The Clarinet of the XXI Century

Michael Richards

CHAPTER 2 - Single Sounds

Alternate Fingerings
Different timbres of the same pitch on the clarinet are most conveniently achieved through alternate fingerings; embouchure manipulation alone will not work, since it will also affect pitch. However, altering timbre is not the only purpose of alternate fingerings. The artistic clarinetist of the late twentieth century employs different fingerings from standard fingerings in certain musical conte ts, throughout the standard orchestral, chamber music, and solo repertoire. 6 These conte ts may re!uire a slightly higher or lower pitch for reasons of intonation, a technically simpler fingering for a smoother legato, a less resistant fingering for an easier entrance at a soft dynamic level, or a more desirable tone color for better blend or portrayal of a particular musical character. For e ample, if one employs the standard "#flat fingering in the following passage $% ample &'( found in the first movement of the Sonata by Francis )oulenc, the result will be a low "#flat. The suggested alternate, which is generally a high fingering, will be better in tune at this loud dynamic level $also brighter and thicker*stronger(.

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The production of a smoother legato in the first movement of the F Minor Sonata , +p. ,-. /o. , by 0ohannes 1rahms is facilitated with the alternate %#flat diagramed in % ample &2. 3ontrary finger motion is completely avoided, as is the slide that would be re!uired with the use of the standard %#flat. %

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A smoother legato may be attained by the utili4ation of an alternate F#sharp in the following e ample $ Concerto # Aaron 3opland( for a different reason; an acoustical reason. The A and F#sharp are both partials from the same fundamental $D'(.

E a!"le #' $click on music to hear mp'(

An alternate fingering for D is essential to assist the clarinetist in the production of a soft entrance in the second movement of the 1rahms Trio , +p. ,,2 $% ample &5(.

E a!"le #6 $click on music to hear mp'(

6n the third movement of the Clarinet Concerto by 0ohn 3origliano, the alternate fingering indicated below for altissimo 1#flat allows the player to not only match the timbre of the distant off#stage clarinetists, but also is easier to play in tune and to play softly.

E a!"le #% $click on music to hear mp'(

An e cellent study of alternate fingerings in the traditional literature has been written by Thomas 7idenour. ( 7ather than duplicate his research, the following pages will focus on e amples for the usage of alternate fingerings in new music, and to offer a chart of altissimo register fingerings that, while not e haustive, does include a variety of technically simple fingerings for pitches of a wide variety of timbres. 6n music of the last twenty#five years, the e pansion of timbral resources and sensitivities and of usable pitch nuances has become a primary compositional concern. However, in order to indicate $as a composer( and perform $as a clarinetist( alternate fingerings, one must understand the acoustics of the instrument. All pitches on the clarinet do not lend themselves to alternate fingering possibilities. 6n general, the pitches which utili4e the longest length of tube have the smallest number of options; pitches below 1' and pitches between 12 and "8 have few or no alternate fingerings $% ample &9(.

E a!"le #(

)itches in the altissimo register have the most alternatives, since they can serve as partials to a number of different fundamentals. The top half of the chalumeau register and throat register $1' to A2( offers a variety of :covered: sounding $few strong partials( alternate fingerings. ;ost of these are cross# fingerings $fingerings that employ open vents, higher on the instrument body than the lowest tone holes that are closed by fingers or keys( which can only be produced at a very soft dynamic level with a minimum of upper partials present. 0o<i =uasa and 6sao ;atsushita e ploit these special fingerings in rapid alternations with conventional fingerings of the same pitches $also alternating dynamics> FF to pp( to simulate the sound of rapidly tongued articulations $% ample &?(. This techni!ue is also conventional for the shakuhachi $on which the performer of traditional solo honkyoku never articulates with the tongue( # a 0apanese bamboo flute.

E a!"le #) Clarinet Solitude # 0o<i =uasa $click on measure to hear mp'(

Alternate *ingerings +continued,

A chart of other fingerings $1' # "8( suitable for rapid alternation with the regular fingering of the same pitch, follows $Table &,(. Those which can not be alternated at a rapid speed have been labeled nf $not fast(. The intonation of these pitches is e tremely close to the regular fingering; only minor ad<ustments of the type made in normal tuning while playing may be necessary. Those pitches which may e hibit noticeable tuning discrepancies have been labeled $s. low @ slightly low, etc.( ) ; pitches that are a bit more resistant than regular fingerings are designated :resist.: Ta-le #. $click on measure to hear mp'(

Alternate fingerings of contrasting timbre and dynamic capabilities may also be e tracted from diads $multiple sounds consisting of two pitches(. The lowest pitches from these fingerings are especially dull sounding and only playable at ppp#pp dynamic levels. The reader is referred to 3hapter 666 for other similar sounding alternate fingerings; all multiphonics that are possible to begin with the bottom note only, will work $Table &-(. Ta-le #2 $click on measure to hear mp'(

9 The lower register :break: $1#flat2 # 12( of the clarinet has also, historically, been a cause of problems for the performer../ /ot only has timbral homogeneity been difficult to achieve, but the movement of so many fingers from one pitch to the ne t has also limited the possibilities for a smooth legato. Alternate fingerings for the lower clarion register do e ist, and often can be employed !uite successfully to e tend the throat register $% ample &,.(. These fingerings are likely to be somewhat unfamiliar to many clarinetists $since they utili4e the rarely employed upper trill keys which are played by the side of the stretched first finger of the right hand(, so care should be taken if they are to be approached by leap.

E a!"le #2' $click on music to hear mp'(

Begato movement over the :break: between the clarion and altissimo registers is somewhat easier to negotiate than the lower break. A set of alternate fingerings do e ist, however, that actually function by overblowing the alternate fingerings <ust described for the lower clarion register. The timbre of these pitches becomes brighter and thinner as they become higher $% ample &''(. These alternates may be difficult to produce in an isolated conte t softer than mf, and must be attacked in a fairly strong manner to insure stability $especially the highest three pitches(.

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? An abundance of alternate fingerings e ist for pitches in the altissimo register. )aul Drushler has very clearly described the acoustical link between basic fingerings and registers of the clarinet $% ample &'2a(. Third partials $clarion register( are produced by depressing the register key $thus opening the register hole(. Fifth partials $3#sharp8 # A# sharp5( are produced by lifting the first finger of the left hand, in addition to the register key. This permits the BH, tone#hole to act as a vent. Ceventh partials, and higher, are generally produced by depressing the "#sharp key in addition to the others mentioned $in the chart of altissimo fingerings presented in this chapter, the F#sharp key, as well as other vents, seems to be e!ually represented(. The general outline of this formula is followed in the following e ample $% ample &'2b(. 6t is important to note that many fifth partials also re!uire the "#sharp key, and that other vents $A key( are utili4ed for pitches derived from the highest partials. 6n addition, the highest pitches often stem from :out of tune: partials of unrelated fundamentals. 6t is clear that the desirable method for developing fingerings consists of starting with a fundamental, selecting vents, and making final alterations by opening and*or closing various tone holes. According to Drushler, :variations in pitch, timbre and stability for specific altissimo notes can be discovered by e perimenting with modifications of basic fingerings.: ..

E a!"le #$&a $click on music to hear mp'(

,. #$&- $click on music to hear mp'(

The limited finger movement re!uired between the five pitches in % ample &'8a can be utili4ed by composers in rapid musical passages. Drake ;abry has written for a :composite fingering: in the third movement of Street Cries for solo clarinet $% ample &'8b(. This particular fingering not only permits swift leaps in register without much trouble, but also provides a dramatic contrast of timbres.

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,, #$'- $click on music to hear mp'(

Come other possible composite fingerings are included below $Table &2(.

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The American clarinetist Henry "ulick writes of classifications for altissimo register pitches..2 These categories deserve mention, as well as others, in order to understand timbre and resistance characteristics of altissimo fingerings. +ne classification that is widely employed by professional clarinetists is what "ulick calls :long fingerings.: 6n long fingerings, the first finger of the left#hand remains on the tone#hole; a vent e ists further down the clarinet body. As a result, long fingerings re!uire overblowing of lower pitches. The longer tube length that is in play produces thicker, darker timbres that are generally more secure at loud dynamic levels $% ample &'5(.

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Chart of Alternate Altissi!o *ingerings

The following chart $Table &8( of alternate fingerings contains only a few of the many choices for altissimo register pitches. /o unusual techni!ues are called for, however, such as half#holes or depression of pad keys. Clight deviations in pitch may e ist, but these are easily corrected by ad<ustments of embouchure and air pressure. These ad<ustments are no more e treme than those that one would make to play in tune with other performers; they merely re!uire a sensitive :auditory image.: Cince different players play different e!uipment, the tuning will be slightly different for each individual. An aspect such as how far a particular pad comes away from a particular tone#hole can be very significant. 6n the same manner, pitches from the microtone charts may work as alternate fingerings; however, one runs the risk of timbre distortion as one becomes further and further from the pitch of the original fingering. The annotations under each fingering are arranged according to the following format> 6 # partial # partial of fundamental that fingering is based on * fundamental pitch $ie. 8th*32( [C4mod = modification of C4 fundamental] 66 # intonation # tendency towards high or low 666# timbre # bright # dark $sl. or s. @ slightly(; thick # thin 6D # articulation # resist. @ resistant # difficult to begin immediately; sl.resist. @ slightly resistant hard attack @ must begin abruptly D # dynamics # ppp to fff $only indicated if limitations e ist(

,' D6 # preparation # a comple fingering # player must have time to prepare it #legato connection to it may not be possible smth. @ smooth connection from another pitch isl. @ isolated conte t only n.isl.@ do not isolate D66# strengths # tr @ use as a trill fingering ps @ use in diatonic scale passage leg.@ legato from clarion register D666# stability # when sustained or approached*left by legato above the staves $fingering categories, according to vent used(> r @ thumb hole E register key vents t @ overblown throat tones A @ A key vent Ab @ Ab key vent

,2 Ta-le #'

0e1 Pitch Resources Microtones

"all pitches that lie between the semi-tone of the twelve-tone, equal-tempered tunin system!" .$ "!!!small tones, which usually implies musical intervals smaller than a semitone, the distance between any two nei hborin piano keys! " more inclusive cate ory is #enharmonic music, which e#tends to any tunin system that departs from the twelve note per octave equal-tempered scale!" .&

;usical application of microtones for clarinet has only <ust begun to be e plored by composers. 6t is hoped that the information presented here may spark the imaginations of composers and performers towards !ualities of microtones other than pitch. Timbre contrasts, ornamentation or polyphonic development through trills, transitions to multiphonics as a means of musical cell development, or the use of percussive effects found in microtonal trills are certainly potential areas that could be pertinent to the development of musical material. ;icrotones are not a twentieth century invention; they were discussed as early as the eleventh century by theorists..' /. Dincentino described a !uarter#tone harpsichord in the si teenth century, and 3hristopher Cimpson wrote about microtonal music in the 3ompendium of )ractical ;usick $,55A(..6 The modern revival was also not <ust a result of scientific interest in the nature of sound $Alois Haba, among other microtonal composers, took an intensive course in acoustics at the Fniversity in 1erlin(. 6ncreased

,8 interest in folk music and a move against the richness and decadence of the late romantics helped to create a receptive attitude. 0ulian 3arrillo $ ;e ico ( began e periments from ,9?8 that led to an e!ual#tempered ?5#note scale $,5th tones(. 1usoni, in his :/ew Aesthetic of ;usic: $,?.5( advocated a system based on third# tones. During the ,?-.Gs several publications by 6van Hyschengradsky, 3arrillo, and Haba helped to publici4e the theories and the music. ;ore recently, the work of Harry )artch and the music <ournal 6nterval have stimulated new interest in microtonal music..% ;icrotonal production on wind instruments such as the clarinet was first e ploited and notated by %uropean composers in the early twentieth century. At first, clarinets of modified design were developed to produce these pitches. 7ichard H. Ctein, a composer and clarinetist, developed a !uarter#tone clarinet around ,?,, that consisted of the addition of numerous tone holes and keys to the standard design..( Another approach was taken by Frit4 Cchuller in ,?'A, who created an instrument that employed two different tubes tuned a !uarter of a tone apart. The 34ech composer Alois Haba was also intrigued by the construction of !uarter#tone instruments. A !uarter#tone clarinet, developed in ,?-2, was utili4ed in his $uite %p! &4 of ,?-8 $clarinet, !uarter#tone piano( and $uite %p! '' of ,?2' $solo !uarter#tone clarinet(..) However, all of these instruments failed to gain acceptance, probably because of one principal problem> clarinetists were reluctant to accept such drastic design changes. ;icrotonal writing for clarinet in the last twenty#five years has increased markedly. Horks by 7ussian composers such as %dison Denisov, 6talian composers such as 3arlo Bandini and "iacinto Ccelsi, 0apanese composers such as 0o<i =uasa, Toru Takemitsu, Akira /ishimura, 6sao ;atsushita, and ;asataka ;atsuo, and American composers who include 7obert %rickson, 7ichard 1oulanger, %4ra Cims, Harold Celetsky, 0ohn %aton, and Drake ;abry are a few e amples.2/ These composers all employ the standard 1#flat clarinet to produce microtones. Hhat may be lost with regard to precise intonation and matched timbres, is balanced with easier technical control by the player on his familiar conventional instrument. 6n addition, the composer has the advantage of performers with developed and more fle ible techni!ues $a level of virtuosity that has taken many years to reach(, as well as closer relationships to their instruments which allow them to work with the composer to achieve a higher level of musical e pression.2. 3larinetists may not be able to produce microtones to the e act acoustical cent, but the information in this chapter does provide accuracy in relative pitch distances. 3larinet microtones present fascinating musical material outside of their pitch characteristics; for e ample, in the realm of timbre. Their compositional utili4ation need not be limited to an e tension of twelve#tone chromaticism. ;usicians today, however, are far from unanimous in their support of the above approach. The composer 0ames Hood presents a common opposing view.
:6t is precisely these conventional instruments which in practical terms are incapable of consistently accurate reali4ation of micro#intervals because of the sub<ectivity involved. Following the e ample of the pioneers of microtonality, if we want to achieve any degree of precision, we have to build special instruments:. 22

6t appears, from this statement, that ;r. HoodGs interests lie primarily in the precision of pitch; an area that is perhaps best left to electronic music or theoretical te ts. The composer 7obert %rickson comments on problems of this approach>

,5
:6 think of pitch as much more infinite, variable and wavy and watery...0ust because we write, we have a system for ,-#tones doesnGt mean that every interval plays the same way. 6Gm playing A, but what am 6 doing here; who am 6 playing A with, shall 6 play it high, shall 6 play it low, whatGs going on musically and 6 think of these pitches as sort of dynamic entities in motion all the time.... The difficulty is that we can have all these beautiful theories and all this beautiful mathematics but when we come down to trying to make instruments and sound them, yes, and do things to make sound, it <ust isnGt there. 6t <ust doesnGt have much to do with the theories that we talked about.: 2$

