The Bass Clarinet of the Twenty-First Century

E. Michael Richards
June 1995

E & K Publishers
All RighB Reserved

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 CONTENTS
lntroduction

Prelude

General Acoustic Principles of the

Bass Clarinet 1

A Theory of Finger Technique 3

L Single Sounds
Altemate Fingerings 12
Quarter-Tones 30
Easy Q uailer-Tone Segrnents 3s
Easy Microtone Segments 37

ll, Multiple Sounds

Producing Multiple Sounds 40
Chail of Multiple Sounds for Bass Clarinet 41

tll. Other Resources

Sounds of Definite Pitch:

Glissando/Poftamento
Sounds of Indefinite Pitch:
Half-Pitched Percussive Sounds 63
Vocalizing Through the Bass Clarinet 69
Air Sounds 7A
Speaking Through the Bass Clarinet 72

TABLES
| - Rapid Alternate Fingerings 14
ll - Altissimo Alternate Fingerings 23
lll - Quarter-Tone Scale 32
lV - Easy Quarter-Tone Segments 36
V - Multiple Sounds 45
Vl - Half-Pitched Percussive Sounds 65
Ul - Multiple Lines - Half-Pitched Percussive
Sounds 68
Ull - Spoken Phonemes - Possible 72
lX - Spoken Phonemes - Not Possible 73

['*
 PREFACE

The material in this book is intended primarily to provide the imaginative performer
and composer with a point for departure. Even though the resutts of more than ten years
of research have been tested for reliability by my students and many clarinetist
colleagues, the reftnement and musical utilization by composers in their music of the
future is, ultimately, the most valued judgement.

The Bass Ctarinet of the Twentyr-First Century is designed to serve as a companion

to The Clartnet of the Twenty-First Qentury (1991 - E & K Publishers) - rather than
repeat certain sections (for example, the history of multiphonics; acoustic principles of
multiphonics), the reader is referred to the eartier sfudy. lt is important to note, however,
that the bass clarinet is a very different instrument from the soprano ctarinet. Not only do
many models extend to a low, written C2, but because of the size of the inskument, all of
the finger tone holes are covered by key pads (no rings or open holes), and the
inskument utilizes two register keys. As a resutt, what is lost with regard to microtonal
capabilities is gained through an extended altissimo register and variety of half-pitched,
percussive sound possibilities.

I am very grateful for help from many individuals along the raray - however, I atso
disassociate them from any shortcomings to be found in this text; these are mine alone.
Many thanks to Robert Erickson, Berkam Turetzky, and an extraordinary ctarinetist,
william Powell. Their ideas have been invaluable to my thinking.

Finally, I am appreciative for the support generated by my duo partrer, pianist, and
wife, Kazuko. Whether it was constructive, blunt criticism or gentle encouragement, she
deserves a medal for patience (once again!) through some very busy times.
 INTRODUCTION

What rs said to be natural is usually simply familiar, and what is said to be human, customary.a
Brad Dow

The growth in importance of texture and tone color in musical composition during this
century is indisputable. ln addition to exploring almost every conceivable combination of
faditional instruments, composers and performers have invented new acoustic
instruments (especially percussion instruments), imitated or used traditional instruments
of non-western cultures (as part of a move towards a globally eclectic music), created
"synthetiC' instruments controlled by computers, and expanded the resources of
haditional instruments through "extended techniques." lt has become obvious and
consequential that each woodwind instrument, for exampte, can not only produce
registers of difrerent colors, but that significant color contrasts are possible (to be
produced by a performer) within each register. Performers . are being asked to
deliberately create sounds that were formerly considered unorthodox and generally
unacceptable: 'breathy tone,'sounds of indefinite pitch, intervals smaller than half-steps,
etc. Reginald Smith Brindle has aptly described the fascinating results:

Woodwind players can now'sculpture'sounds in an extraordinary way,

varying timbre, attack, and speed or depth of vibrato from momentto
moment, so that their instruments have a rich variety of expression hitherto
undreamt of.z

As a result of this direction that music has taken, the new sounds, and their
accompanying new techniques have raised several crucial issues to the attention of
practicing musicians. One common concern has been the inaccessibil'rty of individual
works of music to more than a particular small community of players (often only one!).s
This has come about because much new music is available only in unpublished form
(not widely disseminated), and also regularly contains idiosyncratic notation.c The cellist
Siegrfried Palm has pointed out that a "...danger lies in the f,act that the same interpreters
always tend to work with the same composers, busily preparing their works. This results
in an exclusivity which is encouraged by the notation, thus misleading the outsider
although having nothing to do with the music."s A standardized notation for common
new techniques (or new concepts) should, ideally, help more players to derive
connections to actual sound from the initial cursory glance at a new piece; notation must
not only reflect accurately, through the appearance of symbols orverbal descriptions, an
actual sonic event, but must be recognized as generic by a large body of musicians.
This will allow performers to more quickly digest the sonic information of a work; and thus

Rrff_f$,
i ij ii An r
uN rv E

: [ ili[il HL
 get beneath the surf;ace of a work sooner (and thoughtfully judge its values). lt will atso
allow composers to make more informed decisions, in a universal sense, about suitable
language and syntax for their music.

One obiective of this book is to make suggestions for appropriate symbols,

descriptions, and/or direstions for a variety of "neu/ sounds that can be produced on the
bass clarinet; these suggestions are generally based on, or derived from, the most
common and most accurate symbols in use today. There has been an afiempt to
logically link related soundsltechniques to related notations. However, because of the
nature of extended techniques (the subject breeds new discoveries every day), this is an
impossible task to ever complete in a comprehensive manner; but necessary to
undertake, because all standard, basic techniques began as "neu/'techniques, derived
from extended techniques of practical performance problems fnert'' becomes "old," at
least in practice). Edwin Roxburgh, a composer and oboist, offers comments on this
process:

How is the composer who is not a wind prayer to know what must be
indicated regarding the technique of production? Nobody wishes simply
to digestthe capabilities expressed in a performer/compose/s compositions,
and to redeploy them in a pastiche fashion in their own works. The full
answer to this problem cannot be made until performers produce a
comprehensive catalogue of possibilities to standardize the characteristics
as part of their basic technique. Signs for lip and finger adjustments should
not be necessary once standard syrnbols have been established for the
automatic response of the player.o

Composer Robert Erickson adds to this:

There isnt an end to them! Extended techniques become standard techniques.

There is no book on extended technigues for any instrument that can possibly
end. I think thatis the most fascinating part of it all. I think that rrvhat these books
do is stimulate the good players. Gradually a body of atitudes grovvs up in
relation to particular instruments...the information sort of disseminates out. So
you start out with an enryclopedic view, and what you find out is that you've
spurred your colleagues. Whafs coming up is a new virtuosity a step higher.z
-
Another issue that has materialized with regard to new instrumental techniques has
been an unfortunately common negatVe or apathetic outtook of many performers tornards
leaming the techniques and producing the sounds. Part of this spirii may be related to
generally adverse attifudes and numerous misunderstandings (or lack of understanding)
with regard to "modern music." Unfortunately, performe/s evaluations of music (no
mater how ill-informed) are liable to act as self-fulfilling prophecies. Allthat is needed to
 II

overcome this learning disability is an open mind and a look at history. Even
Beethoven's music was not universally applauded or accepted during his lifetime; the
following review, of his opera Fidelio, appeared in Der Freimutbige on September 11,
1 806.

All impartialexperts and music tovers have unanimously been of the opinion
that never has such incoherent, shrill, confused, ear-shocking music been writen.
The most cuting dissonances follovy each otlrer in really honible harmony. Some
fussily insignificant ideas - among them the post-hom solo announcing the arrival
of the governor - complete the disagreeably stunning impression. Only
Beethoven's intimate friends admire and idolize such things, taking pains to thrust
their opinions on others, desiring only to build an alhr to Beethoven on the ruins
of other composers.B

Art is not, and should not be, always easy to underchnd, but the process towards
understanding a variety of works of art is necessary to undertake if one is to become a
musician and an artist (not just a player)! Nevy music reflects the culture that it was
created in; a culture which is closer to ours than that of previous centuries. Escaping to
music that is easier to understand avoids this process of selfgrorth. ln addition, neu/
sounds help one to improve one's ear and one's musical imagination; ttryo atfibutes that
are necessary for artistic music-making of music of any style or style period. lt is truly an
exciting experience to discover, with an open mind, the many different expressions of
sound.

A third issue (one that has also contributed to negative attitudes by performers) is the
perceived difficulty of learning these new techniques. This is common, especially among
adrranced players who have frozen their technical thinking and practice. lGren Jensen
ofiers a plausible explanation:

The musician's insfrumentwhich to some efent is a knoam entity to its o\ffner,

becomes unfamiliar and unpredictable - a situation not unlike determining to
cross an unlit room in one's house at night potentially treacherouslg

There is a tendency to expect these skills to bloom automatically and immediately; this is
not always the case. They will, however, become reliable for the gd player with
practice. Again, one can look at history for parallels. lf it were not for a body of
imaginative and courageous clarinetists in the first half of the nineteenth century, we
might still be playing on a ftve or six-key instuument; Mulle/s 13-key clarinet was inttially
rejected becasue it could play in all keys! This change was certainly more drastic than
that needed to produce multiple sounds!

