PrelEmfrnery Hxere[ses e Hfudes

in Contemporffiry TechnlqLles
for Clnrinef

Infroducfory mofefio! fot' the study

of multiphonics, quarfer fones, & fimbre variofion

by Ronald L. Caravan
Preliminory Exercises €, Etudes
in Confempo rcrry Techniques
for Clorinet
lnfroducfory moferiol for the study
of multiphonics, quorfer fones, G timbre voriofion

by Ronald L. Caravan

thos lPubricstion$
 Preliminory Exercises €t Etudes
in Confemporory Techniques for Clqrinet
lnfroducfion
The sound resources of woodwind instruments be- ting used to reading the fingering diagrams at sight), the
came significantly expanded during the second half of second (quarter tones) adds more of an aural challenge,
the twentieth century. Among numerous unconventionai and the third (multiphonics) additionally introduces a
techniques composers have used are multiphonics (pro- much greater challenge to the performer's tone-produc-
duction of more than one audible tone simultaneously), tion flexibility.
quarter tones, timbre variation, glissando, portamento, For the fairly advanced student who possesses good
vibrato manipulation, non-traditional methods of attack basic piaying habits, the material in this volume may be
and release, percussive effects, vocal sounds, and air able to serve as appropriate introduction to the uncon-
sounds. Once the peculiarities of a few experimenters ventional sounds involved. In my own teaching experi-
and jazz musicians, unconventional sounds have become ence, utilizing many of these exercises and etudes in this
accepted as viable material for contemporary serious way, I have even had students present some of the etudes
musical composition. in informal studio class performances, providing a good
The purpose of this volume is to provide material introductory experience in performing with sounds that
that may assist the clarinetist in developing flexibility with are generally quite new to them.
some of the non-traditional techniques often required There is an important warning I feel must be ren-
in the performance of contemporary music. The exer- dered to the student clarinetist who may be approaching
cises and etudes contained here deal principally with unconventional techniques such as these for the first time.
three techniques that typically involve unconventional I suggest that material such as this is not something to be
fingerings - variation of timbre, quarter-tone production, dealing with unless there already exists, presumably
and the performance of multiple sonorities, or through more traditional studies and disciptines, a rea-
multiphonics. Fingering diagrams are included through- sonable degree of solidification of basic clarinet tone pro-
out this study material to guide the clarinetist in produc- duction and technique. Particularly with regard to the
ing the various sounds as they occur in the notation, as is study of multiphonics, these unconventional sounds of-
generaily the case with most literature utilizing such tech- ten involve significant and complex deviations from nor-
niques. A key to the fingering diagrams, which are de- mal tone-production habits - potentially healthy devia-
signed to be as practical and immediately communica- tions in the context of a well-established, disciplined tech-
tive to the performer as possible, is provided. nique, but potentially unhealthy deviations if undertaken
The material in this volume is divided into three basic before fundamentals are solidified. The student who lacks
sections. The first deals with timbre variation, the sec- consistency and good habits with basic aspects, such as
ond with quarter tones, and the third with multiphonics. proper breathing and abdominal support, embouchure,
There is no set, prescribed manner as to how one should and articulation, would be well advised to delay studies
proceed through the book; one might work in all three in unconventional sounds until a later time.
sections simultaneously, or go from the beginning to the Best wishes, and, by all means, enjoy the study and
end in the order printed. In the event one would choose performance of these fascinating sounds!
to do the latter, the effectiveness of this course might be
enhanced by the fact that the first section (timbre varia- .Ro"JlI Co"oo*
tion) presents primarily a technical challenge (i.e., get- Sg*out, (UnLv
e'ity, 3y *ou"t, 4.V., U.3c4

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About lhe Aulhor

Ronald L. Caravan earned the degrees of Master of Arts in music theory and Doctor of Musical Arts in music
education from the Eastman School of Music in Rochester, N.Y., U.S.A. He also earned the Performer's Certificate on
clarinet from that institution. His doctoral dissertation, Extensions of Technique for Clarinet and Saxophone (L974),
became a widely recognized resource on performance, pedagogy, and composition of unconventional sound resources
for these instruments. Dr. Caravan joined the faculty of the Syracuse lJniversity School of Music in 1980 teaching
applied clarinet and saxophone at the undergraduate and graduate levels.
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Copyright O 1979 by Ethos Publications

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All Rights Reserved - lnternational Copyright Secured
 CONTENTS
Timbre Variation ,
Etudes on Timbre Variation 3

