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Dear composers – when I started this blog I had just finished my PhD, and had lots of free time to work on the blog and answer your questions, as I was just starting to find my way in freelance new music playing. Now, unfortunately, it’s getting difficult. I receive many e-mails from composers with scores and questions every week, and while answering them is a great pleasure for me, I no longer have the time to keep up with them. If you don’t get a response to your e-mail, please understand, it’s better if I spend the time working on new posts (or, you know, practising ;). I’m very sorry about this, but I wish you all much luck and fun with your clarinet writing!

air sounds eb clarinet no mouthpiece speaking
aluminum foil flute embouchure preparations spectral multiphonic
articulation flutter tongue quarter tones tongue ram
bending glissandi register key trills
 composer advice history repertoire trumpet embouchure
double tongue  ‘how to’s for clarinetists shaking water
double trills  multiphonic singing whistling
dyads  CONTRA slap tongue

Table of Contents


The Basics:

On multiphonics:

Special Techniques: 

Specifically for Clarinetists:

On Repertoire:

…on a historical approach to the sound of the clarinet

 Other Popular Posts:

Posted in performance | 2 Comments

Emergent Bb Clarinet Multiphonics: Part 2 – Underblowing

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Posted in multiphonic

9 multiphonics that overblow from the second harmonic

If you’ve spent a bit of time on this blog you probably will have come to notice that multiphonics always involve a fundamental pitch — which is always the lowest pitch — plus 2-4 other pitch options, which are generally overblown from said fundamental and can be isolated more easily than they are played together. I think this was made particularly obvious by my recent post, a second look at Philip Reyfeldt’s chart.

However, recently, Scott McLaughlin and I found nine unique multiphonics. These multiphonics have a fundamental that hovers around a D#, plus a pitch in the second register (near the F). But, if you overblow to the multiphonic in the altissimo register, this pitch combines with the “F” in the second register, NOT the lowest fundamental. I could only find nine multiphonics that do this.

Untitled

Quite a few of them use the low G# key. Strangely, using the same fingering but replacing the G# with either the F, F# or E keys almost always did not produce similar multiphonics, they all consistently overblow from the low fundamental.

They are quite difficult, especially the second overblow. It’s really hard to balance the sound (as you’ll hear in the examples), but I actually really like this fragile quality. It’s necessary to play them at very quiet dynamics. I’d say piano for the lower dyad and piannissimo for the top.

So I hope you enjoy these nine fascinating multiphonics as much as we do!

(Apologies, I didn’t have my Zoom with me, so these are just recorded on my laptop – but I think you get the idea…)

 

Pitches Fingering Sound
IMG_EC2D9131C0BE-1.jpeg funique1
unique2 funique2
unique3 funique3
unique4 funique4
unique5 funique5
unique6 funique6
unique7 funique7
unique8 funique8
unique9 funique9
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Plastic tube scordatura

As you may have gleaned from recent posts, I’m part of an AHRC-funded research project at the University of Leeds this year with Scott McLaughlin, called the Garden of Forking Paths. Scott and I have been toying with the idea of playing with different barrel lengths, to see what kind of multiphonics might come out of it – this month we’ve been experimenting with a kind of “budget” version, using a bit of plastic tubing (an idea I had from working with William Kuo, who is a big fan of a bit of plastic tubing).

So, by extending the clarinet at the top, the proportions of the instrument are warped, and so the resulting scale isn’t simply transposed down, but stretched out. I made the tube as long as possible without losing use of the register key, but reaching into the altissimo is so-far impossible (maybe this would improve with practice? do I want to spend the time trying to find out? I don’t know?).

But the multiphonics are fantastic. I think so, anyway. They are brash and complex, and you can adjust the beating in a lot of them by moving the “barrel” around.

I wonder if this would be a really effective way to write microtones for less experienced clarinet players? Because learning the quarter tone fingerings is very time consuming, especially if you’re not going to make playing new music a daily thing.

I’d just like to know what you think! Is this something you could imagine using?

So the pipe that I use is 18mm in diameter and 16cm in length – and is inserted in place of the barrel, as shown:

IMG_5183

 

All of the pitches are transposed into Bb here – the first line is the fingered pitch, and the second the resulting pitches. You’ll need to show both lines in your score when you write with this.

chromaticscale

And it sounds like this:

Or alternatively, a bit of silliness with it on Instagram:

And then I have 10 good multiphonics for you. There are definitely more, I could probably spend a few happy hours coming up with another 30-50, but these were some of my favourites. Hope you enjoy them!