Players also inconecdy believe that playing extended techniques will ruin their
fraditional technical skills (i.e., embouchure, fingerings, etc.). This appears to be one
reason why younger students are seldomly introduced to extended techniques by their
 iv

teachers. ln reality; most extended techniques (multiple sounds, microtones, etc.)

r4uire a strong basic traditional technique (embouchure control), in addition to a well-
developed ear, to be executed properly. They will not destuoy faditional skills any more
than brushing one's teeth, as long as the player understands the basic concepts of
traditional technique

A critical mater for composers has been how to become familiar with new techniques
short of composing for a particular instrumentalist who may dictate a creative course, or
without actually leaming to play the instument(s) involved (which could take a lifetime).
Edwin Roxburgh's assertion of the need for instrumental catalogues ftom perforr"o L
only part of the ansyver. Composers, and instrumentalists, need to understand the
acoustical principles of their insffument and a basic theory of taditional technique in
order to systematically discover and understand new sounds: to expand the sonic
resources of an instrument based on peculiarities of its acousticat design. Creative and
innovative composers throughout history, honrcver, have writen not only "safelt', for
insfruments, but have stretched the capabilities of performers through informed decisions
of orchestration. They have imagined new approaches to, and resources of, instumental
playing, and have asked (or demanded!) the insfiumentatist to realize them. It is
metaphorically, a tightrope walked between theory and practice.

One example of a composer who practiced orchestration in this manner is Edgard

Varese. According to composer Chou Wen-Chung, Varese seems to have trai a
profound understanding, despite complaints to the contary from performe6.

lwould say he (Varese) certainty was @nsciously pushing allthe instruments to

their extremes, and in doing that perhaps did not really caie that much about
certain practicalities. But it doesnt mean thatVarese was not avyare of whether
it could be achieved or not. lthink he rltras. He atways feltthat if he pushed
people hard enough, they could get it. I would say al that time it wasn,t the
case! very few people "gof it; they probably approximated it.ro

It is critical that composers and performers work together towards this goal of expanding
instrumental resources, while still maintaining individuality through a balance (anl
tension) of conceptual (artistic) and practi cal approaches.

The acoustical design of the modern bass ctarinet permfts and promotes several
unique sonic qualities (found in conventional sounds) from w6ich many of todat's new
techniques have been derived. First, it allours an incredible range of cotors, not only
throughout its range, but on every pitch! These are apparent not only in single soundi
but in multiple sounds as well. lt is ironic that the standard trend in biss clarinet
performance practice has been towards timbric homogeneity (a goalthat is impossible to
attain!)! Secondly, the instrument is capable of a broad rang- of dynamics, ftom the
virtually inaudible to FF. Finally, the instrument lends itself to erffemes of technical
activity (with regard to speed, register, and density of pitches) and, therefore, a broad
 v

range of different musical characters. Many composers, during the last twenty-five years,
have "extended the techniques" of players simply by writing virtuosic music involving
conventional sounds (i.e. many fast notes with rapid register leaps and extreme dynamic
contrasts). The sfruggle of the performer atempting to realize this music has produced
its own type of "ne\,t'' musical interest and "newp techniques.

Ifie Eass Clartnet of the 21st Century has one main obiective as a representative
of a third generation of studies on extended instrumental techniques - to expand the
sonic resources of the bass clarinet based on peuliarities of iB acoustical design, and of
its current performance tradition: a wedding of theory and practice. The need for this
has been especially supported by the author's experience in performing or reading
couniless new works that utilize new techniques for the bass clarinet in an awkward
fashion, or that do not take musical advantage of some inherent' strengths of the
instrument. Charts of new sounds have been included, based on acoustical principles of
the bass clarinet. lt is hoped that this approach will help to overcome the idiosyncratic
and empirical nature of earlier studies.

As a prelude to Chapter l, some general acoustic principles that the bass clarinet
illusfrates are presented, along with a brief theory of bass clarinet technique. The theory
is based on a rrariety of teaching methods and concepts, including those of Williarn
Powell, Leon Russianoff, William Kincaid (John l(rell), and George Townsend. This
theory encompasses curent ideas on connections between physical movement and
legato technique, tempered by various acoustical considerations. lt is believed that by
connecting characteristics of methodologies of standard technique with the exploration of
new techniques, one can successfully unlock further, reliable new techniques in a
systematic tashion. Throughout The Bass Clarinet of the Twenty-Firct Cenfriry an
efiort has been made to involve fingerings that are closest to standard paterns. One
example of this relationship can be found in the ordering ol p',;,cficu,l microtonal
segments; these are most successftrl when they involve chromatic fingerings of the right
and lefr hands that lead from below to one of the twelve tones. ln efiect, the bass
clarinetist need only learn a couple of variations of the standard chromatic fingering
(Example #1).

ExamplefrFl

I
trtr trtr gtr trtr trtr trg trtr gtr trtr utr
tl r I I l I I r r t
tr tr g: s 3 :
;?trstrtrrrr : : T

tr o tr tr tt r tr .l r --r
rE
u tr u tr 6 tr tr6na tr tr
vl

Chapter I is concerned with "single Sounds." These are divided into three main
categories: alternate fingerings (with an emphasis on the altissimo register), quarter-
tones (including some easy conjunct segments), and microtones. One-hundred eighteen
microtones (including quarter-tones) and one-hundred forty-two altemate fingerings are
discussed in The Bass Clartnet of the Twenty-Firct Century in terms of acoustical
origin, timbre, dynamic range, response, and stability.

Chapter ll is entiiled "Multipte Sounds." Three-hundred eighteen multiphonics and

multiple sonorities are classified according to property (overtones or undertones), in
practical sequences (according to identical left hand, or "short tube" fingerings), by pitch
(botom), timbre (terturQ, dynamic range, response, stability, and whether they 4re
possible to &ck with either their top or boftom pitches alone, with a gradual fade-in of
their other voices. Multiphonic tills are also briefly examined.

The third chapter is comprised of discourse, musical examples, and charts on offrer
new clarinet resources that are not part of Chapters I and ll. These include sounds of
definite pitch and sounds of indefinite or ambiguous pitch (noise and pitch
approximation). There is no end to the possible "othef clarinet sound resouroes, and
this chapter does not pretend to do more than touch the surface in a very personal
fiashion.

Composers and bass clarinetists who plan to urtilize some of the information presented
in The Bass Clarinet of the Twenty-Firct Century must be aurare that all of the
examples and chartswere compiled from rsearch undertaken with the shndard Boehm-
system bass clarinet (Bufiet Prestige) in B-flat, and represented here at WRITTEN
PITCH. Application of this information to offrer clarinet systems has not been affempted.
Other complete studies would be required to determine wtrat information is adoptable.
However, since an oveftvhelming majonty of American student and professional bass
clarinetists play standard Boehm-System instruments, the practiczl value of this data can
be substantial.
 ul

NOTES

Brad Dor, "On lmproMsation: KIVA,"Qqfggpggg, 3, No.2 (FallWinter 198ffi),6.

2
Reginald Smith Brinclle, The Nanr Music: The Arrant-oarde since 1945 (Lontlon: Oxford Univensity Press, 19751,
155.
3
see Nora Post, "The Develognent ol Conterporary Oboe Tetmique," Diss. New York University 1979.
4
see Post, and Edwin Ro$urgh, "Contemporary Oboe Technique," fhglQ@ggg[ 7G7 (StrrnertWnter 1982),
13-6. This problem of wide disseminalion of musical informalion is inexcusable in todat's cornputer age, yet
urdershndable because of lhe vast quardilies of infonnalion (musical conposilions) in odstence.
5
Siegfriecl Patn, "Notalion for Sfing lnfirnents," Tnarshted by Vernon Martin, The Comooser, 3, No. 1 (Fall
1971),65.
o
Rorburgh,'Contemporary Oboe Tecfmique."
7
lntervierr of Robert Eickson (774ng)by Nora Posq "The Darelopnrent of Cmtenrporary Oboe Technique,"
146.
8
Max Graf, Cornposerand Critic (NarYork W. W. Norton & Conpany, lnc., 1946), 155.
o
Karen Jensen, "bdensions of Mind and Voice," The Con\ooser, 66 (Spnrp 1979), 13-4.
10
lnterview of Chou Wenchurq (Nar York, NY, March 17, 1978) by Nora Post, "The Darelognent of
Contrgmpo,rary Oboe Techni qte," 26.
 PRELUDE

General Acoustic Principles of the Bass Clarinet

The acoustical system which woodwind insfiuments are built on consists of a "mixed"
system.t One part of this system consists of the tones in the lower register (chalumeau),
which are all fundamentals; the other parts are the higher registers which are derived
from partials of the harmonic series of these fundamentals (see diagrams in Example
#2).2 These upper tones consist of wavelengths that are integral frac-tions of their
particular fundamental (ie. 112, 1R, 114 etc-). An example on the bass clarinet czn be
drawn from the low writen A (see Example #1a), which aets as a fundamental.

Example #1:

*e

b c

By adding an open register key to this fingering, E is produced (Example#1b); a twelfth

higher than A, or its 3rd partial (the open register key shortens the clarinet tube to 1R the
length of A). lf one alters the E fingering by tifting the first finger of the left hand, a new
vent is created (shortening the fube again); this produces the pitch C-sharp, the Sth
partial of A (Example #lc). Since the pitches in the harmonic series become closer
 2

together as they get further away from the fundamental, it makes sense that the bass
clarinet offers so many altemate fingerings for pitches in its attissimo register; pitches in
this register may be derived from the partials of several different fundamentals
(Example #).