This opinion is echoed by composer David Dunn, who stresses the importance of :real: sound over theory, through a closer e amination of what a :microtone: is>
:Hhat might a microtone actually beI Hhat characteristics might it e hibitI And in what sense is it an e tension of anything when its conte tual terminology must of necessity reference it to the system of temperament which it strives so desperately to disassociate itself fromI Hho or what has defined a universally accepted definition of tone from which our friend JmicroG might be derivedI And even if such a definition truly e ists then upon what authority need 6 accept itI 6f small numbered harmonic ratios are truly what the ear would most prefer, left to its own resources, then in what sense could it be said that a string !uartet playing traditional literature in tune is not playing in <ust intonationI +r in what sense could home#made instruments which strive to avoid structural rigidity ever be in <ust intonation when intonational drift begins to occur within minutes of initial tuningI 6f it is truly possible to have a microtone then perhaps it is also possible, as a friend recently proposed, to have a macro#tuning system which, for e ample, might consist numerically of less than one tone per octave. Fltimately my point is that the ear is what is essential in that all musical systems remain descriptions of what the ear hears. He have only a glimpse of the possible descriptions, let alone the possible hearings. To not consider deeply the terminology used to describe it is to also not consider deeply what is heard.: 2&

Comewhat similar problems present themselves in the music of 1en 0ohnston, who employs <ust intonation. He has pointed out that the ac!uired skill that allows :live: performers to ad<ust their intonation automatically in ensembles actually leads the tuning closer to <ust intonation than to e!ual temperament. However, this is not always true in all instrumental combinations, and especially not for a solo instrument. Ctuart Dempster has noted, about his performances of 0ohnstons Gs +ne ;an , a tendency to gravitate towards e!ual temperament after several performances.2' This evidence adds further weight to the position that electronic instruments present a more accurate medium, if precise pitch is desired in microtonal music. 6t is true that the contemporary clarinet was not designed to play microtones. 1ecause of the limited number of keys on the standard clarinet, many microtones re!uire the use of cross fingerings. 3ross fingerings employ open vents, higher on the instrument body than the lowest tone holes that are closed by fingers or keys. These help to produce vast contrasts of color between different microtones $% ample &22(.

E a!"le #&&

,A

For the performer, learning these fingerings is similar to learning a new, related instrument; many of them involve unconventional or unfamiliar finger patterns. /evertheless, the fact that composers have written microtones for the standard clarinet since at least ,?,, can not be ignored; performers must find ways to produce the desired musical conse!uence. The problems of learning a new system can be overcome through imagination and musical understanding. 6t is especially curious to note that the process of learning a new system can help the clarinetist to review, refine, and perhaps understand more deeply the basic concepts of clarinet playing needed to successfully reali4e the standard repertoire.26

Pre2ious Research
7esults of previous research have generally consisted of very limited catalogs of limited information $no smaller pitch intervals than !uarter or eighth tones, little or no mention of timbre, no mention of !uarter#tone or microtone trills, etc.(, with little or no attention focused on practicalities of performance. Although some of this research has served as a valuable introduction to various sonic potentials of the clarinet, there has been virtually no suggestion of :safe: uses of these e tended techni!ues in musical conte ts $which ones are most reliableI(. Ctudies by 7ehfeldt, 3aravan and 1artolo44i offer fine introductions, but do not present important details.2% )hillip 7ehfeldtGs charts include some awkward microtones that are technically impossible in most conte ts $e cept for isolated entrances of short duration, at pianissimo # for e ample(, or that involve non# conventional finger patterns; these problems are not sufficiently described for composers $or clarinetists(. 6n addition, these microtones are not ade!uately compared according to pitch; they are merely grouped as alternate fingerings for !uarter or eighth# tone intervals.2( 7onald 3aravan displays a !uarter#tone scale $the upper range reaches only to F8( and does discuss timbre in the conte t of alternate fingerings; however, no mention of microtone timbre or specific considerations of technical practicality. ;uch of 1runo 1artolo44iGs work is only applicable for a clarinetist who uses a Full#1oehm system instrument $with a low %#flat key(( ## this e cludes all clarinetists who do not use this 6talian#system instrument. 6n general, all of these documents merely touch the surface with regard to both microtones and descriptive information.

3uidelines for 4se

,9 The clarinetist may produce microtonal pitches in one of two ways> through special fingerings, or through changes in embouchure. This study has e plored the first option only, since it is by far the most dependable in performance, the most universally accurate with regard to pitch, and the closest in technical demands to customary performance practice. Come problems of universal application by clarinetists who use standard 1oehm#Cystem instruments occur because of individual preferences for different mouthpieces and reed styles. Timbre distinctions of bright and dark are relative to the e!uipment and overall individual physical characteristics of each player. 6n addition, most advanced clarinetists have their instruments :customi4ed: to improve intonation, and do not use the mouthpiece that comes with the instrument. A further complication is noted by the fact that all instruments may not be tuned at e actly A @ 22. H4. This is one reason why the author has not attempted a precise fre!uency analysis of microtonal pitches. 6nstead, information has been gathered based on the measurement by the naked ear of relative distances between pitches. ;icrotones are portrayed in the following charts in a proportional fashion with regard to distance from ad<acent pitches. Bimitations also e ist in the creation of e!uidistant microtonal scales. /aturally, it is not always possible to find eight microtones within each whole step that are e!uidistant, for e ample. Also, fingerings may need to be ad<usted slightly to avoid awkward technical problems. These technical limitations, as well as problems encountered in actual practice by the performer who must hear microtonal intervals :in tune,: outline the difficulties found in the production of theoretically perfect microtonal scales with :e!ual#tempered ears: on standard e!uipment ad<usted for e!ual temperament. 6n general, the composer should enlist the assistance of a clarinetist if he wishes to employ clarinet microtones in his work. )ersonal e periment takes precedence over strict adherence to stated principles, observations, or fingerings. The information presented here is not e haustive by any means. Dis<unct microtonal motion, for e ample, should be carefully checked for potential problems by a performing clarinetist.

5uarter-Tones
The following !uarter#tone scale e tends from A' to D5; it contains relatively few problems for the clarinetist. However, somewhat weak con<unct sections of the !uarter# tone scale are found across the :break: from the throat register to the clarion register $1# flat 2 to D#sharp 2(.$2 From 1#flat 2 to 32 there are technical problems because of awkward finger placement re!uirements. From 32 to D#sharp 2 there are no practical fingerings for !uarter#tones, since virtually the entire length of the instrument is employed. 3ross fingerings can not be utili4ed. This is the same consideration that inhibits !uarter#tone production below chalumeau A. Another section of the !uarter# tone scale that is weak consists of pitches above 15. The altered air and embouchure pressure necessary to produce these pitches $often on different partials(, as well as awkward fingerings make them treacherous, especially if approached !uickly by leap.

TA67E #6 - 5uarter Tone Scale

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-.

The clarinetist should practice tuning these !uarter#tones by first playing the half#step, and subse!uently adding the !uarter#tone. This process will lead to an improved level of !uarter#tone intonation. Kbelow are some musical e amples of !uarter tones # for others, click hereL

Drake ;abry, another American composer, adopts the use of !uarter#tones for several musical purposes in his Street Cries $,?9'( for solo clarinet. +ne application takes the form of a repetition or echo device $% ample &8'(.

-, E a!"le #'$

measures 5#A, mvt. 6

measures '5#A, mvt. 6

These repetitions are not only a !uarter#tone removed, but also display a strikingly different timbre. ;easure A is not only much softer than measure 5, but has a thinner sound. ;easure 'A sounds thicker and darker than measure '5. This echo techni!ue is also employed in the second movement $% ample &82(.

E a!"le #'&

measures -'#2, mvt. 66

6n this e ample, the repetition sounds much darker because of its !uarter#tones, lower dynamic level, and shift to the lower register. ;abry employs another timbre manipulation in a completely different conte t in the first movement. The very dark !uality of the !uarter#tones in measures 9 and ? adds another dimension to the conflicting patterns of pitch and articulation $% ample &88(.

-E a!"le #''

measures 9#?, mvt. 6

+ne more e ample of timbre contrast in the first movement occurs in measure '9, where the D#flat should be fingered in the following manner to preserve the bright !uality of the line $% ample &85(.

E a!"le #'6

This helps to vividly contrast the thick timbres of measure 'A. A final illustration in ;abryGs Street Cries of timbre contrast through !uarter#tones is drawn from the third movement. A :composite fingering: is used to produce four different pitches with very minimal technical changes. This fingering helps to produce substantial timbre differences as well as dynamic differences among the four pitches $% ample &8A(.

-' E a!"le #'%

Akira /ishimura wrote Madoromi III in -..', commissioned by and dedicated to the Tanosaki#7ichards Duo. The work makes e tensive use of !uarter#tones and microtones which support the program of the music. Translated to %nglish, madoromi means Munder the spell of sleepN.a strong desire $or lack of resistance( to sleepNdrift into sleep with strong power.G The type of sleep, itself is shallow, but the dreams that one e periences are often more realistic than reality. 6 wanted to write music that floats between the surface wave of this inner world. 6n the passage below, /ishimura writes !uarter#tones for the clarinet that combine with acoustical beats from the piano pedaling and clusters to create music that fades in and out of focus. This focus is further affected by the e treme color contrasts $dark and muffled( of the clarinet " !uarter#tone sharp and F !uarter#tone#sharp, and the alternate fingerings for D and D#sharp, with the conventional pitches of its line. The clarinetGs easy microtonal segment on " also enhances the acoustic beats from its interaction with the sustained piano chords.

-2 E a!"le #6%

5uarter-Tone Trills and Tre!olos

/umerous trills and tremolos that utili4e !uarter#tones are practical. They are available in three different classifications> ,( trills between ad<acent !uarter#tones and standard half#steps, -( tremolos between non#ad<acent !uarter#tones and standard half#steps, and '( trills between two !uarter#tone fingerings. Ceveral e amples from each area are outlined below.

-8

Drake ;abry successfully employs !uarter#tone trills in his Street Cries for solo clarinet. The tension of an ascending !uarter#tone line in the third movement is effectively heightened with !uarter#tone trills $% ample &A2(.

-5 E a!"le #%&

measures -?#',, mvt. 666 A different set of !uarter#tone trills is utili4ed later in the same movement $% ample &A8(.

E a!"le #%'

measures 25#A, mvt. 666

E8uidistant Microtones9 :is;unct Microtonal Seg!ents9 <ne-<cta2e Microtonal Scales9 0on-E8uidistant Microtones
Microtones The clarinet has long been capable of producing microtones smaller than !uarter#tones, but has rarely been asked to do so. 6tGs full range of microtonal possibilities has been largely undocumented. 6n fact, accurate microtonal segments of intervals smaller than thirty#second tones are often possible and !uite easy to produce.

E8uidistant Microtones %!uidistant microtones are represented in Table &,.; !uarter, si th, eighth, twelfth, and si teenth tones. These microtones are arranged proportionally on the page, both hori4ontally and vertically, in order to permit convenient comparisons. Hori4ontal

-A brackets $ K L ( mark the length of uninterrupted scale segments, since e!uidistant pitches are not always available. TA67E #./ - E8uidistant 5uarter= Si th= Eighth= T1elfth > Si teenth Tones

-9 6n addition to the illustrated con<unct segments that are technically easy to produce in a legato fashion, several dis<unct segments of eighth and !uarter#tones are particularly easy to negotiate.

TA67E #.. - :is;unct Microtonal Seg!ents

<ne-<cta2e Microtonal Scales Ccales can be formed from microtones that present fascinating pitch or timbre relationships when written for clarinet. Ceveral e amples follow which have been arbitrarily chosen because of their bright or dark timbre !ualities or symmetrical pitch patterns. All are fairly easy for the clarinetist to master. % ample &?- presents a ten#note scale in the chalumeau register that e ploits dark timbres.

-? E a!"le #)2

An e!uidistant scale of si teen '*9 tones is represented in % ample &?'.

E a!"le #)$

Thirty#two note scales, based on condensed interval patterns of the octatonic scale $alternating whole and half steps(, are shown in % amples ?2 and ?8. % ample ?2 is arranged in an eighth#!uarter#!uarter#eighth pattern. % ample ?8 is arranged in an eighth#!uarter pattern.

'. E a!"le #)&

E a!"le #)'

', Microtonal Scale +not e8uidistant, The following table presents practical, con<unct microtones for clarinet according to pitch from "#sharp - to 1 !uarter#tone sharp 5. The relative space between fingerings corresponds to actual pitch distance, and each system $line( represents one !uarter#tone.

TA67E #.2 - Microtonal Scale

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:is;unct Microtones Ceveral easy segments of dis<unct microtonal motion have been arbitrarily set down in the following table. These involve chromatic and diatonic finger patterns of the right hand. TA1B% &,2 # Dis<unct ;icrotonal ;otion

''

Aty"ical Trills
Finally, a collection of trills termed :atypical: has been gathered to demonstrate some uni!ue sounds that can be easily produced as part of certain microtonal trills. These sounds include pitched key clicks or finger slaps that can be heard simultaneously with, and as either louder or softer than, a microtonal trill $see 3hapter 6D for further e amples(; apparent low fre!uencies that comprise part of a multiphonic sonority, usually at a very soft dynamic level; and, microtonal trills that consist of pitches with e tremely contrasted timbres. They have been organi4ed here according to the fre!uency of the basic pitch that the trill originates from, from low to high. A short description follows each trill fingering in order to elaborate on its characteristics and possible variations. The pitches or arrows above the staff in parentheses represent the pitch fre!uency that is produced when the trill key or finger is engaged. The lower notes in parentheses, described as pp#p, are evident as part of a multiphonic when the trill is performed very softly. :)itch pop: relates to a precise pitch that is generated when the trill is performed softly with very hard finger movement.