Quarter Tones
Quarter-Tone Fingerings 10
Quarter-Tone Etudes t2

Multiphonics 18
use of conventional Fingerings with Distorted Tone production . .. . 19
PreliminaryExercises.... .........19
Use of Special Fingerings . . . .22
Preliminary Exercises .... .........2J
Preliminary Exercises Linking Murtiphonics and single Tones .. . . . .26
Singing WhilePlaying ........30
Preliminary Exercises .. .. 31

Multiphonic Etudes. 34

A Selected List of Extensions of Technique for Clarinet . . . . . . .48

Guide to Fingering Diogroms

Keys ond Open Holes on lnstrumenl
As Diogromed

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o- Open hole or undepressed key.

o- Holewith on oroppropriole
closed key depressed
finger.

o- Opiionol for
of tuning or
consideroiions
timbre.

N.- Use normol or regulor fingering

 -2-

Timbre Voriofion
Using olfernofe fingerings fo vory tone color on o single pitch

The issue of timbre, or tone quality, as a parameter human components that enter into the tone-production
that can be predictably manipulated by the performer process.
suggests a wide rarrge of manifestations. The develop- The Etudes on Timbre Variation that follow exploit
ment of a performer's characteristic tone quality is it- some of the possibilities for tone-color variation through
self, in the final analysis, the development of the ability the use of various fingering alternatives. Many of the al-
to achieve and consistently manifest a tone concept ternate fingerings employed may seem awkward at first,
throughout the pitch and dynamic ranges of the instru- but the performer should experience no difficulty once
ment. But, of course, this tone quality is not a single tim- used to adjusting the fingers to the unconventional pat-
bre resulting from a fixed pattern of harmonics (over- terns involved.
tones) throughout the range of the instrument. The har- It will probably be necessary for the clarinetist to
monic spectrum, hence the timbre, changes with every focus attention more on the fin$ering diagrams than on
pitch and dynamic nuance played. (Other elements that the music notation in the course of playing, at least in
enter into the acoustically complex issue of timbre are the early stages.
formants, phase, noise elements, presence of inharmonic With regard to changes in embouchure, oral cavity,
partials, transients, and radiation properties of the in- or air speed components in the course of performing tone-
struments. Additionally, there are moment-to-moment color variations with alternate fingerings, there are at
changes in the balance of harmonics in a humanly-pro- least two circumstances when tone-production adjust-
duced sustained tone.) ments might be appropriate.
For all the variables involved in the tone-produc- First, some of the unconventional fingerings will
tion processes of the individual clarinetist (e.9., embou- result in minute pitch variations as well as tone-color
chure components, tongue positions. air pressure), an changes. By careful "favoring," the performer might be
effectively consistent tone quality is generally achieved able to minimize pitch fluctuation in a succession of tim-
by the more mature player (the frustration of different bre changes involving different fingerings. A second and
reeds, mouthpieces, and even instruments notwithstand- more subtle consideration is that of utilizing one's tone-
ing!). It would be futile, howevet, to attempt to define production flexibility to complement the tendency of a
precisely the exact effects of these variables, with their given alternate fingering. For example, a slight amount
complex interactions, in even one player, not to mention of supportive tone-production adjustment added to a suc-
from one piayer to the next. cession of fingerings on a constant pitch going from
The fact emerges that the most effective and most "dark" to "bright" can enhance the effect of the overall
easily standardized method of achieving a variety of tone gesture. Adjustments might involve slight embouchure-
colors on a particular pitch on the clarinet is to employ pressure or tongue-position changes.
several fingering combinations, in addition to the most With the possibility of predictable timbre variations
conventional one, which produce different harmonic through the use of alternate fingerings, the potential also
spectra from one to the other and, hence, produce dif- exists for producing trills between two different tone
ferent varied timbres. Using alternate fingerings is the qualities (where the fingerings employed are plausible
most predictable method of varying tone color on the for rapid alternation). Timbre trills are used in the fourth
clarinet since the different resonances inside the instru- and sixth of the etudes that follow; the graphic undulat-
ment that are produced are more predictable than the ing line above the staff indicates relative trill speed.
 -3.

