spectral multiphonics for the contrabass clarinet

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Last week I wrote about spectral multiphonics for Bb and bass clarinets and I promised that I’d supply a chart for the contra as well, so here it is.

While I’m talking about the contra, I thought I’d just bring to your attention the two other posts I’ve made about this instrument: there’s a selection of various contra multiphonics  as well as a post about using low register colour fingerings.

You’re hopefully pretty familiar with spectral multiphonics after seeing last week’s post, and not a lot changes when adapting them to the contra in terms of different ways to manipulate the effect, but all the same here are a few examples:

Glissandi work really well and can be very dramatic (here on a low C fundamental):

And I also really love quiet whispery harmonics:

And now the chart. Once again, beautifully notated by Elena Rykova.

Fundamental Pitches Audio
C 01c  
C#  02csharp  
D 03d  
D# 04dsharp  
E  05e  
F  06f  
F#  07fsharp  
G  08g  
G#  09gsharp  
A  10a  
A#  11asharp  
B  12b  
C  13c  
C#  14csharp  
D 15d  


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This entry was posted in contra, multiphonic, performance, spectral multiphonic. Bookmark the permalink.

7 Responses to spectral multiphonics for the contrabass clarinet

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  6. Oliver says:

    Really informative blog, I am surprised I have only just come across it

    In the first example (Glissandi work really well and can be very dramatic (here on a low C fundamental)), how would one typically notate this kind of effect?

    • heatherroche says:

      I’ve seen a lot of things, but most common is notating the fundamental pitch and drawing a swirly line to indicate direction of glissandi. Hope that helps?

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