# Pitches Fingering Audio
1 multiphonic1p multiphonic1
2 multiphonic2p multiphonic2
3 multiphonic3p multiphonic3
4 multiphonic4p multiphonic4
5 multiphonic5p multiphonic5
6 multiphonic6p multiphonic6
7 multiphonic7p multiphonic7
8 multiphonic8p multiphonic8
9 multiphonic9p multiphonic9
10 multiphonic10p multiphonic10
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Underblown Bb Clarinet Multiphonics

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This post is closely related to the post on using the register key, the post on  bass clarinet underblown multiphonics and also to the post on Eb clarinet underblown multiphonics. It might be worth reading those, as well as the posts on spectral multiphonics for Bb, bass and contrabass clarinets, and Bb and Bass dyads to have a complete overview of this aspect of clarinet playing. (Basically read all the posts about multiphonics? There are quite a few more…)

If you’re looking for a nice example of a piece that uses these (plus a rather wide range of dyad multiphonics), check out Martin Rane Bauck’s Kopenhagener Stille. The section where he makes exclusive use of these multiphonics starts at 8:18 (but the whole piece is terrific!).

As usual these are in written (transposed) pitches. The fingering for each multiphonic in the first two sets is actually the same as the fingering for the top note, so you can notate these by just writing u.b. or underblow. If you’re worried about confusing the clarinetist, include a link to this page in your legend.

As with the Eb and bass clarinet equivalents of this technique, these are best performed at quiet dynamics.

firstset

The last few here are a bit theoretical most of the time, but you can hear the low note, just (you might need headphones.

Going upwards from the C sharp, the multiphonics are quite fragile, and a bit louder, but very effective:

altissimo

There is also quite a wide range of alternative fingerings for these, should a) something not really work very well or b) you be looking for a slightly different colour. These may well be some of my favourites, actually…

bonus multiphonics

bonus multiphonics

 

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Dyad Multiphonics for Bb Clarinet Part II – a second look at Philip Rehfeldt’s chart

When Philip Rehfeldt wrote his seminal New Directions for Clarinet in 1976, he included a number of multiphonic charts for both Bb and Bass clarinets. These charts aren’t bad, although quite regularly I don’t get the same pitches he does, and I always found his categorisation system a little odd. (The bass clarinet multiphonics in these charts are actually more problematic, and I wouldn’t advise using them!)

Recently, as part of the AHRC-funded project, The Garden of Forking Paths, which I’m consulting on for the next 15 months, Scott McLaughlin and I decided to spend a few hours trying to see if we could reorganise Rehfeldt’s Bb clarinet multiphonics in a way that made more sense for us. Instead of his six categories (which are based on a mix of dynamic possibilities and function, which I found inconsistent), we came up with four, which accurately describe the function of each multiphonic. (He wrote a nice blogpost that sums up our first session, which you can check out here if you’re interested!)

I wanted to show you the 29 multiphonics from his chart (many of which have appeared on this blog before) that we put in the category of “dyad multiphonics with spectral aspects”. I’ll talk about our three other categories in future blog posts.

I think one of the things I’ve struggled with is talking about multiphonics that have multiple attributes: but they all do. And the colour of the multiphonic, depending on which pitch is highlighted by the player, can change a lot. All of these multiphonics create “close” dyads (within a 10th) and also have further spectral possibilities, which you can move between. Rehfeldt struggled with this too: he writes that once you’ve achieved an embouchure position for a multiphonic, you don’t move. But I disagree. Being flexible about which pitches you can bring out allows for a lot more possibilities – and practising these gives the player a lot of control.

A lot of the same multiphonics appear in my post on dyad multiphonics for Bb clarinet. This is very much an extension of that post,  but if you’re interested in writing these sounds, I definitely suggest using both!

A lot of these multiphonics are quite difficult, and do require the clarinetist has some prior experience with multiphonics. None of them are on my Easy Multiphonics post, so do be aware of that if you’re writing for inexperienced players.

Within the pitch charts, please don’t forget that the bottom pitch (fundamental) will remain, and then you can choose between the upper pitches, they don’t sound all at once, these are not complex multiphonics. Choose the upper pitch that you want for each instance of that multiphonic, you can not have them all at once.

In the audio files, I’ve tried to show how easy it is (or not) to make each one sound as a chord, and also to show how you can move between them. I’ve also actually organised the multiphonics by pitch, for the first time ever, thanks to Scott having cut out all of Rehfeldt’s multiphonics for me to play with, Top Trumps style:

Pitches Fingering Sound Notes?
3-03 3-03f
3-01 3-01f
3-02 3-02f
3-04 3-04f
3-05 3-05f
3-06 3-06f
3-07 3-07f This one is really rather fragile in the high register (have a listen to the recording)
3-08 3-08f Stubborn in the low register and fragile up high – use with caution.
3-09 3-09f
3-10 3-10f
3-11 3-11f
3-12 3-12f
3-13 3-13f
3-14 3-14f
3-15 3-15f
3-16 3-16f
3-17 3-17f Debatable whether this is really a dyad or whether I’m doing an “ultra-underblow” – which I’ll discuss in a future post!
3-18 3-18
3-19 3-19f
3-20 3-20f
3-21 3-21f
3-22 3-22f
3-23 3-23f
3-24 3-24f Quite stubborn
3-25 3-25f Can get quite a strong loud one with the A (listen to the recording)
3-26 3-26f Can be difficult to place but sounds great when you find it (as you’ll hear!)
3-27 3-27f VERY stubborn dyad with the E.
3-28 3-28
3-29 3-29f

 

Posted in dyads, multiphonic | Leave a comment