Etudes on Timbre variation for clarinet

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Quorter Tones
Without making structural adjustmentg to the conven- ing in the traditional semitonal chromatic system, a greater
tional Boehm system key mechanism, quarter-tone inter- degree of pitch sensitivity will be necessary for accurate
vais can be played on the clarinet through the use of special quarter-tone playing. An excelient course of practice for
fingerings to produce the pitches between the conventional the purpose of familiarity is for the performer to play iso_
tones of the chromatic scale. However, since the standard lated quarter-tone intervals or successions of adjacent quar-
key mechanism was not made to produce intervals smaller ter tones for a while, subsequentiy turning to other melodic
than a semitone, the production of quarter tones on the clari- progressions involving quarter tones such as the etudes pro-
net will generally involve the use of numerous ,,cross fin- vided on the following pages. Among other things, the ef-
gerings," some of which can be quite complicated from an fect of psychological conditioning will soon become appar-
acoustical as well as mechanical standpoint. (The term ,,cross ent. This is perhaps best evidenced when a succession of
fingering" describes that situation in which there are one adjacent quarter tones is played for a few moments followed
or more closed holes beiow an open hole [which for all prac- immediately by the playing of a semitone. The half step
tical purposes terminates the tube length] and then addi- will probably seem larger than ever!
tional open holes below thatfe.g.,low B on the clarinet, not In order to facilitate this type of activity, the quarter-
employing the chromatic, or "fork" fingering]). tone fingering chart that precedes the quarter-tone etudes
While the entire semitonal chromatic scale can be is provided primarily as a raw material from which the cre-
played on the clarinet without the use of any cross finger- ative clarinetist might fashion preliminary exercises inde-
ings, few quarter tones are available that do not require pendently. While an activity as basic as simply playing as-
them. Since cross fingerings affect the resonances in the air cending and descending quarter-tone scales can be very
column in such a way as to reduce the harmonic content of profitable, not all such preliminary exercises with the new
the pitch being sounded (or otherwise distort the spectrum quarter-tone fingerings necessarily need to involve quar-
compared with non-cross fingerings), wide timbre differ- ter-tone intervals. It might be quite profitable, from an au-
ences may occur between the quarter-tone fingerings and ral as well as tone-production standpoint, to utilize just the
conventional fingerings. Generally, the practical result is that quarter-tone fingerings to play more conventional chromatic
the quarter-tone fingerings produce "darker" or ,,duller,' or even diatonic scale segments or patterns.
tone qualities. The performer, by means of tone-produc- A final note of introduction is given in regard to the
tion adjustments (e.g., embouchure, tongue position), can accidentals employed in this volume for quarter tones. For
minimize these tone-color disparities to some extent in the the notation of sharps in quarter-tone increments, the con-
context of a given melodic line. But it should be reatized ventional sharp symbol (#) is assumed and each vertical
that some timbre deviation in passages involving quarter line is taken to represent one quarter of a tone. Hence, the
tones is simply characteristic of the instrument. quarter sharp is represented by the symbol using one verti-
Although playing quarter tones should not place many cal line and the three-quarters sharp is notated using three
additional technical demands on the clarinetist, there are vertical lines. This further relates to the standard but less-
certain aspects that deserve particular attention. The most frequently used double sharp, ##, exhibiting four vertical
important consideration is the refinement of the performer,s lines ("four quarters" sharp). For the notation of quarter
interval discrimination. One must be able to hear and imag- tones in flats, the use of the filled-in, or black flat to repre-
ine the interval of a quarter tone accurately enough to be sent a quarter tone, or half of a semitone (open, or white
able to adjust the tone production for intonation purposes. flat), draws its relationship from the conventional use of a
The quarter-tone fingerings are no different from conven- black note head to represent a quarter note and an open
tional fingerings in this respect. The player will have to be note head for a half note. The musician, already conditioned
prepared to temper pitch frequently. (This may be concep- to the idea that the filled-in symbol is half the value of the
tualized very differently among different piayers, with the open one, will have no trouble adjusting to this system. It
manifestation of these adjustments taking on such descrip- foliows that three-quarters flat would be represented by
tions are "lipping," "focusing," "voicing," and so forth.) one open and one black flat symbol, relating logically to
The fundamental challenge is that compared with hear- the conventional double flat (two open flat symbols).
 .10-

Quorfer-F one Accidenlols

t"t't

Quorter-Tone Fingeri ngs for Clorinet

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Quorter-Tone Etudes for Clarinet

