cl. &# ∑ j‰ Œ Œ Ó
˙™ ˙ œ
pp 3
Trp
Eng Hrn + Al Fl 3
Ob + Cl 3
## 3 3
& # Œ nœ œbœ œ œnœ œnœ#œ œ œ#œ œ. Œ nœ œbœ œ œnœ œnœ#œ œ œ#œ œ. nœ j ˙ œ œ œœœ
mf p n˙ ™
œ ˙œ
Pno. mf
3 3 3 3 3
? ### n˙ ™ Œ ˙ ˙
{ # œ œJ œ
3 3
œJ œ
3
˙
œJ œ œJ œ œJ œ œJ œ
3 3 3 3
œJ œ
3
œJ œ œJ œ œJ œ œJ œ œJ œ œJ œ œJ œ œJ
3 3
4 3 3
3 3
##
Cl. & # Ó™ Ó œ j˙
#œ
œ #œ œ œ œ œ j ˙
œ #œ
œ #œ œ œ œ
œ
pp 3 Hrn, Voice
3
Trmp
## 3 3 3 . 3. . . 3. . 3 . 3 3. 3
œœ #œ n#œœ. œœ. œœ. œœ. #œœ œœ. œœ. œœ. bnœœ. n#œœ nœ œœ #œ
& # œ jœ œ j #œœ œœ œœ œœ#œœ œœ œœ. œœ. bnœœn#œœ nœ
œ jœ
œ œ
œ
mf pp
Pno.
œ. Bass Piz.œ. œ. œ.
? ### n˙ œ œ œ
{ œ œJ œ œJ œ œJ œ œJ œ œJ œ.
3 3 3
pp
3
œ.
3
œ.
œ.
œ. œ.
21 3
3 3 3 3 3
## nœ #œ 3
j˙ œ œ
Cl. &# œ œ œ œ
#œ #œ œ nœ œ œ nœ #œ
œ œ œ œœœ œ
3
p
Ob. 3
### # œ œ œ œ œ œ#œ œ œ#œ œ#œ nœ#œ #œ nœ œ œ#œn œ # œ #œ œ œ #3œœ œ 3# œ œ nœ œ Trps
& # œ œ œ œ œœ œœn œ #œ #œ
p
Pno. œ. œ. œ. œ.
? ### œ. œ. œ. œ.
{ œ. œ.
3 33 3 3 3 3
## œ
& # #œ
Cl.
j˙ œ œ œ œ #œ œ œ #œ œ nœ #œ œ #œ œ
3
### #œ 3œ œ œ #3œœ œ œ3# œ œ nœ œ #œ # œ œ œ œ œ œ#œ œ œ#œ œ#œ nœ#œ#œ nœ œ œ#œ n œ

& # œ œ œ œ œ œœ œn œ #œ
Pno. . .
.
œ .
œ . œ œ .
? ### .
{ œ.
œ. œ.
œ˙ ™
œ
˙
œ
26
21
### #œ ‰ Œ Œ Ó ∑
Cl. & J
mf
Fl + Cls
# # #œ œ˙ œ #œ œ#œ œ œ œ œ˙ œ #œ œ #œ œ œ œ
&# J ‰™
mf 3 3 3
Pno. 3 3 3 3 3 3 3
œ œ
? ### #œ œ œ œ œ œ œ œ œ œœ œ œ nœ #œ nœ #œ œ œ œ œ œ œ œ n œ # œœ œ #œ nœ
{ ˙™ . œ ˙™ . œ
##
Cl. &# ∑ ∑
œ œ œ#œ œnœnœ œ œ#œ œ œ œ œ œ # œ œ n œ n œ œ œ # œ œ œ œn œ # œ

## #œ œ œ œ Œ nœ
&# Œ
Pno. 3 p 3 3 3 3 3 mf 3 3 3 3
? ### #œ œ œ œ œ œ œ œ œ œœ œ œ œ nœ nœ #œ œ œ œ œ œ œ œ œ œœ œ œ œ nœ nœ
{ ˙™ . œ ˙™ . œ
21
##
Cl. &# ∑ ∑
œ˙ œ œ œ#œ œ #œ œ œ˙ œ œ œ#œ œ #œ œ
##
& # ‰™ ‰™
3 3
f 3 3 3 3 3
Pno. 3 3 3
nœ nœbœ œ œ œ œ
? ### bœ œ œ œ œ œ œ œ œ œœ œ nœ bœ nœ bœ œ œ œ œ œ œ nœ œ œ
{ f
˙™ . œ ˙™ . œ
3
## nœ œ3 œ œ n3œ #œ œ b œ b œ œ nœ #3œ nœ œ
Cl. &# Œ J ‰ Œ Œ J ‰ Œ
p
## œnœ œ#œ œnœ nœ œ œ #œ œ œ œ #œ œ Œ œ œ œ #œ œnœ nœ œ œ#œ œ œ #œ œnœ

&# Œ #œ #œ
3 3 3 3 3
Pno. 3 3 3 3
? ### bœ œ œ œ n œ œ nœ bœ nœ œœ œ œ œ bœ nœ bœ œ œ œ n œ œ nœ bœ nœ œœ œ œ œ bœ nœ
{ ˙™ 3 . œ ˙™ . œ
27
3
3
## œ b œ œ #œ nœ3 #œ œ 3
œ nœ œ œ 3œ #œ œ œ œ #œ #3œ œ
Cl. &# Œ J ‰ Œ Œ
## œnœ œ #œ œ œnœ#œ#œ œ œ œ œ œ œ#œ œ #œ œ #œ œ œ œ nœ#œnœ #œ œ œ b œ œ #œ œ œ nœ #œ

&# Œ
3 3 3 3 3 3 3
Pno. 3 3 3
nœ œ œ œ œ œ b œ œ bœ nœ n œ œ œ œ œ œ œ
? ### bœ œ œ œ œ nœ bœ nœ œœ œ œ bœ nœ œ
{ ˙™
21
. œ ˙™ . œ
## œ
Cl. &# ∑ Œ nœ œ œ œ bœ nœ œ œ #œ œ #œ œ J ‰
œ p
## œœœœ
nœ œ œ œ bœ nœ œ œ #œ œ #œ œ
cello+ Eng Hrn +Al Fl
&# œ œ
œ #œ œ œ œ œ œ
œ œ pœ œ œ
Pno.
œ. œ. nœ œ
? ### œ. œ. œ bœ œ
{ œ.
nœ œ œ
### nœ œ œ œbœ nœ œ œ œ nœ#œ œbœb œ nœ œ œ b œ nœb œ Œ b˙ œ nœ#œnœ#œ œ œ

Cl. &
œ 3
### nœ œ œbœ nœ œ œ#œ#œ#œ œ œ œ œ œ n œ œ œ nnœœ œœ œœ œœ 3œœ œœ œœ 3œœ œœ œœ œœ œœ œ nœœ3 #œœ
3 Vlns
& œ
Pno. nœ
? ### bœ j nœ œ
{ nœ œ œ œ œ ‰
bœ nœ œ bœ
œ bœ
## b˙ œ nœ #œ nœ #œ œ œ 21
Cl. &# Œ Œ n˙ Ó
3
### nœœ œœ œœ œœ 3œœ œœ œœ 3œœ œœ œœ 3œœ œœ œ nœœ3 #œœ nœ cello+ Eng Hrn +Al Fl
& j ‰ nœ nœ œ œ œ œ #œ œ
Pno.
nœ œ p
? ### œ j nœ j ‰ nœ n œ
{ œ ‰ nœ œ œ œ œ
28
37 bœ
Cl.
##
&# Œ œ œ œ œnœnœ œ œb œ nœ œ œJ ‰ œ œ œ œnœnœ œ œ nœ nœ œ œ œ œ #œ œ œ œ œ œ
p
œ
### œ œ œ œnœnœ œ œb œ b œ œ œ n œ œ # œ œ œ œ œnœnœ œ œb œ b œ œ œ œ # œ # œ œ œ œ œ
& œ #œ œ œ œ
Pno.
? ### nœ œ œ œ œ
{ nœ œ œ
bœ
bœ
œ
nœ
œ œ
bœ
bœ
nœ
nœ œ
œ
39 21
## 3 3 3
Cl. &# j‰ j‰ 4Œ
bœ bœ œ b œ b œ œ
œ œ
œ œ >œ > >œ œ œ œ
> > >œ >
p
> > >>
ff
> > >>
#œ ˙ œ œnœ#œ œ # œ œ #œ ˙ œ œnœ#œ œ # œ œ
### 3 #>œ œ œnœ#œ nœ#œnœ
Fl s
& ‰ ≈R ‰ ≈R 4Œ
ff p
j > >œ j >œ >œ
Pno.
? ### œ >œ >œ o
œ #œ œrgs nœ
œ‰ œ 3 œ œ œ
{ œ œ‰ 4 #œœ œ œ œ œ œ œœœ #œœ œ
>
ff
> > > 3 3 P 3
42
## 3 3 3 3 3 3
Cl. &# Œ bœ bœ œ b œ b œ œ
Œ
Œ
> > >
## #>œ œ œ nœ#œ nœ#œ nœ nœ#œ œ nœ#>œ œ œ nœ#œ nœ#œ nœ nœ#œ œ nœ#>œ œ œ nœ#œ nœ#œ nœ
& # œ#œ œ nœ
Pno.
? ### #œœ œœ œœ œœ #œœ œœ œœ #œœ nœœ #œœ œœ œœ œœ #œœ œœ œœ #œœ nœœ #œœ œœ œœ œœ #œœ œœ œœ #œœ nœœ
{ œ
3 3
œ
3
œ
3 3
œ
3
œ
3
œ
3
3
45
## > > >
Cl. &# Œ nœ bœ œ bœ bœ bœ Œ nœ bœ œ bœ bœ bœ Œ nœ bœ œ bœ bœ œ
3 3 3 3 3 3
### nœ nœ nœ nœ#>œ œ œ nœ#œ nœ#œ#œ œ#œ œ #œ#>œ œ œ nœ#œ nœ œ œ nœ#œ œ #œ#>œ œ œ nœ#œ nœ œ œ
&
Pno. 3
? ### #œœ œœ œœ œœ #œœ œœ nœœ #œœ œœ #œœ œœ œœ œœ #œœ œœ nœœ #œœ œœ nœœ œœ œœ œœ #œœ œœ nœœ #œœ œœ
{ œ
3
3
#œ
3
œ
3
3
#œ
3
œ
3
3 nœ
29
48 21 3 3 3 3
### Œ 3
Cl. & nœ œ œ bœ n3œ œ Œ nœ œ œ bœ bœ œ Œ œ œ œ bœ nœ œ
bœ nœ b œ œnœ œ œb œnœ œ
œ œ#œ œ œ #œ œ œnœ#œ
### nœ#œ œ#œb œ œ œ œ œ b œnœ nœnœnœb œ #œ
&
Pno. 3 3 3
3 3
bœ œ 3 3
? ### nbœœ œœ œœ œœ b œ œœ bœœœ œœ œ bbœœ œœ œœ œœ nbœœ œœ nœœ œœ œœ ##œœ
3
œœ œœ œœnnœœ œœb nœœ bn3œœ n œœ
{ œ œ
bœ
œ bœ
3 3 3
## nœ nœ œ œ 3œ œ nœ œ œ œ 3œ œ Œ nœ œ œ #œ #3œ œ
Cl. &# Œ Œ
œnœ œ #œ œ œ nœ œ #œ œ œ œ
### œ œ # œ œ œnœ œ #œ œ œ nœ #œ #œ œ œ #œ œ nœ œ #œ œ b œ œ œ
&
3 3 3
Pno. 3 œ œ 3 3 3 3
? ### #œœ œœ œœ œœ #œ œœ œœ nbœœ œ #nœœ œœ œœ œœ œœ œœ œœ œœ œœ nœœ 3œœ œœ œœ bœœ œœ nœœ #œœ #œœ
{ #œ œ œ œ œ nœ
3 220
##
4
n œ b œ œ œ n3œ b œ b œ œ bœ nœ nœ #œ nœ œ b œ œ bœ nœ nœ #œ nœ œ
Cl. &# Œ ‰ J ‰ J
Tr mp + Hrn
### #œ œ œ œ œ b œ œ œ # œ n œ œ œ ‰bbn3œœœ œœœ œœœnn#3œœœ bbnœœœn nœœ # #3œœ nœœ bb#œœœn3œœœ œœœ œœœnn#3œœœ bbnœœœn nœœ # 3#œœ nœœ
& nœ # œ œ nœ # œ œ
3 3 3
Pno. œ œ
? ### bnœœœ œœ œœ œœ b œ œœ œœ nœœ #œ Œ Œ
{ œ œ. œ. œ. œ.
## nœ #œ nœ b œ nœ #œ nœ b œ
Cl. &# Œ Œ Œ Œ ∑
Tr mp + Hrn Fr Hrn
3 3
### bbn3œœœ œœœ œœœnn#œœœbbnœœœn nœœ # #3œœ nœœ bb#œœœ n3œœœ œœœ œœœnn#œœœbbnœœœn nœœ # #3œœ nœœ bbnœœœ 3œœœ œœœ œœœ 3œœœ œœœ œœœ 3œœœ œœœ
& ‰ nœ # œ œ n œ # œ œ nœ œ œ œ œ œ œ œ œ
Pno. p
? ### œ #˙
{ œ. Œ œ. Œ œ
œ. œ.
pp
30
6 221 . . .
## œ œnœ œ œ œ œ œ 3
œ nœ #œ œ3 #œ œ nœ #œ œ3 #œ œ nœ
Cl. &# Œ nœ ‰ Œ Œ 4 #œ œ #œ
p
3
### bbnœœœ œœœ œœœ œœœ 3œœœ œœœ œœœ 3œœœ œœœ bbœœœ 3œœœ œœœ œœœ 3œœœ œœœ œœœ 3œœœ œœœ #œbn3œœn#œœ#nœœ nœœ #œbœœ3 n#œœ#nœœ nœœ #œbœœ3 n#œœ#nœœ nœœ
Trmp
& nœ œ œ œ œ œ œ œ œ 4œ nœ nœ
Pno.
? ### nb˙˙ ™™ bœœ œœ œœ nœœ. œ œœ nœœ. œ œœ nœœ.
{ ˙™ bnnœœœ nœ nœ 4 œœœ œœ œœ
6
### #œ œ3 #œ œ nœ. #œ œ3 #œ œ nœ ˙ n˙ ˙ n˙ ˙ n˙ ˙ n˙ ˙ n˙ ˙ n˙ œ. ‰ Œ
Cl. & J
### #œbœœ3 n#œœ#nœœ nœœ #œbœœ3 n#œœbœœœ#nnœœœ ˙˙ n˙˙˙ ˙˙˙ n˙˙˙ ˙˙˙ n˙˙˙ ˙˙˙ n˙˙˙ ˙˙˙ n˙˙˙ ˙˙˙ n˙˙˙ œœ.
& œ œ ˙ œœ ‰ Œ
J
Pno.
? ### œœ œœ nœœ. œ œ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ œœ.

