CONTEMPORARY TECHNIQUES FOR THE CLARINET A Selective, Sequential Approach Through Prerequisite Studies and Contemporary Etudes BY FRANK J. DOLAKCONTEMPORARY TECHNIQUES FOR THE CLARINET A Selective, Sequential Approach Through Prerequisite Studies and Contemporary Etudes BY FRANK J. DOLAKNOTATION ACCIDENTALS: The contemporary practice of an accidental only affecting that note which it precedes is implicit throughout this study. Occasionally, courtesy accidentals are employed for reasons of voice leading and as reminders for the performer. No microtonal notations are used. Only a vertical arrow either attached toa standard accidental or standing alone is used to indicate both microtonal pitches and quarter tones. FINGERINGS: One of the newer aspects of this study would be the consistent use of clarinet fingerings to designate harmonics, multiphonies, microtones, and various timbres. The system employed in this study is ¢ modification of that used by Rebfeldt. All of the keys are named for the pitches they produce in the lowes register. There are two exceptions, however. The first would be the upper E/B key of the lower joint. Thi: key is named B for the pitch produced by the addition of the register key. The second exception would be tht left and right Eb/ Bb keys which are always notated as Bb. HARMONICS: The prerequisite studies that treat harmonics follow the notation used by Sigurd Rascher in his "Dail Embouchure Drills.” The small, filled-in, stemless note heads placed below the whole notes represent th basis of fingering for that given harmonic. The upper whole note refers to the pitch. No microtone inflections were notated in these prerequisite studies. ARTICULATIONS: All of the harmonic studies appear with the long phrase placed over them. A broken curve is also use to connect the first two notes of each study. Harmonic Study Phrasing is a short-hand method of notating the preference for a complet unarticulated phrase which can, however, be broken at any point or points for realization of the harmon by tonguing. This short-hand method of notation is used in the prerequisite studies only. It was felt th using the long curve together with broken lines presented an overly-notated score. When this composer fc that the preference was for a long phrase but understood that some of the harmonics had to be rearticulat: by certain performers, the long phrase in conjunction with the broken curve was used in the contempora etudes. Etude No. 4 employs two articulations that will be new to most individuals--a "Reverse Envelope Attack and Decay.” This is accomplished by starting the pitch with a soft breath attack, immediately addi a crescendo and making an abrupt stop of the sound with the tongue. The symbol is an “adequate grap representation” of the effect. Etude No. 4 uses what is called by Bruno Bartolozzi “the ’smorzato’ soun which is produced by momentarily pulling the jaw away from the reed. The tongue is not used at all int type of articulatioin; the effect is instead produced by means of embouchure pressure alo PROPORTIONAL NOTATION: Modern proportional notation is such that “horizontal space equals time.” An articulated passage intervening space between note heads is defined as silence. A phrased passage with intervening spac defined as being filled with sound. FRANK J. DOLAK, Composer ‘Copyright © 1980 by STUDIO P/R, 224 S. Lebanon St., Lebanon, IN 46052 All Rights Reserved” International Copyright Secured” Printed in U.S.A. ‘Sole Distributorship: STUDIO PR, Ine. eClarinet Institute of Los Angels - _ wwwlarinetinstitute.comLip Bends st tens er ste lane sae tebe aT he jo“ he From the Archives ofthe Clarinet Institute ofLos Angeles - —_ wwwelarinetinstitute.com4 : Harmonics ces ewe FEF2 ‘ofthe Clarinet Institute of Los Angeles www clarinetinstitute.comFrom the Aret res of the Clarinet Institute of Los Angeles - wwwwclarinetinstitute.comoe a ame ator 8 8 Se B, 1 1 RIIp ‘ofthe Clarinet Institute of Los Angeles www clarinetinstitute.comHarmonic Arpeggios & Scales. = 2 oe 2 = ‘ofthe Clarinet Institute of Los Angeles www clarinetinstitute.comFrom the Archives ofthe Clarinet Institute ofLos Angeles - —_ wwwelarinetinstitute.comSw 2 8 oy FF eS te ew Pea iar SEBBESS” a —Y 5, poe? & - 2 eee teat ace 4 plone ost Wale : Sie ities Bue —» 2S rece teeceias Rare ie. or ieiicieg : ane pee i ce . 3 8 3 8 — ao ete je < te 2 |e” Ye — ew XN o ; 4 24 4 4 3 : 3 : 3 H : 8 3 ofthe Clarinet Institute of Los Angeles - — wwwelarinetinstitute.comQuarter Tones oP } 1 ae al ovoid 2 ereioed Bb Sct 3 4 cooset coo 2001008, cs Be Borg i Botr’ 8 From the Archives of the Clarinet Institute of Los Angeles www clarinetinstitute.coma me i alt oeieed™ ” soeieed” ” Oeeleet a eojee! 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M1 = ma ave a) # = Bee — Shhhh op P 2P @ niente —= ht? 3 Bh £8 on ary sutr§ Bary ie Eaeeeeeceeee A F subito - = 3 ofthe Clarinet Institute of Los Angeles - — wwwelarinetinstitute.comvibr, aie fete ear te te = ov Psempre yore Rect Bact Byat BUS UUMIME Reed ELE M1 M41 ta u— = he sunen baja be 7 SSS == fs R ic " o#8 red From the Aret res of the Clarinet Institute of Los Angeles - wwwwclarinetinstitute.com$AIIIP seem Shhhb —= * decrese, a niente \= = $119}| Ib sl grdeee is = salle me geaeeo groteeo an|||h —geomco ty bE geoeeo alle \ alge es Hee play three times ord, oe = a = Te 41 a. + vf ig te id gefiooo ase a govwes & govieee www clarinetinstitute.com From the Archives of the Clarinet Institute of Los Angeles— Fsubit0 3 8 —— Let reiteration fade out, = ad i, niente Bor 3 i t 4 Subito ff sempre From the Aret ves of the Clarinet Institute of Los At www clarinetinstitute.comEPIGON for Prepared Tape and Clarinet PERFORMANCE INSTRUCTIONS: A recorder equipped with "Simul-sync" is required. Prepare the tape {in the following sequence: 1, First, record TAPE on the left channel at a speed of seven and ‘one-half inches per second (7 1/2 IPS). 2, Next, record TAPE again, this time on the right channel, but at the slower speed of three’ and three-quarters inches per second (6 3/4 1PS), TAPE must be played through twice in order to fill up the tape. ‘The resulting recording should produce a canon in which the right side is playing the same material as the left side, but twice as fast and an octave higher. de02 Clarinet Left Channel Right Channel From the Archives of the Clarinet Institute of Los Angel - — wwwelarinetinstitute.comofthe Clarinet Institute of Los Angeles - — wwwelarinetinstitute.com‘ofthe Clarinet Institute of Los Angeles - —_ wwwlarinetinstitute.comofthe Clarinet Institute of Los Angeles - — wwwelarinetinstitute.comEPIGONE i TAPE -s of the Clarinet Institute of Los Angeles - — wwwelarinetinstitute.com- EPIGONE CLARINET ovsiec’, eect -s of the Clarinet Institute of Los Angeles www clarinetinstitute.comofthe Clarinet Institute of Los Angeles - — wwwelarinetinstitute.comee | STUDIO P/R, Inc. 224 S. Lebanon St., Lebanon, IN 46052 Printed in USA. B-100 $5.95 From the Aret ofthe Clarinet Institute of Los Angeles - — wwwelarinetinstitute.com