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Multiphonics
Among the numerous unconventional sound re- gerings as unlikely as normal, traditional single-tone fin-
sources that began to appear in clarinet literature dur- gerings, or by utilizing special unconventional fingerings
ing the second haif of the twentieth century, perhaps the that tend to enhance these more complex resonances,
most fascinating and acoustically intriguing is the simul- often requiring a minimum of tone-production adjust-
taneous production of more than one audible tone. The ment. (In general usage, it is this type of sound rather
composite sounds resulting from this sort of production than the simultaneous use of the instrument and the voice
have been referred to as "multiple sonorities," "multiple that is usually thought of as multiphonic production.)
sounds," or "multiphonics." The text and preliminary exercises that precede the
Aside from equipment modification, there are two etudes in this section are divided into three areas. The
basic ways of achieving multiple sounds with the clari- first section deals with the production of multiple sounds
net. One technique is to combine conventional clarinet through the use of conventional single-tone fingerings
tone production with vocal tones produced simulta- with distorted tone production. Although this is gener-
neously by the performer. The other basic source for the ally a more difficult method of multiphonic production
simultaneous production 6f more than one tone does not compared with using special multiphonic fingerings, it
lie in introducing another tone generator (1.e., the voice), provides very advantageous study material because of
but in altering the resonance of the air column inside the the flexibility with tone production the performer must
instrument so that two or more tones are tendered rather manifest in order to achieve even minimal results. The
than just one.* This can be executed by the performer second section deals with multiphonics using special fin-
maximum of tone-production distortion (e.9.,
utilizing a gerings, and the third provides an introduction and study
embouchure, oral-cavity, air-speed adjustments) on fin- material in singing while playing.

*For some basic introductory acoustical information on multiphonics, see: Ronald L. Caravan, Extensions oJ Technique Jor Clarinet and
Saxophone, Unpublished D.M.A. dissertation, Eastman Sehool of Music of the University of Rochester, 19/4, Chapter II, "Acoustical Properties of
Multiple Sonorities," pp. 9S120. (Available tlrough University Microfilms, P.O. Box 1307, Ann Arbor, Michigan, 218106, No. 75-578.)

8P062874
 -19-
lvlultiphonics-
l. Use of convenfionol fingerings with disforfed tone producfion
In producing multiphonics from conventional single- liestto employ such sonorities- Concert Musicfor Solo Clari-
tone fingerings, probably the most frequently employed as net (1967) by John Eaton (Malcolm Music Ltd., 1971), and
well as most approachable procedure is for the clarinetist Variants for SoIo Clariner by William O. Smith (Universal
to use a fingering for a clarion-register (third-partial) tone Edition,1967).
and cause it to produce a fundamental as well as a third- In the preliminary exercises that follow, the clarinetist
partiai tone. Often, one or more higher tones (r.e., higher is provided with a framework for practicing the production
than the clarion-register tone normally associated with the of fundamental-register tones with the register key de-
fingering) are also heard as part of the composite sonority. pressed as well as the simultaneous production of funda-
From an acoustical standpoint, what basically happens is mental and third-partial tones. These exercises can easily
that the performer's distorted tone production affects the be expanded to include other parts of the third-partial reg-
r6sonances in the clarinet in such a manner that the open ister as well as fifth, seventh, ninth, and even eleventh-par-
register key acts as a tube-length determinant (causing the tial fingerings (altissimo register).
fundamental-register "undertone") at the same time that it These preliminary exercises constitute the only mate-
acts as a register vent (causing the third-partial tone). rial in this volume where multiphonics are derived from
Multiphonics performed in this manner are found in normal single-tone fingerings; the etudes that complete this
two particularly noteworthy clarinet pieces, among the edr- section involve special multiphonic fingerings exclusively.
aaaaaaaaaaaaaaaaaaaaaaaaoaaaaaaaaaaaaoaaaaaaaaoaaaoaaaaaaaaaaaaa
Preliminary Exercises
I. Fundomentol-register tones with register key depressed.

ppp
T TTT (Continue with
ao
a
a.ooo to ir these .fingerings)
o ooo
o ooo
o ooo
o ooo

*------.___----l
\-
mP p7P-- simire
1T
r.r. oo
a ttr ooo
o o
6- o
o o
o o

T^ T T T T T T
r.{, ti t3 .: iIt: .-
Naaa
_ aa
N.a* oo
a
o o o o a ctr a
o06-o 'o o 6- o
oooo o o o
oooo o o o

[N - Use normol or regulor fingering]

RpOAteT4
 -20-

2. Slurring from fundomentol to clorion register with

register key depressed.

mp PPP mP
T
T
ao oa
T
aa o.OO l. ao
a a a
lo N.o o
I _--_ o ro o --- -
o o o----- OO o-
o a o OO o
o a o Oo o

T
ao ir
I
r T
aa
o o" a
o o'
o --
tO o
(., o o-
o Oo o
o oo o

3. Slurring from clorion to fundomentol register

with register key depressed

,T T T
oa
J
aa oa o
aO
O a o
o_ rO o o
o o 6- o
o o o o
o o o o

(Continue with these fingerings)

8P062874
 -2t-

4. lntroduction of fundomentol ond clorion register lones simultoneously.