{ œ œœ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œJ ‰ Œ
3.4 Performance Considerations for Rehearsal 210 to the End
While a majority of this transcription features orchestral parts in the piano that are in
rhythmic unison with the bass clarinet, orchestral parts that are not in rhythmic unison were
included in the piano whenever possible to re-enforce the importance of rhythmic stability in
ensemble playing for bass clarinetists. In sections where the bass clarinet is playing in rhythmic
t
unison, such as rehearsal 210-214, David Bourque writes “In the 5/4, the main theme is
th
challenging to play in time. Be sure o get off the tie so you are not late to the moving 8 note
triplets. There is a very exposed soli with the celli that is difficult for this reason (two measures
after rehearsal 210).”41
41
Bourque Teacher, Performer, Wind Coach, Conductor, modified 2014, accessed March 29, 2016,
31
CHAPTER 4
SHOSTA OVICH VIO IN CONCERTO NO. 1 IN A MINOR OP. 77
4.1 Transcription Rehearsal 23 to 2542

Concerto No. 1 in A minor for Violin and Orchestra op. 77
Rehearsal 23-25 Dmitry Shostakovich
1906-1975
23 Trans. by Connor O'Meara
Allegro q. = 126
Bass Clarinet ? bb b 38 ‰ œ œ œ œ œ œ. œ. œ nœ œ œ
bb . nœ. . nœ. . nœ nœ œ œ nœ œ nœ nœ œ œ œ
in C
f .
. œ. œ. . > nœ œ œ œ. œ. œ. . > . . . nœ .
œ œ n œ. œ. nœ. œ. n œ nœ œ.
œfl.
. œ. n>œ nœ œ œ œ. . œ. n>œ nœ œ œ œ.
b 3
& b bbb8 ‰ œ. œ œ. œ œ. œ. œ. nœnœ œ œ
. .
Piano f
Vln. Solo
b 3 j j j j
œ ‰ ‰ œj ‰ ‰ œ ‰ nœj
j j
{ & b bbb8 œ ‰ ‰ ∑ nœ ‰ ‰ œ ‰ ‰ ‰ ‰ nœj œ‰ ‰
œ> n>œ >œ >œ >œ n>œ >œ n>œ >œ
10 24 . .
? b b œœœœbœ. bœ. œ. œ. œ œ œ. œ œ. nœ. œ œ
bbb nœ. œœnœœ nœbœœœnœbœ nœ nœœ œ n œ b œ n œ nœ. œ. nœ œ œ œ ‰ nœ œ .
. . . .
b œ. . . œ œ œ. œ. œ. n œ. œ œ.
b œœb .
œ b œœœn œb œ n œ nœœ œ . . nœ. n œ. œ œ œ. n œ bœ œ œ n œ œ
b œ nœ b œ
&b b b œ nœ. œœ œœ œ ‰
b j j j j j j
œ ‰ ‰ œj ‰ ‰ ∑ nœj ‰ ‰
{ & b bbb ‰ ‰ nœ nnœœ ‰ ‰ ‰ ‰ nœ œ ‰ ‰ ∑ nœ ‰ ‰ œ>
n>œ > n>œ >œ nœ >œ n>œ
>
20
? bb b œ. œ œ œ nœ bœ œ
b b nœ. bœ. nœ œ œ œ nœ œ nœ
. œ. > œ. . œ. .. . œ. œ. œ. . œ œ.
b nœ b œ. n>œ œ œ œ nœ. œ. .
œ .œ œ
œ œ. nœ. œ.
& b bbb œ œ nœ bœ œ œ
. œ.
b j j j
{ & b bbb œ ‰ ‰ œ ‰ ‰ ‰ ‰ nœj œ ‰ ‰ ∑ bœ œ.
j
>œ œ> n>œ >œ
26
? bb b œ œ
b b . . nœ. ‰ œ bœ œ nœ. ‰ ‰ ∑ ∑
. œ. œ. bœ. J
b . . .
& b bbb œ œ nœ. ‰ œ bœ œ œ œ bœ. nœJ
. . .
‰ ‰ ∑ ∑
nœ œ. #œ nœ nœ #œ nœ bœ
bb œ œ. œ œ. J œ œ nœ nœ bœ
{ &b b b J J nœ
Violin Concerto No. 1 in A Minor, op. 77 by Dmitri Shostakovich
Copyright 1956 (Renewed) by G. Schirmer, INC. (ASCAP)
International Copyright Secured. All Rightes Reserved
Reprinted by Permission
42
Shostakovich, Dmitri. Copyright © 1956 (Renewed) by G. Schirmer, Inc. (ASCAP) International
Copyright Secured. All Rights Reserved. Used by Permission. Measures 1-31.
32
This transcription of Shostakovich’ Violin Concerto No. 1 in A minor op. 77 represents
an instance when the pianist, as well as the bass clarinetist, is advised to underplay the written
dynamics. The transcribed flute part is true to the original written octave that appears in the
score which is near the bottom of the flute’s range. A flautist will simply not be able to match a
true f played on the bass clarinet. Due to the thin texture of flute and bass clarinet, in duo with
sparse accompanying figures from the solo violin, bass clarinetists are advised to play light as
possible, as if to challenge gravity.
Shostakovich marks the tempo at dotted quarter equals 126, but Lawrie Bloom writes
“Many violinists wish to play the Scherzo at the marked tempo, but most great conductors I have
worked with want it just a little slower.” He continues, “For an audition I would like to hear it
very clean at a little slower tempo than marked, rather than at the tempo marked and sloppy.”43
When performing this excerpt, bass clarinetists are advised to take only two breaths, one at the
beginning and one on the eighth rest at rehearsal 24. Avoid the temptation to take a breath on the
eighth rest at measure 27.
43
33
CHAPTER 5
STRAUSS DON QUIXOTE
Richard Strauss’ tone poem Don Quixote presents an interesting transcription challenge.
For the requested bass clarinet excerpt from rehearsal 14 to 19, major solos for viola and cello
occur over an orchestral texture that is in a low tessitura, mainly utilizing bassoons, low french
horn and trombones. With so many low voices present in the orchestral score, this transcription
displaces some voices at the octave or omits orchestral voices that intersect with the solo viola or
cello lines. For this transcription, Emilio Colón and Janos’ Starker’s transcription, Don Quixote
Fantastic Variations on a Theme of Knightly Character for Violoncello and Piano,45 was
consulted for possible voice omissions or octave displacements. While Emilio Colón and Janos’
Starker’s transcription is helpful, the presence of the bass clarinet line in their piano transcription
necessitates a large amount of original transcription work to isolate the bass clarinet excerpt with
piano accompaniment.
44
Richard Strauss, Don Quixote (New York, New York: Edwin F. Kalmus, 1897).
45
Colón, Emilio and Starker, Janos, Don Quixote Fantastic Variations on a Theme of Knightly
Character for Violoncello and Piano (Boca Raton, Florida: Masters Music Publications INC, 2007).
34
Don Quixote
14
Rehearsal 14-19 Richard Strauss
1864-1949
(Sancho Panza) Trans Connor O'Meara
q = 96
Maggiore
Bass Clainet in C
4
& b4 œ ≈ œ œ ≈ œ ≈ œ ≈ œ œ ≈ œ ≈
j j
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
mf
Bassoons
4
& b 4 ˙˙ œœ œœ œœ œœ
˙ œ œ ˙˙˙ œ œ
Piano œ
Tenor Tuba œ œ œ œ
? 4
b4 œ œ œ œ œ ≈ œ ≈ œ ≈ ≈ œ ≈ œ œ ≈
{ œ œ œ œ œ
mf
3
œ≈
&b œ œœ j j ∑ ∑
œ œ œ œ œ œ œœ œœœ
œ
j œ
Solo Viola
3 3
œ œ œ œ œ#œ œnœ œ œ œ. œ œ œ œ Œ
œœ 3
&b Œ œ ˙˙ œ œ œ œ œ œ œ œ œ nœŒ
˙ n œ œ œœ . œ
3 3 3
œ mf -œœ ™™ .
? b œj j œ
j
œ œ -œ ™™ nœ ™ Bassoons n œœœ
œ œ œ œ œ œ œ œœ œ œ œ ≈ Ó nœœ ™ ‰ ‰ Œ ‰J
{ 6
&b ∑ ∑
Fl 1 + Solo Viola 3
#œ œ nœ œ œ œ b œ ˙ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ
&b ≈ ‰ Œ
pp 3 3
3
.
?b Œ b œœœ
‰ Ó ∑
{ 8
pp
J
& b œj œ ≈ œ ≈ œ ≈ j
œ ≈ œ œ ≈ œ ≈
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
mf
& b ˙˙ œœÓ œœ ˙˙
˙ œœ œœ
˙ œ œ œ œ
œ œ œ œ œ
?b Tenor Tuba
œ ≈ œ œ ≈ œ œ ≈
{ œ œ œ œ œ ≈ ≈ œ œ œ œ œ ≈
mf
35
1
&b ∑ ∑ ∑ 4 ∑ Œ 4
4 4 4 4
˙
Vla Solo
p 3 3
. . œ j 3 3
4œ
&b ‰ œœœœœœ œ
œ ‰ œ œœ œ œ
œ œ œ . 4 Œ ‰ œ œ œ œ œ 4 œ œ
j
4œ œ œ œ œ #œ œ 44
œ œ. œ™
p p
.
œ .
œ
? b Œ œœ. ‰ œ ‰ Œ Œ œœ. ‰ œ ‰ Œ ∑ 4 Œ Œ ˙˙ n˙
˙ Œ 4 C 1
{ J J J J 4 4 4 4
1
4
& b4 Ó Ó ∑ ∑ ∑
˙
p ˙
j œ œ 3 3
˙ œ. ™œœ
. . œ. .
4
& b 4 nœ œ œ œ bœ œ œ œ œ œ. œ œ. œ œ œ œ œ œ. œ œ Œ œ™œœ œ œ. œ. œ œ.
œ™ . . . œ . .. . 3 3
mf
? 4Ó b˙˙ ˙˙ Fr œ œ
rn œ Bsns ˙˙ ™™ œœ œ
Œ œ œ Œ Œ œœ œ Œ Ó ˙™ œ
{b4 œ
1 ach ch
q=84
œ œ œ œ ˙
&b j
œ≈œ œ≈œ ≈ œ ≈ ≈ ˙ Ó
œ œœœœœ pp
mf p .
œ. œ œ nœ œ œ ™
&b œ
. œ Œ Ó
œ œ
. pp
.
œ p Cello Solo
3
? Tenor Tba œ œ œ œ ?Tuba
3
{ b œ˙™ œ œ œ œ & œ ‰ œœœ œ œ