Exarnple #2

e
----
-
D--,
/

pAb R R,RbR
trItrEItrI 1T
trII
tr tH .cl
E'E'? r
gr
tr f.il!
X 368 ,r
ilT
d
u*lr H
ryb'b9^

It also explains rrvhy equal tempered intonation is so difficult to achieve in this register,
primarily since one is so far removed from the fundamental.

lf one compares the basic acoustical systems of the bass clarinet to the other
woodwinds, one strong difference appears. The register key on the bass clarinet
produces a register a twelfrh higher; on the other woodwinds, this difierence is only an
octave. Acouslicians tell us that this is because the clarinet operates as a cylindrical
pipe, closed at one end (the flute is a cylindrical pipe open at both ends, and the oboe
and bassoon are tapered conical pipes, closed at one end). lt is interesting that the
soprano clarinet sounds an octave lower than the flute or oboe even though it utilizes an
equivalent pipe length. This is because the lowest frequency of sound vibration that will
cause it to resonate has a wavelength four times the length of the pipe. A cylindrical pipe
closed at one end should leave only odd numbered partials available (3, 5, 7, etc.) for
higher register fingerings; thus, a tone on the clarinet (and bass clarinet) contains only
odd-numbered partials.s This appears to be so from our example, but spectrum
analyses of steady clarineUbass clarinet tones suggest the appearances of even-
3

numbered partials having amplitudes comparable to or even greater than those of

neighboring odd ones on certain fundamentals, and thus presents us with contradictory
evidence.+

The key mechanism of the bass clarinet differs from the soprano clarinet in several
importantv'rays. As mentioned in the Preface, not only do many models extend to a lor,
written C2, but because of the size of the insffument, all of the finger tone holes are
covered by key pads (no rings or open holes), and the insfrument utilizes two register
keys. The low C-sharp2 and C2 are confolled by the right tfiumb, which must be rolled
to move from C to C-sharp - fast altemation between these two pitches is impossible.
The keys controlled by the lefi and right litffe fingers (which produce the lowest notes on
the soprano clarinet - E, F, F-sharp, G-sharp) include two additional keys - low D
(available on the lefi side only), and low E-flat (available on the right side only). Care
should be taken wften employing these notes, especially in a legato context. For
example, sluning D2 to C-sharp3 is impossible to execute.

Two keys among those that cover the finger tone holes also affest production of
mircotones, multiphonics, and altissimo register fingerings. When the third ftnger of the
lefi hand is depressed, not only is this tone hole covered, but also one belovrr it on the
body of the instrument (located above the first finger of the right hand - this occuts, on
the bass clarinet and not the soprano clarinet, because of the longer distance betvyeen
hands on the larger bass clarinet body). The third finger of the right hand has an even
more influential role. ln the clarion register (84 - C5), when it is lifted, a second register
key is opened (located on the neck, it has a much smaller opening which changes the
timbre in a direction towards fewer upper partials) while the ftrst register key is ctosed.'
This second register key is in use for all pitches above and including E4. This design
drastically reduces the number of available sequential microtones on the bass clarinet,
compared with the soprano clarinet.

A Theory of Finger Technigue

Questions of technical dfficulty or practicality for the bass clarinetist have necessiHed
the application of a theory of fingertechnique; this theory is derived ftom severalsources,
who include teachers and performers of clarinet and offirer woodrind insfiuments.s Only
fingerings that are the simplest and closest to conventional fingerings are included in this
study. Adjacent notes in a microtonal scale are chosen not only according to pitch, but
according to several basic guidelines, for e:rample. Adherence to these guidelines by the
performer (and composer) is of utmost imporhnce to insure the greatest ease in
production of a smooth legato, and therefore, technicalfiacility in rapid passages.
 4

1) minimum motion

The fewest possible fingers move from note to note. lt is easier to

coordinate moving fingers on one hand than fingers from both hands.
According to George Townsend, "lt is reasonable to assume that the
less distance a finger or group of fingers must move, the more reliably
the motion can be controlled."o lt also appears that if one has a choice
between alternate fingerings, a smoother legato can be achieved if the
same hand moves as moves in fingerings of previous pitches
(Example #3)

Example ffi

RR
rr tl
Rf,
tr lr
l! irrrlcc J rr
rl ol
oF3 I
lr t
r.-
- I t, rI
It rI
Ft I tGt

ln this descending scale, the C is easier if fingered on the right,

since the right hand has been in motion since the G.

2) avoidance of contrary motion, where possible -

It is more difficult to coordinate simultaneous movements of lowered

and raised fingers than only one of these motions (Example #4).
5

Example #

II II IT
ITI
tr trC[ttr
--
-trtr-
5I t tr
9.otr

D-quarter-tone-sharp is easier to connect to D-sharp than to

C-threeq uarter-tone-sharp, because only raised fi nger motion
is employed.

3) correspondence of air pressure and embouchure position -

(altissimo register) -

According to Paul Drushler, adjacent pitches that are fingered

on the same partial of their respective harmonic series are easier
to connect in a legato f;ashion.z The conventionalfingerings for E-flat
and E are both on the frfrh partial of treir respective harmonic series
(Example #5).

Exarnple #5

,? \z

Rb*
rl rr
rt
rl (T

Itr '-D

trtr
tro

smoothly connect these two pitches if they are

It is also easier to
both produced on third partials (Example #6).
 A
o

Example #6

R,R' A
gtr trtr
otr
trtr
q .I
trtr
trtr
trtr

However, the vast fingering difference, as well as necessary changes

in air pressure and embouchure position, make the following fingering
progression more difficult (Example #7).

Example #7

bgr
.- \e

pnb PP
trtr rl
trl
trr iI

otr
e

trtr
trtr
7

4) correspondence of twelfths - (chalumeau to clarion register)

Use the same fingering, where possible, to make the system

easier to learn (Example *B). ln this example, the bass clarinetist
need only depress the register key (R) to produce the twelfth above
D-th ree-q uarter-tone.sharp.

Example ffi

R
TI II
,9
r,: t o
otr
oo
trB
 I

NOTES

Bruno Bartolozzi, Nqr Sounds for Woodnind, handated from ihe ltalian and edated by Reginald
Smith Brindle, London: Ocford University Press, 1(fi7, 4.
2
see Paul Drushler, The Alissimo Reoister A PartialAooroact, Rochester NY: Shall-*rno,
1978.
3
accordingto C. A. Taylor, The Ptrvsics of MusicalSounds, London: En$ish Universilies Press Ltd.,
1965, 163; andAnfiorry Baines, Woodwind lnstuments ard The{rHistorv, NerYork W.W. Norton & Co.,
lnc., 1957, 36. Baines does qualiff the s€tement by saying that scne e/en m^rnbered harmonics may
be wealdy present in the tone.
4
C.S. McGirmis. H. Hard<ins, and N. Sher, "An EperimentalStrryof the Tone Qualityof lhe
Boelrm Chrinet," JASA, 14 (April, 1943\,2&.37; S.E. Parker, JASA, 19 11947),41$9; J. Meyer, Das
Musikinsfiment, 13 (Heft2-3, 1964), 1-10.
5
These teachers and performers include tMffiam Porell, John lfell, Leon Russianoff, and @orge
Tornsend-
6
@orge Tomsend, "Logic and Pqlchology of Chrinet Firqering Choices," E&gSEi!E!.!A&dd, 19, No.
2 (Mardrnpril, 1980), +5.
7
see PaulDrushler, TheAllissimo Reoister A PartialAoproach. Rochester, N.Y.: Shall-rmo
Publicalions, 1978.
I

CHAPTER I

Single Sounds

It would be lqitimate to ask why traditionat t*hniques have not included

all those resources which instruments realty have to offer. How is it that,
untiltoday, possibilities which have always existd, have b@n so tong
ignored? How rb it that instrumental t*hnkTues have baome fixed ii a
pattern which does nof allow any resufts except those actually in
oonventional use? The complex tbsues behid the* guestions are such
that *nightforward, inefutable ansl ers cannot be given.t

It is an unfortunate myth which claims that efended technigues are only "effects" that
are in no way related to traditional instrumental techniques.z tn fiact, extended
techniques are elacdy what the term implies; extensions of conventional techniques.
Throughout history, players and instruments have been forced to adjust to the times, or
risk becoming obsolete. For e>rample, composers, clarinetists/bais ctarinetisb and
instrument makers have precipitated, often through collaboration, instrument design
changes since the earliest clarinet was developed; the innorrative oomposer, through his
music, challenged the clarinetist, who consutted the instrument builder on ideas for
mechanical improvements that urculd simpliff the efiort necessary to achieve the desired
musical result. However, no design of the clarineUbass clarinet has ever solved alt of the
awkrrvard technical problems for the player. The most obvious proof of this statement is
found in the fiact that clarinetists/bass clarinetists have traditionally developed new or
"altemate" fingerings to facilitate more reliable and musicat resutts (suggested, and
sometimes demanded by composers, conductors etc.) in performanoe. This has occured
despite the general emphasis by clarinetists/bass ctarinetists in performance practice
today on homogeniety of sound between adjacent pitches and registers. The usage of
alternate ftngerings in performanoe prac{ice throughout the history of the clarineUbass
clarinet, but most especially since the early twentiedr century vylnen most clarinetisb/bass
clarinetists were playng instuments that had a greater number of easily manageabte
keys and thus more alternatives to choose from, demonstrates the existence of flre
concept of extended techniques, wqll before the middle of the trrrentieth century.s

Unfortunately, the clarineUbass clarinet has evolved by exclusively empirical methods

ratherthan by progressive theories. This, in addition to the musical requirements of past
epochs, is another reason that has led both instrument-builders and ctarinetisfr/bass
clarinetists toraards this single objective: what Bartotlozi has fitingly described as "lhe
emission of single sounds of maximum timbric homogeneity throughout the range of the
instrument."+ Rather than exploit the inherent'qualities of the instrument, the
 10

clarinetisUbass clarinetist has been most often satisfted with refining the technique
necessary for the performance of music from past musical epochs. Thus, during the
twentieth century, much technique has become rigidly shndardized.