,1---------\ /--:-
.-:-- b.d-n '+ -

.ru
T T 'r
oo lll lO jo
a a o o
o lo o o
o
o
o
o
ao o
o
o o o o

z----___\
r --_-_----'--
2- + /,+=\

(Continue with these fingerings)

EP062874
 -22-

lvlulriphonics-

II. Use of speciol fingerings

Generaliy, the most easily produced, most depend- overtones after the fundamental, perhaps a productive
abie. and most manageable multiphonics for clarinet are approach would be to play the third-partiai tone with
those produced by means of unconventional fingering the normal fingering, then release the register key and
configurations that seem to encourage the peculiar bal- sustain a decrescendo. When this can be executed suc-
ance of resonances in the air column that result in more cessfully without having the tone change to the funda-
than one audibie tone. Multiphonics produced with spe- mental at some point in the long decrescendo, the neces-
cial fingerings usually require less deviation from nor- sary tongue position has probably been achieved and a
mal playing technique, depending on how efficiently the widened flexibility has already begun.
fingering patterns affect the air column. Another activity that can be very profitable for
For clarinetists inexperienced at producing achieving and exercising a greater tongue-position flex-
multiphonics, however, using a special fingering may not ibility is that of tone bending. This involves sustaining a
necessarily lead to immediate success. As in the produc- tone and then, with no change of fingering, bending it
tion of single tones, while a particular fingering may en- down in pitch as far as possible. For the clarinetist, it is
hance the possibility that a specific sound will result, this probably best to use tones around B just above the staff,
in and or itself is not totally adequate for the production or higher. A related activity aimed toward helping to
of that exact sound. The performer must have an "im- develop the same flexibility would be to use the mouth-
age" of the sound in mind ahead of time (hearing it in piece alone (or possibly the mouthpiece and barrel alone)
the "mind's ear") and then be able to control the sound and practice producing a portamento or even a scale.
that emerges from the instrument by manipulating the In approaching flexibility activities such as these, it
air stream in various ways just before it enters the mouth- is important to realize that there are two key factors,
piece. For multiphonic production, some degree of ad- one mental and one physical: (1) hearing the sound in
justment in tongue position, embouchure, and/or air the mind, or imagination, that one is aiming to produce,
speed will probably be necessary and the extent and na- and (2) making the necessary oral-cavity manipulations
ture of these adjustments will probably vary substantially as determined by varying the tongue position. Slight
'
among different multiphonic fingerings. embouchure variations will sometimes be necessary, but
In approaching the production of multiphonics (as there should be considerably less emphasis on this. It is
well as numerous other unconventional techniques), it is the flow of the air stream that must be controlled, and
important that the performer possess an adequate flex- this ability grows out of increasing the oral-cavity flex-
ibility with the tone-production processes. It is essential ibility.
that the clarinetist develop the capacity to make subtle In addressing the issue of multiphonic production,
yet significant manipulations of the embouchure, tongue as well
as that ofundertaking such activities as overtone
position, and air speed. exercises, perhaps the most important consideration of
Often, it is the aspect of oral-cavity manipulation (i. e. , all is that of developing the aural flexibility. As impor-
tongue position) that the clarinetist has experienced the tant as the physical flexibilities may be, the performer
least. Among various activities one might use in working who does not possess a clear aurai concept of the sound
toward greater flexibility with tongue position, a valu- he seeks to produce has a much lower potential for suc-
able procedure can be the practicing of harmonic, or over- cess in these endeavors. The clarinetist must be able to
tone exercises. Typically, this involves sounding a pitch imagine the sound - visualize it - actually hear it in the
in the lowest, or fundamental register and then, with no mind before attempting to produce it with the instru-
change in fingering, sounding as many of the overtones ment.
as can be achieved. On clarinet, a good starting point is While success with multiphonics will in great part
probably low B-flat. A third-partial F and a fifth-partiai depend on how flexible the performer can be in the ap-
D would be the lowest two overtones to aim toward pro- proach to blowing the instrument, this finely sensitized
ducing. (Use breath attack rather than attempting to tone production presupposes the existence of a clear
tongue or siur from the fundamental register to the higher mental image of what is to be played in advance of the
harmonics in these exercises.) actual execution. This factor of aural imagery cannot be
If one experiences initial difficulty producing the overemphasized.
 -23-

Use of Special Multiphonic Fingerings - Preliminary Exercises

l. Approoching multiphonics from clorion-register tones.