mf
œJ ‰ œ . œ œ œ
mf m m
œ mf ˙
3
œ≈œ
&b
œ
j
œ œ
œ ≈ œ œ ≈ œ ≈ ≈#œ œ œ œ
œ
≈
#œ œœ œ œ
j
œœœœœ œ≈œ œ≈
œœœ
mf
Tro b
3 3
& b œj j j‰ j‰ œ œ ‰j ‰ Œ Ó œ3 3 j
œ ‰
œ œ œ J œ J J œ
p œ œ p
œ
3 3 3 3 œ œœ œœ œ
? b œ œ œ œ œ œ œ œ œ 3 œ œ œ#œ œ. œ œœ œnœ œ œ œ œ œœœ
{ œ œ œ œ
3
œ œœ .
3 3 3 3 3 3
36
6
& b ≈ #œ œ nœ nœ ≈
#œ œ œ œ bœ œ œ bœ bœ
œ ≈ bœ ≈
nœ œ œ
≈
j 3 j3 j ‰ j ‰
& b #œ ‰ Œ Ó œ
J bœ
œ
œ œ œ
3 p 3 3
? b #œ œ œ œ nœ œ nœ œ 3
nœ bœ œ œ œ nœ œ œ
3 3
{ &
3
3
œ œ œ œ #œ œ bœ œ nœ œ œ
8
œ ˙
& b ≈ #œ œœ œ ≈œœnœ œ ≈ œ Œ œœœœœœ ≈
j
#œ œ ˙
Vln di isi
Vla Solo
.œ œ 3
& b bœj ‰ Œ Œ nœœnœbœœ œ œ œŒ
œœ
œ œœœœŒ œ≈
mf 3 3 œ œ œœ
œœœ œ p
Section Cellos
3
œ œ#œnœ œ œ œ œ nœ3 3 3
œnœnœ 3
. .
œ 3
. œ. œ.
?
& b bœ œ œœb œœ œ nœ bœ œ bœ œnœœ#œ œœœ œ . œ œ
{ . 3
nœ. œ œ. œ . œœ.
3 . .3 3 p 3
3
3 1
œ ˙
& b ≈#œ œ œ ˙ ™ œœœœœ ≈ ≈nœ œ œ ˙™
œ œ™ œ
œ n˙ ˙™ œœ œ œ œ œ #œ œ œ ™ œ
&b œ n˙ œ ˙™ œ
œœ J
3
p
Solo Cello 3 3 3 3
? b œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œbœnœ œ œJ ≈ œ œ œœ œ œ œ
{ 3
. œ. .
3 3
œ œ œ
3
œ œœ
3
3
#œ ≈ #˙
& b œj#œ œ œ œ œ j
œ ≈ #˙
p
œ œ œ œ œ œ
œ #œ œ œ œ œ œ#œ œ bœ n˙ œ œ œ #œ œ
œ #œ bœ n˙
&b œ
3 3
3 3 3
3 3 3 œ bœ œ œ œ
? b nœ
{ œ œ œ œ bœ œ œ œ œ œ œ œ nœ#œ œ#œ
#œ œ nœ #œ nœ œ
bœ 3 3
37
4 36
œ
&b œ ≈ œ œ≈ œ ≈ Œ Ó
œ œ œ œœœ
˙™ œ˙
œ
œj ˙ œ™ œ ™ œ˙ œ
& b ˙™ œ
œ ˙ œ™ œ™ œ
Solo Viola 3 3
Solo Cello
3 . 3 3
? b œ œbœ œ. bœ œ œ œ œ œ œ œ œœ. œ œ œ œ Œ nœnœ œ œ œ œ œ œ œ œ œ œ œ œ
{ nœ œ œ œ œ œ œ œnœ#œ œ œ œ#œ œ œ œ œ
œ
3 3 3
f 3 3 3
3 1
&b Ó bœ ≈
j #œ ≈ œ n œ ≈ #œ ≈ ≈ œ œ œ œ ≈ œœ œ
#œ bœ œ œbœ œ
œ #œ œ œ œ œ œ
mf
œ œ œ œ
œ bœ
& b ˙˙ Ó ? ∑ Ó
3 3 3 3 3 3
3 3
œ œ œ Fr rn
? b ‰#œ œœ œ œnœ œ # œ œ œ nœ #œ œ œ œ œ œ nœ œ œnœ œ œ œ œ nœ œœ œ œ œJ bœ œ3

{ 3 3 n˙ Bsn
p
n 3 3 p3
J bœ
bœ ≈ bœ ≈ Ó
&b œ œ Ó #œ ≈ Ó Œ ≈#œ œ œ.
#œnœ œ œ œ
Solo Cello
Bsn Solo Cello
b œ œ b œ bœ œ n ˙ . 3 . 3 Bsn
3 3
?b œ n˙ nœ œnœ n˙ Bsn
œb œnœ ˙
3 3
&
œ œnœ#œ œ œ œ œ#œ œ
pp p p p
Cellos
.... n˙ œ œ œ ˙
? b bœ ‰ bœ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ œ œ bœ bœ
{ J J #nœœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. #œœ∑ œœ œœ œœ
f pp
1
&b ∑ ∑ ∑
p
œj ‰ Œ Ó
&b œ
p
3 n œ œ n œ 3
œ œ n œ œ
?b ‰ 3 #œ œ œ œ œ œ# œ œ J ‰ Œ Ó
œ œ#œ œ nœ & #œ œ œ œ nœ#œ
{ œ n œ #
f
œ œ œ
3 3 3 3
3
38
Richard Strauss’ Don Quixote highlights the bass clarinet throughout the entirety of the
tone poem with many soloistic and exposed parts. While the entirety of the bass clarinet part
should be learned before an audition, the most likely section to appear on an audition is between
rehearsal numbers 14 and 19.46
In the opening of rehearsal 14, commonly known as the Sancho Panza section, the bass
clarinet begins in unison with the tenor tuba. Lawrie Bloom advocates for “playing the grace
notes on the slow side with a tiny accentuation, as this is the only note that the tenor tuba is not
playing. This clarifies it, so it doesn’t sound like someone made a mistake.”47 As with all
orchestral unisons, attention to pitch is paramount, not only with the unison line but also with
any supporting harmonic texture. During the unison tenor tuba and bass clarinet duet, the
bassoon section supports outlining basic harmonies that outline the melodic duet. With use of a
piano transcription, bass clarinetist are able to hear and tune to both the tenor tuba line and
supporting harmonies.
In Variation I twelve bars before rehearsal 17, Gemächlich, the solo cello takes over,
playing predominantly in triplet eighth notes. This presents an ensemble issue for the supporting
bass clarinet line, predominantly in duple meter. Special attention must be made for playing even
sixteenth notes as well as accurately placing the recurring sixteenth rest, thirty second note
46
At the time of writing this document, a newer revised edition of Don Quixote completed in 2010
divides sections up into measure numbers. Many of the audition lists surveyed define excerpts according
to the old rehearsal numbers, but the St. Louis Symphony audition list uses the 2010 revised edition and
lists the excerpt as mm. 139-182.
47
39
groups as first seen in the third bar of the Gemächlich. The tendency will be for a late entrance
after the sixteenth rest because of the influential and predominant triplet eighth notes.
Though this piano transcription adheres to all Strauss’ dynamic markings, the pianist
must be judicious in their interpretation of f and ff in both the solo viola and cello lines. A grand
piano can play much louder than a solo viola or cello, so pianists are advised to reduce written f
and ff in solo lines to a more conservative mf and f. This will help create a more realistic
rendition of the Gemächlich and inform bass clarinetist of how to properly interpret dynamic
levels.
40
CHAPTER 6
STRAVINSKY LE SACRE DU PRINTEMPS
Le Sacre du Printemps contains many exposed and significant bass clarinet excerpts that
should be studied. However, for this document, only two have been chosen due to recital time
constraints.
This transcription fulfills two possible audition requests. First, Stravinsky orchestrates
this section with bass clarinet 1 as well as 3rd clarinet doubling on bass clarinet in the original
1913 version. Throughout this excerpt, there are two bass clarinet parts that exchange melodic
motives, yet neither part overlaps. In Stravinsky’s 1947 version, he re-orchestrated this excerpt to
combine the 3rd/bass clarinet with the bass clarinet 1 part, reducing the melodic exchanges to one
player. Both the Detroit Symphony Orchestra49 and New York Philharmonic50 3rd/bass clarinet
auditions require this 1947 edition. For this transcription, the 3rd/bass clarinet part has been
notated in cue notes in the bass clarinet performance part to fulfil the experience of playing the
1947 version.
The second possible audition request does not specify the 1947 edition, suggesting that
the audition will use the 1913 bass clarinet 1 edition. This situation is observed in the San
Francisco Symphony Orchestra audition list.51 Bass clarinetists preparing the 1913 edition should
48
Igor Stravinsky, Le Sacre du Printemps, (New York, New York: Edwin F. Kalmus, 1913).
49
50
51
CK Dexter Haven, “Orchestral Audition Repertoire Lists,”All is Yar, accessed March 8, 2016,
41
not play the cued notes in the bass clarinet performance part. For the 1913 edition, the 3rd/bass
clarinet part has been included in the piano transcription appearing as cue notes.
In this transcription, both possible audition situations are addressed. There is one more possible
audition request as observed from the 3rd/bass clarinet audition for the St. Louis Symphony
Orchestra. 52 In this audition, the St. Louis Symphony Orchestra specifies combining the 1st and
2nd bass implying that the 1913 edition is used, but the auditioning bass clarinetist will be playing
the melodic material from both the 3rd/bass clarinet part and the bass clarinet 1 part.
52
St. Louis Symphony Orchestra, “Bass Clarinet/Utility Clarinet Audition,” accessed March 8, 2016,
42
Le Sacre Du Printemps
Introduction Igor Stravinsky
Rehearsal 4-6 1882-1971
Piu Mossoq=66 4 Trans Connor O"Meara
Bass Clarinet 3
&4 ∑ 2 ∑ ∑ ∑ 3
in C 4 4
cl. Eb
bœ b œ œ3 œj b œ œ œj œ >œ <n>œb œ œ n œ œj b œ nœb œj b œ œœ#œn œ œ#œnœ
3
&4 Œ bœœœœœ œ œœœœ 42 3
4
6 6 3 3 3 6
Hrn.
˙™
∏∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏
∏∏∏∏∏∏∏
∏∏∏∏∏∏∏
Piano n˙ ˙ ˙
? 3 e #˙˙ ™™ 2 #˙ #˙ #˙ 3
{
Hold Bb/A with sostenuto
prior to beginning, (used in m.5)
4 b5 ˙ ™
( ) 4 ˙
5
˙ ˙ 4
3 2 BCl 1 œ œ b œ œ b œ œ bœ œ œ ≈ ‰ Œ
B. Cl. &4 ∑ 4 Œ R
Oboe
b œj
3 œ œ#œ# œ œ#œ nœ œ nœb œ bœb œ nœ 2 œ œ #œ nœ œ œ bœ b œ
&4 4
6 6 3 3
Pno.
∏∏∏∏∏∏∏∏
˙™ œ œ œ
∏∏∏∏∏∏∏
œ œ˙ œ
? 3 #˙˙ ™™ 2 b˙˙
{ 4
6
4 ˙
œ œ œ b œ œ b œ œbœ œr ≈ ‰ ?‰ 3 Bass Cl 2
5
œ#œ œ#œ œ
Bass Cl 1
B. Cl. & Œ Ó j
œ œ œ œ
j œœ œ œ œ œœ œ
Eng. Hrn 3
#œj nœ œ#œj #œ œ nœ j
& #œ œ œ bœ œ nœ œ bœ œ
œ œ œ
3 3
Pno. Release
œ œ œ œ sostenuto
? b˙˙ j Alto Flute 6
{ nœœ ‰ Œ &
œ™ œ œ œ œ œ œ œ œ
j ‰
Bass Cl 1
? Bass Cl 2 #œ #œ œ#œ œ Bass Cl 2
B. Cl. œ#œ œ #œ œ œœœ ∑ ∑

œ œ
j œ œœ œ œ n œj œ œ œ
3 3 3 U
& œ œ #œ œœ œ œ #œœ #œœ nœœ nœœ œœ #œœ œœ œœ œœ nœœj ‰ Œ
Pno. Flt 1,3, Alto + Eng Hrn
3 3 3 3 3
{
&
œ # œ œ œ œ œ œ œ œœ œœ œœ œœ bbœœ œœ bbœœ nn œœ œœ œœ bbœœ œœj ‰ Œ
43
In this transcription, bass clarinetist are advised to practice the combined bass clarinet 1
and bass clarinet 2 as appears in the bass clarinet performance. Practicing the conjoined parts
will deepen understanding of how both bass clarinet trade melodic material. Due to the rhythmic
complexity of the both bass clarinet parts, this excerpt will best be performed feeling the quarter
note pulse rather than a subdivided pulse. Preparatory work will have to be spent with a
metronome playing one eighth note triplet group, followed by one sixteenth note pentuplet
group, followed by one group of eight thirty second notes to ensure proper rhythmic transitions
between each rhythmic group as seen in example #1. This will help secure proper stable rhythm
for rehearsal 6 to four bars after rehearsal 6.
Example 6.1: Stravinsky Rhythm Practice
3 5
& ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™
44
6.3 Transcription of Rehearsal Number 139-14253
Rehearsal 139-142
Action Rituelle Des Ancetres Igor Stravinsky
1882-1971
Lento q=52 139 Trans Connor O'Meara
Bass Clarinet
&4
3 ∑ 4 ∑ ∑
in C 4
139
VL 1 & 2 VL 1 & 2 AlFlt
3
& 4 bœœ œœ œœ
4 Ó
4 b nœœ œœ œœ œœ b nœœ œœ œ œ œ œ
b œ œ œ n œ œ # œ n œ b b œœJ œ œ œ n œ n œ # œ n œ bbœœJ œ #œ nœnœ#œnœ
p ‰≈ p ‰≈ ‰ ‰≈
Piano
String parts are marked pizzicato
6 6 6
? 3 bœ œ VLA 4
{ 4
œ œ œ
CLO
p
4 bœ œ
œ œ œ œ
bœ œ
œ œ œ œ
B. Cl. & ∑ ∑ 3 ∑ 4
4 4
Cl 1 & 2 in Bb
3 4
&
œ œ œ#œ œ#œ#œ œ n w 4 œ œr ‰™ ≈ œ 4
b ˙œ ™ œ # œ n œ b œR ‰™ Œ bœbœ
Pno.
R‰ Œ ‰ ≈œ
6
? 3 4
{ œ
bœ œ
œ œ
œ
œ
bœ
œ œ œ
œ 4 bœ œ
œ œ œ
œ
œ
4
7 140 Optional bass clarinet 2 part