'2 TA1B% &,A # Atypical Trills

'8

CHAPTER $ - Multi"le Sounds

So!e acoustical "rinci"les of clarinet !ulti"le sounds
The general acoustic principles of the clarinet have been previously discussed; our problem here is to discover how they e plain the phenomenon of multiple sounds... 6t is obvious that multiple sounds are based on partials of a fundamental pitch. However, they are not always related as odd partials of one likely fundamental. Hhere do these unrelated partials come from, thenI The answer may be related in some way to the even partials that e ist in particular clarinet spectra mentioned by 1ackus and others..2 These findings are important when one considers the derivation of pitches in clarinet multiple sounds; pitches which are not logically e plained as the odd#partials of a given fundamental, may actually be out#of#tune, even#partials, or partials from another fundamental. 6t is clear that multiple sounds are based on partials of at least one fundamental, but why are there such drastic timbre differences between multiple sounds and between individual pitches of one multiple soundI There must be more to an e planation of the acoustics of multiphonics. Fnfortunately, many terms used to describe multiple sounds are misleading and oversimplified. %arly acoustical descriptions of woodwind multiphonics often refer to them as :harmonics,: pertaining to partials produced according to the standard overtone series from a fundamental pitch. This is a dangerous usage, since it invites comparison to string harmonics, which consist of one pitch produced from a single fundamental. 6n reality, the more accurate acoustical e planation of clarinet multiphonics is much more comple and not universally agreed upon. Another misnomer is the labeling of multiphonics as :chords.: Again, a comparison with string double or triple stops is not appropriate, since each multiple sound has a different te ture as well as a different timbre and intensity for each of its tones. 7onald 3aravan has suggested some interesting theories in his ,?A2 dissertation..$ He cautions us, however, with regard to our interpretation of numerical figures to draw conclusions about the acoustical characteristics of the clarinet. :The human variable, which must be present to produce the sounds is great....it appears that it possesses a greater latitude of variation than the margin for error would impose even in computations on as elementary a level as those made here.:.& /evertheless, results from spectrum analyses that he conducted fuel speculation that more than one fundamental and set of overtones are present in each multiple sound. Hhen a multiple sonority is produced, it appears that there are actually two tube lengths at work simultaneously $% ample &,(.

'5 % ample &,

This seems to be supported by the following e ample, which shows a se!uence of multiphonics with a lowest pitch that changes very little from one to the ne t $% ample &-(. % ample &-

The upper pitches, however, gradually progress upwards. 6t is significant that the left hand fingering remains the same; it appears that the open hole $second finger, left hand( behaves as the terminating hole of the shorter tube $3aravan calls this B,(. This is similar to a %' fingering, but is slightly lower because of the additional fingers on the right hand placed over holes. The right hand fingers gradually are lifted $in a chromatic or microtonal ascending motion(; these control the length of the longer tube $B-(, and cause the higher pitch, and to a lesser e tent the lower pitch, of the multiphonic to gradually ascend. Thus, the terminating hole of tube B, $open hole in the left hand fingering( also functions as a register opening or vent for B-. 3aravan has labeled this hole the :register#terminator hole.: TH% 7%"6CT%7#T%7;6/AT+7 H+B% )%7F+7;C TH+ C6;FBTA/%+FC FF/3T6+/C> 6T T%7;6/AT%C TH% CH+7T%7 TF1% A/D A3TC AC A 7%"6CT%7 +)%/6/" +7 D%/T F+7 TH% B+/"%7 TF1%.

'A +bviously, since all fingerings on the clarinet with these characteristics do not produce multiple sounds with the same ease, there must be particular limitations to the register# terminator hole. 3aravan believes, through a series of informal tests, that the si4e of the diameter of the register#terminator hole is crucial to the ease of multiphonic production. Decreasing the si4e of a successful register#terminator hole lessens the ease with which the hole can be made to act as the end of a length of pipe $B,(; increasing the si4e of a successful register#terminator hole increases the ease with which this hole can act as the terminator of a length of tube, but decreases its ability to act as a register hole for the longer tube $B-(. 6n other words, the smaller the opening of the register#terminator hole, the greater the tendency to act e clusively as a register hole, and the larger the opening, the greater the tendency to act e clusively as the effective termination of a tube length. This theory can be used to e plain why multiphonics that use the conventional register key, which has a small opening, as their register#terminator hole are more difficult to produce. 3aravan has also hypothesi4ed that the ratio between the length of tube , and tube must also be more than 8.O and less than 9.O for a multiple sound to work well. However, he admits that the si4e of the register#terminator hole most likely effects the relative success of these ratios. The number of variables are, indeed, numerous. Hith these theories in mind, the pitches of a multiple sound in % ample &- can be e plained as follows>

The lowest pitch of a( is derived from tube length B, $c(. This pitch $a sharp D'( is lower than %' because of the added fingers of the left and right hand below the register# terminator tone hole $-nd finger of the left hand(. The "2 and 3#sharp8 found in multiphonic a( are produced from tube length B- $b(. This tube length would normally produce the 'rd $%2( and 8th $3#sharp8( partials above its fundamental $A'(. The middle pitch of multiphonic a( is a minor third higher than the normal third partial $"2 instead of %2( because of the e cessive si4e of the terminator hole. 6t has often been noted that the same multiphonic fingering will not produce the same pitches for different players, or even for the same player from one day to the ne t. 6t is true that on e!uipment of the same system $1oehm, for e ample(, the precise pitch content may not be consistent; however, these are very minor variations, at least in the multiple sounds presented in this study. These inconsistencies can result from any of a

'9 variety of reasons; an unbalanced reed, an insufficiently warmed#up instrument, specific mouthpiece characteristics, or customi4ed clarinets, are four fre!uent causes. ;ore likely, however, are deficiencies found in the construction of all clarinets and*or properties of the acoustical phenomena involved. As )aul Drushler points out, the clarinet is very much out of tune in its upper register $based on upper partials(..' As a result, fingerings must be altered to play single pitches. However, fingerings can not be changed for each pitch of a multiple sound; they, therefore tend to be out of e!ual# tempered tuning, very often creating acoustical beats $amplitude modulation or interference tones( which can change markedly according to the ad<ustment of the reed and mechanics of the instrument. 6n addition, the combination of sonorities in a multiple sound may often produce difference or summation tones..6 Difference tones may only be audible if the pitches of the multiple sound are in tune and at an ade!uate volume. All of these acoustical phenomena may alter principle pitches, add new pitches, or appear to the ear to do either $often they change or fade in and out during the period of sustain of the multiple sound(..% Cpectrum analyses by 3aravan indicate that the strengths and tunings of partials which comprise multiple sounds do not remain in a very stable relationship among one another while the sound is produced, even though the composite sound may appear to remain constant to the listener..( +ne more variable that comes into play is the fact that pitches in a multiple sound may alter because of the ad<ustments re!uired of the player to produce the split sonority; this will generally lower pitches $% ample &- is a good illustration(. 3aravan presents some other valuable, although more general, insights as to why certain multiphonic fingerings seem to work better than others. :6mportant to note is that the smaller the degree of departure from normal playing practices a multiphonic fingering re!uires, the more manageable it is.:.) This is logical, since the instrument has been built to deal with problems of standard performance practice. ;ultiphonics built from new, but technically feasible, fingerings are closer to standard performance practice than multiphonics produced from conventional fingerings through varying the oral cavity, breath pressure, and*or embouchure. % treme fle ibility of embouchure and breath, as well as fle ible mouthpiece and reed set#ups, have long been characteristics of <a44 players. Thus, it is not surprising that many of Hilliam +. CmithGs multiphonics are produced by this manner. The author supports 3aravanGs statement about the unpredictability of this type of multiple sound. :The problem with multiphonics produced in this way is that in most cases they re!uire such significant ad<ustments on the part of the performer that they tend to be very difficult to play, tend to be !uite unstable and limited in dynamic range, and may not be attainable by every performer.:2/ 3omposers should be cautious when writing such sonorities. Chart of Multi"le Sounds for Clarinet The following chart has been compiled from hundreds of musical compositions, and e periments; it has been checked by numerous players for accuracy. 6 have striven to organi4e the material according to acoustic principles of the clarinet and basic principles of clarinet techni!ue. All of the multiple sounds presented are playable on any traditional professional mouthpiece*reed set#up. They demand only slight deviations from normal finger e pectations and embouchure. ;any previous studies have organi4ed multiple sounds according to verbal descriptions of categories of production and*or sound, regardless of acoustical relationships. This

'? study employs acoustical relationships as the first order of organi4ation, and briefly describes characteristics of each multiple sound $see e planation of notation, below(. +f course, it is impossible to discuss every conceivable conte t for a particular multiple sound. 1% CF7% T+ 3+/CFBT A 3BA76/%T6CT A1+FT F%AC61B% 3+/T%PTC F+7 )A7T63FBA7 ;FBT6)B% C+F/DC. ;ultiple sounds have been placed in groups $labeled by letter, beginning with those with the lowest fundamental(; a common denominator within each group is an identical register*terminator hole. 6n other words, the left hand fingering remains constant within a group. The multiple sounds are ordered according to the right hand fingerings which ascend in chromatic or microtonal intervals. 3are has been taken to insure that these groups are playable as se!uences; this means limited $minimum( finger movement, and a lack of contrary motion, wherever possible. The fastest possible tempo of legato connections of multiphonics within a group has been notated between the staves> very fast fast moderately fast moderate not possible A broken vertical line $ ( between multiple sounds in a group indicates that a legato connection is not possible, even though the ad<acent sounds utili4e the same series of partials. A double bracket $ K L ( between sounds in a group indicates that a legato connection is not possible, because the series of partials changes. "roups of multiple sounds with the same letter label $ie. A, A,, A- etc.( utili4e slightly different, but related left hand fingerings $different vents(. For e ample, left#hand fingerings in "roup A, differ from "roup A only through the addition of the register key. Beft#hand fingerings in "roup A- differ from "roup A only through the addition of the A#key, etc. The close technical relation of these groups makes numerous trills and tremolos possible between them $discussed later(. Beft#hand fingerings for A represent the lowest bottom pitches # left#hand fingerings for Q, the highest bottom pitches. 6t is important to note that each multiple sound listed is available in isolation; it need not be connected to another. Darious characteristics of each multiple sound have been described beneath each e ample in the chart. The format of this chart, top line to bottom line, is> I # a number $,#25-( # this number represents the position of this multiple sound in relation to the others in the chart, according to its lowest $and highest( pitch. The multiphonic with the lowest low pitch is &,; the multiphonic with the highest low pitch is &25-. II # dynamic range possible # pp to FF

2. III # stability> how stableI a @ very stable is the sustain b @ moderately stable c @ unstable I? # response> the time re!uired to begin all sounds of the multiple soundI , @ all sounds begin simultaneously, easily - @ all sounds appear within , second, easily ' @ all sounds appear within - seconds, resistant 2 @ all sounds appear within ' seconds, more resistant 8 @ all sounds appear within 2#8 seconds, very resistant ? # timbre and te ture # some general characteristics deserve mention here> ,( All diads will contain a significant amount of air when played softly. R All multiple sounds that use keys ' and*or 2 as register vents will have thin timbres. R ;ost of the multiple sounds that do not contain undertones are capable of generating higher partials than indicated in the chart when played very loudly. However, the production and content of these partials are not controllable or reliable.

ti!-re descri"tions are di2ided into 2 categories@ a( those which describe individual pitches of a multiple sound b( those which describe the overall te ture of a multiple sound dull # lack of partials dark # few higher partials dlbt. or dl.b # dull lowest pitch wide # predominant lower partials thin # pitch is weak, lack of partials

2, SSSSSSSSSSSSSSSSSSSSSSS ft # $fat( many partials $low T high( brt or edge # $bright( many higher partials brtp # bright highest pitch eltp # electronic :edgy: highest pitch thtp, t.h., or th.t # thin highest pitch wktp # weak highest pitch s.tp # strong highest pitch SSSSSSSSSSSSSSSSSSSSSSS sbtn # subtone @@@@@@@@@@@@@@@@@@@@@@@@@ elc # $electronic( ' or more pitches, thin timbres, acoustical beats elcU # $raucous electronic( # changing amplitudes of pitches $similar to electronic,otherwise( bts # $acoustical beats( # acoustical beats caused by out of tune intervals slbt or sbt # $slow acoustical beats( thk # $thick( many pitches thkU # very thick mud # $muddy( unclear pitches SSSSSSSSSSSSSSSSSSSSSSS ns # noise in the sound s.ns # some noise in the sound air # air sounds apparent in sonority SSSSSSSSSSSSSSSSSSSSSSS bal # $balance( all pitches of e!ual intensity

2'vc # three voices mvc # many voices holl # $hollow( # high and low pitch $no middle fre!uencies( tran # $transparent( lite # $light( thin timbres gent # $gentle( dull timbres soft # dull timbres rest # resistant SSSSSSSSSSSSSSSSSSSSSSS diad # two pitches $an undertone # lowest pitch is weaker than the highest( ;trU # predominant ma<or 'rd $,.th( or triad ;'U # ma<or 'rd

?I # techni!ue # $hints for easier production( lsU # looser embouchure, less air pressure tite # tighter embouchure, more air pressure d.lw # difficult to produce lowest pitch Utp # aim for highest pitch

?II # arpeggiation # capability to begin multiple sound with top or bottom pitch alone, gradually adding other pitches> top # easy to begin with top pitch bot # easy to begin with bottom pitch m.d. # moderately difficult d. # difficult

2' 3hart of ;ultiphonics

The notation system used in this chart for multiple sounds on the staff is one which the author hopes will become standardi4ed. All pitches $or as many as possible( in the multiple sound should be written on the staff. The filled#in note heads indicate secondary pitches, which may or may not be present according to the dynamic level of the multiple sound. 6t is important that the fingering for a multiple sound be indicated at

22 every occurrence in the music, directly under the sonority. These procedures will greatly assist the clarinetist in learning the music. The website for (he Clarinet of the (wenty-)irst Century has an interactive, searchable database of multiphonic fingerings $http>** ( for clarinetists and composers. +ne may choose multiphonics based on any or all of the variables below> lowest pitch highest pitch number of pitches $-, ', more than '( softest dynamic possible $pp, p, mp, mf, f, ff( loudest dynamic possible $pp, p, mp, mf, f, ff( stability $very stable, moderately stable, unstable( resistance $easy, somewhat resistant, resistant, more resistant, very resistant( possible to begin from lowest pitch aloneI possible to begin from highest pitch aloneI noise in soundI $no noise, some noise, much noise( strong acoustic beats in sonorityI $not apparent, some, many( color e tremes $none, dull, bright(

The website also has a database for se!uences of multiphonics. The searchable variables include> se!uence with stationary lowest pitchI Hhich pitchI se!uence with stationary highest pitch Hhich pitchI easy technical se!uences # fastest possible tempo $moderate, moderately fast, fast, very fast(

:iads
Another category of multiple sounds that has received innovative treatment in several works is diads. These sonorities are generally only possible at very soft dynamic levels, and tend to have very dull, pale timbres. The interval between top and bottom pitches is

28 generally either a ma<or or minor tenth. ;any of them are undertones, with top pitches commonly between "#sharp2 and 38. 6solated diads are adopted in ;atsuoGs Hirai III $,?9A(, a concerto for clarinet and strings. They are blended in a marvelous te ture of string harmonics $% ample &,'(. % ample &,'

+ther conventional fingerings in the clarion and altissimo registers of the clarinet are available for producing marvelous dynamic and timbre contrasts with the throat register, by simply releasing the register key. % ample &-'

Drake ;abry, in his work Street Cries for Solo Clarinet $,?9'(, employs diads that gradually and softly fade in from their lowest pitch.

