Emergent Bb Clarinet Multiphonics: Part 2 – Underblowing

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This is part 2 of a two-part series on Emergent Multiphonics (i.e. those that start on one note and blossom).

Admittedly that is most multiphonics so it may seem a little bit cheeky to propose this as a blog post except that here I’ve organised them very carefully by starting pitch, so that composers interested in using multiphonics for their pitch material can do so with a bit of confidence.

I think it’d be wise to read part one, if you haven’t already, as there’s a lot of useful information there which I won’t bother repeating. The first series showed multiphonics that start on the bottom note and overblow, and this series shows multiphonics that start on the top note and allow the lower note(s) to emerge. These multiphonics are slightly rarer, perhaps more fixed in their quality, but in my opinion are often the more beautiful of the two.

There is some crossover with other posts here, most notably that on dyad multiphonics, and that on underblown multiphonics (though I’ve only done these for the bass and eb clarinets so far!). I refer you to those for cross-referencing purposes! :)

Interestingly, with the last post I wasn’t trying to show all of the options: with so many possibilities for overblowing, I simply tried to give 2-3 top pitches for each fundamental. In this post, in a lot of cases, these are the only options for these pitches.

Hope you enjoy and make use of this list!

Pitch Option 1 Fingering Pitch Option 2 Fingering Recording
b3 3
b2 2
c40 40
c16 16
csharp17 17 csharp46 46

dfirstone dnatural1st d134 134
dsharp197 197
dsharp14 14
e69 69 e147 147
e28 28
f166 166 f233 233
f110 110
fsharp274 274
g62 62
g13 13 g324 324
gsharp9 9 gsharp63 63
gsharp216 216
a83 83 a84 84
a20 20 a29 29
asharp174 174 asharp248 248
asharp50 50
b102 102
b97 97
c91 91
c57 57
csharp121 121 csharp85 85
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