As with all wind instruments, the upper limit of the diversity depends upon the high-quality of the instrument and talent of the clarinetist. This gives the bass clarinet a usable range of over four octaves, quite near the diversity of the bassoon; indeed, many bass clarinetists carry out works originally meant for bassoon or cello on account of the plethora of literature for those two devices and the shortage of solo works for the bass clarinet. The bass clarinet has been regularly used in scoring for orchestra and live performance band because the mid 19th century, fitting more common during the middle and latter a part of the 20 th century. A bass clarinet is not always called for in orchestra music, but is nearly always called for in concert band music. In recent years, the bass clarinet has also seen a turning out to be repertoire of solo literature adding compositions for the device alone, or observed by piano, orchestra, or other ensemble. It also is utilized in clarinet choirs, marching bands, and in film scoring, and has played a minor, but continual, role in jazz. The later Romantics used the bass clarinet frequently of their works. All of Gustav Mahler's symphonies come with the tool prominently, and infrequently include lengthy solos for the instrument, particularly in his Symphony No. 6 in A minor. Richard Strauss wrote for the device in all of his symphonic poems other than Don Juan, and the tool shared the highlight with the tenor tuba in his 1898 tone poem, Don Quixote, Op. 35.

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