25 % ample &-2

Multi"honic Se8uences
A number of multiphonic se!uences are !uite easy to produce in legato articulation. 6n most cases, the multiphonics in the se!uence may be played in any order $indicated here(. Thirteen e amples are given below $with indications of fastest possible tempo( V 29 more are available on (he Clarinet of the (wenty-)irst Century website $ http>**www.research. umbc.edu*Wemrich*multiphonic se!uences.html (. R ;oderate tempo; any order $click on music for mp'(

2A

-( any order KA'L $click on music for mp'(

7ichard 1oulanger, an American composer from 1oston, also writes an effective se!uence of multiple sounds in Construction #1 for 3larinet and %lectronics. The top pitches relate to the melodic cell from which the work is generated $% ample &2,(. % ample &2, $click on music for mp'(

7ichard 1oulanger 3+/CT7F3T6+/ &, All 7ights 7eserved Fsed by permission from the composer

=uasa creates appropriate musical moods through the use of sound characteristics of the following multiphonics within a phrase> the gentle !ualities of &8.a serve as a rela ed

29 phrase ending; the variety of dynamic capabilities of &8.b permit its use as part of the fpp thematic germ throughout the work $% ample &8.(.

% ample &8. $click on music for mp'(

=uasa also makes very effective use of thick, distorted multiphonics at the clima of the work.

% ample &8, $click on music for mp'(

0o<i =uasa 3BA76/%T C+B6TFD% 3opyright ,?9' by Cchott 0apan

2?
All 7ights 7eserved Fsed by permission of %uropean American ;usic Distributors 3orporation, sole F.C. and 3anadian agent for Cchott 0apan

6n Distraction for clarinet and piano, by ;asataka ;atsuo, balanced soft multiphonics are interrupted by loud repeated notes in the piano. % ample &8' $click on music for mp'(

1ill Xleinsasser utili4es balanced multiphonics in numerous conte ts in Smooth Wood, Flash Metal $-..'( for clarinet, flute, and interactive computer $written for %. ;ichael 7ichards and Bisa 3ella(. The composer writes>
The noticeable differences between interesting ob<ects offer engagement with the particularities of the ob<ects themselves and also the less obvious offerings provided by the implied relationships between the ob<ects. This work offers a three#fold e pression of this idea playing out on many levels with the interplay and <u taposition of musical differences forming the compositional basis of the work. The piece is in three large sections> an e tended flute solo which evolves into a duet with the computer, a duet with flute and clarinet that is augmented by computer transformation, and a clarinet solo which forms its own conte t through computer transformation of the live performance. The clarinet solo is based on alternation of spectral focus and diffusion. The duet combines the flute and clarinet alternations with its own metaphor of entwining and fusion. The nature of the fluteGs acoustic character, how it differs from the clarinet, how the two can combine and intersect, and how these differences can be pro<ected and transformed through the computerGs particular idiom, are e amples of how ob<ects and relationships permeate this music. The computer music, developed by the composer using ;a *;C) software, is the result of real#time processing of music played by the flute and clarinet during the performance. 6n this way the computer can be considered analogous to fluid, aware architecture V variably resonating, diffusing, echoing, filtering, and reflecting what the acoustic instruments play.

8. The e ample below occurs at the beginning of the middle section of the music V the clarinet and flute multiphonics intersect closely, sharing many of the same pitches, but a number of acoustic beats result from the blend. % ample &8A $click on music for mp'(

Multi"honic Trills and Tre!olos

The sub<ect of multiphonic trills and tremolos will be briefly broached here; the reader is referred to the book by "erald Farmer as an e cellent source of half#tone or larger trills and tremolos.2' FarmerGs book includes detailed diagrams of each individual trill. Trills between ad<acent multiple sounds in the chart presented $different right#hand fingerings( in this chapter are possible, e cept where brackets or dotted lines intercede. 6n addition, they are possible between multiple sounds with the same right#hand fingering but different left#hand fingering between the following groups> A- and A' 1 and 1, 1 and 1' % and %, H- and H 6, and 6 X and X, X- and X

8, 3arlo Bandini uses one particular trill in Konzertstuck which is periodically interrupted by melodic fragments. The phrase eventually builds to a fortissimo clima ; these particular diads are effective loud as well as soft.

% ample &A- $click on music to hear mp'(

Another e ample of diad trills can be found in =uasaGs Clarinet Solitude . These are only possible at very soft levels and are especially effective with :hard fingers: that emphasi4e the pitch pops of the tone holes being trilled.

% ample &A' $click on music for mp'(

0o<i =uasa 3BA76/%T C+B6TFD% 3opyright ,?9' by Cchott 0apan All 7ights 7eserved Fsed by permission of %uropean American ;usic

8Distributors 3orporation, sole F.C. and 3anadian agent for Cchott 0apan

).Y. )han also writes a se!uence of multiphonic trills $ M !an"ua"e for clarinet and piano( where the register key is trilled. This rising line has been appended recently by )han to include more multiphonics $% ample &AAa(. The trills with open left hand thumb hole in this e ample are easier to control than any in the Cmith e ample, since the left thumb does not have to simultaneously cover the tone hole and trill the register key.

% ample &AA $click on music for mp'(

% ample &AAa

A spectrogram of the phrase above clearly demonstrates the increased tension of these multiphonics. The first trills $e . &AA( contain most of their energy in the fundamentals, with some ' rd partial presence. "radually, - nd and 2 th partials are added, and the final trills $e . &AAa( of the phrase contain very thick pitch bands. &,

8'

&-

&'

82

&2

There are other multiphonics that can be enhanced through a register key trill $% ample &A9(.

% ample &A9 +C:$-E a!"les= TracAs ).-)),

88

A spectrogram for the eighth e ample above shows a tremolo that contains 'rd and 8th partials $gradually enter(, along with a sustained pitch with a strong -nd partial. As these voices and partials enter, the sound increases in comple ity.

85 1ill Xleinsasser writes two multiple timbre trills $diads( in Smooth Wood, Flash Metal . These particular sounds are very difficult to play FF, but the hard finger*key sounds of the trill fingerings can help to create the necessary tension. % ample &9' +C:$-Music= TracA %),

Multi"honics 1ith ?oice

A final division of multiple sounds to be described here involves a simultaneous use of the voice with the production of a clarinet tone. 6n general, it is difficult to achieve a balance in volume between the two; the clarinet is usually louder. For the male voice, the following register for singing $notated at sounding pitch( is usually safe, although checking with a specific performer is advisable.

% ample &98

As one sings higher in this range, vocal production becomes much more difficult. Cinging, or humming, on the phoneme :ah: or :oo: is most effective and controllable. %ve de 3astro 7obinson also employs vocal portamento in her #ndercurrents for solo clarinet. 6n the e ample below, the player hums above and below the established sung*played unison, creating acoustic beating.

8A % ample &?. $click music for mp'(

This idea returns at the end of the work, where the phrase ends with an ascending shriek in the voice.

% ample &?, $click music for mp'(

Cei<i =okokawa asks the clarinetist to sing a three note phrase with portamenti while playing a sustained %- $#n miroir casse (. % ample &?- $click music for mp'(

89

Bater in the work, the sung part is reduced to a single held pitch.

% ample &?' $click on music for mp'(

"erald Farmer has presented e ercises for the clarinetist to increase his abilities to sing and play.26 However, these have not been placed in a graded order of difficulty that will accustom one to the sensation or improve oneGs auditory image. The following e ercises should serve as merely suggestions; the interested clarinetist should design and practice his own. However, the basic principle of imitating with the voice what one plays seems to be a sensible starting point. Four approaches appear below>

,( sing a drone pitch # play a pattern above this drone # begin in unison $% ample ?2a(

8? -( play a drone # sing the same pattern that was played in &, $% ample ?2b(

'( sing and play in parallel 'rds $% ample ?2c(

S"ectrogra!s
Cpectrograms of a number of multiphonics follow $many more are available on (he Clarinet of the (wenty-)irst Century website V http>**www.research.umbc.edu*Wemrich*multiphonicspectra.html(. These diagrams represent the indicated multiphonic played at its middle dynamic level $i.e. if p-ff is possible, mf is the middle dynamic level(. The duration of each multiphonic is between - and A seconds. 6t is important to note that the spectrum of practically every multiphonic changes $at least subtly( during its duration V the sound is constantly transforming.

5. 6n the spectrograms, height indicates fre!uency $h4.(, or pitch of the fundamental$s( and partials; length $hori4ontal( indicates duration; and darkness*lightness indicates the relative amplitude $strength( of components of the sound. Directly below is a note to fre!uency converter $taken from the website of the )hysics Department of The Fniversity of /ew Couth Hales, Cydney, Australia V http>**www.phys.unsw.edu.au*W<w*notes.html(, /+/#T7A/C)+C%D $written 12 for clarinet @ A 22.(, that gives a conte t for the spectrograms.

5,

--( E-)) > D Z ' @ -?2 18 @ 99. %8 @ ,,A8 8th of D Z; -nd of %; partials through 8... h4.

5-

-'( E.-.(& > F [ ' @ ',, F&2 @ 58? 3&8 @ ?99 -nd partial of 3&; some 'rd and 2th partials

5' -2( E.-226 > F&' @ ''. F8 @ ,-28 -nd and strong 'rd partial of F&; strong fre!uency band ,...#-..., up to -.,... h4.

-8( E.-$)( > "&' @ 'A. D Z 8 @ ,,.? 8th partial of "&; -nd partial of D&

52

CHAPTER & - <ther Resources

Sounds of :efinite Pitch 3lissandoBPorta!ento These terms are still often used interchangeably, even though they have been clearly defined in earlier te ts on new clarinet techni!ues.. )art of the problem may result from the use of these terms by performers of instruments $string, brass( on which the glissando is e ecuted in a different fashion; these instruments do not have keys $or as many keys(, for e ample, which greatly assist in clearly defining pitches. At any rate, we will define the glissando as :a rapid chromatic scale between two notes # it is desirable to slightly blur these notes $by speed( so that they are not distinct, evenly# spaced in time, pitches.: This techni!ue is possible without a great deal of difficulty throughout the range of the clarinet $it is, of course, more difficult if re!uired over one of the two :breaks: of the instrument(. Cince it is rather easily produced, we will move on to discuss the much more difficult portamento. )ortamento can be described as a continuously smooth, sliding glissando. 3aravan has given us a proper definition # :the connection of two tones by a smooth slide which passes through all of the possible pitches or fre!uencies between the two tones without interruption.:2 The continuous movement of a trombone slide, or a string playerGs finger slid along a single string yields similar effects. The sound has entered the avant#garde repertoire most surely as a result of influences from <a44 vocalists and clarinetists $including its widely known use in "ershwinGs *hapsody in +lue # ,?-2(, in addition to influences from the common practice of :circumlocution: $pitch sliding and bending( found in many non#western traditional musics $0apanese and Hest African, for e ample(. Penakis $in ,onta ( and Haubenstock#7amati were among the first to e tensively employ portamento in post#,?28 music. The music of ,onta effectively combines steady pitches with slow portamenti, creating a marvelous, constantly changing rate of acoustical beating. A variety of e planations and methods have been suggested for portamento. All involve lip pressure, oral cavity shape, throat opening, tongue position, air pressure, and fingers, although in different hierarchical positions of importance. )hillip 7ehfeldt recommends ad<ustments in lip pressure, oral cavity shape, and throat opening to produce a lower pitch from the fingering employed.$ This lower pitch must be maintained in parallel motion by the embouchure as the fingered pitches begin to move upwards or downwards. "arborino discusses, in a somewhat confusing way, what he labels as an :acciaccatura#portamento.:& This is reali4ed with the lips by either rela ing or s!uee4ing the embouchure at the moment that the portamento begins, or with an abrupt change in fingering <ust as the portamento begins. /either method seems to be dependable in practice. 7onald 3aravan states that portamento is produced primarily by manipulating the shape of the oral cavity by means of tongue position changes.' %mbouchure ad<ustment and tone hole uncovering are not as important. He presents an e ample, to illustrate his point, that involves a portamento from 32 to 38 $% ample &,(.

58 % ample &,

3aravan contends that all fingers of the right hand may be lifted simultaneously and all fingers of the left hand may be lifted simultaneously without affecting the portamento. Hhat he fails to mention, however, is how much time this portamento is to take from beginning to end, what the dynamic level is, or what its shape in time should be $% ample &-(. These factors all determine the role of embouchure and fingers. % ample &)ossible Chapes, in Time, of )ortamenti

3aravan does offer some good suggestions for learning portamento production. Cince downward tone bends are the most difficult, these should be practiced first; mastering the re!uired techni!ue $tongue and throat position control( for this skill is applicable to all other $including ascending( portamenti. %ventually, a series of downward tone bends can be linked to form a longer portamento. The following table delineates the possible safe range of downward pitch bends 6 This skill very much depends on the player and the fle ibility of his e!uipmentUU However, it is a capability that can be e tended with practice.

Table &,

55

After one has practiced series of downward tone bends, the ne t logical step is to practice ascending bends, followed by series of ascending bends. 3harles Hest has developed a methodology for the production of a continuous ascending portamento from "- to 35$U(.% This is possible by connecting three separate portamenti # one from "- to 12 $chalumeau and throat registers(, one from 12 to 38 $clarion register(, and one from 38 to 35 $altissimo register( # through a switch to an alternate fingering on the two pitches that are in common between registers $12 and 38( $% ample &'(.

% ample &'

The first of these portamenti is accomplished by ad<ustments in tongue and throat positions, in addition to a sliding of the fingers from the tone holes $"- to "'(. The throat A key, register key, and side key ' $b#flat( are gradually added to bring the pitch up to 12; it is important that the left thumb never completely leave the thumb ring, not only in this portamento, but in the other two as well. The side fingering for 12 is then switched to the long 12 fingering $% ample &2(. This needs to be practiced to avoid, or disguise as much as possible, the resultant :bump: heard during this switch. Hest presents a valuable hint when he suggests that the long 12 be played with the A key depressed so that it may more closely match the timbre of the side 12 fingering.