17l+
a-l$c- '-a-

T T TT
aa aa oa al oa aa aa
N'aa oo r{3 o
O
oaa
o l. la
t.aa a
,O
t
.,.
oaa
oat
aa e#o GFo oaa

T T T
aa oa aa 1l aa oa
N. l.
6
a a
la rf i.l 3.p
-a,aocfr
N' I cf
a aa aa
,. .a aa aa
F#o pfo -lo -d. -a
rts -a
F " t-r'

2. Approoching multiphonics from fundomentol-register tones.

1-+
/r: /-r>
/ ?Z €& /^le

E +c
,t7
+a
oo oa aa at aa OO
a a -- --o N.aN.. r{ 3.t a
a o tO la T.{

-a -a r-
aa
;
a
ocil
O
a
a -*o
I
a _no
F' p#' Fa
[N - Use normol or regulor fingering]
 -21.

3. Attocking multiphonics directly.

ao aa aa aa aa
o o a a a
a o to l. ocF
o
o
a
a
o
a
a
a
.
a
o I -lt a
F[' Jr
l

{g

aa aa oa aa aa oO aO
a ooo a
;
ocf a
-..
g lo ta
a
3.#
-OO
3.#
6r
a aao a
-a
t- a =7O O
F#. rf. .

4. Connecting multiphonics.

oo aa aa ao aa aO aa Oa
oooo oaaa
oaao ,a rO. 'O rO
-Tto
oooa T
aao.
trff ; T=L
a cfra O O O

,,ffi
F{O po a

'r
aa Oa Oa aa aa oa aa aa
aaaa
!.*
aaa ir/.
3.#
a
rcF
ira
o
a
9o
Oii
o
a
o
a
oaa aaaaa
F*o . r#. a -a
t. o -a
EP062874
 .25-

oo ll oo aO aa aaoojo aa aa o. aa oa
oooooo
aa
ooooo aa
aoaao ....9o
Oa-.-.--aOa a aa aaaaaa
o . a a .,a -oooooo
oa-aacfat
_a
odr ; o . G+. o F-o

aa jl aa ao aa aa ao aa to oo
aa.OaOaaa Oa
la to ra lo lo la la
aaaaOoa
!a 3a 3.r t3.0 ia
r t 6r .F
o .a o o a a a o...?
a ;i - E.
.(:[ooo.oe#. o

.-.\____
//___ __

€>
oo ao aa aa oo aa ao a'
o..--.a;t 'a ooaa oC'
a o a a 'o
;t--
aoaoO
ro..
aaaa
o
Fa 3 o dF. po
O"O

30 aa .J Oa Oa aO aa aO oa aa
aOOoac
aa
aa.oo
:O o'i a a .-'- . .
O O O a
--;t- ot6--dt
oaoaoa
aaoao OOOaOFa
a Fa o o o

ErDmta%
 .26-

Preliminary Exercises in Linking Multiphonics

and Single Tones

l. Linking multiphonics ond single tones with no

fingering chonge.
o)' ,----------.-
,/ --,-_'----------
,E €' \ +

aa oo
o o
a o
a a
a a
a o

/G\ v --- f;\

r.4-

\-,. \.-..: t€ \__-/+\_/ -s-

aa ao
a a aa
ta ra O
t--
a
a
a
ocil
a
a
-do
F' F+' -a
t-

ao aa
a,; aO
a a
oct o
ta o
a .
a a
-a
r o o

E,P062874
 .27-

/' --------__-----
/
,r------\
./+ ^a- -\
\
Enz --E

aa
aa o
o a
o a
a a
a a
a

E--
z^-q b
--t;----\\
b-t----E G
aa oo
aa oa
a
{a ro
a .- - 'c-
a a a
of' .lo
F -a
t-

aa aa taa
a
a ci.
')t oo
5a aa
aa
-a
r oo

EP062874
 .2t.

2' Linking multiphonics .ond singre tones with fingering chonge.