The desire of homogeneity of timbre in performance practice is especially bafiling

when one considers the unique charasteristics of the bass clarinet, most obvious in
comparisons with other rarcodwind instuments. lt naturally possesses five registers of
very different color, and of much greater confrast than any other wind instrument The
lowestthree notes are very dark and resonant. The lowest register (chalumeau) tends to
be dark with a big tone, and becomes diffr.rse as volume is increased. The throat
register tends to be thin (airy; less projection) with potential for significant adjustunents of
timbre by the performer, while the clarion register is a resistant, thick, and airy tenorvoice
that becomes brighter as one approaches its highest pitches. The altissimo register is
bright and becomes thinner and more intense as one ascends totrv'ards the highest pitch
ertuemes of the instrument (Example #1).

Example #1
I
f
,/
./a-aa
,/ + bilo
(-'a'-
At t-
J-

ilg -=
==
a
-.-
G+
_.I

bG
airy
rtlifiaal. tt ;
Aqtk
verY
brl ler)
r,,;* i"le"te
dq,&
fenor
tonL yoje*ta _4ifY
rn0t'g
il\-.l"r"'{h.'Jl)

Because of the absence or weakness of clearly heard partials in this highest register,
differences of dark and bright are not as applicable; thick and thin are perhaps more
accurate descriptions, and usually relate to the particular partia! level that is involved.
For example, a pitch played on the third partial of a particular harmonic series may sound
thinner than the sarne pitch played on the fiflfi partial of another particular harmonic
series (Example #2).
11

Example #2

sttt prrttd 3r{ prr3lrl

lrtr €ru,,', rr
.-IITT
IEE
-
dt!

Various reed styles or mouthpieces may push these gualities torarards thicker or thinner
erffemes.

The efiect of volume on timbre is most pronounced in the chalumeau register. tn fiact,
the greatest contrast of timbre characteristics occurs in this register of fundamentals,
when it is produced at a high volume level. At the other exlreme, the most uniform timbre
can be achieved in sot passages toraards the top of the bass clarinet range, since there
is a lesser presence of higher harmonics in this register and at this dynamic level. ln
between these outer erilremes, it can be safely concluded that toud volume levels
exaggerate the timbre characteristic of a certain pitch, while sofier volume levels produce
timbre matching at a middle point betvveen dark and bright. Of course, the performer has
a certain amount of control over timbre variables through embouchure or air pressure
manipulation; increased embouchure pressure will produce stronger partials while less
pressure results in the weaker presenoe of partials. However, this manipulation often
distorts pitch level. The timbre characteristics that have been defined for individual
pitches in this study are not the outcome of extensive or unusual embouchure
manipulation.

ln a more general sense, it is knorvn that the harmonic spectum produced by any
instrument constanily changes in performance with every pitch and dynamic nuance that
is played. ln fact, there are even moment to moment changes in the balance of
harmonics in every single humanly produced sustained tone.s Other aspects of the
sound that effect these changes include formants, phase, noise elements, presence of
 12

inharmonic partials, and transients (attacks). From allof the above information,
it is clear that timbric homogeneity is an unlikely and unnatural eventuality for the bass
clarinetist to achieve.

Alternate Fingerings

Different timbres of the same pitch on the bass clarinet are possible only through
alternate fingerings; embouchure manipulation alone will not work, since it will also affect
pitch. However, altering timbre is not the only purpose of alternate fingerings. The
artistic bass clarinetist of the late twentieth century employs different fingerings from
standard fingerings in certain musical contexts, throughout the traditional orchesfual,
chamber music, and solo repertoire.o These contexts may require a slightly higher or
lower pitch for reasons of intonation, a technically simpler fingering for a smoother
legato, a less resistant fingering for an easier entrance at a sofr dynamic level, or a more
desirable tone color for beter blend or portrayal of a particular musical charac{er.

ln music of the last twenty-five years, the expansion of timbral resources and
sensitivities and of usable pitch nuances has become a primary compositional concem.
However, in order to indicate (as a composer) and perform (as a bass clarinetist)
alternate fingerings, one must understand the acoustics of the instrument. AII pitches on
the bass clarinet do not lend themselves to alternate fingering possibilities. ln general,
the pitches which utilize the longest length of tube have the fewest options; pitches below
83 and pitches between 84 and G5 have few or no altemate fingerings (Example *13).
13

Example #3

#
-
T= o
rI II -R.
II II
II rI
- IIt-a
rI
trr -II (-

IT
I-

Ir II
tr EI Er tr

Pitches in the altissimo register have the most altematives, since they can serve as
partials to a number of different fundamentals.

The top half of the chalumeau register (83 to A4) otrers a vanety of "covered"
sounding (few strong partials) altemate fingerings. Some of these are cross-fingerings
(fingerings that employ open vents, higher on the instrument body than the lowest tone
holes that are closed by fingers or keys) which can only be produced at a very soft
dynamic level with a minimum of upper partials present. A chart of fngerings (83 - GS)
suitable for rapid alternation with the regularfingering of the same pitch, follows
GaUgtD. Those which can not be altemated at a rapid speed have been labeled
nf (not fasQ. The intonation of these pitches is erdremely close to the regular fingering;
only minor adjustments of the type made in nonnal tuning wtrile playing may be
necessary. Those pitches which may exhibit noticeable funing discrepancies have been
labeled (sl= slightly low, etc.)2.

nf = notfast
sl = slighfly low
sh = slightly high
st = stnff (resistant)
 14

Table #1

T fe
p.A A
frbrr Eg
rI rI rr rr rr rI tt rr rr gr ltr trr rr* trtr trtr
TIII rrrr)trtrq,r trrtrtr
r r )dl.d
(r rr r
r13ggrz.og:
g$s g 1. s 3a
trIgtr -- trTTtrtrtrtrrr trtrtrtr
;f, o tr
trC' trrhrtrtrtrtr115r
tr tr/. trrtrtr
tr s tr o6nt{t trotrtr
n( nf hf {tf

R, OI EgAR RNR R R R R K R F R R R R R
II II EE TI II II II TI II TT IT II II II II TT
t r,lE r1 E r flE r r r r r t- r s gcHgc; f |E E
I E O T g I I. O I O E E E I I E E I
I E E I E r r"E IlXI EIO E I I O E E
e. E s (. nf -sh o E {a o ro E
o_ u 9l E co E E E

nf '('
^f' sl rt
onh
I

2
o9,=

( R ( RR R R
rI rr rtr ro rt rr rr
strtrItrItrI
s 3t s Ba g rcl
EtrtrtrtrTT
Jtrrotr1rIr
tr tr tr tr trga$'a
sb n( 51,

t+,
15

The lower register "breaK' (B-flat4 - 84) of the bass clarinet has also, historically,
been a cause of problems for the performer. Not only has timbric homogenetty been
difiicult to achieve, but the movement of so many fingers from one pitch to the ne* has
also limited the possibilities for a smooffr legato. Alternate fingerings for the lovrrcr clarion
register do exist, and ofien can be employed quite successft.rlly to extend the throat
register (Example #4). These fingerings are somewhat awkward (since they utilize the
rarely employed upper till keys which are played by the side of the stuetched first finger
of the.right hand), so care should betaken if they areto be approached by leap.

Example H

A R,A RA R,b
trtr utr trtr tru
trtr trtr
UE 3g3tg
rD
gtr trtr
trtr trtr
-

trtr trtr
5L

Legato movement over the "breaK betrryeen the clarion and altissimo registers is
somewhat easier to negotiate. A set of altemate fingerings do exist, however, that
actually funstion by overblowing the altemate fingerings just described for the lorer
clarion register. The timbre of these pitches becomes brighter and thinner as they
become higher (Example ffi). These altemates are generally difficult to produce in an
isolated context softer than nrf, and must be attacked in a f;airly strong manner to insure
stability.
 16

Example #5

gng; r-na I2 $o 9
^
tJ -- -
J
-
t-

RR R. R,
Nf RR
xbA utr R,E
II IU Ttr trtr trg
gtrtrtr
trtr
gtr tr
utr
trg tr tr
tr
trtr v!- g trtr .r
?tr
J- flL
trtr tru tr trg trtr tr
tru tr trtr trtr tr
trtr tr tr trg trtr E
lw lovt