5A % ample &2

The second portamento is accomplished in a similar fashion to the first; 12 to 38 involves essentially the same fingerings as "- to F'. The link to the altissimo register is accomplished by lightly touching the long 3#!uarter#tone#sharp 8 fingering $which is actually bent down by the rela ed throat and embouchure to 3 natural( $% ample &8(. % ample &8

Fingerings for 3#!uarter#tone#sharp 8 to "#sharp 8 are accomplished by merely imitating those for chalumeau "#sharp to throat F. The final ma<or third $"#sharp 8 # 35( is achieved by adding the A#flat key, A key, register key, and side trill keys ' and 2 $remember to keep the thumb ring down(. Hest also offers some worthy ideas with regard to practicing this portamento. 6t is learned most !uickly by working on one of the three sections at a time, being careful to practice linking one section to the first note of the ne t section. The long portamento that )han writes in the introduction of M !an"ua"e for clarinet and piano is not difficult to play, even though it is at a slow tempo, because it is written with a cresc. to FFF and is strongly supported by the piano.

59

% ample &,- $click on music for mp'(

6sao ;atsushita writes a number of short clarion register portamenti in Kochi II for solo clarinet. +ther timbre transformations in this early section of the music include vibrato, flutter#tongue, and key vibrato.

% ample &,5 $click on music for mp'(

6n Madoromi III , Akira /ishimura asks the clarinetist for numerous portamenti in the altissimo, clarion, and chalumeau registers. 6n the e ample below, an alternate fingering for "8 $shown below in % ample &-2a( will allow the player to more effectively control a pp dynamic.

% ample &-2 $click on music for mp'(

5?

A smooth portamento can be created from D#flat 8 to "8 by carefully switching to the second fingering indicated below, then gradually peeling off the fingers to the alternate "8 fingering indicated in the second measure. The long downward portamento from this " to D#sharp 8 is e ecuted by slowly lowering the second finger of the left hand and loosening the embouchure. The fingerings indicated ne t to D#sharp 8 and 3#sharp 8 in measures '#2 below can be trilled to create !uarter#tone trills. 6n order to achieve a smoother portamento from A8 to F2, one should first gradually lower the first finger of the right hand, then the third finger of the left hand $measure 8(. Finally, the portamento from %2 to D#flat2 can be e ecuted by first adding the F key to %2. % ample &-2a

Teeth on Reed

A. )ortamento is also possible by moving the teeth lightly on the reed from about midway down to further away $towards the shoulder( from the tip. However, the portamento will not always be smooth; <umps in partials are unavoidable, much like portamento harmonics on the contrabass $sounds that are reminiscent of seagulls(. These sounds, which can not really be infallibly controlled according to pitch, tend to range from D# sharp 5 upwards $depending on !ualities of the reed(. The result will be a thin, high# pitched whistling sound that can be played in the dynamic range pp#f. /on#portamento changes in pitch can be e ecuted by either altering the pressure on the reed, or by moving the teeth to a different position on the reed. The safest conte t for pitches produced by teeth on the reed is one that calls for random pitches. 3arlo Bandini writes this way in Konzertstuck for solo clarinet $,?9.(, where e plosive high, s!ueaky sounds are used to periodically interrupt a softly held unison trill $% ample &-?(. % ample &-? $click on music for mp'(

This phrase is best played by randomly moving the fingers of the left hand to change the pitches. A spectrogram of these sounds shows a strong fundamental and -nd partial, with a weaker pitch band from the 'rd partial upwards to -.,... h4. Cimilar to muted pitches, some lower subtones are also present.

A,

Another use of teeth on the reed, this time as an isolated portamento scream, is written by Helmut Bachenmann in Dal $iente %Interieur III& for solo clarinet $% ample &'.(.

% ample &'. +C:&-Music= TracA 22,

A good notational symbol for teeth on reed is . 6ndications of duration may be notated proportionally by a hori4ontal line $% ample &',(. % ample &',

<ther <-;ects as Resonators

Different and provocative sounds may be created when other ob<ects are placed in vibration by sounds from the clarinet. Come of these ob<ects will only vibrate when set in motion by particular pitches of the clarinet; others will vibrate differently when generated by any of many possible clarinet sounds. This area has not been e plored in depth by clarinetists or composers; the following e amples merely touch the surface of options. Cetting the strings of the piano in vibration is one techni!ue that has been employed by composers $one of the earliest e amples occurred in ,onta by Penakis(. 6t is accomplished by playing the clarinet :into: the strings $with the bell at a distance of

Aanywhere from - feet to practically resting on the strings( while the sustain pedal of the piano is depressed $=amaha currently sells a wedge to hold the pedal in placeU(. This allows not only the fundamental pitches played to vibrate sympathetically, but some of their partials as well. The result is a gradual increase in comple ity of te ture, depending on the volume of the clarinet, number of notes played, and length of time that the pedal is held. The !uarter tones and pitch bends in the clarinet part of /ishimuraGs '(uatic 'ura also produce sympathetic vibrations from the piano that are generated as soon as the sustain pedal is depressed . % ample &'9 $click on music for mp'(

7ichard 1oulanger also e plores the resonance of the timpani in Construction #1 ) Clarinet $,?9.(. Ceveral different combinations of clarinet sounds and timpani that include vibrating ob<ects resting on their heads, are employed. 6n one phrase, the clarinetist activates a timpanum that contains an inverted cymbal on its head, by playing a low % $full tube length( which crescendos to a short flutter#tongued %. The clarinetist depresses the timpanum pedal at the end of this sound to lengthen and raise the pitch $% ample &2.(.

A'

% ample &2. $click on music for mp'(

This same timpanum is also later activated by a phoneme that is shouted through the clarinet, while the pedal is !uickly depressed and released several times $% ample &2,(.

A2 % ample &2, $click on music for mp'(

7ichard 1oulanger 3+/CT7F3T6+/ &, All rights reserved Fsed by permission from the composer

+ne more ob<ect as resonator will be mentioned, and that is the clarinet body itself which serves as an amplifier of breath*air sounds through the instrument. The timbre !ualities of these sounds change depending on the length of tube involved. 6n Kochi II for solo clarinet, 6sao ;atsushita begins the work by alternating between conventional chalumeau pitches, and air sounds. % ample &28 $click on music for mp'(

A8

?i-rato
There are two different types of vibrato> amplitude $or volume( and pitch. These are produced on the clarinet by a variety of methods. Amplitude vibrato may come from the diaphragm, glottis, or throat, while pitch vibrato originates with the <aw or lip. 3onfusion e ists in method books, and among clarinetists, because the method of production is often used to describe vibrato, rather than the type of sound. To add to this state of chaos, 7ehfeldt says that <aw vibrato is more common than amplitude vibrato in practice, while Drushler claims the opposite to be trueU26 6t seems to the author that pitch vibrato is more intriguing for the composer, because it is much richer and varied in sound potential. )itch vibrato is achieved by the clarinetist through fluctuations of <aw $or lip( pressure on the reed. There will be slight timbre differences in the sound, because the reed is being pinched, but the perception of these will be directly related to the depth of the vibrato $how wide the pitch range is above and below the primary pitch( and the speed of the vibrato $how many cycles in time(. Amplitude vibrato is produced by fluctuations in air pressure past the reed. The difference in amplitude $or loudness( of these fluctuations is severely limited. Cince most clarinetists today do not employ vibrato, it would be best for composers to notate it when desired. 7ate of vibrato should be displayed $ si to eight pulsations per second is a reasonable upper limit(, indicated in the following manner $% ample &88(. % ample &88 $click on music for mp'(

Depth $pitch( can also be indicated $as )aul Qonn does in *e+olution (.

% ample &85 $click on music for mp'(

A5 Another e ample of vibrato depth, which is meant to e pand a microtonal trill, is found in an etude by the author $% ample &8A(. +ther possibilities are below the first e ample.

% ample &8A $click on e ample for mp'(

A spectrogram displays the increasing strength of pulses <ust above the fundamental, a strong - nd partial throughout, and a fre!uency band of increasing strength and si4e from the ' rd partial higher through -.,... h4.

;icrotonal trill to vibrato $.#A seconds(

AA

;icrotonal trill to vibrato $A#,2 seconds(

)itch vibrato is also possible to produce in a gradual progression from air only, to sound $or the opposite( $% ample &5.(. The pulsations of air sound similar to the sound that a stylus might make when it reaches the end of a phonograph record.

% ample &5. +C:&-E a!"les= TracA .%,

*lutter-Tonguing

A9 Flutter#tonguing on the clarinet is achieved by one of two methods> ,( a rapid flutter of the tongue behind the reed, :d#r#r#r: $or a rolled :r: on the upper palate(, or -( a growl produced by the throat $typically a trilled throat GrG( in a manner similar to gargling. The first method, which can be achieved by fewer players, is difficult to achieve at soft or changing dynamic levels. The second method does not produce as dramatic of a tone modification, but is possible throughout a greater range of the instrument. 6n general, flutter#tonguing by method - is feasible from the lowest pitch of the clarinet through 3# sharp*D 8 at any dynamic range. 6t is also possible to produce on higher pitches, but becomes increasingly more difficult, especially at a pp dynamic level. The first use of flutter#tonguing can be found in CtraussG -on .ui#ote , where the trumpets are asked to imitate bleating sheep. An early use in the clarinet solo repertoire can be found in Alban 1ergGs Four ,ieces -./ 0 for clarinet and piano $,?,'(. Flutter# tonguing is used here for two different musical reasons> for intensifying a phrase $% ample &5,a(, and for creating a blurred, fleeting te ture $% ample &5,b(. % ample &5, click here for mp' of a # click here for mp' of b

Alban 1erg F+F7 )6%3%C F+7 3BA76/%T A/D )6A/+, +p. 8 3opyright ,?-2 by Fniversal %dition 3opyright 7enewed All rights reserved Fsed by permission of %uropean American ;usic Distributors 3orporation, sole F.C. and 3anadian agent

A?
for Fniversal %dition

Harold Celetsky utili4es it for similar reasons in his work of ,?A9, *o1in2s ,iece $% ample &5-(.

% ample &5- $click on music for mp'( R intensification

R blurred, afterthought

Harold Celetsky 7+16/GC )6%3% All rights reserved Fsed by permission from the composer

Sounds of Indefinite Pitch Singing through the clarinet +1ith !outh"iece attached, Cinging through the clarinet on various vowel sounds can create interesting formants $reinforced harmonics( when one lifts the fingers of either $or both( hand from their tone holes. The sound will change drastically between the following vowel sounds> ee, aw, o, and oo. 7ichard 1oulanger asks for this techni!ue in Construction #1 for solo

9. clarinet $,?9.(. The clarinetist is re!uired to sing a drone pitch $1#flat( while fingering a perpetual F ma<or scale from %- to F' and back, as fast as possible $% ample &55(. % ample &55 $click on music for mp'(

7ichard 1oulanger 3+/CT7F3T6+/ &, All rights reserved Fsed by permission from the composer

This sound is even more pronounced if the player takes more mouthpiece than normal into his mouth. 6t is also possible to re#articulate this sound in an interesting way by pronouncing :le: with the tongue on the roof of the mouth. +ther variations include adding a growl#like flutter or vocal portamento. 6n the fourth section of 'ttracteurs 3tran"es for clarinet and computer tape, 0ean 3laude 7isset writes a repeated low F for the clarinetist to sing through the clarinet $the notation indication is a bo around the pitch(. He does not specify the vowel sound or timbre of this sung pitch, but since it is echoed shortly thereafter in the tape part, the player should base his sound on what is produced on the tape. Cince F- uses most of the clarinet body as a resonator, the sound is !uite dark here.

% ample &5A $click on music for mp'(

9,

Percussi2e Sounds
A variety of sounds $definite pitch, indefinite or appro imate pitch( are possible on the clarinet that also contain percussive elements. ;ost of these percussive sounds are fairly soft; some must be amplified to be clearly heard. This is another area that has only been lightly investigated by composers or performers. 7ichard 1oulanger asks the clarinetist to alter a gesture that is gradually becoming softer $dim.(, despite the dynamic markings, from sound, to air, to key clicks in Construction #1 $% ample &A5(.

% ample &A5 $click on music for mp'(

7ichard 1oulanger 3+/CT7F3T6+/ &, All rights reserved Fsed by permission from the composer

9Helmut Bachenmann has developed a more comple system in Dal $iente . The notation, described below, includes a symbol for blowing on the reed with the instrument held a short distance from the mouth $% ample &A9(.

% ample &A9

These subtle filtered color changes are e ploited in numerous phrases; the music is very e pressive, despite few standard pitchesU 6n the following e ample $ Dal $iente (, note the interaction of fine changes in color between inhale*e hale, C*F consonants, short tube $"'( to long tube $%-(, and dynamics*attacks $fffp # pp # p cresc.( $% ample &A?( % ample &A? $click on music for mp'(

Helmut Bachenmann DAB /6%/T% 3opyright ,?A2 by ;usikverlag Hans "erig, Xoln*3ologne ,?9. assigned to 1reitkopf T Hartel, Hiesbaden

9' The sound of a finger striking a tone hole can also invoke a pitch. These sounds can be best produced by one of the three fingers of the left hand, while fingering notes from 3' to %-. They can also be sounded simultaneously with a very soft conventional tone $Table &2(. Table &2 $click on measure for mp'(

Double trills on the clarinet can be achieved by rapidly and alternately trilling the first and second fingers of the left hand. The sound created $soft dynamic level( is one of implied pitch, over which one hears a sound similar to a muffled tom#tom roll. These trills are possible for fingerings from 1' to %-, from which implied pitches between D# sharp' and D' are derived $if the register key is depressed, the implied pitches lie

92 between F#sharp ' and F'(. There is also a timbre conversion towards darker sounds as one fingers lower pitches $Table &8(. An etude by the author, found at the end of this chapter, e ploits several of these trills.