+
I

aa aa ao ao aa
MO aa la a
a o N ac* l'fi ia
ta tE . ;
a ,O I a
a . do -a
F o

/:> -+
4 _-
,--
//+

oa aa aa
Ma at r{a aa tl[ o
g a C1t ra I
a ; 5a a
a a a
o -l
r -#t
t-'
o

b)
.-+
/-/-4- z r'T*
.O oa aa of
rf.o lll a i\:al{rlla
a ta oclt o
.
a
a
a
.t
ao
O
-*o
P' Fo o

''-l* /--+

aa aa a' a'
a t{: a tfa {\. o
o acfi
,r
la a
a - a ;
a a a a
o
F. Jr
F
o

EPfm2874
 -29-

Space for

-Nofes,^,
 ,30-

Multiphonics-

Ill. Singing while ploying

By producing tones with the voice in combination tone against moving clarinet tones, or perhaps vocal ma_
with normal playing on the clarinet, harmonic intervals nipulations (including portamento) while the clarinet
as well as simultaneous melodic lines can be performed. holds a constant pedal. To expand material for practice
Singing while playing has been utilized extensively over beyond the exercises provided here, the clarinetist could
the years by woodwind performers in the jazzidiomwhere vary these examples in different ways (e.g., transposi_
a "growling tone," or "bl)zz tone" is often produced by tion) or create similar ones.
singing an unspecified pitch while performing a melodic
line on the instrument. Composers of music other than Once the performer has achieved some initial suc-
jazz have made use of this type of sound, and occasion- cess in coordinating the voice with the instrumental pro-
ally the performer is even called upon to coordinate the duction, attention should be directed toward careful bal-
production of tones of the instrument with specific tones ancing of the two sources. In performing two melodies
produce by the voice. Examples of compositions for clari- simuitaneously in this manner, the most common diffi-
net that include this technique are William O. Smith,s culty is keeping the sung part loud enough and/or the
Variants for Solo Clqriner (Universal Edition, 1967) and, played part soft enough to assure appropriate balance.
Ronald L. Caravan's Five Duets Regarding the balancing of two parts, it might be advis-
for One Clarinetist able for the clarinetist to employ the aid of a tape re-
(SeeSaw Music, 1976).
The simultaneous production of tones in this man- corder inpracticing. Since one hears in part through bone
ner is often difficult for the clarinetist who has done conduction while playing, listening to a playback might
little
or no experimenting with this technique. Typically, the be most revealing.
most difficult hurdle is getting used to the feel of singing Concerning the notation of the preliminary exercises
and blowing into the instrument at the same time. (The as well
as the "duet" passages in the etude section, all of
demand on the air stream is substantial, and correct the pitches, whether intended for the instrument or the
breathing habits are essential.) voice, are transposed and written in the treble clef. Be-
The exercises that follow are intended to assist the cause of individuai differences in vocal range and
clarinetist's earliest efforts in attempting to coordinate tessitura, it may be necessary or simply beneficial for
the voice and playing the instrument. Even prior to at- the clarinetist to transpose the exercises and etudes en-
tempting these examples, the clarinetist might find it ben- tirely in order to accommodate his or her particular voice.
eficial to improvise some vocal-coordination exercises (Use of an A clarinet rather than a B-flat could render a
such as producing isolated harmonic intervals, a succes- downward transposition of a semitone without further
sion of harmonic intervals where the voice holds a pedal adjustment, of course.)
 -31-

Use of the Yoice while Playing - Preliminary Exercises

I. Motching Pitches.

Play Upper
Sing Lower

pai-
l\----l- FSDs

2. Scole with Pedol (slowly, tune eoch intervol).

Alternate
Ports

3. Scole in Porollel Thirds.

Alternate
Parts

8P062874
 -32-

4. Scole in Thirds, Cononic Treotment.

5. Suspension Choin.

q.r3 r-=r

7. Exponding lntervols

Alternate
Ports

8P062874
 -33-

8. Controcting lntervols

9. More Melodic Leops.

Alternate
Part.s

10. Atonol Melody with Vocol Accomponiment.

PIay Upper
Sing Lower

ru

EP062874
 -31.

Multiphonic Etudes for Ctarinet

) = ,,-to
:

Pnffaa T
OO
aa -_ aaa o --
gs loa I
a
!
aa a
aa o"
Ort a
aa o Ft+
a

aa Ioo
a
o a oa oa
aa lo
. o la
a o
o o aa
aO
e#o .

aa aa
a,,'rl
ocs 9cn
- .F
aa .
F$.

EP062874
 -35-

t
€__-"-€

\\\-------./

'----\
Ln+ -.-----. -------
|?o ,/-----:
^^.to :

p-- ___---__
o.
-o .?a
o__N' aa aa aa aa oa
ooo,o a lo a
la
aa a
a
o
O trf. aoao
aooao
O il-Fn
a
i o _a
F. r

8P062874
 -36.

n
| 80-88
a=

]1+
a U

f+=---

-a-

==---

EP062874
 -37-

ilI
| 88-96
a=

p
Ploy

€:- q)d'

h= (f)

F *=--p

-d. {+ ---
:.-____?