6 6
B. Cl.
4
&4 ∑ ∑ 3
4 bœ œ œb œ œ œ œ œ œ œ œ œ œ œ œ
{
Bass Cl 2 doubles CL 1
6 6 6 5
4
& 4 b˙ ™
3
œ œb œ œ œ bœ œ œb œ œ œ œ œ œ œ œ n œ œ œ 4 bœ œ œb œ œ œ œ œ œ œ œ œ œ œ œ
Pno. bœ
? 4 bœ œ œ œ 3
{ 4
nœ œ œ œ
ppp
bœ œ
nœ œ
œ œ
œ œ
4 bœ œ
nœ œ
œ
œ
45
2 141
5
BsCl. 1
B. Cl. & b˙ bœ bœ œ bœ œ ‰ Œ
œ bœ bœ œ™ b œ œ œ œ œ œ bœ bœ 4
& Œ 4
b˙™ b˙ ™ nœ œ œ œ œ
Pno.
? bœ Œ
{ nœ
œ
œ
œ
œ
bœ
nœ
œ
œ
œ
œ
bœ
œ
œ
œ
4
Optional- bass cl 2 solo

14
5
B. Cl. & 4 ≈n œ œ œ nœnœ œ œ 3
4 b˙ ‰ 4Œ ≈ 3 r ≈≈
{ #œnœ œ bœ bœ œ#œnœ œbœ
bœ œ pp œ
Optional- bass cl 2 solo p p
5
3 3 ≈ r
œ
&4 ≈ œ œ œ Œ 4œ œ Œ 4 ∑ #œœœ ≈
Pno.
{ bœ
? ∑ 3 3 ≈bbœœ ≈
{ 4 4 bœ œ Œ 4 ∑ R
œ œ
This selected excerpt from The Rite of Spring represents another instance in which bass
clarinetists are advised to know both bass clarinet 1 and bass clarinet 2 parts. In this
transcription, both parts are present in the bass clarinet performance part, allowing bass
clarinetists to learn all three possible audition situations. Because the bass clarinet 2 part is
doubled in the clarinet 2 part at two measures after rehearsal 140, the piano transcription includes
only the clarinet 2 part without the doubled octave of the bass clarinet 2 part.
At one measure before rehearsal 141, bass clarinetist will need to perform the tremolo
from the written Eb to Db on count three by holding the left pinky Db key down while trilling
the right pinky Eb key. Because the tremolo lasts for only one eighth note, it may be easier to
perform the tremolo as a sixteenth note sextuplet rather than a free trill. Four measures after
53
Igor Stavinsky, Le Sacre du Printemps (New York, New York: Edwin F. Kalmus, 1913).
46
rehearsal 141, bass clarinetists may find it easier to finger the Eb using the first finger in the right
hand with first finger in the left hand (or 1/1 Eb) rather than the traditional side key Eb.
47
CHAPTER 7
WILLIAM SCHUMAN S MPHON NO. 3
7.1 Transcription of Part II, Choral and Toccata from Three before Rehearsal Number 145 to
Four after Rehearsal Number 20054
Symphony No. 3, Toccata

William Schuman
1910-1992
Transcribed by Connor O'Meara
142 h = 108 3 3
145 3 3 3 3 3 3
j j j j j r
Snare Drum
4
/4 ∑ œ ™ œœ ‰ Œ œ œ œ œ ™ œœ ‰ Œ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ œœ ‰ ‰ ≈ œ œ ™ œ
pp
142 h = 108
Bsn+Cbsn
Piano
? 44
{
bw bw bw bw bw bw
148 3 3 3
150 .j 3 3 3 3 3 3 3 3
j
S. D. / œ œ œ œ ‰ Œ œ œ œ œ™ œ œ™ œ œ œ œ œ™ œ œ™ œ œ™ œ œ ‰ Œ œœœœœœœœœœœœ œœœœœœœœœœœœ
148 mp
Pno.
?
{
bw bw bw bw bw
153 3
j 155 j j j j ‰ ™ œr œj ‰ Œ
S. D. / œ™ œ œ™ œ œ œ œ œ™ œ œ ™ œ œ ™ œ œ ‰ Œ œj œ ‰ Œ œj œ ‰ Œ œ
j
œ ‰ Œ œj œ ‰ Œ Œ
3
B. Cl. & ∑ ∑ ∑ ∑ j ‰ Œ bœ
b œ ™ b œ b œ. bœ œ
153 p
Pno.
? j‰ Œ Ó
{
bw bw bw bw bœ
158 3 3
r j j j j 160 j j
S. D. / Œ ‰™ œ œ ™ œ œ ‰ œ œ‰ Œ œ ™ œ œ ‰ œj œ ‰ Œ œ™ œ œ™ œ œ œ œ œ œ œ œ ‰ Œ
3 3 3 3 3 3 3
B. Cl. & j‰ Œ j‰ bœ j ‰ œ n œ j ‰ ‰ ≈ r
b œ ™n œ œ.
œnœ œ b œ. b œ b œ œ. n œ œ œ b œ b œ œ œ œ bœ œ œ œ œ œ ™ b œ b œ œ bœ ™ œ
.
162 3 3
165
j j j j j j j j
S. D. / œ œ ‰ Œ œ œ ‰ Œ œ œ ‰ Œ œ™ œœ ‰ œ œ œ œ œ œ œ ™ œ œ ™ œ œj œ ‰ Œ Ó
3 3 3 3 3
bœ nœb œ
B. Cl. & j ‰ Œ j‰ Œ bœbœ œ
b œ œ œn œ. œœœ œ
™ bœ œ™ œ œ œ b œ œ ™ bœ b œ ™
nœ œ ™ bœbœ b œ b œ œ bœ nœ 3
bœ 3
166 3 3 3 3 3
170 3 3
j j j j
S. D. / œ ™ œœ ™ œœ ™ œ œ ™ œ œœœ œœœ œ ™ œ œœœ œ œ ‰ Œ œœœœœœ œ ™ œœ ™ œœ ™ œœ ™ œ œœœœ ‰ œœœœ ‰
b œ
bœ œ œnœ œ œ 3 3
B. Cl. & œ œbœ œ j‰ Œ j ‰ Œ j œj ‰ Œ j ‰ Œ jbœj ‰ Œ
œ bœ ™ œ œ ™ b œ j
166
3
mf 3 3 b œ œ œ œ™ œ œ ™b œ b œ ™ œ œ j
œ bœ nœ #œ œ œ
p .
& ∑ ∑ ∑ ∑ ∑
Pno.
? ∑ ∑ ∑ ∑ ∑
{
Symphony No. 3 by William Schuman
Copyright 1942 (Renewed) by Associated Music Publishers, INC. (BMI)
International Copyright Secured. All Rights Reserved.
Reprinted by Permission.
54
Schuman, William. Copyright © 1942 (Renewed) by Associated Music Publishers, Inc. (BMI)
International Copyright Secured. All Rights Reserved. Reprinted by Permission. Piano transcription and
excerpted snare drum with bass clarinet part from part II, Toccata (measures 142-203)
48
2
3
1 1 j r j r j r 3 j r j
S. D. / œ œ œ œ ‰ ‰™ œ œ ‰ ‰™ œ œ ‰ Œ ‰™ œ œœœœ ‰ Œ ‰™ œ œ™ œ œ™ œ œ ‰ Œ
B. Cl. & Œ ‰™ r j ‰ Œ Œ ‰™ r ‰ j‰ Œ j ‰ j ‰ Œ
œœ bœ b œ ™ œ b œj b œ ™ b œ b œ. bœ bœ ™ bœbœ ™ œ
. nœ
1 1 3 3
Ob. 3 3 3 3 3
j
& œ™ œ œ. ‰ Œ œœœ j‰ Œ œ #œ œ nœj ‰ nœ œ œ #œ. ‰ œ #œ #œ #œnœ œ œ œ œ nœ œ œ œ œ
œ™#œ œ. œ 3
Pno. mp . œœœ œ # œ #œ bœ n œ œ œ # œ. œ # œ #œ nœn œ œ œ œ œ n œ œ œ œ #œ
? œ™ œ œ ‰ Œ œ™ œ œ. ‰ Œ ‰ ‰ œ
{ ng. rn. 3 3 3 3 3 3 3 3
1 5 175 r j r j r 3 j 3
j
S. D. / Œ ‰™ œ œ ™ œ œ ‰ ‰™ œ œ™ œ œ™ œ œ ‰ ‰™ œ œ œ œ œ ‰ Œ œ™ œ œ™ œ œ œ œ œ ‰
3 3 3 3
j j j‰ Œ j
B. Cl. & bœ œ b œ bœ œ bœ. ‰ Œ bœ. ‰ Œ bœ. j‰ Œ b œ œ. ‰ œ#œ œ œ œ œ #œ ™ œ œ™ # œ
bœ bœ bœ ™
1 5
3
& œ™ œ œj ‰ ‰ ™ œr œ™ œ œ œ œ #œj ‰ Œ œ
#œ œ œ œ ™ #œ ™ œ œ œ œ bœ ™ nœ œ ™ #œ œ ™ nœ #œj ‰ Œ
. 3 3
Pno. œ#œ ™ œ œ œ œ bœ ™ nœ ™
? œ™ œ œ. œ œ™ œ œ œ œ # œ œ œ œ œ™ œ œ œ ™ n œ #œ
{ ‰ ‰™ ‰ Œ ‰ Œ &
3 3 3
1
1 0 3 3
j j j
S. D. / œ ™ œ œ ™ œ œ ™ œ œ ™ œ œ ‰ Œ Ó œ™ œ œ™ œ œ ‰ Œ œœœ œœœ œ ‰ Œ
# .
œ b œ
3
#œ ™ #œ œ œ # œ b œ b œ b œ bœnœ
B. Cl. & j ‰ Œ Ó ™ #œ nœ œ œ #œ œ œ ‰ Œ
œ. #œ ™ #œ œ ™ œ#œ ™ œ œ 3 3 3 3
p
mp
1
3 œ picc.
nœ œ œ œ œ œ œ œ œ # œ œ #œ#œ œ œ 3
ob.
& nœ œœœ #œ œ œ œ œ ™ #œ œ ™ œ nœ#œ œ™ œ ™ œ œ™ #œ j ‰ Œ

3 3 3
œ œ œ.
3 3 3 3
Pno.
3 œœ œ œ#œ œ#œ œ œ eng. horn
3
œœ
.1
œ œnœ #œ œ œ#œ 3
{
& œ œœ œ œ ™ #œ œ ™ œ ™ œ œ™ œ j ‰ Œ
œœ 3 3 3 3 3
3 p
œn œ œ œ œ™ œ œ.
p mp
183
1 5 3
j j j j
S. D. / œ™ œ œ™ œ œ™ œ œ™ œ œ ‰ Œ œ™ œœ œ œ ‰ Œ
™ œ™ œ œ ‰ Œ œ œ œ œ™ œ œ ‰
3 3 3
œ™ nœnœ ™ bœ
B. Cl. & bœ ™ nœ œ™ bœ ‰
œ œ b œ n œj n œ œ j ‰ bœ bœ j ‰ ‰ ™ r œj ‰ ‰™ r j ‰ Œ ‰™ r
bœ
œ # œ œ b œ. œ . œ b œ.
p . .
183 œ.
j j .
‰ Œ œj œ ‰ Œ
. . .
œb œ ™ b œ ‰
& #œj œ. ‰ Œ #œ
j œ. ‰ Œ œ#œ Œ ‰ ™ bœbœ ‰ Œ Œ ‰ ™
mp mf
Pno. mp mf
j ‰ Œ j ‰ Œ cls.
? bœ ™ bœbœ. ‰ Œ b œ bœ œ bœ ™ nœ œ. œ nœ œ
& j j ‰ Œ #œj œj ‰ Œ
{ j
#œ#œ.
j
œ œ.
‰ Œ
œœ
. . mp 3 3
49
3
18 j 3 3
j 3 3 3 3 3
j 1 0 r 3
j
S. D. /
Œ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ œ œ ‰ ‰™ œ œ ™ œ œ œ œ œ ‰
3 j
B. Cl. & j ‰ Œ ‰ ™ r bœ ™ bœnœ ™ œ j ‰ Œ ‰ ™ bœr œ™ œbœ. ‰ Œ ‰™ r j ‰
bœbœ bœ œ œ bœ. n œ ™ œ œ ™ œnœ
. œ
18 .
j œ ™ œn œ b œ. œ œ™ œ b œ œ œ œ œ œ bœ. œ. ‰ Œ j
bœ
& bœ ‰ Œ ‰ bœ ‰ Œ bœ ™ ‰ Œ œ ‰ Œ
. mp mf 3 3 mp
œ
mf
Pno.
b œ .
œ b œ
.
? bœ ‰ bœ b œ œ nœnœ œ œbœ b œ œ œ œ œ œ œ œ œ ™ bœbœ. ‰ ‰ ™ œbœ ™ œ bœ œ œ nœ. ‰ Œ œœœ
{ ‰
3 3 3 3 3 3 3 3
1 1 3 3 3 3 3 3 3 3
j
S. D. / Œ œ œ œ œ™ œ œ™ œ œ œ œ œ™ œ œ™ œ œ™ œ œ ‰ Œ œ œœ œœ œ œ œœ œ œœ œœœ œœœ
p mp
3 3
B. Cl. & ‰™ r j ‰ Œ bœ ™ œ b œ ™ b œ œ j ‰ bœ ™ bœ ™ j ‰ Œ Ó
bœ œ bœbœ ™ œ ™
bœ œ œ œ . œbœ bœ
.
œ bœ bœ
.
.
1 1
œ . bœbœ ™ œ bœ ™ œ bœ ™ bœ
& œ‰ Œ œ ™ bœ œ ‰ bœbœ œ bœbœ œ œ™ ‰ Œ Ó bœ ™ œ œ ™ bœ œ
3 3
mf mp
Pno.
™ b œ œ™ œ œ œ bœ œ ™ b œ bœ ™ œ œ ™ bœ . bœ œbœ
? œ bœ ‰ 3
œ bœbœ œ bœ œ œ 3 3 bœ œ
{ Œ b œbœ œb œ & bœ nœ œ œ œ ? œ
3 bœ 3 3 3 3
œ 3
mf
1 5
1 5 3 3 3 3 3
j j
S. D. / œ œ œ œp œ œ œ ™ œ œ ™ œ œ œ œ œ ™ œ œ™ œ œ™ œ œ‰ Œ œœœœœœ œ™ œ œ ‰
3 3
j ™
B. Cl. & j ≈Œ j‰ Œ œ. ‰ ‰ r œ ™ œbœ ™ œ
œ
œbœ œ œbœbœ . b œ ™ œ œ™ bœ
b œ ™ œ œ™ b œ b œ ™ b œ ™ œ œ™b œ œ
. bœ œ œbœ œ
œ œbœ œ œ bœ ™ bœ œ œ œ œ
1 5 œ b œ ™ b œ œ™ œ
bœ ‰ Œ bœ ™ œ œ™ bœ nœ 3 j ‰ 3
?
& œ œ bœ œ œbœ œj ‰
3 3 3
mf 3 3 . .
mp
Pno.
œ œ ™ bœ bœ œ œ™ œ ™ bœbœ ™ nœj œ # œj œ
? bœ ™ œ œ œ œ. ‰ Œ œj bœ
‰ Œ ‰ Œ ‰ Œ j bœ ‰ Œ
{ p 3 mp
œ