An abundance of alternate fingerings exist for pitches in the altissimo register. Paul
Drushler has very clearly described the acoustical link between basic fingerings and
registers of the clarinet (Example #6a). Third partials (clarion register) are produced by
depressing the register key (thus opening the register hole). Fiflh partials (C-sharp5 - A-
sharp6) are produced by lifting the first ftnger of the left hand, in addition to the register
key. This permits the LHl tone-hole to act as a vent. Seventh partials, and higher, are
generally produced by depressing the G-sharp key in addition to the others mentioned.
At leastthe outline of this formula is followed in the following example (Example #6b). lt
is important to note that many frfth partials also require the G-sharp key, and that other
vents (A key) are utilized for pitches based on the highest partials. ln addition, the
highest pitches are often derived from "out of tune" partials of unrelated fundamentals. lt
is clear that the desirable method for developing fingerings consists of starting with a
fundamental, selecting vents, and making final alterations by opening and/or closing
various tone holes. According to Drushler, \ariations in pitch, timbre and stability for
specific altissimo notes can be discovered by experimenting with modifications of basic
fingerings.t'a With the bass clarinet, the position and degree of pressure placed by the
embouchure on the reed allows control of a greater range of altissimo notes than on the
soprano clarinet (up to G-sharp6!). lt is possible to play on the 13th and 1Sth harmonics
of a given fundamental.
17

Example ffia

$o0

o E :

(R) Cs)" (R)tffb)

II -Itr{ IE-I
rt I
trt $il)
trr
t-I

g
trt -

trtr @F

#6b

of,o ?:
$s====
.Irar--_

u
IT
R tu
rr RRtE Itr rtr ltr erA) Ro) ntA)

I rrr I II
I r-
III (-l
t e
TI a-

-r
ID

I rlr IT
t dt sdf efr silgg#sfr
-

{
tr

3d 7fi q+h tt+t' 6th

The American clarinetist Henry Gulick writes of classifications for altissimo register
pitches.s These categories deserve mention, as well as others, in order to understand
 18

timbre and resistance characteristics of altissimo fingerings. One classification that is

widely employed by professional clarinetist#bass clarinetists is what Gulick calls "long
fingerings." ln long fingerings, the firstfinger of the left-hand remains on the tone-hole; a
vent exisb further down the clarinet body. As a result, long fingerings require
overblowing of lower pitches. The longer tube length that is in play produces thicker,
darkertimbres thatare generally more secure at loud dynamic levels (Example#I),

Example #7

o$a s 2 ilo 2
rs ? ho
lfq ---t-'-t--'

R RR A AR
ir R
R R R
rr rr rr rr rr rr ITtrtrItr Itr
tr
IIIIIII
r r r 1 trtr .cH s tg ll3-
--
'r-

rlrtrtrtrtr
rD I

trtr tr
trtr
-t
-

rtrautrtrtr trtr
tr
trtrEtrstrtr o

w
qvartqLle
o*
When
drucCd'n,
ft,,* E- h/ihttrys

Altissimo fingerings in a second classification produce pitches from overblown throat

tones, without the left thumb covering the back tone hole (Example *B). Since such a
shorttube length is employed, these pitchestend to be thin and bright.
19

Example ffi

o $o ? e [s 2
ile :::

R R, e,frb A RA RA RA
trl trE trtr trtr Etr trtr trtr
t trotr otro
rrlo trtrtr s:3{L
trtrtr trtrtr
1- I l-

tr trtro trtrtr
tr trtrtr trgtr

A third classification includes fingerings that use both the thumb hole and register key as
vents (open thumb and depressed register key) (Example *B). These fingerings tend to
be a bit dark, but thin. They are especially effective in soft legato passages that link the
clarion to altissimo register.
 2A

Example#9

is+ I ls
RR,R
rr trr trt
rrt
e,
ITI tI-

TIT
ItrA
-

trtrtr

By playing on certain upper partials, f,ast chromatic figures in the altissimo register can
be easily produced (Example #10).

Example #1 0

,. io 9, 4 *2 9{ry
g ?ho ?Bs ?',; 1 , = = :
RRRB.RRRRRARR
rT II II II TI II II TI II II Ttr Itr
I T T I T I I IrI I tr g tr
I I r r t r I .cl o tr E rla rD llID (- (I

rrrtrrgtrtrtrtrtr
e (ID tI I
-- 'I

gIr1rrtr.postrutro
-
-

ft rIt tr tr E tr tr B tr tr tr
21

Example ffiA (continued|

fi90 o l|:f r-ie eio qe

zils - € ,
a)
a-

-)a
a-Oa')t-

,;'-.---
--rt-''a'

g,RRRR
Itr Itr Itr Itr Itr Itr IE IE Itr Itr
I
I
-I
IIIT
lrrr
-ITItr-
(-
-
\rbblr
rIITtr
L
dl
ItrTtr
otrtrtr 6t= di 6ti t X

ie. tiT *
re a+o io ? !
tt

-OAa-ts''-
ar- .'-
-
<-.)')-
---a-

rlt'.--a-
(b.t'--

-a-.-a---a

R,R (
Itr Itr rtr Itr Itr Itr
R R( R. R R,
rr rl rr ll
R

II I I TI !TII
(-tl r I
(- tgil tr rITI
trg -
(D

tr tr
u
?;
trtr
r

rrrr
rlIt

_r -I tr a
tD tr lD

dr di rd! tr trtr [rFofatb

The following chart (IgUte-*Z) of altemate fingerings contains only a few of the many
choices for altissimo register pitches. No unusual techniques are called for, hoyvever,
such as halfdepression of pad keys. Slight deviations in pitch may exist, but these are
easily corres'ted by adjustments of embouchure and air pressure. These adiustments
are no more erffeme than those that one woutd make to play in tune with other
performers; they merely require a sensitive "auditory image." Since different players play
different equipment, the tuning will be slighfly different for eaeh individual. An aspect
such as how far a particular pad comes ai€y from a particular tone-hole can be very
significant. ln the same manner, pitches ftom the microtone chatb. maywork as atternate
fingerings; however, one runs the risk of timbre distortion as one becomes further and
furtherfrom the pitch of the originalfingering.
 22

The annotations under each fingering are arranged according to the following format:

#
line information

| - partial partial of fundamental that fingering is based onffundamental

pitch (i.e. 5th/C4); (C4m = modification of C4 tundamental
fingering)

ll - timbre br = bright br! = very bright

(sometimes d = dark
2lines) s = slightly
st= stuff
lll - dynamics ppp to ffi
lV- intonation I = lour
h = high
s = slighfly

V - articulation res = resistant difficultto begin immediately

s = slighfly

Vl - preparation com = a complexftngering; player must have time to

prepare it; Iegato connection to it may not be
possible
sm = smooth connection from another pitch possible
sm! = very smooth connection from another pitch possible

Blank fingering grids have been included so that the reader might add his/her oryn
fingerings.
23 Table #2

R g,ab R. R,
EO II ET TE gE gE EE gB EE EO EB EE EE EE Etr EE EE EE
ETITqOEEEEETEEEEEE
E l-rtr t I E E E E O E O tr tr O O E E E
EoTToUUEEEoEEEEEEE
- - - - - - - - - - - - - - -
EEOEtrEEEEEOEEEEEEO
O g E E tr E O E E E E tr -O E E E E E

3/G3m 3/G3m 5/Bb3 5/Bb3

clear d,st sb sd
ptrftr prnf pf prnf
sl
res sres

fio

P,frb 9.hb R
trtr It rr R 6b Dbk ebgnbl
II EI ET EI TE EI OI EE EE EE EU gE EE EE trE
orI TTOIIITEOEEEEEtr
t-r
trrI
trrr iI. (- !rt3 :r2g t s g g g E E g g n
|trurEroEoEoEtr-E
trtr{ {goEEElEtrEtrEEEtr
trtrtr EItrTEOEOtrOEEEEE
3lC#3 5/B3m 5/83 5/83 5/B3m 3/Ca#3 5/B3m 3tW3 5/83 5/83
thin sd sd d sd sb d,st
clear
ptrftr ptrffi ppf ptrf pFffi ptrffi mpf ptrff pptr mfrnf
sh sh st sl sl low sl
res res sres sres res res
 24

o
a

P,* g.*
e gI R
rI II trtr Itr gO EE EE EE EE trO OE Eg EE Utr EE trE gE
rItrII EEEEEETEEEEEg
rItrTr trOEEOEEOEOEUE
trtrtrrtr
rIrr e r- aI

- UEEEEEEEEEEEE
- - - - - - - - - -
OtrtrrIiI OEOEOEOOEEOgE
tr tr tr6=.dla EEEEEEEEEUOEE
5/C3m 5/C3m 3lM 7lF#2 5/C3
sb sd,st sd,st
ptrff fff yffi ppf mp
sh
sres
srn!

o
-
-t

R RatR R, A
rT II Ir II trtr
R,R RA RA RA R,A Rh RA RC PD P,fr
rrlrtrtr rU trI trtr rr rtr Ir Itr trtr rtr ltr trtr trtr tru
Itr ItrlrlrrOtrtr
$il :sf 3il 3il19 g :I .Clna r r nE r r tr o tr
UOIItrtr Ir
rDl--rrlb.r-(rr..Di-
rtrrtrtrrtrtrtrtr
trtr16lotr JIr rtr8ItrIsrtrtrtr
tr tr t. r'. tr tr trtr tr tr tr o tr E6or tr tr tr

5/Db3 srDbs 7lG2m7tG2m 3lBb4 UBM ilDfl3 ilczst 5/Db3 3rBb4 5/Db3 5rDb3 3tBb4
sd sb sb. sb sd sd sd "'rO
71g2y11716v11

ppfi ptrf vt pefi qr pfi mpfi ppfi ptr rfi sd sd ,O

sh sl sh sh *fi rfi pfr rr rfi
it sl
sres sres
sm! srn! com
25

il2
'-'

R R fr hbn
rr It utr tru tr
( (R) VG
rrtr I lrt )I rrr rtr irR* trtr gtr trtr trtr trs utr
frb P,hb
trtr
Irgtrr r I r I trtrtrtrtrtrtrtr
tr s 4 tr ?{o r !aa,l 3)q. t cil.il*r 4t ilr tr o tr o tr tr tr
'-r e
trrtrtrr tr.ra- -t, d
Jtr D ,rr Jr- (D .-r r- rr (IID

trrtrtr_r
I tr u
-D tr trtrtrtrtrtrtrutr
I tr tr u ootrtrutrtrtrtr
tr r tr tr{t 6frItr tr tr tr trtrtrtrgtrtrtrtr
- -

3tU slB/ 7te2 5/D3 5/D3 s/D3 5/D3 5/D3 5/D3

5/D3 7t@2
sb clear d,st sb sb sb sd sd
p-f pf p-t pf yt mpnf p.f pf yt pf yt
hshshsh shshh
res
sm! sm!