EP062874
 -38.

l= ll2.l20
ry
o'

f* aa
a
lo
aa oa
aa
o ta
1O
a
a Ts; .cf
t a, ;
. a
FilO F*. a

---------=-- /.\
- -e short
6
--, t,

.v--..
m.l' ? -___-___ niente
aa 1O 1l
a,l o a
ac[ -- a la
-a 6o -
a
F#'
a ,to

h;
Y-
lc- N-e'
6.

mf, T T --_
oO 1O
o
ao jO
1O 1o
a a a oo
a a, a a l{oo
a o
o
a a oa
o
o
a o aa
o o o ao

----_-------..-

ao --pP f p
o
o
aa
a
O
aa aa aa
a a a
O O r@
tO
-a f oo
a
ao
oa oa
la ola
o
a toato.otT -;
O
a fr;
o
.or*.oBF' o aa
a
-t. ,la
F"

EP062874
 .39-

ato aa
ao ta a
a a a la
.c+ oc* to -a
ta -
a a
o F+'
Flf'
 -{u.

oa ta Oa to
o a
a __ o
'ort acf
a 6-7
oa a
a a
Fa o F' o

a o ao cresc
oo
oo ao
oa t ao
o .,4 o atl
a ctr
o {o -o ao
o
o

_____:_ rnp p
1o
o-o
to
jo aa
a
o
jl
to
a
^r
'i.* ,. ;i
6-.
Oa
I

t a -.
o ,o
oo o a a GEa
o e#o

6x I a.------

-e \\_/ \v

_
----:-- sempre pp
aO ao oa aa
rc a F.: a aJj o
o ocF tcr a
.
a
;
a
io a
t
-a
,- lo g) -O
F

EP062874
 -41-

VI

ff aa
a
la
ff
.
.,.
of,o

/-"'-'-'.\ ^.

b+
oa
a
oc*
13 .. .;
7 oao
,o ; o .F
Fpo : n{3 3

aa
cresc. molto
'sfu
ao aO
fff
4., a
loa ocil o
-o o 6o
o
o o o

aa
a! aO
atoosa aa
O Cli
; l t 9C+'Oc*
a o.6
aoa
ri' ooa
 -42.

tf,nwuuuuut- u- -n

lizS- o

aa ao o aa
o aa
.
a
o
a
-a
a
'c*
a
!.*
..l
!.#
,o o
tl 5
o o
Start
E'
slowly
! Ff3
...accel. io

cresc. molto
oa
aa aO aa
o -o o aa aa aeo
o Oa
9 o o o oo
a ao.aaa ao
a ooaaaa -;
a oaaoca rl aa
Gt+ oo
'.{oa6iaooo
, .tempo Io

ff aO
a
ff 1O
an
IO ocf,
a .
a o
G*. Fl .

br+€

ao aO ara oa ao jl
a )t
I Zc'5ci3 a
arr--
aOaag
O O a
3 oc*
.
a
Fa O
Ea
8P062874
 .t3.

A Selected List of Extensions of Technique for Clarinet

L Timbre Variation.
A. Changing timbre while sustaining or repeating a pitch.
B. Changing timbre of suecessive pitches.
C. Timbre trills.
II. Quarter Tones.
III. Multiphonics.
A. Use of conventional fingerings with distorted tone production.
B. Use of special fingerings.
1. Isolated and combined multiphonics.
2. Multiple sonorities linked to single tones.
3. Multiphonic trills.
C. Use of the voice.
IV. Vibrato Manipulation.
A. Variation of rate.
B. Variation of width.
V. Glissando. tRapid chromatic or possibly diatonic movement)
VI. Portamento. rstloing movement)
VII. Variation in Articulation.
A. Flutter tonguing.
B. Slap tonguing.
C. Smorzato. tAttact & decay with embouchure pressure; no tonguing)
D. Reverse envelope of attack and decay.
E. Glissando attack and releas€. (or portamento)
VIII. Percussive Effects.
A. Key clicks.
B. Key Pops (Key slaps).
C. Hand pops.
IX. Air Sounds.
X. Vocal Sounds.
XL Mouthpiece Alone.
XII. Lip Buzz.

For f urther study ond perf ormonce

in extended clorinef techniques
Polychromatic f)iaersions fo, Clarinet
By Ronold L. Cqrovon
l0 Graded Composilions Using Non-froditional Technigues
Available f rom:
Jhos Wublicstions