50
4
1 j 00
‰ Œ
S. D. / œ Ó ∑
mf
3 3 3 3
j bœ bœ
B. Cl. & œ. ‰ Œ Œ
œ b œ b œ œ bœ bœ bœ œ
bœ œ œ bœ bœ 3
1 bœ picc.
? Œ cl
bœ œ œ& ob. 3
œ œ bœ œ œ b œ œ bœ œ œ bœ
œ
bœ œ œ bœ bœ 3 3
3 3 3 3
Pno.
? bsn. 3 3
bœ bœ bœ 3 3
bœ bœ œ œ3
{ bœ nœ bœ bœ œ & b œ b œ b œ œ
b œ œ bœ bœ 3 3 œ bœ bœ œ
3
mf
2 1
S. D. / ∑ ∑ ∑ ∑
b œ b œ œ n œ nœ ob.
œ bœ b œ b œ œ ™ bœ bœ ™ bœ œ 3 ‰ Œ Ó ∑
B. Cl. & bœ nœ œ™ bœ bœ ™
3 3 3 œ b œ. j
f
p
2 1 bœ bœ bœ œ œ
b œ bœ œ ™ bœ nœ ™ œ b œ nœ œ ™ bœ bœ ™ œ bœ ™ bœ j ‰ j ‰ r. rns. j
& bœ. bœœ bœœ ‰ ∑
3 3 3 . b œ .
Pno. f p
? œ™ b .
Trbns.
œ bœ.
bœ bœ ™ œ bœ ™ j ‰ bbœœœ ‰ Œ bb œœ ‰ ∑
{
& œ™ bœ bœ ™ œ œ nœ
3
nœ
bœ b œ.
William Schuman’ Symphony No. 3 is composed in two parts, each divided into two
sections. The major bass clarinet excerpt that is often requested begins in the final section of the
symphony entitled Toccata. While the requested bass clarinet excerpt begins at rehearsal
number 155, there is a significant solo snare drum solo that begins the Toccata at three measures
before rehearsal number 145. Unlike the other transcriptions in this document, the transcription
for study includes a snare drum part. The bass clarinet excerpt that follows the solo snare drum
is nearly identical in rhythmic construction. Throughout the bass clarinet excerpt, the solo snare
drum continues to play a significant role, therefore the snare drum is used in addition to piano in
this transcription. See Appen i D for snare drum part.
51
The bass clarinet part included in this document has an imbedded snare drum part. This
includes the solo snare drum music from rehearsal 145 through the end of bar 199. See
Appen i B.
Edward Palanker has one of the best descriptions of this awkward excerpt: “This solo has
become famous among bass clarinet players despite the limited appearances it has on the concert
stage. Tradition has placed it on a great many audition lists. There’s a lot to think about in this
solo. It’s fast and goes all over the instrument.”55
While the bass clarinet excerpt begins two bars after 155, the inclusion of the first
measures of the Toccata with snare drum helps illustrate one of the defining aspects of this
excerpt: rhythm. Lawrie Bloom states “The snare starts with just rhythm. When we enter the goal
is to just add pitch, not inflection in the beginning, so truly soft, and not accented.”56 When
preparing this excerpt for an audition, bass clarinetists are strongly urged to play this excerpt
with a percussionist playing the snare part.57 Playing with a percussionist will inform bass
clarinetists of the rhythmic interplay of this excerpt as well as codify the interpretation of the
grace notes that appear throughout both the snare drum part and the bass clarinet excerpt.
Throughout the movement, Schuman alternates between dotted eighth/sixteenth groups and
running eighth note triplet groups in the snare drum, bass clarinet, and other orchestral parts. At
the marked tempo of half note equals 108, maintaining a crisp and metrically accurate doted
55
Edward Palanker, “Bass clarinet articles and finger chart,” Eddies Clarinet, accessed March 29, 2016,
http://eddiesclarinet.com/eddiesclarinet.com/Bass_clarinet_articles&fingering_chart_files/Schuman.pdf.
56
57
It is important to note that the snare drum part from Schuman’s Symphony No. 3 is also a major
orchestral excerpt for snare drum.
52
eighth/sixteenth groups becomes difficult with a tendency to regress to triplet subdivision. Bass
clarinetists are advised to practice mentally subdividing every dotted eighth note into sixteenth
notes at slow tempos.
Throughout the excerpt, the bass clarinetist is confronted with fast passages that cross
into the altissimo register. In measures 166, 181-182 and 201, written altissimo F’s appear in the
bass clarinet part (concert pitch Eb). The passage work leading up to each written altissimo F
obligates the performer to choose between three options for fingerings. Option one is to use
“overblown” or harmonic fingerings. Option two is to use traditional fingerings that would be
used on the soprano clarinet in similar passages. Option three is using a combination of both
harmonic and traditional fingerings.
Both Edward Palanker58 and Michael Lowenstern59 advocate for the use of traditional
soprano clarinet fingerings for mm. 166 for timber and intonation reasons. For a reference of
different fingering options including traditional fingerings, see Appendix C. Fingering options
for measure 166, 181-182 and 201 are included with both traditional fingerings as well as
different combinations of alternative fingers. While some bass clarinetists will advocate for the
traditional fingering, each bass clarinet plays and tunes differently, so bass clarinetists are
encouraged to try each fingering option to find the best combination for performing these
difficult measures.
58
Edward Palanker, “Bass clarinet articles and finger chart,” Eddies Clarinet, accessed March 29, 2016,
http://eddiesclarinet.com/eddiesclarinet.com/Bass_clarinet_articles&fingering_chart_files/Schuman.pdf.
59
Michael Lowenstern, “William Schuman Symphony #3- So you want to be a Bass Clarinet player,”
Earspasm Music, accessed March 29, 2016, https://www.youtube.com/watch?v=zs63_9sJ3JY.
53
CHAPTER 8
CONCLUSION
With the materials presented in this project, several pedagogical needs are met for bass
clarinetists. Through piano reduction of orchestral scores, bass clarinetists have access to a
resource that simulates the experience of playing in an orchestra. Bass clarinetists using a piano
reduction will learn the pitch tendencies of the instrument. Consequently, the performer will
discover ways to study excerpts in-tune with other instruments that will not compromise for the
shortcomings of the bass clarinet. Use of piano transcriptions will also aid with recognition of
important moving lines, harmonic textures and rhythmic ostinatos that might otherwise be
overlooked by score study and listening alone. Finally, many of the excerpt transcriptions
provided are taken from several bars before the primary bass clarinet excerpt, unlike many
excerpt books currently available. This provides bass clarinets a more contextual view of an
excerpt by facilitating the need to count rests correctly and play solo entrances in the correct
style and affect presented by the preceding orchestral material. Additional reference to bass
clarinet and clarinet performance guides to these excerpts were included to supplement the study
and idiosyncrasies of these difficult excerpts. To surmise the nature of this project, consider these
parting words from Jeanne Baxtresser’s Orchestral Excerpts for Flute: “The knowledge you will
gain by creating your own accompaniments can only enhance the beauty and conviction of your
performance. Please… use the piano part any way you can as a guide to a broader understanding
of music. It is a very practical tool for heightened musical awareness.”60
60
Baxtresser, Jeanne, and Martha Rearick, Orchestral Excerpts for Flute, ed. Daniel Dorff (Theodore
Presser, 1995), pp. 5.
54
APPENDIX A
ORIGINAL ORCHESTRAL SCORES
55
Example A.1: Mahler Symphony No. 6 full score rehearsal number 23 to 25.61
61
Gustav Mahler, Symphony No. 6, International Music Score Library Project, accessed March 20,
2016, http://petrucci.mus.auth.gr/imglnks/usimg/5/5c/IMSLP13120-Mahler-Symphony_No.6_I.pdf.
56
57
The small black arows added to the score show the bass clarinet line.
58
Example A.2: Ravel Daphnis et Chloé full score of rehearsal number 156 to 161.62
62
Maurice Ravel, Daphnis et Chloé, International Music Score Library Project, accessed September 30
2016, http://conquest.imslp.info/files/imglnks/usimg/e/e5/IMSLP82225-PMLP80636-Ravel_-
_Daphnis_et_Chloe_Suite_2_FS.pdf.
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
Example A.3: Ravel Daphnis et Chloé full score of rehearsal 210 to the end.63
63
Maurice Ravel, Daphnis et Chloé, International Music Score Library Projec, accessed September 30
2016, http://conquest.imslp.info/files/imglnks/usimg/e/e5/IMSLP82225-PMLP80636-Ravel_-
_Daphnis_et_Chloe_Suite_2_FS.pdf.
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
Example A.4: Shostakovich Violin Concerto No. 1 in A minor op. 77 full score rehearsal 23 to
25.64 31
II Scherzo
Allegro J =126
Piccolo
..
oJ
2 Flauti
. lo. (!:
'""
;._ ...----;;:---: jt. ;._
oJ
20boi
. f
oJ
Corno inglese
.
oJ
2 Clarinetti (B)
. '
oJ
Clarinetto :
basso (B)
=--' '
f
2 Fagotti :
Contrafagotto :
..
oJ
4 Corni (F)
.
'oi
Timpani :
Tamburino !t
8
. -
Silofono l .,
.
senza sord.
n
l n
n
. ", n
. v
Violino solo
oJ •> .,,. •
>
>
f
Allegro J = 126
·• senza sord.
Violini I
oJ
Violini II I
. ' senza sord .
oJ
senza sord.
Viole
senza sord.
Violoncelli :
Contrabassi : -
DSCH
64
Dmitri Shostakovich, Concerto for Violin and Orchestra op. 77 (Moscow, Russia: DSCH Publishers,
2009).
100
32
Fl.
Cl. b.
V-no
solo
Fl.
Cl. b.
V-no
solo
Fl.
Cl. b.
V-no
solo
Fl.
Ob.
Cl. b.
C-fag.
V-no
solo
Ob.
C. ingl.
Cl.
Cl. b.
C-fag.
V-no
solo
101
Example A.5: Strauss Don Quixote full score of rehearsal number 14 to 19.65
65
Richard Strauss, Don Quixote, International Music Score Library Project, accessed September 30,
2016. http://javanese.imslp.info/files/imglnks/usimg/6/6d/IMSLP18787-PMLP04977-Strauss_-
_Don_Quixote__Op._35__orch._score_.pdf.
102
103
104
105
Example A.6: Stravinsky Le Sacre Du Printemps full score of rehearsal number 4 to 6.66
66
Igor Stravinsky, The Rite of Spring, International Music Score Library Project, accessed September
30, 2016, http://petruccilibrary.us/Scores/scores/Stravinsky_Igor_1971/Stravinsky_-
_RiteOfSpring_OrchScore.pdf.
106
107
108
Example A.7: Stravinsky Le Sacre Du Printemps full score of rehearsal number 139-142.67
67
Igor Stravinsky, The Rite of Spring, International Music Score Library Project, accessed September
30, 2016, http://petruccilibrary.us/Scores/scores/Stravinsky_Igor_1971/Stravinsky_-
_RiteOfSpring_OrchScore.pdf.
109
110
111
Example A.8: Schuman Symphony No. 3 full score from Part II, Choral and Toccata.68
54 d)Toccata
Leqgiero
.J ;1os-112
8£on. l
3
15- B- 'B zs- "2S-
Ct.-bsn
-
I
2
Hom •
3
It- -
pp " s s .. • . . .
l.itgg;ero
d • !08-112 11.is
VI.I
.
VI. 2
.
Via.
V'cello
150
Bsn. i
Ct.-b!.n
cs C5 e
" s- - ii.____
Hom.
I
2
.
.
) ) l
"'P .
150
.
l
VI.I
Vl.1.
.
Via
V'ullo f
C.-bass l
39886
68
William Schuman, Symphony No. III (G. Schirmer: New York, New York, 1942).
112
55
B.-cler.
155 p
......--.
__________ !-:______________
---
3____
lbO
---
!
3
l Ct.·lwi
I
2
i Horn.
i, ..
'i Ct.-i-.
ISS' lbO
•
B.-clar.
..... 111/
•
I
2
Hom
3
't ..
Stwe-Dr.
Ct.- bus
170 3 _J
Oboe I ,,
--· -•
mp
,_:___.
-
•
Enql. Hr.
.
. - ....... i PJi W-.J
- ....?
-- .....:..-·
I
"P
1
-.
Horn
"
3 • • 3 • 3
• 3
170
Ct.-tt-
39886
113
56
. 175
Pic.c..
.
Fl ...te I
-
Oboe I
Engl.Hr.
.
.
-
-
•
4 3
•
"
•
. .,
--- L-- r
- .
-
. :::::r.
. --...
-;,
-....;;_
'---'
B.clar:
'. ir.· , ·.
I
Horn
1
..
3
It
Snare.-Dr.
3 , •
17S
Ct.-bus
-.- ....... - 180
Pitc.
. ,,/_
p
.........-:-:i
----- .
pr-.-o
• ..., ·"----- .!. t:"I.-<, 4
Fl...te I
. . p_ ' p
Oboel
...-.----.:.
_--;... .., . -
• ·-·
p
. -
3
,,_-.
Engl.Hr:
. . -
Clar. Eb
.
-,,
.,._....p_ -
--- .. --·- .. p
......
.
1
.o......,
Clar.(s") l
3 . ,_.""' ..
::I
, •. - ......._____
-
IE
. ;I- ............
,.
Hom
.
.
Snin.-Dr.
' •
180
Ct.- bass
39886
114
57
185 ......-;;:;;w·
.-. .b..I btl> ...I>
Flute j
It
• mp-I ;,-:::::-1 ,,,,. ·i;.
.,.-====::
Oboe I
.
-
Engl.It'.
.
1,. ...... s ...........
.
i·
"P-
s tt;J:s "!I'•
,.. r.bl.... - -- -- .. - . - - -
- s
B.clar.
- ·-· ·----=--·
'l
r..t!if 'QC.Y ·..!.!'
5,__])r.
I > ) , 3 •
185
c.-baa.
Fl1Ate
Clar:
l
..3
I
- •
- al
..
-
190
.
...
_______ ! ____ _
- ...
. ....
----------- -
.
"-'
Bsn.
190
_......
Flute ! -
.
..::;;;;;;--i:--.
..... -- _. - " .....
·-·
. l"V
u: ....
. -.....,- . . . •• .;:"'°
- -•
•.
Ssn.
.
. fl
,,,,,
.
p
.....
.. ._........ ii •. ,,,,
I Y!._:::.::..--' -,...... - .
JV •. .
:;...:::..___...-
Snare-Dr.
. . ..;,
195
i p
-
I
c.-bass I
115
58
2.00 -----.::ii. ------......_ . _
P1cc.
. lllJ·
.,f:"E . . . . .
I . c
.
••
.
g:_ I
. ...; .,, ,,
.
60
.., .,,
• ,,.,, ...... ----- .........
-
f.
..... ..... ,. - - - - ii
,.,,
B.-clar.
-
. ii•• ,._ .. I
,.,.r·
- .:.....__ '!'
p
Bsn. l
I
..
••
"'P I
! ... E i.-..
·==- p
.--...
2
Hom • .;:c-,,,
- ....
. .,.Cif
Ttomb.
I
2.
.,
•
.;r
Sna,..Dr.
.. ;y
Oboe t .
205" r!.-
,,.,, "*
- •
210
- --......
Engl. Hr.
. -r-
t ......
Clar.{&")!
3 . •.;;::::::: -
a.clar.
I
2
.
.
. --·
"'I'-=¥;;;:'!'
..
-o;-
"" -··
'"-'"':"
.,.
"""""-
p
- ,_ ::::::::::0.
Horn
3 ---- ....-... - -· ..--:h ..
It . -·.J. ... _.,. - -.-..,. '£-
• • •t •
AV'
. • .
.;r "" "'• • • r
116
APPENDIX B
BASS CLARINET PERFORMANCE PARTS
117
Example B.1: Mahler Symphony No. 6 rehearsal 23-25 bass clarinet part
Mahler Symphony No. 6

