UNLV Theses, Dissertations, Professional Papers, and Capstones 5-1-2015 The Changing Role of the Bass Clarinet: Support for Its Integration into the Modern Clarinet Studio Jennifer Beth Iles University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Curriculum and Instruction Commons, Music Education Commons, and the Performance Studies Commons Repository Citation Iles, Jennifer Beth, "The Changing Role of the Bass Clarinet: Support for Its Integration into the Modern Clarinet Studio" (2015). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2367. http://dx.doi.org/10.34917/7645923 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. 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THE CHANGING ROLE OF THE BASS CLARINET: SUPPORT FOR ITS INTEGRATION INTO THE MODERN CLARINET STUDIO By Jennifer Beth Iles Bachelor of Music Education McNeese State University 2005 Master of Music Performance University of North Texas 2008 A doctoral document submitted in partial fulfillment of the requirements for the Doctor of Musical Arts Department of Music College of Fine Arts The Graduate College University of Nevada Las Vegas May 2015 We recommend the dissertation prepared under our supervision by Jennifer Iles entitled The Changing Role of the Bass Clarinet: Support for Its Integration into the Modern Clarinet Studio is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Department of Music Marina Sturm, D.M.A., Committee Chair Cheryl Taranto, Ph.D., Committee Member Stephen Caplan, D.M.A., Committee Member Ken Hanlon, D.M.A., Committee Chair Margot Mink Colbert, B.S., Graduate College Representative Kathryn Hausbeck Korgan, Ph.D., Interim Dean of the Graduate College May 2015 ii ABSTRACT The bass clarinet of the twenty-first century has come into its own. Composers often treat it as a solo instrument and clarinetists are more often expected to play bass clarinet. In the last half of the twentieth century, the amount of literature for bass clarinet has grown and the quality of the instruments have improved exponentially. Still, most university studios focus primarily on B-flat clarinet. This document is intended as a pedagogical guide for the inclusion of the bass clarinet in the clarinet studio. As support for incorporating the bass clarinet into the undergraduate curriculum, this document describes three areas of development: historical, pedagogical, and the development of literature. In addition, a survey and interviews were conducted in order to gain perspective on current attitudes about teaching and playing bass clarinet. Participants in the study consist of leading bass clarinet pedagogues in higher education, soloists/specialists, and orchestral players known internationally. Chapter 1 focuses on the history of the bass clarinet, beginning with the evolution of bass clarinet designs, followed by an overview of its changing role in the orchestra, chamber ensemble, band, and as a solo instrument. Chapter 2 focuses on pedagogy beginning with performance issues unique to the bass clarinet, followed by an examination of curricula from various types of university programs including those that offer specialty degrees in bass clarinet, those with degrees in multiple woodwind performance, and those with only a foundation in B-flat clarinet studies. Chapter 3 provides a selected, annotated bibliography of bass clarinet literature and criteria for suggested levels of study. Categories of music include “Warm-ups,” “Scale Studies,” “Methods, Guides and Studies,” “Orchestral Excerpts,” “Concerti,” “Works with Piano,” and “Unaccompanied Solo Bass Clarinet.” Chapter 4 is iii a culmination of the previous chapters and begins with results from the bass clarinet questionnaire, followed by the suggested course guide. The guide ranks literature appropriate for students from freshmen through graduate and professional levels. Bass clarinet literature is shown in conjunction with clarinet literature. iv ACKNOWLEDGEMENTS This project was made possible with the help and support of several people. I would like to first acknowledge those who participated in the study; your thoughts and ideas about teaching bass clarinet helped shape the outcome of the dissertation. Thanks to the members of my committee Marina Sturm, Cheryl Taranto, Stephen Caplan, Kenneth Hanlon, and Margot Mink Colbert for your guidance throughout this process, and to those members of the faculty who have provided support along the way. I would also like to acknowledge my former instructors John Scott, and Jan Scott, who have continued to be mentors over the years. Finally, I could not have done this without the support of close friends in the Livingston Community Band, and my family, especially my mother, Jeanet Iles, and my father, Bill Iles, who have encouraged me in all of my endeavors. Most of all, I’d like to thank my husband Colin Davis; I could not have done this without your unwavering love and support. v CONTENTS LIST OF TABLES ....................................................................................................................... ix LIST OF FIGURES ...................................................................................................................... x Chapter 1 The Development of the Bass Clarinet ............................................................... 1 Introduction…. ............................................................................................................................. 1 Review of Literature ..................................................................................................... 3 The Historical Development of the Bass Clarinet ........................................................ 5 The Historical and Changing Role of the Bass Clarinet in Orchestra ........................ 12 Saverio Mercadante (1795-1870) ................................................................. 13 Richard Wagner and His Influence on Other Composers, Particularly Richard Strauss ............................................................................................. 17 Gustav Mahler (1860-1911) .......................................................................... 21 Richard Strauss (1864-1949) ........................................................................ 23 Igor Stravinsky (1882-1971) ......................................................................... 25 Other composers ........................................................................................... 26 Bass Clarinet in Band ................................................................................................. 27 Bass Clarinet Soloists ................................................................................................. 36 Chapter 2 Performance Issues and Model Programs of Study ........................................ 43 Performance Issues for Bass Clarinet ......................................................................... 43 Selmer and Buffet Low C Bass Clarinets ...................................................... 43 Clefs, Notation, and Transposition................................................................ 53 vi Extended Techniques and Extended Range ................................................... 56 Switching from Soprano to Bass Clarinet ..................................................... 57 University Programs that Serve as Models for the Suggested Curriculum ................ 63 Programs with Specialization in Bass Clarinet ............................................ 64 Programs that Offer Multiple Woodwind Degrees ....................................... 75 Traditional Programs .................................................................................... 76 Chapter 3 Bass Clarinet Literature Methods and Studies ............................................... 77 Criteria for Literature Classification .......................................................................... 77 Methods and Studies .................................................................................................. 79 Warm-ups and Introductory Methods ........................................................... 80 Scale Studies .................................................................................................. 81 Methods, Guides, and Studies ....................................................................... 81 Orchestral Excerpts .................................................................................................... 83 Concerti ...................................................................................................................... 84 Works with Piano ....................................................................................................... 87 Solo Bass Clarinet .....................................................................................................