Table &8 $click on measure for mp'(

Akira /ishimura effectively writes a short caden4a of double trills in Madoromi III . 6n the e ample below, these trills emerge from and return into the ringing piano chords. This delicate te ture allows the very soft subtleties of these sounds to be heard. % ample &99 $click on music for mp'(

S"eaAing through the Clarinet +1ith !outh"iece attached,

98 Horks have been written for solo trombone $7obert %rickson # /eneral $peech ( and solo trumpet $Xenneth "aburo # 0outhpiece ( that have successfully employed speech through instruments.$) )art of the beauty of this techni!ue is the production of ambiguous meanings through different shades of intelligibility of the te t. Hords begin to sound similar to other words, and take on musical !ualitiesU The listener begins to listen to the rhythm, shape, and inflection of speech with a new awareness. 6n addition, the theater inherent in this techni!ue reminds one of Biebowit4Gs comment about sprechstimme > This new way of treating the voice permits the elaboration of melodramatic scenes according to purely musical principles, which is not the case in classic recitatives.&/ 6n a section from The 4lack Wall illustrated below, Drake ;abry has the woodwinds $including %#flat clarinet( and brass whisper, in unison, lines from the poem that inspired the work. %ven though the te t is unintelligible, the unison effect and multiple timbres is mesmeri4ing. % ample &?- $click on music for mp'(

The following consonant transients are especially effective on the clarinet as short sounds> T, H, H, X, =, and Th $touch reed(. Furthermore, all of the phonemes below are plausible>

95 Table &9 $click here for mp'( a as in act front vowel ng as in bring voiced nasal a as in ago o as in odd ah as in father back vowel o as in official ahr as in arm oh as in oat back vowel air as in dare ohr as in board aw as in walk oi as in <oin ay as in age front vowel oo as in soon back vowel d as in dog voiced plosive oor as in poor e as in bed voiced plosive or as in horse e as in taken front vowel ow as in now ee as in see front vowel r as in red voiced semivowel eer as in beer s as in sit unvoiced fricative

9A g as in get voiced plosive t as in top unvoiced plosive h as in hat th as in thin unvoiced fricative hw as in wheat unvoiced glide th as in this voiced fricative i as in give front vowel u as in cut mid vowel i as in pencil u as in circus i as in fire ur as in burn < as in <am voiced comb. plosive#fricative uu as in book back vowel k as in king y as in yes voiced glide l as in leg voiced semivowel n as in no voiced nasal

The few e amples below do not work well, primarily because of the invasion by the reed of the oral cavity.

Table &? $not possible( b as in boy $voiced plosive( f as in fat $unvoiced fricative( p as in pin $unvoiced plosive(

99 v as in van $voiced fricative( 4 as in 4ebra $voiced fricative( m as in me $voiced nasal( sh as in rush $unvoiced fricative( w as in will $voiced glide( 4h as in vision $voiced fricative(

The 0apanese composer 6sao ;atsushita effectively writes whispered phonemes in his work Kochi for three A clarinets. The players pronounce a variety of toneless koGs and chiGs as the work comes to a close :in which sound disappears into the wind.: $% ample &?'( % ample &?' +C:&-Music= TracA '%,

6sao ;atsushita X+3H6 All rights reserved Fsed by permission from the composer

CHAPTER 6 - 6ass Clarinet

9?

Single Sounds
6t is an unfortunate myth which claims that e tended techni!ues are only :effects: that are in no way related to traditional instrumental techni!ues.2 6n fact, e tended techni!ues are e actly what the term implies; e tensions of conventional techni!ues. Throughout history, players and instruments have been forced to ad<ust to the times, or risk becoming obsolete. For e ample, composers, clarinetists*bass clarinetists and instrument makers have precipitated, often through collaboration, instrument design changes since the earliest clarinet was developed; the innovative composer, through his music, challenged the clarinetist, who consulted the instrument builder on ideas for mechanical improvements that would simplify the effort necessary to achieve the desired musical result. However, no design of the clarinet*bass clarinet has ever solved all of the awkward technical problems for the player. The most obvious proof of this statement is found in the fact that clarinetists*bass clarinetists have traditionally developed new or :alternate: fingerings to facilitate more reliable and musical results $suggested, and sometimes demanded by composers, conductors etc.( in performance. This has occurred despite the general emphasis by clarinetists*bass clarinetists in performance practice today on homogeneity of sound between ad<acent pitches and registers. The usage of alternate fingerings in performance practice throughout the history of the clarinet*bass clarinet, but most especially since the early twentieth century when most clarinetists*bass clarinetists were playing instruments that had a greater number of easily manageable keys and thus more alternatives to choose from, demonstrates the e istence of the concept of e tended techni!ues, well before the middle of the twentieth century.$ Fnfortunately, the clarinet*bass clarinet has evolved by e clusively empirical methods rather than by progressive theories. This, in addition to the musical re!uirements of past epochs, is another reason that has led both instrument#builders and clarinetists*bass clarinetists towards this single ob<ective> what 1artolo44i has fittingly described as :the emission of single sounds of ma imum timbric homogeneity throughout the range of the instrument.:& 7ather than e ploit the inherent !ualities of the instrument, the clarinetist*bass clarinetist has been most often satisfied with refining the techni!ue necessary for the performance of music from past musical epochs. Thus, during the twentieth century, much techni!ue has become rigidly standardi4ed. The desire of homogeneity of timbre in performance practice is especially baffling when one considers the uni!ue characteristics of the bass clarinet, most obvious in comparisons with other woodwind instruments. 6t naturally possesses five registers of very different color, and of much greater contrast than any other wind instrument. The lowest three notes are very dark and resonant. The lowest register $chalumeau( tends to be dark with a big tone, and becomes diffuse as volume is increased. The throat register tends to be thin $airy; less pro<ection( with potential for significant ad<ustments of timbre by the performer, while the clarion register is a resistant, thick, and airy tenor voice that becomes brighter as one approaches its highest pitches. The altissimo register is bright and becomes thinner and more intense as one ascends towards the highest pitch e tremes of the instrument $% ample &,(.

% ample &, $click on register for mp'(

?.

Cpectrograms of these si registers reinforce the observations above. The lowest three pitches are rich in partials with a strong fre!uency band from '..#-... h4. First, third, and fifth partials are clearly apparent, as are partials above the fifth. C------------------ C#---------------- :

As the fundamentals move through the chalumeau register, higher partials become weaker.

?, E-------------------- E----------------- *-------------*#------------- 3-------- 3#

A---------- A#---------- 6---------- C---------- C#---------- :----------- :#----------- E

Fpper partials continue to weaken through the throat register.

E------------ *----------- *#--------- 3--------- 3#----------- A--------- A#

?-

6n the lower half of the clarion register, the fundamental and 'rd partials are particularly strong, but fre!uencies above '... h4. are weak. Fre!uency bands below '... h4. are more prevalent than in the throat register.

3larion register>

6-------- C--------- C#--------- :--------- :#-------- E--------- *--------- *#

The first three partials are strong in the upper half of the clarion register, and partials above '... h4. gain strength at the top of this register.

3------------- 3#------------------------ A------------------- A#

?'

The lower part of the altissimo register contains strong ,#' partials with gradually weakening fre!uency bands as the fundamentals ascend.

6--------- C--------- C#--------- :----------- :#--------- E---------- *---------- *#

The strength of the first three partials continues through the middle and top of the altissimo register, and partials above '... h4. gain strength. 3----------- 3#------------- A------------- A#------------- 6--------------- C

C-------------------- C#----------------- :----------------- :#

?2

E------------------ *---------------------------------- *#

1ecause of the absence or weakness of clearly heard partials in this highest register, differences of dark and bright are not as applicable; thick and thin are perhaps more accurate descriptions, and usually relate to the particular partial level that is involved. For e ample, a pitch played on the third partial of a particular harmonic series may sound thinner than the same pitch played on the fifth partial of another particular harmonic series $% ample &-(.

% ample &- $click on music for mp'(

?8

Diewing the spectrogram, one can see strong , st through 8 th partials in the first D. The second D fingering has stronger 2th , 8th , and higher partials, which contributes to creating a brighter*thinner sound.

:------------------- 6---------------------------- :------------------------ 3

Darious reed styles or mouthpieces may push these !ualities towards thicker or thinner e tremes. The effect of volume on timbre is most pronounced in the chalumeau register. 6n fact, the greatest contrast of timbre characteristics occurs in this register of fundamentals, when it is produced at a high volume level. At the other e treme, the most uniform timbre can be achieved in soft passages towards the top of the bass clarinet range, since there is a lesser presence of higher harmonics in this register and at this dynamic level. 6n between these outer e tremes, it can be safely concluded that loud volume levels e aggerate the timbre characteristic of a certain pitch, while softer volume levels produce timbre matching at a middle point between dark and bright. +f course, the performer has a certain amount of control over timbre variables through embouchure or air pressure manipulation; increased embouchure pressure will produce stronger partials while less pressure results in the weaker presence of partials. However, this manipulation often distorts pitch level. The timbre characteristics that have been defined

?5 for individual pitches in this study are not the outcome of e tensive or unusual embouchure manipulation. 6n a more general sense, it is known that the harmonic spectrum produced by any instrument constantly changes in performance with every pitch and dynamic nuance that is played. 6n fact, there are even moment to moment changes in the balance of harmonics in every single humanly produced sustained tone.' +ther aspects of the sound that effect these changes include formants, phase, noise elements, presence of inharmonic partials, and transients $attacks(. From all of the above information, it is clear that timbric homogeneity is an unlikely and unnatural eventuality for the bass clarinetist to achieve. The altissimo register of the bass clarinet is the least e plored register by composers, and provides a number of possibilities beyond the \as loud as possible] wailings most often associated with this tessitura. 6n ma nificat 1 $variations( for alto flute, bass clarinet, and marimba, Binda Dusman effectively and imaginatively utili4es the top sounds of the bass clarinet. The phrase below illustrates a se!uence of perfect fifths that culminates in a written 35 V the playing resistance e perienced when using the fingering suggestion below allows this note to be controlled at a moderate volume.

% ample &' $click on music for mp'(

Bater in the same work, Dusman writes lyrical phrases that span more than four octaves of the bass clarinet, and that weave among the other instruments in the trio. Fingering suggestions for %5#"5 follow the musical e ample below.

% ample &2 $click on music for mp'(

?A

Alternate *ingerings
Different timbres of the same pitch on the bass clarinet are possible only through alternate fingerings; embouchure manipulation alone will not work, since it will also affect pitch. However, altering timbre is not the only purpose of alternate fingerings. The artistic bass clarinetist of the late twentieth century employs different fingerings from standard fingerings in certain musical conte ts, throughout the traditional orchestral, chamber music, and solo repertoire.6 These conte ts may re!uire a slightly higher or lower pitch for reasons of intonation, a technically simpler fingering for a smoother legato, a less resistant fingering for an easier entrance at a soft dynamic level, or a more desirable tone color for better blend or portrayal of a particular musical character. 6n music of the last twenty#five years, the e pansion of timbral resources and sensitivities and of usable pitch nuances has become a primary compositional concern. However, in order to indicate $as a composer( and perform $as a bass clarinetist( alternate fingerings, one must understand the acoustics of the instrument. All pitches on

?9 the bass clarinet do not lend themselves to alternate fingering possibilities. 6n general, the pitches which utili4e the longest length of tube have the fewest options; pitches below 1' and pitches between 12 and "8 have few or no alternate fingerings. % ample &5

)itches in the altissimo register have the most alternatives, since they can serve as partials to a number of different fundamentals. The top half of the chalumeau register $1' to A2( offers a variety of :covered: sounding $few strong partials( alternate fingerings. Come of these are cross#fingerings $fingerings that employ open vents, higher on the instrument body than the lowest tone holes that are closed by fingers or keys( which can only be produced at a very soft dynamic level with a minimum of upper partials present. A chart of fingerings $1' # "8( suitable for rapid alternation with the regular fingering of the same pitch, follows $Table &,(. Those which can not be alternated at a rapid speed have been labeled nf $not fast(. The intonation of these pitches is e tremely close to the regular fingering; only minor ad<ustments of the type made in normal tuning while playing may be necessary. Those pitches which may e hibit noticeable tuning discrepancies have been labeled $sl @ slightly low, etc.(%. nf @ not fast sl @ slightly low sh @ slightly high st @ stuffy $resistant(

Table &, $click on measure for mp'(

??

Cpectrograms for the conventional fingering for D' and two alternate fingerings show the greatest strength of partials ,,',8,A in the spectrum of the conventional fingering. The second alternate fingering is especially muted V it contains only strong ,st and 'rd partials, complemented with a more prominent -nd partial than with the other fingerings. )artials above the 'rd are practically absent in the spectrum of this alternate fingering.

,..

:$

The spectrograms below for F&' indicate that the first alternate fingering has the richest set of partials. The second alternate fingering has a weaker 'rd partial coupled with a fairly strong 8th partial. The third alternate fingering owes its e tremely muted timbre to nearly ,..O of its energy centered in the fundamental.

*#$

An abundance of alternate fingerings e ist for pitches in the altissimo register. )aul Drushler has very clearly described the acoustical link between basic fingerings and registers of the clarinet $% ample &?a(. Third partials $clarion register( are produced by depressing the register key $thus opening the register hole(. Fifth partials $3#sharp8 # A# sharp5( are produced by lifting the first finger of the left hand, in addition to the register key. This permits the BH, tone#hole to act as a vent. Ceventh partials, and higher, are

,., generally produced by depressing the "#sharp key in addition to the others mentioned. At least the outline of this formula is followed in the following e ample $% ample &?b(. 6t is important to note that many fifth partials also re!uire the "#sharp key, and that other vents $A key( are utili4ed for pitches based on the highest partials. 6n addition, the highest pitches are often derived from :out of tune: partials of unrelated fundamentals. 6t is clear that the desirable method for developing fingerings consists of starting with a fundamental, selecting vents, and making final alterations by opening and*or closing various tone holes. According to Drushler, :variations in pitch, timbre and stability for specific altissimo notes can be discovered by e perimenting with modifications of basic fingerings.:( Hith the bass clarinet, the position and degree of pressure placed by the embouchure on the reed allows control of a greater range of altissimo notes than on the soprano clarinet $up to "#sharp5U(. 6t is possible to play on the ,'th and ,8th harmonics of a given fundamental.

% ample &?a $click on music for mp'(

&?b $click on music for mp'(

,.-

/ote, below, how the presence and strength of upper partials fades as one moves up the fingerings of the harmonic series. The first fingering contains strong ,st , 'rd , 8th , and Ath E partials. The fingerings based on the ,,th #,8th partials all contain strong -nd partials.

6--------------*#--------------------- :#---------------------- A---------------- C#

E--------------------- 3

,.'

The following chart $Table &-( of alternate fingerings contains only a few of the many choices for altissimo register pitches. /o unusual techni!ues are called for, however, such as half#depression of pad keys. Clight deviations in pitch may e ist, but these are easily corrected by ad<ustments of embouchure and air pressure. These ad<ustments are no more e treme than those that one would make to play in tune with other performers; they merely re!uire a sensitive :auditory image.: Cince different players play different e!uipment, the tuning will be slightly different for each individual. An aspect such as how far a particular pad comes away from a particular tone#hole can be very significant. 6n the same manner, pitches from the microtone charts may work as alternate fingerings; however, one runs the risk of timbre distortion as one becomes further and further from the pitch of the original fingering. The annotations under each fingering are arranged according to the following format>

line # infor!ation

I - "artial of fundamental that fingering is based on*fundamental pitch $i.e. 8th*32(; $32m @ modification of 32 fundamental fingering( II - ti!-re> br @ bright; brU @ very bright; d @ dark; s @ slightly; st @ stuffy III - dyna!ics # ppp to fff I? - intonation # l @ low; h @ high; s @ slightly ? - articulation # res @ resistant, difficult to begin immediately; s @ slightly ?I - "re"aration # com @ a comple fingering; player must have time to prepare it; legato connection to it may not be possible; sm @ smooth connection from another pitch possible; smU @ very smooth connection from another pitch possible 1lank fingering grids have been included so that the reader might add his*her own fingerings.