Rehearsal 23-25 Gustav Mahler
1860-1911
Grazioso Trans. Connor O'Meara
(q=66-72) 23 9 24
4 œœ œ w w œ™ œ œ œ
Bass Clarinet in Bb & b 4 œ ™ œJ œ J œœ
p espr. pp
14 2 œ˙ œ˙
& b œ™ œj œ œ Ó Œ œ≈ Œ œ≈
œœ ˙ p
p
Tempo I. subito.
20 Sehr energisch!
œ™ œbœbœ zuruckhaltend
&b J œœ Œ Ó ∑ ˙ bbbbb
˙ ˙ w w
œ pp
˙
sfz morendo
27 25
bb
&b b b ∑
118
Example B. 2: Ravel Daphnis Et Chloé rehearsal 157-161 bass clarinet part
Daphnis et Chloé
Rehearsal 156-161 Maurice Ravel
1875-1937
Trans. Connor O'Meara
q=50 156
##3
Bass Clarinet in Bb & # #4 ∑ j ‰ Œ Œ œ
œ œ œ œ œ
pp
6
# ## œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ
&# œ œ œ œ
12 12 12
8 157
#### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&
f 12 12 12
9
#### œ œ œ œœœœœœœœ œ œœ œ œœœœœœœœ œ œœ œ œœœœœœœœ œ œ®≈ ‰ Œ Œ
& RÔ
œ œ™ œj œ œ™ œj
12 12 12 p
13 158
## ‰ œj œ œ™ j 4
&## j‰ Œ Œ Œ Œ Œ Œ Œ œ œ
pp œ œ #œ œ œ 4
œ
pp
19 159
# ## 4 3
&# 4 4 œ
j ‰ Œ Œ Œ Œ
œ œ œ
j ‰ Œ Œ
w ˙™
p
24 160
# ## j‰ Œ Œ œ #œ œ ‹œ
&# ‹œ œ nœ œ #œ œ #˙ œ
#œ œ œ œ #œ œ ‹œ
mf
31 161
## œ
&##J ‰ Œ Œ
p
119
Example B. 3: Ravel Daphnis et Chloé rehearsal 210- nd bass clarinet part
Daphnis et Chloé
Rehearsal 210-End Maurice Ravel
1875-1937
Anime q = 168 210 Trans. Connor O'Meara
## 5 2 3 3 3 3 3 3
Bass Clarinet in Bb & # ## 4 nœ j ˙ œ œ nœ j ˙ œ œ
pp
œ œ œœ œ œ œ œœ œ
5 211
# ## j 3
& # # nœ ‰ Œ Œ Ó ∑ j‰ Œ Œ Ó
˙™ ˙ œ ˙™ ˙
pp pp
13 212 3 3
## bœ 3 j ˙ œ nœbœ œ nœ bœ 3 j ˙
& # ## j ‰ Œ Œ Ó Ó™ Ó œ nœbœ œ nœ
nœ œ nœ œ
œ pp 3 3
17 213
#### bœ 3 3
bœ nœ nœ bœj ˙ œ œ nœ j ˙ œ œ
& # nœ nœbœ nœ œbœ nœ œbœ œ
œ œ œbœ nœ œ bœ œbœ nœ œ
3 3 3
3 3 3 3 3 3
p
20 214
#### nœ bœ nœ œ nœ œ bœ nœ œ bœ nœ bœ b œ nœJ ‰ Œ 3
& # bœ nœ Œ Ó
3 3 3
3 3
mf
25 215
## 2 n œ œ œ œ nœ #œ œ b œ n œ œ nœ #œ n œ œ
& # ## Œ J ‰ Œ Œ J ‰ Œ
3 3 3 3
p
29 œ n œ œ #œ n œ # œ œ
## œ n œ œ œ œ ‹œ œ œ œ #œ ‹œ œ
& # ## Œ J ‰ Œ Œ
3 3 3 3 3 3
ff
31 216
##
& # ## ∑
120
2 Bass Clarinet in Bb
32
#### Œnœœœœnœnœœœ#œ œ ‹œœ œJ nœœœœnœnœœœœ#œ#œœb œ b œ nœ œ œ n œ n œ b œ n ˙ œ nœ#œn œ # œ œ œ
& # ‰ Œ
p
35 n˙ œ nœ#œn œ # œ œ œ 21 nœ
####
Œ Œ n˙ Ó Œ œ œ œ œ nœn œ œ œb œ n œ œ œJ ‰
& #
ff p
3
#### œ œ#œ œnœn œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ 3
& # j ‰ bœ j ‰ bœ 4
bœ œ bœ
œ bœ œ bœ œ
ff
1 21
## 3 3 3 3 3 3 3 3 3 bœ nœ
& # ## 4 Œ bœnœ œ bœ œ Œ bœnœ œ bœ œ Œ bœnœ œ bœ œ Œ bœnœ œ bœ œ Œ nœ œbœnœ
bœ bœ bœ bœ 3 3
p
21
## bœ nœ Œ nœ bœ œ bœ nœ œ Œ nœ œ œ nœ #œ œ Œ nœ œ œ bœ nœ œ
& # ## Œ nœ œ bœ nœ
3 3 3 3 3 3 3 3
50
#### œ œ œnœnœ œ #œnœ œ œ œ œ nœ œ œ œ œ #œ œ œ‹œ œ œ n œ n œ œ œn œ b œ
& #Œ Œ Œ œ Œ Œ
3 3 3 3 3 3 3 3 3 3
55 220
#### b œJ œ nœ#œnœ#œn œ œ ‰ b œJ œ nœ#œnœ#œn œ œ Œ Œ nœ#œn œ b œ Œ Œ nœ#œn œ b œ
& #‰ ∑
ff
0 221
œ œ nœ œ œ œ œ œ
##
& # ## Œ nœ 2 œ #œ œ n œ #œ œ #œ œ n œ #œ œ #œ œ n œ
‰ Œ Œ 4 #œ
p mf ff 3 3 3
5
## œ#œ œ n œ #œ œ#œ œ nœ ˙ n˙ ˙ n˙ ˙ n˙ ˙ n˙ ˙ n˙ ˙ n˙ œ ‰ Œ
& # ## #œ J
3 3
121
Example B.4: Shostakovich Violin Concerto No. 1 in A minor op. 77 rehearsal 23-25
bass clarinet part
Violin Concerto No. 1 in A Minor op. 77

Rehearsal 23-25
Dimitry Shostakovich
1906-1975
Allegro q. = 126 23 Transcribed by Connor O'Meara
b3
Bass Cl in Bb & b b8 ‰ œ œ œ
œ . n œ. . n œ œ. n œn œ œ œ œ. n œn œ œ œ œ œ œ. n œn œ œ œ œ œ. œ. œ.
f
. . œ. . > . œ. . > .
9
b
&b b œ bœ
n œ. n œ œ œ. œ œ œ . n œ. œ œn œ œ n œb œ œ œn œb œ n œn œ œ œn œ b œ# œn œ. nœ. œ. œ. œ. n œ œ œ œ
. . .
17 24
b
& b b ‰ #œ œ œ. œ œ. œ #œ. œ œ œ
. . . n œ. œ. b œ. n œ œ œ n œ. œ. n œ œ
> œ œ
. œ
. . . œ.
24 2
bb ‰ j ‰ ‰
& b œ œ œn œ b œ œ œ œb œ œ œ œ b œ. nœ.
œ. . œ œ œ. . . n œ. . . .
Violin Concerto No. 1 in A Minor, op. 77 by Dmitri Shostakovich
Copyright 1956 (Renewed) by G. Schirmer, INC. (ASCAP)
International Copyright Secured. All Rightes Reserved
Reprinted by Permission
122
Example B.5: Strauss Don Quixote rehearsal 14-19 bass clarinet part
Don Quixote
Bass Clarinet in Bb
14 Rehearsal 14-19 Richard Strauss
(Sancho Panza) 1864-1949
q = 96 Trans Connor O'Meara
# 4 Maggiore œ
Bass Clainet in Bb & 4 œj œ≈ œ œ ≈ œ≈ j œ≈ œ œ ≈ œ≈ j j œ
j
œ œ œ œ ≈
œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œœ œ
mf
4 2 2
# œ≈œ œ≈ œ≈œ œ≈ œ≈
& œ
j
œœœœœ œ≈œ œ
j
œœœœœ œ
mf
10 15
# 2
&
3 ∑ 4 ∑ 3 Œ 44 Ó Ó ∑
4 4 4 ˙
p
˙ ˙
16 Variation 1: Gemachlich
18
# 2 œ œ œœ ˙ U q=84
& j
œ≈ œ œ ≈œ ≈ œ ≈ ≈ ˙ Ó j
œ≈ œ ≈ œ≈
œ œ œ œ œœ œ œ œ œ œœ œ œ
mf pp mf
24
# œ
& ≈#œ œ œ œ ≈#œ œ œ œ nœ
j
œœœœœ ≈ œ œ ≈ œ nœ ≈ ≈#œ œ#œ œ ≈ œ œ œ
#œ
27
# œ n˙
& bœ œ œnœbœ œ ≈nœ nœ ≈ œ nœ ≈ ≈#œ œ œ œ ≈#œ œnœ œ Œ ≈ œœ ˙
#œ œ
j
œœœœœ ≈
31 17
# nœ ˙ #œ #˙
& ≈#œœœ ˙™ nœ œ œ œ œ ≈ ≈#œœœ ˙ ™ œ
j
#œ œ œ œ œ ≈ j
œ≈#˙
p
œ œ œ œ œœ w
37 18
# œ
& œ≈œ œ≈ œ ≈Œ Ó Ó #œ ≈ œ# œ ≈ #œ ≈ ≈ œ œ œ œ
œ œœœœœ œ
j
#œ œ œ œ œ œ
mf
41 2
# bœ nœ bœ
& ≈#œ œ œ œ bœ œ œnœ œ ≈ œ ≈ œ ≈Ó Ó #œ ≈ Ó Œ ≈#œ œ œ.
#œ#œ œ œ œ
47 19
# ∑
&
123
Example B.6: Stravinsky Le Sacre Du Printemps Rehearsal 4-6 bass clarinet part
Introduction
Igor Stravinsky
Rehearsal 4-6
Piu Mossoq=66 4 3 5
œ # œ n œ œ b œ œ b œ œ #œ
Bass Cl 1
3 ∑ 2 3 ∑ 2
Bass Clarinet in Bb &4 4 4 4Œ R ≈‰ Œ
mf
œ œ # œ n œ œ b œ œ b œ œ6 3
Bass Cl 2
5 Bass Cl 1
#œ#œ œ œ
& Œ R ≈ ‰ ?‰ j j œ œ œ
œ #œ œ œ #œ œ œ œ œ œ
mf f
Bass Cl 2
œ œ
Bass Cl 1 Bass Cl 2
2
?
œ œ#œ#œ œ œ œ œ#œ#œ œ œ
j
#œ œ œ œ #œ œ œj œ œ œ
124
Example B.7: Stravinsky Le Sacre Du Printemps rehearsal 139-141 bass clarinet part
Action Rituelle Des Ancetres
Igor Stravinsky
1882-1971
Lento q=52 139 140 Trans Connor O'Meara
4 2 Optional bass clarinet 2 part
6 6
Bass Cl in Bb
3
&4 ∑ 4 3 ∑ 4 3
4 4 4 4 bœ œ œbœœœœœœ œœœœœœ
{p
10 5
trb Bass cl 1
141
bœ bœ bœ ?2
& b˙ bœ œ œ œ bœ œ ™ bœ œ œ œ œ œ bœ bœ.
j ‰ Œ 4
} p
Optional- bass cl 2 solo
13 5 nœ#œ œ œ 7
? 2 ≈ œ#œ œ #œ œ 3 bœ ‰ 42 Œ 3
4 nœ }
œ
nœ 4 b˙ J
≈ œ. œ#œnœ
. . . #œ. nœ. 16
{ pp
poco piu f
16 142
?3 r ≈ ≈
16 œ
.
125
Example B.8: Schuman Symphony No. 3 bass clarinet part