+
-
-l

R RRIE III rIR, R

Ir Ir
q R, R R

r r l., r r, Irr Ir II rr
tr o tr
rtr trtr Utr trtr
r
rtr rE trtr trE trtr
trtrtrtrotrtrtr
Itr :4g[rJh*t,kl s g : g trtrtrtrutrtrtr
u I tr tr r 'E tr r r r
r

-
l-

trtrtrtrrtrtrtr
tD rD rD (rll

I{rotrItr-rrr trtrtrtrtrtrtro -

D(a tr tr r tr i ; o fi trtrotrtrtrtrtr
5/Eb3 7tA3 5/Eb3 s/Eb3 7tA3 5/Eb3 5/Eb3 7rA3 7tA3 7tA3
sb sd brt sd sb sd sd
yfr rff ytr rfi pppff pptr polff ptrff ptrtr yt
shshhh
sres sres sres
com
 26

i2

R R R, A R
IE IT Ttr I! TE EE Bg EE EE EE EE EE EE EE UO EO Ug g!
r E r o r..E E E o E E E tr E E o -s --
3rorEtg &0" g o 3g g E3g s g g g
TOggTEOEOOEEEEOEEE
E ;l
_t! dE 5p d E E o o E E tr E E E o E o
go qo 6Fo ga E E E E E E E E E E E E E

7lA{3 5/E3 5lE3m 5lE3 7lM3

sd br! sd
ylt trtr Fff p,ff mff
sh sh
sres
com

I
O

-a

R A R,(, R R
IE II IO IE IE EI ED EO EE EE EE EU EE TE EE UE EE EO
IOEIE'EEEOEEEEEEEEE
+4t3: t tr E g g s s o 3 E - g 3 3
IOEOEIEOOOEOEOEEEE
3 ididi{i4i x x Ixxxxxi i i i
7tB3 5tF3 5tF3 7t83 7tB3 7tB3
Sd sd
trff mff ytr pff yfr pf
shslhhsh
sres sres sres
27

fio
-- a,

RR
rI trI EE Etr EE gE EE EE EE EE Etr EE EE E! EE EE EE trE
rtr EEEEEEoEEETEE-EE
gltLL EOEOEEEEOtrUEEEEE
_ _ _
rtr - - _
9EEEEEEgEEEtrEEEtr- -
-tro SOEEEOEEEtrEEgEtrE
OEEEOEOEEEEEEEEE
{"tr
7tc3 5tFf3
sd
nrt4 mpf
res
loud
onV

+
tr

-
-
e

RRb tnb R &

IE trI II EE EE EO EE EE OE OE EU OE EE EU ET Etr Og
I.I E I t..E trtr
O E E E E E O O E E E O
9l E
3,[3lilr 3 ; 3 L n ug EEo o ; tr
E E r E s E o
oci zd= xxxx 33x iiiiiii
E o E E E o E;';;;
i
9/A3 5/G3 11tF#27tU3
thin sd br
mff p.f t pf
 28
o
-
-a
t-)

-a

R Ap,b p,eb
II EU EE OE EE EE trE EE EE Eg EE !E EE gE Etr EE Eg gE
IOTOEEEOOOtrtrEEEEEE
E Rl -$r= tr g n g g
IOIEEEEtrOEEEEtrOEEtr
gn =n ; gngg
aTOdIEtrEEOOOEEEEOOtrE
F'A O 6oO E tr E E E E E E E E E E E E O

9/Bb3 S[Ab/_ 9/Bb3

sd
mff p,f ptrtr
sl

io
=

[AAAnA(aAAR R trtr PA RA
Itr trtr Itr Itr trtr Ir rr
r r r rr tr v tr r rtrrutrtrtrtrotrtrtr
trT trtr rtr trE trtr rtr trE trtr trtr
trtrtrtrtrtrtrotro
ItrrltrrII -
l-r lD

trtrtrtrtrtrtrtrtrtr
(E (- t-t ea .r, r-

tr tr tr tr tr tr tr tr
-

; li r,: d; X 6aX /l 1tr tr

df F',r tr tr tr tr tr tr tr tr
tr

9/83 9/83 lltc*29/83 stAA TtDt3 TD*J 9/83 tr*r'

br sb thin thin
mpf prf yt yf yt pf ii, pf molt
sh sh sh
29
+
.--,
-a-

aI-

--
-t

RAA
IE EE EE EU Etr EO EE EE trtr Eg trE EE EE EE EE trE trE EE
EEtrEEEOEEOtrUEgtrEEg
,E ?{E E O O E E E E ! O O _E g E O E E
ItrtrgOUOEEOEEEEEEgE
{!trSoUEEEEEUEEEEUEO
€totrEEtrUoEEEEEOEEtrEE
11'A3 s'BM
thin
firt-f mpf
sh

ts
-
=

RR(
II II I! TE EE EO EE EO EE EE trU Utr EE EE EE TE EU EE

+I g+W! s
IEITEUEOEOETEgEEEg
I I.E
Enss s ns s -3s3
tr E O E U O g E O tr
ridf,didi x x x x x x x x x x ri i
E tr O E

i
11/Bb3 11/Bb3 11/Bb3 9/C#3
sd sd
yf mpf nff-t mp,f
sl
sres sres sres sres
 30

Quarter-Tones

The quarter-tone is a logical rather than acoustic extension of the chromatic scale. ln
the practice and theory of a variety of Asian musics, for example, where microtonal
intervals are employed, exact quarter-tones do not exist. The following chart attempts to
represent equally tempered quarter-tones, but may certainly be modified to create a
variety of proportions.

Unless there are reasons of desired voice leading, adherence to either sharps or flats
within a work will make visual and technical recqnition easier for the performer (the
quafter tone scale here is presented in sharps only). lt is generally good practice to
speciff fingerings directly under the quarter-tones that appear in the piece, as opposed
to merely a list at the beginning of the work. Of course, it is not necessary to repeat this
fingering diagram every time a particular quarter-tone occurs. Since all fingerings may
not produce an identical pitch or timbre for every performer, it is helpful if the composer
can briefly describe his intentions in a pref,ace. For e:<ample, is he more interested in a
dark timbre than a precisely pitched quarter-tone? This will help the performer to make
an educated fingering choice, if it is necessary to change the given fingering because of
inherent characteristics of individual instruments and bass clarinetists. (it should be
noted that there are fewer available fingering choices for the bass clarinetist than the
soprano clarinetist, especially below the altissimo register - one reason is the covering of
tone holes with pads and key mechanisms that have different functions on the bass
clarinet).

The follwoing quarter-tone scale extends from A3 (wrifren pitch) to G-sharp 6 (!); it
contains relatively fanrr problems for the bass clarinetist. However, somewhat weak
conjunct sections of the quarter-tone scale are found across the "breaK from the throat
register to the clarion register (A-sharp 4 to D4). From C4 to D4 there are no practical
fingerings for quarter-tones, since virtually the entire length of the instrument is
employed. Cross fingerings can not be utilized. This is the same consideration that
inhibits quarter-tone production belorar chalumeau A. Another section of the quarter-tone
scale that is weak consists of pitches above F-sharp 6. The altered air and embouchure
pressure necessary to produce these pitches (often on different partials), as well as
awkward fingerings make them treacherous, especially if approached quickly by leap or
attacked without preparation.