,.2 Table &- $click on pitch for mp'(

5uarter-Tones

,.8 The !uarter#tone is a logical rather than acoustic e tension of the chromatic scale. 6n the practice and theory of a variety of Asian musics, for e ample, where microtonal intervals are employed, e act !uarter#tones do not e ist. The following chart attempts to represent e!ually tempered !uarter#tones, but may certainly be modified to create a variety of proportions. Fnless there are reasons of desired voice leading, adherence to either sharps or flats within a work will make visual and technical recognition easier for the performer $the !uarter tone scale here is presented in sharps only(. 6t is generally good practice to specify fingerings directly under the !uarter#tones that appear in the piece, as opposed to merely a list at the beginning of the work. +f course, it is not necessary to repeat this fingering diagram every time a particular !uarter#tone occurs. Cince all fingerings may not produce an identical pitch or timbre for every performer, it is helpful if the composer can briefly describe his intentions in a preface. For e ample, is he more interested in a dark timbre than a precisely pitched !uarter#toneI This will help the performer to make an educated fingering choice, if it is necessary to change the given fingering because of inherent characteristics of individual instruments and bass clarinetists. $it should be noted that there are fewer available fingering choices for the bass clarinetist than the soprano clarinetist, especially below the altissimo register # one reason is the covering of tone holes with pads and key mechanisms that have different functions on the bass clarinet(. The following !uarter#tone scale e tends from A' $written pitch( to "#sharp 5 $U(; it contains relatively few insurmountable problems for the bass clarinetist. However, somewhat weak con<unct sections of the !uarter#tone scale are found across the :break: from the throat register to the clarion register $A#sharp 2 to D2(. From 32 to D2 there are no practical fingerings for !uarter#tones, since virtually the entire length of the instrument is employed. 3ross fingerings can not be utili4ed. This is the same consideration that inhibits !uarter#tone production below chalumeau A. Another section of the !uarter#tone scale that is weak consists of pitches above F#sharp 5. The altered air and embouchure pressure necessary to produce these pitches $often on different partials(, as well as awkward fingerings make them treacherous, especially if approached !uickly by leap or attacked without preparation. Ceveral notations appear below some of the !uarter#tones in the chart. Timbre indications are given if a !uarter#tone differs significantly from the timbres of notes around it $i.e. a dark timbre in the lowest register is relatively different from a dark timbre in the clarion register(. 6t was not possible to find e!ual#tempered !uarter#tones for all intervals # thus, some are marked as sh $slightly high( or sl $slightly low(. DAT refers to pitches that are difficult to attack strongly.

,.5

,.A Table &' # Yuarter#Tone Ccale +click on line for mp',

,.9

,.?

Binda Dusman uses bass clarinet !uarter#tones in several conte ts in ma nificat 1 . The con<unct segments of !uarter#tones below $m.'.#8( are very effective at pianissimo V the e pression marking in the score is \weeping.]

,,. % ample &,2 $click on music for mp'(

Chart of Multi"le Sounds for 6ass Clarinet

The following chart $Table &8( has been compiled from numerous musical compositions, and e periments of the author; it has been checked for accuracy by other players. The author has striven to organi4e the material according to acoustic principles of the bass clarinet and basic principles of bass clarinet techni!ue. All of the multiple sounds presented are playable on any traditional professional mouthpiece*reed set#up. They demand only slight deviations from normal finger e pectations and embouchure. $while it is true that a multiple sound may be derived from any possible fingering for a single tone, of which there are theoretically thousands, this study omits those that re!uire more than slight deviations in traditional finger and e pectations and embouchure( Those multiple sounds that employ the low 3#sharp and 3 keys played by the right hand, or the low D key played by the left hand, are only available on a bass clarinet that e tends to low 3 $written(. The multiple sounds that employ the low %#flat key are available only on bass clarinets that e tend to either low %#flat or low 3. ;any previous studies have organi4ed multiple sounds according to verbal descriptions of categories of production and*or tone color, regardless of acoustical relationships $i.e. derived from the same left hand vent hole(. This study employs acoustical relationships as the first order of organi4ation, and briefly describes characteristics of each multiple sound $see e planation of notation, below(. +f course, every conceivable conte t for a particular multiple sound has not been discussed. The author wishes to reinforce the following advice> 1% CF7% T+ 3+/CFBT A 1ACC 3BA76/%T6CT A1+FT F%AC61B% 3+/T%PTC F+7 )A7T63FBA7 ;FTB6)B% C+F/DC. ;ultiple sounds have been placed in groups $labeled by letter, beginning with those with the lowest fundamental(; a common denominator within each group is an identical

,,, register*vent hole. 6n other words, the left hand fingering remains constant within a group $in most cases(. The multiple sounds are ordered according to the right hand fingerings which ascend in chromatic or microtonal intervals. 3are has been taken to insure that these groups are playable as se!uences; this means limited $minimum( finger movement, and a lack of contrary motion, wherever possible. "roups of multiple sounds with the same letter label $i.e. D, D,, D- etc.( utili4e slightly different, but related left hand fingerings $different vents(. For e ample, left#hand fingerings in "roup D, differ from "roup D only through the addition of the register key. Beft#hand fingerings in "roup D- differ from "roup D only through the addition of side key &'. The close technical relation of these groups makes numerous trills and tremolos possible between them $discussed later(. Beft#hand fingerings for A represent the lowest bottom pitches # left hand fingerings for Q, the highest bottom pitches. 6t is important to note that each multiple sound listed is available in isolation; it need not be connected to another. Darious characteristics of each multiple sound have been described beneath each e ample in the chart. The format of this chart, top line to bottom line $underneath each multiple sound(, is>

Bine & information

6 # dyna!ic range possible # pp to FF 66 # sta-ility > how stable is the sustain characteristic # a @ very stable; b @ moderately stable; c @ unstable 666 # res"onse > the time re!uired to produce all pitches of the multiple sound # how resistant is itI # , @ all sounds begin simultaneously, easily; - @ all sounds appear within , second, easily $somewhat resistant(; ' @ all sounds appear within - seconds, resistant; 2 @ all sounds appear within ' seconds, more resistant; 8 @ all sounds appear within 2#8 seconds, very resistant 6D # ti!-re > description of individual pitches of the multiple sound $sometimes $all multiple sounds that use side keys ' and*or 2 as register - lines( vents will have thin timbres( tp @ top bt @ bottom dlbt @ dull lowest pitch dabt @ dark lowest pitch $few higher partials( fat @ many partials $high and low(

,,thin @ pitch is weak; lack of partials # lack of center brt @ bright; many higher partials brtp @ bright highest pitch thtp @ thin highest pitch sub @ subtone; dull D # te ture > description of the overall te ture of the multiple sound $sometimes # general characteristics deserve mention here> - lines( ,( all diads $multiple sounds of two pitches which are produced as undertones( will contain a significant amount of air when played softly -( most of the multiple sounds that are not undertones are capable of generating higher partials than indicated in the chart when played very loudly. However, the production and content of these partials are not controllable or reliable. diad @ two pitches $an undertone # lowest pitch is weaker than the highest( holl @ hollow; high and low pitch $e!ual strength( 'vc @ three voices mvc @ many voices bal @ balance; all pitches of e!ual intensity elc @ electronic; ' or more pitches, thin timbres, acoustical beats elcU @ raucous electronic; changing amplitudes of pitches $similar to electronic, otherwise( be @ acoustical beats; beats caused by out of tune intervals slbe @ slow acoustical beats mud @ muddy; unclear pitches gent @ gentle; dull timbres ;'U @ predominant ma<or 'rd $,.th( or triad ns @ noise in the sound $air( sns @ some noise in the sound

,,' D6 # ar"eggiation > capability to begin multiple sound with top or bottom pitch alone, gradually adding other pitches t @ easy to begin with top pitch b @ easy to begin with bottom pitch bt @ easy to begin with either top or bottom pitch

D66 # techni8ue > hints for easier production ls @ looser embouchure, less air pressure lsU @ very loose embouchure tite @ tighter embouchure, more air pressure

The notation system used in this chart for multiple sounds on the staff is one which the author hopes will become standardi4ed. All pitches $or as many as possible( in the multiple sound should be written on the staff. The filled#in note#heads indicate secondary pitches, which may or may not be present according to the dynamic level of the multiple sound. 6t is important that the fingering for the multiple sound be indicated at every occurrence in the music, directly under the sonority. These procedures will greatly assist the clarinetist in learning the music.

,,2

S"ectrogra!s
Cpectrograms of a number of multiphonics follow $more for bass clarinet multiphonics are available on (he Clarinet of the (wenty-)irst Century website V http>**www.research.umbc.edu*Wemrich*multiphonicSspectra.html (. These diagrams represent the indicated multiphonic played at its middle dynamic level $i.e. if p-ff is

,,8 possible, mf is the middle dynamic level(. The duration of each multiphonic is between - and A seconds. 6t is important to note that the spectrum of practically every multiphonic changes $at least subtly( during its duration V the sound is constantly transforming. 6n the spectrograms, height indicates fre!uency $h4.(, or pitch of the fundamental$s( and partials; length $hori4ontal( indicates duration; and darkness*lightness indicates the relative amplitude $strength( of components of the sound. Directly below is a note to fre!uency converter $taken from the website of the )hysics Department of The Fniversity of /ew Couth Hales, Cydney, Australia V http>**www.phys.unsw.edu.au*W<w*notes.html(, /+/#T7A/C)+C%D $written 12 for clarinet @ A 22.(, that gives a conte t for the spectrograms. According to )eter Deale and 3laus#Cteffen ;ahnkopf in their book (he (echniques of %boe 2layin , multiphonic spectra on all woodwind instruments obey a similar basic principle. The fre!uencies present in a multiphonic spectra can be e plained as a combination of the sums and differences of the two fre!uencies of the primary pitches of the particular multiphonic $each multiphonic contains only two primary pitches(. Co,...> A @ highest primary pitch 1 @ lowest primary pitch F @ fre!uency within a multiphonic

F @ A$E or V ., ,, -, ', etc.( E or V 1$E or V ., ,, -, ', etc.(

6n e ample 8 below, the vibration at -89 h4. can be e plained in the following way> A @ "8 $5?9 h4.( 1 @ 1 [& 2 $--. h4.( F $-89 h4.( @ A $5?9( V -1 $--.( @ 5?9 V 22. @ -89 ################################################################

,,5 '9( E-.) > % [ ' @ ,'A A [ 2 @ '?- D Z 8 @ 882 8th partial of % [ # -nd , 'rd partials of D Z

'?( E.-$ > " [ ' @ ,A8 D Z 8 @ 882 2th partial of " [; 'rd partial of D Z

,,A 2.( E.-% > " [ ' @ ,A8 D&8 @ 882 $weak( "&8 @ A2. # -nd , 'rd partials of "&

2,( E.-./ > 18 @ 22. $I( A Z 8 @ 99.

<ther Resources
;any other sounds can be produced on the bass clarinet through e tended techni!ues that defy categori4ation with the single or multiple sounds that have been described in the last two chapters, even though they may maintain a number of similar !ualities. These have been divided into sounds of definite pitch $glissandi*portamenti(, sounds of indefinite or appro imate pitch $half#pitched percussive sounds, vocali4ing # gradations of singing and speaking # through the bass clarinet, air sounds( and specific techni!ues $i.e. flutter tonguing( which may be applied to sounds of one or both categories $or, in addition, conventional bass clarinet tones, sounds from 3hapters 6 and 66, etc.(. The reader is referred to (he Clarinet of the (wenty-)irst Century for a discussion of specific techni!ues # they are all applicable to the bass clarinet. The descriptions and musical e amples on the following pages are not meant to imply that these are the only possibilities. 7ather, it is hoped that these may serve as provocations to composers and bass clarinetists who may discover and create new

,,9 musical ideas, and, in so doing, e pand and refine the instrumental techni!ues re!uired to reali4e these ideas. The palette of potentially e pressive sounds on the bass clarinet is virtually limitless.

Sounds of :efinite Pitch 3lissandoBPorta!ento 3aravan does offer some good suggestions for learning portamento production. Cince downward tone bends are the most difficult, these should be practiced first; mastering the re!uired techni!ue $tongue and throat position control( for this skill is applicable to all other $including ascending( portamenti. %ventually, a series of downward tone bends can be linked to form a longer portamento. After one has practiced series of downward tone bends, the ne t logical step is to practice ascending bends, followed by series of ascending bends. Chort ascending bends are especially idiomatic in the clarion and altissimo registers of the bass clarinet where the third finger of the right hand is employed. Takayuki 7ai employs some in $parkel for bass clarinet and computer tape.

% ample &- $click music for mp'(

,,? Cpectrograms of these small portamenti show a rich palette of partials that is weakened slightly during the middle of the portamento.

Bonger ascending portamenti can be initiated and*or aided by this finger V an e ample of an especially easy portamento follows> % ample &' $click music for mp'(

,-. The spectrogram below indicates a slightly weaker band of partials once the portamento is initiated.

Descending portamenti in the altissimo register are also idiomatic. Takayuki 7ai writes the following small portamenti>

% ample &2 $click music for mp'(

The spectra of each of these pitches above contains a strong fundamental and partials from the 'rd and above, with some -nd partial energy present. At the end of each portamento, the presence and strength of all of the partials increases.

,-, A--------------- 3-------------3--------------*-------------- 6---------------- :

3#--------------------- A------------------------- *#

Sounds of Indefinite Pitch

Half-Pitched Percussi2e Sounds The bass clarinet offers an incredible resource for percussive $both unpitched and half# pitched( sounds because of the si4e and harmonic richness of its resonating body. The

,-fact that keys cover the seven finger tone holes $different from the key rings of the soprano clarinet( also helps to amplify the volume of the percussive sounds made when fingers strike the tone holes $either as single strikes or trills*tremolos(. The following chart classifies these sounds $in a similar fashion to the classification of multiple sounds( according to left hand fingering, beginning with the entire upper <oint covered $A(, and gradually progressing to none of the upper <oint covered $)(. The number following the letter $i.e. A,( denotes which fingers*keys are moved. The number , represents one or more of the three fingers of the right hand # the number represents one or more of the three fingers of the left hand # the number .8 represents a low key moved by the right hand without all the fingers of the right hand covering the three tone holes. Finally, the letters with no numbers following them $i.e. A( represent a low key moved by the right hand with all the fingers of the right hand covering the three tone holes. These sounds are most resonant when the mouthpiece is not in the mouth. They differ in color from a strong hollow resonance to very thin, short, click resonances.