Bass Clarinet in Bb William Schuman
Transcribed by Connor O'Meara
142 h = 108 S.D.
3 3 145 3 3
4 j j j j
/ 4 ∑ œ™ œ œ ‰ Œ œ œ œ œ™ œ œ ‰ Œ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ
pp
146 3 3 3 3 3 3 3
j r j
/ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ ‰ ‰ ≈ œ œ™ œ œ œ œ œ ‰ Œ œ œ œ œ™ œ œ™ œ œ œ œ œ™ œ
150
150 .j 3 3 3 3 3 3 3 3 3
j
/ œ™ œ œ™ œ œ ‰ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ™ œ œ œ œ œ™ œ œ™ œ œ™ œ œ ‰ Œ
mp
155
155 j j j j r j r j
j j j j ‰™ ‰™
/ œœ ‰ Œ œ œ ‰ Œ œœ ‰ Œ œ œ ‰ Œ Œ œœ ‰ Œ Œ œ œ™ œ œ ‰
3 3
& ∑ ∑ j‰ Œ j‰ Œ
b œ b œ bœ œ œ n œ œn œ œ
œ™ . œ ™ œ.
p
159 160 3 3
j j j j j j jj j j
/ œ œ ‰ Œ œ™ œ œ ‰ œ œ ‰ Œ œ™ œ œ™ œ œœœ œœœœ ‰ Œ œœ ‰ Œ œ œ ‰ Œ
3 3 3 3 3 3 3 3
& j ‰ œ œj ‰ œ j‰ ‰ ≈ r ™ j‰ Œ
b œ. b œ œ . n œ n œ œ œ b œ œ œ œ œbœ œ œ œ œ œ™ b œ œ œ œ œ œ œnœn œ. œœœ
.
163 3 3 165
jj Œ j jj Œ
/ œœ ‰ œ™ œ œ ‰ œ œ œ œ œ œ œ™ œ œ™ œ œœ ‰ Ó
3 3 3 œ nœb œ
& œ™ œ œ ™ œ œ œ j ‰ Œ œ nœ bœ œ œ
œ œ™ bœ b œ ™ n œ œ™ œbœ œbœ œ
œ
3 3
166 3 3 3 3 3
jj
/ œ™ œ œ™ œ œ™ œ œ™ œ œ œ œ œ œ œ œ™ œœœœ œœ ‰ Œ œœœœœœ œ™ œ œ™ œ œ™ œ œ™ œ
œ œ œ œnœ œ œœœ 3 3
& œœœ ‰ Œ j‰ Œ j‰ Œ
3 3 3
œ™ œ œ™ œ b œ œ ™
œ œ œ œ™b œ œ ™ œ œj œ
j bœ #œ
j œ
mf p .
170 170 3 3 3 3
j j j r j r j r j r
/ œœœœ ‰ œœœœ ‰ œœœœ ‰ ‰™ œ œ ‰ ‰™ œ œ ‰ Œ ‰™ œ œ œ œ œ ‰ Œ ‰™ œ
j ‰ ™ œr j ‰ Œ ‰ ™ bœr
& #œj œj ‰ Œ œ
j œ ‰ Œ Œ Œ
bœ ™b œ b œj
‰ j‰ Œ
n œ ™b œ b œj
‰
œ . n œ. .
175
174 j r j r j r 3 j
/ œ™ œ œ™ œ œ ‰ Œ Œ ‰™ œ œ™ œ œ ‰ ‰™ œ œ™ œ œ™ œ œ ‰ ‰™ œœ œœ œ ‰ Œ
3 j 3 j j‰
& bœj ‰ Œ bœ bœ. ‰ Œ bœ. ‰ Œ nœj ‰ Œ j‰ Œ
bœ ™ bœbœ ™œ b œnœ œ b œb œ . bœ œ ™bœ œ.
126
2 Bass Clarinet in Bb
17 3
j j j
/ œ™ œ œ™ œœœœ œ ‰ œ™ œ œ™ œ œ™ œ œ™ œ œ ‰ Œ Ó œ™ œ œ™ œœ ‰ Œ
1 0
3 3 #œ œ#œ #œ
#œ#œ œ#œ#œ ™
& œ#œ œ#œ œ œ#œ ™ œ œ ™#œ # œj ‰ Œ Ó œ#œ ™#œ nœ œ
. # œ ™ # œ œ™# œ #œ ™ 3 3
3
p
1 2 3 3
j Œ j Œ
/ œ œ œ œ œ œ œ ‰ œ™ œ œ™ œ œ™ œ œ™ œ œ ‰ œ™ œ œ™ œ
# œ. bœbœ œbœ
b œ nœ #œ ™ nœ nœ ™ 3 3
& ‰ Œ œ bœ ™ nœ œ ™ nœ j ‰ j ‰
3 3
œ œ œ n œ # œ œ œ # œ.
mp p .
1 5
1 5 3 3 3 3 3 3
j j j j j
/ œ ‰ Œ œ™ œ œ ‰ Œ œ œ œ œ™ œ œ ‰ Œ œœœœ ‰ œœœ œ ‰ œœœ œœœœœœ
3 3
& œbœ œ j ‰ ‰ ™ r œj ‰ ‰ ™ r j ‰ Œ ‰ ™ œr j‰ Œ ‰™ r œ™bœ œ™ œ œj ‰ Œ
n œ. œ . œ b œ. œbœbœ œ œ .
.
1 9 3 3
j 10 r 3
j 3 3
/ œ œ œ œ œ œ œ ™ œ œ ‰ ‰™ œ œ ™ œ œ œ œ œ ‰ Œ œ œ œ œ™ œ œ™ œ œ œ œ œ™ œ œ™ œ œ™ œ
3 3
r . j ‰ ‰™
& ‰ ™ œ œ ™ œbœ ‰ Œ ‰™ r
œ#œ r j‰ Œ bœ ™ œ œ ™b œ œ j‰
œ n œ ™# œ œ™ nœ œ œ œ n œ
. œ œbœ
.
193 3 3 3 3 3 3 1 5 3 3
j Œ
/ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ™ œ
mp p mp p
& œ™ bœ œ™
œbœ ™ j ‰ Œ Ó j ≈Œ
œ œ™ œ b œ. œ™ œ œ ™ bœbœ ™
196 3 3 3
j j j
/ œ œ œ œ™ œ œ™ œ œ™ œ œ ‰ Œ œ œ œ œ œ œ œ™ œ œ ‰ œ ‰ Œ Ó
mf
3 3 j ‰ ‰™ j 3
& j‰ Œ ™ œ œ r œ™ œ œ
. ‰ Œ Œ
œ œ œ œbœ œ .
œ œ™ œ œ . œ œ™
œ
œ ™ œ œ ™b œ œœœ
00
200
3 3 œ œb œ b œ œ œ b œ œ n œ n œ œ™ œ œ
œb œ bœ ™ œbœ
& œb œ œ œbœbœ œ œ œ ™ œbœ ™ œ j ‰ Œ Ó ∑
bœ œ 3 3 3 3
f
3
3
œ.
p
127
APPENDIX C
FINGERING CHOICES FOR SCHUMAN S MPHON NO. 3
128
Measures 166, 181-182 and 201 have been notated in whole notes omitting rests where they
occur in the original with each fingering notated below.
Measure 166: Fingering option 1
Mm 166 w
w w w nw
&

Mm 181-182
166
6 w #w w #w w# w b ww bw nw w
&

Mm 181-182
6 Mm 166 ww #w w #w w# w bw
w bw
nw
w
&&
Mm 201
13 w w bw w w
&

Mm 181-182
6 Mm 166 #w w #w w# w bww bw
ww nw w
&
&
Mm 201
13 w w bw w w
&
Mm 181-182 #w bw
6 w #w #w bw w
&
Mm 201
w bw 129
13 w w w
&
nw
&
Measure
Mm 166
181-182: Fingering option 1
Mm 181-182 w w# w bw w
6 ww #w #w bw nw w
&
&
Mm 166 w
w w w nw
&
Measure
Mm 166181-182: Fingering option 2
w w# w
6
w
Mm 181-182
w #w #w b ww bw nw w
&
&
Mm 201
13 w w bw w w
Mm 181-182 #w bw
6& w #w #w bw w
Measure 181-182: Fingering option 3
&
Mm 181-182 #w bw
6 w #w #w bw w
&
Mm 201
13 w w bw w w
&
Mm 201
13 w w bw w w
&
Mm 201
13 w w bw w w
&
130
Mm 181-182
Measure
w 201: Fingering
# w option#2w
6 #w bw bw w
Mm 201
& w
13 w bw w w
&
Mm 201
13 w w bw w w
&
131
APPENDIX D
SNARE DRUM PERFORMANCE PARTS
132
Example D.1: Schuman Symphony No. 3 nare rum part

Snare Drum
William Schuman
142 h = 108 3 3
4 j j
/4 ∑ œ™ œ œ ‰ Œ œ œ œ œ™ œ œ ‰ Œ œ œ œ
pp
145
3 3 3 3 3 3 3
145 j j j ≈ r j Œ 3
/ œ ‰ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ œœ ‰ ‰ œ œ ™ œ œ œ œ œ ‰ œœœ
149 3 150
.j 3 3 3 3
/ œ ™ œ œ ™ œ œ œ œ œ ™ œ œ ™ œ œ ™ œ œ ‰ Œ œœœœœœœœœœœœ
152 3 3 3 3 3
j
/ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ œ œ ™ œ œ œ œ œ™ œ œ™ œ œ™ œ œ ‰ Œ
mp
155
155
j j j j j j j Œ ‰™ œr œj ‰ Œ Œ ‰™ œr œ ™ œ œj ‰
/ œœ ‰ Œ œœ ‰ Œ œ œ ‰ Œ œj œ ‰ Œ
159 j ‰ Œ ™ j ‰160j j ‰ Œ ™ ™
j
3 3
j‰ Œ j j j
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ œj œ ‰ Œ
163 3 3 165
j‰ Œ ™ j‰
j j
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj œ ‰ Œ Ó
™ ™ œ™ œ œ™ œ œ™ œ œ™ œ
167 3 3 3 3 3
™ j j ‰ Œ
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ™ œ œ™ œ œ™ œ
170
3
170 j‰ 3 j‰ 3
j ‰ ‰™ r j ‰ ‰™ r j ‰ Œ ‰™ r 3 j ‰ Œ ‰™ r
/ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œœœœ œ
Symphony No. 3 by William Schuman V.S.
133
2 Snare Drum
174 175 3
j Œ Œ ‰™ œr œ ™ œ œj ‰ ‰™ œr œ ™ œ œ ™ œ œj ‰ ‰™ œr œ œ œ œj ‰ Œ
/ œ™ œ œ™ œ œ ‰
17 3 1 0
j j j
/ œ™ œ œ™ œ œ œ œ œ ‰ œ™ œ œ™ œ œ™ œ œ™ œ œ ‰ Œ Ó œ™ œ œ™ œ œ ‰ Œ
1 2 3 3
j j
/ œ œ œ œ œ œ œ ‰ Œ œ™ œ œ™ œ œ™ œ œ™ œ œ ‰ Œ œ™ œ œ™ œ
1 5
1 5 j Œ j Œ 3 j Œ 3 j 3
j 3 3 3
/ œ ‰ œ ™ œ œ ‰ œ œ œ œ ™ œ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ
1 9 3
j ‰ 1 0‰™ r ™
3 3
j 3
™
/ œœœœœœœ œœ œœ œœœœœ ‰ Œ œ œ œ œ™ œ œ™ œ
mp
192 3 3 3 3 3 3 3
™ ™ ™ j‰ Œ
/ œœœœ œœ œœ œ œ œœœœœœ œœœœœœœœœœœœ
p mp
1 5
195 3 3 3 3 3
™ ™ ™ ™ ™ j‰ Œ
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœ
p
19 00
j ‰ j
/ œ ™ œ œ œ ‰ Œ Ó
m
134
APPENDIX E
PERMISSIONS
135
Form E.1: William Schuman Symphony No. 3
September 23, 2016
Connor O’Meara
1312 Broadway St.
Denton, TX 76201
RE: SYMPHONY NO. 3, by William Schuman
Dear Connor,
This letter is to confirm our agreement for the nonexclusive right to reprint excerpts from
the composition(s) referenced above for inclusion in your thesis/dissertation, subject to
the following conditions:
1. The following copyright credit is to appear on each copy made:
SYMPHONY NO. 3
By William Schuman
Copyright © 1942 (Renewed) by Associated Music Publishers, Inc. (BMI)
Piano transcription and excerpted snare drum with bass clarinet part from part II,
Toccata (measures 142-203)
2. Copies are for your personal use only in connection with your thesis/dissertation,
and may not be sold or further duplicated without our written consent. This in no way is
meant to prevent your depositing three copies in an interlibrary system, such as the
microfilm collection of the university you attend, or with University Microfilms, Inc.
3. Permission is granted to University Microfilms, Inc. to make single copies of your