Several notations appear below some of the quader-tones in the chart. Timbre
indications are given if a quarter-tone differs significantly from the timbres of notes
around it (i.e. a dark timbre in the lowest register is relatively different from a dark timbre
in the clarion register). lt was not possible to find equal-tempered quarter-tones for all
intervals - thus, some are marked as sh (slightly high) or sl (slightly low). DAT refers to
pitches that are difficult to attack strongly.
31

@ = darktimbre

= slightlYdarktimbre
W

& = $ightly brighttimbre

 Table #3 - Quqrter;Tofre-Scale 32

4r+*€i{re t+v ++e*ose

t! It tl ll lI lt tt rI lr Il rM lI rr tr rE tr
! I a ! I t r t.. t
E 9 E E I t r I
r r r r ! r ! 13iZtZ ! t33I.t! ,!) o ,! lrz.!.
IIItrtrtrtrI trT trltrtrtrtrtrtr
rotrrl\!Ior trr trrotrtrtrtrtr
trf.tr9ttrEtrtr o?. oootrtrtrtrtr

@w
sl sh sh sh

o1e^ Ab Ab h h Rb A gA g.n gR CR
.O OI EE !I EE II EE EE EO II EO TO IO
I
TI
ER
II IT
OEETEIEOOTOEE I II
rrI.rzj.3rr9 s 3 o3013 l3 lEr3fl3 I
.T I
r rg
OEEEtrIEOtrEEEE t II
rt
-

OEEOETEEEEEEE r
EEtrOEIEEEEOE! {. r$t
sh
33

g. R e R R R R R ( RR,(RRBRR 3
lt Ir rt tI It tt II lt It It It lt tt rI rl rI l! rT
ttttttltt r.r I ! r t L tr
g !" 3 s g 3 g r, s 4t s
3l g rgl,g ,6 g .E
t-
*
t te ! I I E O E IEIEEEEE
E tr
r! ! I tr tr -r r
tr IIl
o Itrrotrotrtr tr
6st tr tr?. tr(t E o tr8tr!!8trtr tr

2*g terg 2fg $e ils, !*t :+2 tg12

R, R R (( Rnbgf s**PrCn R R R t R
lE tE to El Eo tt tl lt tt tt tt t! lt ll tt
gs
tE tE lE
E I I ! O I t a t t.t.t I I t I I !
E av I E E I I I O ! E I E g E r I l"
E ;; X 3p! X t Xp! I 3 ! I iaiaiai
R R R R gebgPgfiP,a RnRe g,h ln P I R, ( R
lE tE atr to to tE Eo tE !o to lE to tt rr tr t! tl
geb
tr
r I r.r I r r I I r E * t: ! I r
g s:ststggjgl- lrlr3t!9glZ ggt!
OOEEEETgOETITIEOEE

6ri a{d!.}idat d;pipl $ai4i6i6i : di l1i

sl
l-J
s'|
0
DAT

#s#ea-l-aaa-D
I +2 rg
-----
-.----
---,iAr_a-
-It_._--a

R R,Rg,8
tt rtr ltr Itr ttr
t IIII
ID
I ss3.l ,tt
I Irotr
I
I : dicidi
DAT
35

Easy Quarter-Tone Segments

Several conjunct sections of the quarter-tone scale that are especially technicalty
simple are outlined in Table #4. This table is divided into trrto sections. Prastical
segments of adiacent quarter-tones and standard half-steps are described. Conjunct
microtonal segments are especially alluring because of their tendency to establisn
microtonality in a stronger fashion than disjunst motion, which often merely sounds "out
of fune."
 36

Table #4 - East Cluartgr-Tone-,Segmqlnts

'fr6 T +v o+
rI II II II II Ir rr Ir It tI rr rt rtr rr rtr
TITTTT rrrtbtrg_trstr
I
.E) II
r I-
I (T
I ID
.Cfr*t s &r1a,tr g t! s r112o
trtrtrutrtr trgtrtrtrtrtrtrtr
dJ.,

rrIortr trootrtrtrtrtrtr
t.trstrtrtr trtrtrtrtrgtrtrtr

(F RR R R R 3, R R
R IrR lr tr II Il R
rr lt !I tI tr tl tt IE
tIrrIttrrf.EvE
r : r 3#Sl o g tkilo ,6 o tf g
EEEEEIOEOEEEtr
!!orEtEoEOEEE
OEOEtrEETEOEEO
37

Easy Microtone Segments

While the bass ctarinet does not possess the same degree of microtonal possibilities
as the soprano clarinet, several microtonal progressions are especially idiomatic:

Example #11

+g lto fi2 e2 H-0

ql +o Hs fro +e*t?y2y
===:

R,N (e! R* RP R* (.ARRR RA RA R' R4

rI rr rr rr lr
AA
II II II TT II rI II TI IT II
ITIII
::::31
rrltrtr
bbi,i, b
TTITI
I
r
-T
I
rIII
rlrr
rtrtr
--

rtrgtr
(-

ItrStrg f rI I rI I
trutrtrtr ft ?t. r (t e. di trtrtrtr

+qf 9f +!* +2 +yr fl3 i*+ pov?y??

3
gA AA Lh
Itr Itr IE Itr
rD R, R,
II IT II
R, R
II
R R. R
II IT II IT
R

rtrlrrr
(-
rITItrtrtr
tI) rD (D
id EEnad
IIItrITtr - tr ;;;.;
rtrtgtrtrau tr{lUtr
- -

tr
trtrgutrutr tr trtrtrtr
 38

NOTES
1

Bruno Bartdozzi, NewSoundsforWoodnind. fianslatedfromthe ttaltanardedtedbyRe$nald

Smittr Brindle, London: Odord University Press, 1967,2.
2
extended tectnigues,ffi like tadilionaltectmiqles, can be afused. "Catalogue rusic' (lhe
use of too marry ideas), whictr often consists of sound effecG wihout deep musical mearfng, has been
written througfiput music history. Marry worls written as contest pieces for lhe Paris Consenratoire in
the late 19th centry are lust as weak musically as certain works written today. Endless, rapid scales
and arpeggios were lhe materials tpn: new sounds are today. The enlolution of electronic nnrsic and
'pa, as well as lhe uncovering and recordlng of Word nrrsic has hehed to elgose endess trarielies
of
new timbres to tte musician of the 1980's. The important rob of tectmdogy in sqrnd qffiesis has
also prornpted the musician to discorcr the full capabililies of their insffiment.
3
Klcse describes altemate ftngerings in his methort b help Tarrof leadng tones.
4
Bartolozzi, New Sounds forWood$rird, 3.
5
Ronald L. Caratran, "Extensions of Tecfrnique for Clarinet and Saxophone,' Diss. Easfrnan School
sf Music 1974,157.
6
This is especiallytue in the allissimo register, where rnrry rnore alternalives exist Flve
sources t ,lrcre one may lod< for more specific examdes for the soprano chriret are: ParJ Dnrsiiler, The Alissimo
Epqstef A ParlialApproacn, Rochester, N.Y: Shall-umo, 1978;Cecil@H, ConEnrooraryClarinetTectrniques: A
Sttdvof theAlliqsimo Re-oister, Greensbono, N.C.: Specfirm Mmic Puil[shers, 1983: Thomas Ridenour,
'AltemateFirgeringsonlhesopranoChrinet"TheClarinets,No.l (Fafr19Tll,1&19;.Practicat
Appflcations of Alternate Atlissimo Firgerings in the Shnchrd Reperbire,'The Chrinet 10, No. 2
(tMnter 1983), 1&21;TheAnnohted Bookof AltissimoClariretFinoerirre: An lnnahrableWortbook
and Guitb forthe Serious Clarinelisil. qlando, FL: Tonrb Chrinet Ssvice, 1986.
7
dtches of noliceable tming difierences harre been categuized urder microtones. Since
d[fferent flayers and different equipment rnay podrce digttty ffierent resLdts, nicrofionalfirgerings
may somelimes be s.bslitrted as altemate firperings.
8
Drushler, The Allissimo Reoister: A PartialApproach, 3.
o
Herry Gulick, 'A High Level Disctrssion of lhe CtarinetAlissimo Register," Woodrvind World -
Brass and Percussion 13:. 4 (1974), S'8. also, "False Fingaings," Woodulind World - Br{ss and
Percnssion 13: 1 (197 4), 21-3.

.L

)-
39

CHAPTER II

Multiple Sounds

"The term 'multiphonlcs'rb usually reseryed for those lotd, more

tzrucous and intentionally'non-clarinet' sounds.'Muftiple sononfibg'
on the other hand, implies clarinet chords in which the various pitches
are easy to distinguish since the particular combination forms a simple
harmonic relationship.,, t

The "discoverly'' of the multiple.sound capabilities of woochrvind insfiuments among

composers and performers of notated music in the late 1950s and early 1960's appears
to have been prompted by several f;actors. One was a response to the obsession with,
and development of the electronic medium in musical composition, beginning in the
1950's.z The perception at this time was that the dawning of this "newr age (one of
technology) threatened the very existence of the "liye" performer and that of music for
acoustic instruments, because machines were not only more "a@urate" in realizing the
performance of a compose/s music, but were capable of performing music that was
difficutt beyond the range of human potential, and were capable of producing sound
colots and frequencies which were not always thought of as extending traditional musical
instruments, but rather as building new musical instruments. Edgard Varese precipitated
this later movement with his statement during a lecture in 1936 entifled "New
lnstruments and New Music.' nVhen new instruments will allow me to write music as I
conceive it, the movement of sound-masses, of shifting planes, will be clearly perceived
in my work, taking the place of linear counterpoint."g The potential for total
compositional control contributed nicely to the ulka-serial aesflretic of the 1950's.

Fortunately, as of 1995 neither live performers nor acoustic instruments have become
extinct. One reason is that the lack of a stimulating visual presence in live performance
of elestronic tape music has limited the sffengrth of its musical message; two or four
stationery speakers in a dimly lit concert hall ignore traditionally powerful rituals of
musical performance. More importantly, electronic instruments are not capable
(although tremendous advances have been made) of the same degree of nuance,
phrasing, or spontaneous interaction with an acoustical environment as are live
performers with acoustic instruments. These represent only two reasons why electo-
acoustic and acoustic music have continued to co-exist.