Ta-le #6 +C: 6cl #2 C tracAs '-$$,

,-'

+C: 6cl #2 C tracAs $&-'6,

,-2

CHAPTER % - E-flat Clarinet

,-8

Single Sounds Altissi!o Alternate *ingerings The American clarinetist Henry "ulick writes of classifications for altissimo register pitches.( These categories deserve mention, as well as others, in order to understand timbre and resistance characteristics of altissimo fingerings. +ne classification that is widely employed by professional clarinetists is what "ulick calls :long fingerings.: 6n long fingerings, the first finger of the left#hand remains on the tone#hole; a vent e ists further down the clarinet body. As a result, long fingerings re!uire overblowing of lower pitches. The longer tube length that is in play produces thicker, darker timbres that are generally more secure at loud dynamic levels $% ample &A(.

E a!"le #% $click on music for mp'(

Altissimo fingerings in a second classification produce pitches from overblown throat tones, without the left thumb covering the back tone hole $% ample &9(. Cince such a short tube length is employed, these pitches tend to be thin and bright.

E a!"le #( $click on music for mp'(

,-5

A third classification includes fingerings that use both the thumb hole and register key as vents $open thumb and depressed register key( $% ample &?(. These fingerings tend to be a bit dark, but thin. They are especially effective in soft legato passages that link the clarion to altissimo register.

E a!"le #) $click on music for mp'(

1y playing on certain upper partials, fast chromatic figures in the altissimo register can be easily produced $Table &-(.

Ta-le #2 $click on measure for mp'(

,-A

Altissi!o Alternate *ingering Chart

,-9 The following chart $Table &'( of alternate fingerings contains only a few of the many choices for altissimo register pitches. /o unusual techni!ues are called for, however, such as half#holing, etc. Clight deviations in pitch may e ist, but these are easily corrected by ad<ustments of embouchure and air pressure. These ad<ustments are no more e treme than those that one would make to play in tune with other performers; they merely re!uire a sensitive :auditory image.: Cince different players play different e!uipment, the tuning will be slightly different for each individual. An aspect such as how far a particular pad comes away from a particular tone#hole can be very significant. 6n the same manner, pitches from the microtone charts may work as alternate fingerings; however, one runs the risk of timbre distortion as one becomes further and further from the pitch of the original fingering. The annotations under each fingering are arranged according to the following format> line & information 6 # "artial of fundamental that fingering is based on # $i.e. # 832 @ 8th partial of 32( 66 # ti!-re # br @ bright; s @ slightly; d @ dark v @ very; th @ thin; st @ stuffy; a @ airy 666 # dyna!ics # pp to ff 6D # intonation # B @ low; H @ high; C @ slightly D # articulation # res @ resistant; difficult to begin immediately; s @ slightly D6 # "re"aration # sm @ smooth connection from another pitch possible; tr @ trill fingering

1lank fingering grids have been included so that the reader might add his*her own fingerings.

Ta-le #$ $click on pitch*line for mp'(

,-?

5uarter-Tones
The !uarter#tone is a logical rather than acoustic e tension of the chromatic scale. 6n the practice and theory of a variety of Asian musics, for e ample, where microtonal intervals are employed, e act !uarter#tones do not e ist. The following chart attempts to represent e!ually tempered !uarter#tones, but may certainly be modified to create a variety of proportions. Fnless there are reasons of desired voice leading, adherence to either sharps or flats within a work will make visual and technical recognition easier for the performer $the !uarter tone scale here is presented in sharps only(. 6t is generally good practice to specify fingerings directly under the !uarter#tones that appear in the piece, as opposed to merely a list at the beginning of the work. 6t is not necessary to repeat this fingering

,'. diagram every time a particular !uarter#tone occurs. Cince all fingerings may not produce an identical pitch or timbre for every performer, it is helpful if the composer can briefly describe his intentions in a preface. For e ample, is he more interested in a dark timbre than a precisely pitched !uarter#toneI This will help the performer to make an educated fingering choice, if it is necessary to change the given fingering because of inherent characteristics of individual instruments and %#flat clarinetists. The following !uarter#tone scale e tends from A' $written pitch( to "#sharp 5; it contains relatively few problems for the %#flat clarinetist. However, somewhat weak con<unct sections of the !uarter#tone scale are found across the :break: from the throat register to the clarion register $A#sharp 2 to D2(. From 32 to D2 there are no practical fingerings for !uarter#tones, since virtually the entire length of the instrument is employed. 3ross fingerings can not be utili4ed. This is the same consideration that inhibits !uarter#tone production below chalumeau A. Another section of the !uarter# tone scale that is weak consists of pitches above F#sharp 5. The altered air and embouchure pressure necessary to produce these pitches $often on different partials(, as well as awkward fingerings make them treacherous, especially if approached !uickly by leap or attacked without preparation. Ceveral notations appear below some of the !uarter#tones in the chart. Timbre indications are given if a !uarter#tone differs significantly from the timbres of notes around it $i.e. a dark timbre in the lowest register is relatively different from a dark timbre in the clarion register(. 6t was not possible to find e!ual#tempered !uarter#tones for all intervals # thus, some are marked as sh $slightly high( or sl $slightly low(. DAT refers to pitches that are difficult to attack strongly.

$click on line for mp'(

,',

,'-

Microtones
The %#flat clarinet has long been capable of producing microtones smaller than !uarter# tones, but has rarely been asked to do so. 6tGs full range of microtonal possibilities has been largely undocumented. 6n fact, accurate microtonal segments of intervals smaller than thirty#second tones are often possible and !uite easy to produce.

E8uidistant Microtones %!uidistant microtones are represented in Table &A; si th, eighth, twelfth, and si teenth tones. 1ar lines mark the length of uninterrupted scale segments, since e!uidistant pitches are not always available.

,'' TA67E #% - E8uidistant Eighth= Si teenth= Si th= > T1elfth Tones $click on measure for mp'(

,'2

,'8

<ne-<cta2e Microtonal Scales

Ccales can be formed from microtones that present fascinating pitch or timbre relationships when written for %#flat clarinet. Ceveral e amples follow which have been arbitrarily chosen because of their bright or dark timbre !ualities or symmetrical pitch patterns. All are fairly easy for the clarinetist to master. % ample &,. presents a ten#note scale in the chalumeau register that e ploits dark timbres.

,'5 E a!"le #./ $click on music for mp'(

An e!uidistant scale of si teen '*9 tones is represented in % ample &,,.

E a!"le #.. $click on music for mp'(

Chart of Multi"le Sounds for E-flat Clarinet

The following chart $Table &,-( has been compiled from numerous musical compositions, and e periments of the author; it has been checked for accuracy by other players. The author has striven to organi4e the material according to acoustic principles of the %#flat clarinet and basic principles of %#flat clarinet techni!ue. All of the multiple sounds presented are playable on any traditional professional mouthpiece*reed set#up. They demand only slight deviations from normal finger e pectations and embouchure. $while it is true that a multiple sound may be derived from any possible fingering for a single tone, of which there are theoretically thousands, this study omits those that re!uire more than slight deviations in traditional finger e pectations and embouchure(.

,'A ;any previous studies have organi4ed multiple sounds according to verbal descriptions of categories of production and*or tone color, regardless of acoustical relationships $i.e. derived from the same left hand vent hole(. This study employs acoustical relationships as the first order of organi4ation, and briefly describes characteristics of each multiple sound $see e planation of notation, below(. +f course, every conceivable conte t for a particular multiple sound has not been discussed. The author wishes to reinforce the following advice> 1% CF7% T+ 3+/CFBT A/ %#FBAT 3BA76/%T6CT A1+FT F%AC61B% 3+/T%PTC F+7 )A7T63FBA7 ;FBT6)B% C+F/DC. ;ultiple sounds have been placed in groups $labeled by letter, beginning with those with the lowest fundamental(; a common denominator within each group is an identical register*vent hole. 6n other words, the left hand fingering remains constant within a group $in most cases(. The multiple sounds are ordered according to the right hand fingerings which ascend in chromatic or microtonal intervals. 3are has been taken to insure that these groups are playable as se!uences; this means limited $minimum( finger movement, and a lack of contrary motion, wherever possible. A broken vertical line $ ( between multiple sounds in a group indicates that a legato connection is not possible, even though the ad<acent sounds utili4e the same series of partials. A double bracket $ ( between sounds in a group indicates that a legato connection is not possible, because the series of partials changes. "roups of multiple sounds with the same letter label $i.e. D, D,, D- etc.( utili4e slightly different, but related left hand fingerings $different vents(. For e ample, left#hand fingerings in "roup D, differ from "roup D only through the addition of the register key. Beft#hand fingerings in "roup D- differ from "roup D only through the addition of side key &'. The close technical relation of these groups makes numerous trills and tremolos possible between them $discussed later(. Beft#hand fingerings for A represent the lowest bottom pitches # left hand fingerings for =, the highest bottom pitches. 6t is important to note that each multiple sound listed is available in isolation; it need not be connected to another. Darious characteristics of each multiple sound have been described beneath each e ample in the chart. The format of this chart, top line to bottom line $underneath each multiple sound(, is>

Bine & information

I - dyna!ic range "ossi-le # pp to FF II - sta-ility@ ho1 sta-le is the sustain characteristic # a @ very stable; b @ moderately stable; c @ unstable III - res"onse> the time re!uired to produce all pitches of the multiple sound # how resistant is itI , @ all sounds begin simultaneously, easily

,'9 - @ all sounds appear within , second, easily $somewhat resistant( ' @ all sounds appear within - seconds, resistant 2 @ all sounds appear within ' seconds, more resistant 8 @ all sounds appear within 2#8 seconds, very resistant I? - ti!-re> description of individual pitches of the multiple sound $all multiple sounds that use side keys ' and*or 2 as register vents will have thin timbres( tp @ top bt @ bottom dlbt @ dull lowest pitch dabt @ dark lowest pitch $few higher partials( fat @ many partials $high and low( thin @ pitch is weak; lack of partials # lack of center brt @ bright; many higher partials brtp @ bright highest pitch thtp @ thin highest pitch sub @ subtone; dull ?= ?I - te ture> description of the overall te ture of the multiple sound # - general characteristics deserve mention here> ,( all diads $multiple sounds of two pitches which are produced as undertones( will contain a significant amount of air when played softly -( most of the multiple sounds that are not undertones are capable of generating higher partials than indicated in the chart when played very loudly. However, the production and content of these partials are not controllable or reliable. diad @ two pitches $an undertone # lowest pitch is weaker than the highest( holl @ hollow; high and low pitch $e!ual strength( 'vc @ three voices

,'? mvc @ many voices bal @ balance; all pitches of e!ual intensity elc @ electronic; ' or more pitches, thin timbres, acoustical beats elcU @ raucous electronic; changing amplitudes of pitches $similar to electronic, otherwise( be @ acoustical beats; beats caused by out of tune intervals slbe @ slow acoustical beats mud @ muddy; unclear pitches gent @ gentle; dull timbres ;'U @ predominant ma<or 'rd $,.th( or triad ns @ noise in the sound $air( sns @ some noise in the sound ?II - ar"eggiation> capability to begin multiple sound with top or bottom pitch alone, gradually adding other pitches t @ easy to begin with top pitch b @ easy to begin with bottom pitch bt @ easy to begin with either top or bottom pitch ?III - techni8ue> hints for easier production ls @ looser embouchure, less air pressure sU @ very loose embouchure tite @ tighter embouchure, more air pressure

The notation system used in this chart for multiple sounds on the staff is one which the author hopes will become standardi4ed. All pitches $or as many as possible( in the multiple sound should be written on the staff. The filled#in note#heads indicate secondary pitches, which may or may not be present according to the dynamic level of the multiple sound. 6t is important that the fingering for the multiple sound be indicated at every occurrence in the music, directly under the sonority. These procedures will greatly assist the clarinetist in learning the music.

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Ta-le #.2 - Multi"le Sounds click on measure for mp'

Multi"honic Trills and Tre!olos

The sub<ect of multiphonic trills and tremolos will only be briefly mentioned here. Trills between ad<acent multiple sounds in Table &,- $different right#hand fingerings; same left#hand fingering( are possible. Trills and tremolos are also feasible among many non#

,2, ad<acent multiple sounds $same left#hand fingering; different left#hand and right#hand fingerings( from Table &,- # composers are urged to check specific trill possibilities with an %#flat clarinetist. 6n addition, they are possible between multiple sounds with the same right#hand fingering but different left#hand fingering between the following "roups> A- and A' 1 and 1, % and %, H and H, 6 and 6, X and X, X and X-

Diad tremolos using the top two right#hand trill keys controlled by the first finger are effective in both loud and soft conte ts. E a!"le #& $click on ' measure section for mp'(

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?ocaliDing through the clarinet

Cinging through the clarinet on various vowel sounds can create interesting formants $reinforced harmonics( when one lifts the fingers of either $or both( hand from their tone holes. The sound will change drastically between the following vowel sounds> ee, aw, o, and oo. E a!"le #./ $click on music for mp'(

This sound is even more pronounced if the player takes more mouthpiece than normal into the mouth. 6t is also possible to re#articulate this sound in an interesting way by pronouncing :le: with the tongue on the roof of the mouth. +ther variations include adding a growl#like flutter or vocal portamento. Further sounds that are possible to generate through the clarinet with the mouthpiece on are a barking sound K:$r(uff:L with a low % fingering, a slow laugh from the throat with a low % fingering, or a throat tremolo $ululation( :eh#eh#eh etc,: $the way young children imitate a machine gun( which can be altered with a vocal portamento and*or by randomly moving the fingers of the right hand. Through the %#flat clarinet $with mouthpiece off(, it is also possible to produce an ingressive or egressive :vocal fry.: Deborah Xavasch, a former member of the % tended Docal Techni!ues %nsembles at the Fniversity of 3alifornia , Can Diego , describes this phenomenon>

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3ocal fry is perceived as dry, clicklike pulses and is often used to imitate the openin of a creaky door! (he pulse rate of vocal fry can be controlled to produce a ran e from very slow individual clicks to a stream of clicks so fast that it is heard as discrete pitch! 4t can be produced both e ressively 5e#halin 6 and in ressively 5inhalin 6! (he individual may find one mode easier to control than the other in terms of such parameters as pulse rate, dynamics, and pitch! (he term "pitch," as used here in relation to vocal fry, refers to the ran e of perceived pitches rather than to any implication re ardin the mode of phonation! 6

This effect is especially interesting when one moves the fingers of both hands, since very soft, airy sounds are apparent, in addition to the vocal fry $% ample &,,(. These can be especially beautiful when amplified.

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