Table of Contents
- …on clarinet articulation covers everything from single and double tonguing, slap tongue, tongue rams, and fluttertongue through to flute and trumpet embouchures, and clarinet shaking. (Tongue ram, and flute and trumpet embouchures, are also techniques wherein the mouthpiece is removed from the clarinet. Other mouthpiece-less techniques can be found in this post.)
- …on writing air sounds for clarinets deals with all the different ways you can manipulate air on a clarinet: air versus pitch, vowel sounds, outside of the mouthpiece, without the mouthpiece, inhaling versus exhaling, various articulation effects, etc.
- …on soprano clarinet glissandi The details (and restrictions) of using them, in both directions, and how feasible bending is. It also talks briefly about spectral multiphonic glissandi (another post that talks briefly about spectral multiphonics is the air sound post, wherein I talk about spectral harmonic ‘whispers’ which are essentially very quiet airy spectral multiphonics).
- …on singing and playing covers all the possibilities of singing and playing, dynamics, how to deal with different pitch material in the voice and clarinet, glissandi, and combining singing with other extended techniques
- …on writing Bb clarinet harmonics helps you to understand how clarinet harmonics work and how you can use them in your music to create harmonic colour trills.
- A complete tremolo/moving passages chart (including quarter tones) for Bb/Eb/A clarinets – this post uses a kind of ‘traffic light’ system to help composers write tremoli and fast moving passages, while avoiding impossible intervals. And now also for bass clarinet!
- Bass clarinet preparations. Lots of ways you can cover the bell of the bass clarinet.
- All the possibilities for creating beautiful transitions, trills and multiphonics using only the register key.
- On the use of double trills.
- Bass clarinet techniques without the mouthpiece is a continuation of some techniques discussed in the articulation post. This second post moves beyond tongue rams, and flute and trumpet embouchures, to singing, whistling and croaking into the bass clarinet.
- On only using the lower joint of the Bb or Eb clarinet.
- On only using the top joint for Bb and Bass clarinet.
- Low note colour fingerings on the contrabass clarinet.
- On reed tapping articulation
- On close interval dyad multiphonics for Bb clarinet. And for bass clarinet.
- A selection of contrabass clarinet multiphonics.
- On spectral multiphonics for Bb and Bass clarinet. And for the contrabass clarinet!
- On underblown bass clarinet multiphonics
- Pitch bending multiphonics
- (Quiet) multiphonic trills for the bass clarinet.
- Multiphonics, one note at a time – a guest post for The Sampler
Specifically for Clarinetists:
Other Popular Posts:
- Communicative movement in contemporary chamber music: hand werk in the rehearsal of new works by Thierry Tidrow and Georgia Koumará (an article for Divergence Press).
- On using the iPad in performance
- Advice for young composers
- How to apply for a (Composition) Competition
- Risk-taking in contemporary composition