Treatise (D.M.A.) Florida State University, 2006. / Advisor: Frank Kowalsky, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-13-07). Document formatted into pages; contains 78 pages. Includes biographical sketch. Includes bibliographical 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.

Artie Shaw's Interlude in B-flat is unknown to many in the classical clarinet world and remains unperformed by clarinetists, despite its historical importance as one of the earliest Third Stream compositions, the earliest composition of its type in the clarinet repertoire. This prompts the question, why? This document explores four possible reasons for the marginalization of Interlude in B-flat. First, Shaw's historical narrative typically places him within the jazz world and not the classical world. Classical clarinetists may assume a Shaw composition will require a jazz background and experience beyond their abilities, namely improvisation. Second, the instrumentation, string quartet plus jazz combo, is atypical, making it difficult to program. Third, jazz and classical educational worlds do not necessarily overlap or interact, and neither has taken ownership of this Third Stream composition. Lastly, manuscripts, recordings, and other materials for Interlude in B-flat are limited and not readily available. Because Artie Shaw is not only a significant American clarinetist but also an important composer within the Third Stream narrative, Interlude in B-flat should be known and performed. This project aimed to promote the understanding and accessibility of this important and unknown composition to the classical clarinet world by providing an accessible arrangement of the work for clarinet and piano.