thesis/dissertation, upon demand.
4. A one-time non-refundable permission fee of seventy-five ($75.00) dollars, to be

paid by you within thirty (30) days from the date of this letter.
136
5. If your thesis/dissertation is accepted for commercial publication, further written
permission must be sought.
Sincerely,
Duron Bentley
Print Licensing Manager
137
Form E.2: Dmitri Shostakovich Violin Concerto No. 1 in A Minor op. 77
September 29, 2016
Connor O’Meara
1312 Broadway St.
Denton, TX 76201
RE: VIOLIN CONCERTO NO. 1 IN A MINOR OP. 77, by Dmitri Shostakovich
Dear Connor,
This letter is to confirm our agreement for the nonexclusive right to reprint measures
from the composition(s) referenced above for inclusion in your thesis/dissertation, subject
to the following conditions:
1. The following copyright credit is to appear on each copy made:
VIOLIN CONCERTO NO 1 IN A MINOR, OP. 77

By Dmitri Shostakovich
Copyright © 1956 (Renewed) by G. Schirmer, Inc. (ASCAP)
Used by Permission.
Measures 1-31
2. Copies are for your personal use only in connection with your thesis/dissertation,
and may not be sold or further duplicated without our written consent. This in no way is
meant to prevent your depositing three copies in an interlibrary system, such as the
microfilm collection of the university you attend, or with University Microfilms, Inc.
3. Permission is granted to University Microfilms, Inc. to make single copies of your

thesis/dissertation, upon demand.
4. A one-time non-refundable permission fee of seventy-five ($75.00) dollars, to be

paid by you within thirty (30) days from the date of this letter.
138
5. If your thesis/dissertation is accepted for commercial publication, further written
permission must be sought.
Sincerely,
Duron Bentley
Print Licensing Manager
139
REFERENCES
Aspen Music Festival and School. Programs of Study / Orchestra. Accessed March 8, 2016.
https://www.aspenmusicfestival.com/students-welcome/programs-of-
study/instrumental-orchestral/clarinet/.
Baron, Benjamin, and Mark Nuccio. The Audition Method for Clarinet Volume 1. Edited by
Christine Carter and Michael Cirigliano. Chicago: GIA Publications Inc, 2014.
Baxtresser, Jeanne, and Martha Rearick. Orchestral Excerpts for Flute. Edited by Daniel Dorff.
Theodore Presser, 1995.
Bourque, David and Bloom, Lawrie. “Orchestral Bass Clarinet - Selected Excerpts in Detail.”
David Bourque Teacher, Performer, Wind Coach, Conductor. Modified 2014, Accessed
March 29,2016.
http://davidbourque.com/clbcl/Downloads_files/Orchestral%20Bass%20Clarinet%2
0-%20Bloom%3ABourque.pdf.
Cichowicz, Vincent. Orchestral Excerpts for Trumpet. Montrose, CA: Balquhidder Music,
2005.
Colón, Emilio and Starker, Janos. Don Quixote Fantastic Variations on a Theme of
Knightly Character for Violoncello and Piano. Boca Raton, Florida: Masters Music
Publicatins INC, 2007.
Drapkin, Michael. Symphonic Repertoire for the Bass Clarinet. 3 vols. Honolulu: Roncorp
Publications, 1979.
Hadcock, Peter. The Working Clarinetist. Edited by Bruce Ronkin, Aline Benoit and
Marshall Burlingame. Cherry Hill, NJ : Roncorp, 1999.
Haven, CK Dexter. “Orchestral Audition Repertoire Lists.” All is Yar. Accessed March 8, 2016.
https://allisyar.com/orchestral-audition-lists/.
Kansas City Symphony Orchestra. “3rd/Utility Clarinet and Bass Clarinet”. Accessed 3 8,
2016.
https://www.kcsymphony.org/ResourceCtl?fileId=GUc8txlJh8GEGDIlkKaAKA%3
D%3D.
Lowenstern, Michael. “Earspasm Music.” Accessed September 28, 2016.

https://www.youtube.com/user/earspasm.
Mahler, Gustav. Symphony No. 6. International Music Score Library Project. Accessed March
20, 2016. http://petrucci.mus.auth.gr/imglnks/usimg/5/5c/IMSLP13120-Mahler-
Symphony_No.6_I.pdf.
140
New York Philharmonic. “Bass Clarinet/Utility Clarinet”. Accessed March 8, 2016.
http://nyphil.org/~/media/pdfs/auditions/1415/2015-16-bcl-and-utility-clarinet-packet-
2.pdf?la=en.
Nygren, Dennis. "Robert Marcellus, Yesterday and Today: An Interview." The Clarinet
(International Clarinet Society/Clarinetwork International), vol 16, no. 1, 1988, pp. 33-
42.
Palanker, Edward. “Bass Clarinet Articles and Finger Chart.” Eddies Clarinet. Accessed March
29, 2016.
http://eddiesclarinet.com/eddiesclarinet.com/Bass_clarinet_articles%26fingering_chart.ht
ml.
Ravel, Maurice. Daphnis et Chloé. International Music Score Library Project. Accessed
September 30 2016. http://conquest.imslp.info/files/imglnks/usimg/e/e5/IMSLP82225-
PMLP80636-Ravel_-_Daphnis_et_Chloe_Suite_2_FS.pdf.
Ravel, Maurice. Daphnis et Chloé. New York, New York: Dover. 2006.
Robin, Brad. “Brad Robin Composer/Performer/Educator.” Accessed March 1, 2016,

http://www.bradrobin.com/home.html.
Schuman, William. Symphony No. III. G. Schirmer: New York, New York. 1942.
Shostakovich, Dmitri. Concerto for Violin and Orchestra op. 77. Moscow, Russia: DSCH
Publishers. 2009.
Springfield Symphony Orchestra. “Bass Clarinet/Third Clarinet Audition”. Accessed March 8,

2016. http://www.springfieldsymphony.org/assets/PDFs/June-2014-Bass-Clarinet-3rd-
Clarinet-Audition-Repertoire.pdf.
St. Louis Symphony Orchestra. “Bass Clarinet/Utility Clarinet Audition”. Accessed March 8,
2016.
Strauss, Richard. Don Quixote. New York, New York: Edwin F. Kalmus. 1897.
Strauss, Richard. Don Quixote. International Music Score Library Project. Accessed September
30, 2016. http://javanese.imslp.info/files/imglnks/usimg/6/6d/IMSLP18787-PMLP04977-
Strauss_-_Don_Quixote__Op._35__orch._score_.pdf.
Stravinsky, Igor. Le Sacre du Printemps. New York, New York: Edwin F. Kalmus. 1913.
Stravinsky, Igor. The Rite of Spring for Piano Four Hands. Mineola, New York: Dover
Publications, INC. 2005.
141
Stravinsky, Igor. The Rite of Spring. International Music Score Library Project. Accessed
September 30, 2016.
http://petruccilibrary.us/Scores/scores/Stravinsky_Igor_1971/Stravinsky_-
_RiteOfSpring_OrchScore.pdf
Tanglewood Music Center. 2016. “Fellowships and Audition Information”. Accessed March 8,
2016. http://www.bso.org/micro-sites/tanglewood-music-
center/fellowships/instrumental.aspx.
Tchaikovsky, Peter Ilyich arr. Taneyev, Sergey. The Nutcracker: Complete Ballet for Solo
Piano, op. 71. New York: Dover Publications, INC. 2005.
The Cleveland Orchestra. “Bass Clarinet/Clarinet Audition Repertoire”. Accessed March 8,

2016.
http://www.clevelandorchestra.com/globalassets/pdfs-general/audition-
repertoire/bassclarinet-clarinetrepertoirelist.pdf.
The El Paso Symphony Orchestra. “EPSO News”. Accessed 3 8, 2016.

http://www.epso.org/files/doc_159_2.pdf.
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SELECTED ORCHESTRAL EXCERPTS FOR BASS CLARINET

WITH PIANO REDUCTION

Connor Eugene O’Meara B.M. M.M.

Dissertation Prepared for the Degree of

DOCTOR OF MUSICAL ARTS

UNIVERSITY OF NORTH TEXAS

Kimberly Cole Luevano, Major Professor

Connor Eugene O’Meara

ACKNOWLEDGEMENTS ........................................................................................................... iii

LIST OF TABLES ......................................................................................................................... vi

LIST OF MUSICAL EXAMPLES ............................................................................................... vii

CHAPTER 1. INTRODUCTION ....................................................................................................1

CHAPTER 2. MAHLER SYMPHONY NO. 6 .............................................................................11

CHAPTER 3. RAVEL DAPHNIS ET CHLOÉ SUITE NO. 2 .......................................................15

CHAPTER 4. SHOSTAKOVICH VIOLIN CONCERTO NO. 1 IN A MINOR OP. 77..............32

CHAPTER 5. STRAUSS DON QUIXOTE ...................................................................................34

CHAPTER 6. STRAVINSKY LE SACRE DU PRINTEMPS .......................................................41

APPENDIX A. ORIGINAL ORCHESTRAL SCORES ...............................................................55

APPENDIX B. BASS CLARINET PERFORMANCE PARTS .................................................117

APPENDIX C. FINGERING CHOICES FOR SCHUMAN SYMPHONY NO. 3 ....................128

APPENDIX D. SNARE DRUM PERFORMANCE PARTS ......................................................132

APPENDIX E. PERMISSIONS ..................................................................................................135

Table 1: Bourque/Bloom and Palanker excerpt table. .................................................................... 4

Table 2: Composite list of audition excerpts. ................................................................................. 6

Musical examples used by permission from these copyright holders:

*1956 G. Schirmer, INC.

+1942 Associated Music Publishers, INC.

Example 6.1: Stravinsky Rhythm Practice ................................................................................... 44

orchestral performance. Fortunately, this has been accompanied by an expansion of resource

discipline and detailed study of orchestral repertoire continues to be a fundamental aspect of

clarinet auditions but bass clarinet auditions as well.

occasional instances of doubling on Eb clarinet. Contemporary auditions reflect this necessity

Former principal flutist of the New York Philharmonic, Jeanne Baxtresser, in

Cichowicz’s Orchestral Excerpts for Trumpet with Piano Reduction Accompaniment.7

Baltimore Symphony) were consulted.

Table 1 is a list of orchestral excerpts most likely to be asked, according to Edward

Table 1: Bourque/Bloom and Palanker excerpt table.

1. Detroit Symphony Orchestra (2007)10

2. San Francisco Symphony Orchestra (2011)11

3. Springfield Symphony Orchestra, Massachusetts (2014)12

4. St. Louis Symphony Orchestra (2014)13

5. New York Philharmonic (2015)14

6. Kansas City Symphony Orchestra (2016)15

7. The Cleveland Orchestra (2016)16

8. The El Paso Symphony Orchestra (2016)17

9. Aspen School of Music Audition Requirements (2016)18

between the ten artistic organizations.

Table 2: Composite list of audition excerpts.

Artistic Organization # Frequency

resource of comparable quality to the Baxtresser and Cichowicz excerpt books.

1. Ravel: Daphnis et Chloé, 2nd Suite

2. Grofé: Grand Canyon Suite

3. Strauss: Don Quixote

4. Stravinsky: Le Sacre du Printemps

5. W. Schuman: Symphony No. 3

6. Shostakovich: Violin Concerto No. 1 in A Minor op. 77

7. Khachaturian: Piano Concerto

8. Wagner: Götterdämmerung: Siegfried’s Rhine Journey

9. Tchaikovsky: The Nutcracker

10. Mahler: Symphony No. 6

limitations of a lecture recital and limitations of copyright approvals:

1. Mahler: Symphony No. 6

2. Ravel: Daphnis et Chloé, 2nd Suite