Another factor that appears to have prompted interest in multiple-sounds (and

eventually all "extended technigues) is the logical continuation and piogression of the
importance of timbre and texture in musical composition, even to the point of
predominance over other musical elements (melody and harmony). For the many
composers vrho did not have significant ac@ss to expensive elec{ronic equipment, who
 40

did not care for the aesttretic, who vyere conservative in their desire to learn a new craft,
and/or who merely wished to respond to the new sonic world as built by elecfonic
sounds, the revelation sf multiple sounds signifted a ne\fl direction. John Eaton, a
composer who'worked in the early sixties with elarinetist William O. Smith on developing
multiple sounds, underlines the importance of this new direction. 'lt was, at that point, a
very vital kind of research for a composerto do. Music had sort of reached a point vyhere
nearly everyone was waiting for some kind of brealdhrough in the materials we were
using."a The increasing exposure oliaz, ffican, Brazilian, and Cuban musics (sparked
by awareness by the artistic communrty of the African-American civil rights movement,
beginning in the 50's) and the use of innovative musical timbres by its artisb were also
contributors. This method of unconventional tone production was obviously an atempt
at imitating a variety of vocal expressions and practices.

Producing Multiple Sounds

tt is widely agreed that to succesfully generate multiple sounds, the clarinetist must
execute sensitive adjusfunents in lip pressure, air pressure, jaw position, and position of
the larynx. However, precise adjusfrnents are nearly impossible to describe with any
universality because of individualdifferences among clarinetists and their instruments. lt
is, however, crucial that the clarinetist develop an auditory image of the sound that he is
attempting to produce.s He must use his ear to help him to develop a "feel" for what is
the most successfirl physical position to astivate a particular multiple sound; it must
require no more conscious or complicated of an effort than is required to play the easiest
pitch on the instument, and must become a sub-conscious part of his technique.
"Fingerings which seem to enhance the production of multiple sounds may be given, but
the rest is left to the individual performer. He must have gained sufficient flexibility with
the tone production processes so that he can find, for his own physiology and equipment,
what sort of production a particular multiple sound requires of him."o Gerald Farmer
presents a good list of general concepts to help prepare oneself intellectually for the
production of multiple sounds:

Relaxation of the embouchure and oral cavity along with slightly less
pressure from the bottom will often allow greater sensitilry to reed
vibration, thus producing more reliable multiphonics. lt is important,
too, for the throat muscles to remain relaxed in order that a focus on a
single tone be avoided. Air pressure may usually be described as
less forced, with an atempt toward a slow, steady flow of air.z
 41

Chart of Multiple Sounds for Bass Gtarinet

The foltowing chart (Table #5) has been compiled from numerous musicat
compositions, and experiments of the author; it has been checked for accuracy by other
players. The author has striven to organize the material according to acoustic principles
of the bass clarinet and basic principles of bass ctarinet technique. All of the muftple
sounds presented are playable on any taditional professional mouthpiece/reed set-up.
They demand only slight deviations from normal finger expectations and embouchure.
(while it is tue that a multiple sound may be derived ftom any possible fingering for a
single tone, of which there are theoretically thousands, this stgdy omits those that ieguire
more than slight deviations in taditional finger and expectations and embouchure)
Those multiple sounds that employ the low Gsharp and C keys played by the right hand,
or the low D key played by the left hand, are onty available on a bass clarinet that
extends to low C (written). The multiple sounds that employ the low E-flat key are
available only on bass clarinets that extend to either low E-flat oitovrr C.

Many previous str.rdies have organized multiple sounds according to verbal

descriptions of categories of production and/or tone color, regardless of acousticat
relationships (i.e. derived from the same left hand vent hole). This study employs
acoustical relationships as the firct order of organization, and briefly - OescriU&
characteristics of each muttiple sound (see exptanation of notation, below). Of course,
every conceivable context for a particular multiple sound has not been discussed. The
author wishes to reinforce the following advice: BE SURE TO CONSULT A BASS
CLARINETIST ABOUT FEASIBLE CONTEXTS FOR PARTICUIAR MUTLIPLE
SOUNDS

Muttipte sounds have been placed in groups (labelled by lefier, beginning with those
with the lonrest fundamentaD; a common denominator within each group isln identical
registerfuent hole. ln other words, the left hand fingering remains constant within a group
(n most cases). The multiple sounds are ordered according to the right hand fingerings
which ascend in chromatic or microtonat intervals. Care has been taken to insure thlt
these groups are playable as seguences; this means limited (minimum) finger
movement, and a lack of conhary motion, wherever possible.

Groups of multiple sounds with the same leter label (.e. D, D1, D2 etc.) utilize slighgy
different, but related left hand fingerings (different vents). For example, left-fiand
fingerings in Group Dl differ from Group D only through the addition of the register key.
Left-hand fingerings in Group D2 differ ftom Group D only through the addition of side
key#3. The close technical relation of these groups makes numeious trills and kemolos
possible between them (discussed later). Left-hand fingerings for A represent the lowest
botom pitches - left hand fingerings forz,the highest bottom pitches.
 42

It is important to note that each multiple sound listed is available in isolation; it need
not be connected to another. Various characteristics of each multiple sound have been
described beneath each example in the chart. The format of this chart, top line to bottom
line (underneath each multiple sound), is:

Line # information

| - dynamic range possible - pp to FF

ll - stability: how stable is the sustain characteristic -

a = very stable
b = moderately stable
c = unstable

lll - response: the time required to produce all pitches of the multiple sound
- how resistant is it?

1 = allsounds begin simuttaneously, easily

2 = all sounds appear within 1 second, easily (somewhat resistant)
3 = allsounds appearwithin 2 seconds, resistant
4 = allsounds appearwithin 3 seconds, more resishnt
5 = all sounds appear within 4-5 seconds, very resistant

lV - timbre: description of individual pitches of the multiple sound

(sometimes (all multiple sounds that use side keys 3 andlor 4 as register
2 lines) vents will have thin timbres)

tr =toP
bt = bottom
dlbt = dull lowest pitch
dabt = dark lowest pitch (few higher partials)
fat = ffi?ry partials (high and low)
thin = pitch is weak; lack of pafials - lack of center
brt = bright; many higher partials
brtP = bright highest Pitch
thtP = thin highest Pitch
sub = subtone;dutl
 V - texture: description of the overall texture of the multiple sound
(sometimes - 2 generalcharasteristics deserve mention herel
2lines)
1) all diads (multiple sounds of two pitches which are produced as
undertones) will contain a signiFrcant amount of air when played softly
2) most of the multiple sounds that are not undertones are capable of
generating higher partials than indicated in the chart when played very
loudly. However, the production and content of these partials are not!
controllable or reliable.

diad= two pitches (an undertone - lowest pitch is weakerthan the

highest)
holl= hollow; high and low pitch (equalstrength)
3vc = three voices
mvc = many voices
bal = balance; all pitches of equal intensity
elc = electronic; 3 or more pitches, thin timbres, acoustical beats
elc!= raucous elestronic; changing amplitudes of pitches (similar to
electron ic, otherwise)
be = acoustical beats; beats caused by out of tune intenrals
slbe = slow acoustical beats
mud = muddy; unclear pitches
gent = genfle; dull timbres
M3! = predominant major 3rd (10ffr) or tiad
ns = noise in the sound (air)
sns = some noise in the sound

Vl - arpeggiation: capability to begin multiple sound wtth top or bottom pitch

alone, gradually adding other pitches

[ = easy to begin with top pitch

b = ottsyto begin with botom pitch
bt = easy to begin with either top or bottom pitch

Vll - technique: hints for easier production

ls = looser embouchure, less air pressure

ls! = vory loose embouchure
tite = tighter embouchure, more air pressure
 44

The notation system used in this chart for multiple sounds on the stafi is one which the
author hopes will become standardized. All pitches (or as many as possible) in the
multiple sound should be wrttten on the stafi. The filled-in note-heads indicate
secondary pitches, which may or may not be present according to the dynamic level of
the multiple sound. lt is important that the fingering for the multiple sound be indicated at
every occurence in the music, directly under the sonority. These procedures will greatly
assistthe clarinetist in learning the music.
 Table #5 - MultiPJe Sounds
45
li3 Ie 43u*
fo tlr $l 30tro :W?? EilG *q ry 3M *6+[o*
il+ ilE sE *6n T u$ +el +e*
rI rI tr rr Ir rr Ir rT IT rI Ir tr tr AR
lr It
tlttlrt rT rtrJ rT
r23:jlgs II
trtrotrtrtrE 1-
TI
rD
,t8t{3t{3ng
trtr,trJtr ,+el{
f f
.! et
I f tr otr trtrtro trtr
erf. F'r r$t rEtr E. f. trtrtrtr gg

t ffil firt ,rpf mpf t fitt npt fiplf trrrf prnf >firt pPmp pprrtP
bcbcbcbbbcbc bc bc aata ea
3.343. ,323343r 23 12 a2 .12 12 12 t2
ft@ fttr ,ttr frtr frtp drbt drlt UrfitltUl
12
th th
dc! clc! clcl dc! eh! ch! dcl bc bG sDc bc bG sbc hlm hfn
tnUt ,nut tllUc rttrlg rtuc cfc Glc d!/.d qnd dtncl 3ve dlncl dyad
bbbbbbbs bb btbrbtu bt 'bt
b! ls! b! b! ts! lst tttc bl ls!

* ..},
+ t f
.- e +4l l.lg*
3.1
+9'l
H ol +ol rgrY i:,0 +o to I'

-
J-

a ---_
9{/ ?4tr'1, {qr 2{
-
-a

..O: ^a- .-- -

- -'
a-

r+ [e le [+n
RR,
Il rr
t)
!lfr rr rt rr Ir rr Ir Ir rr rr rt rt rr
r rT
'4*h*
trtr "$tf
rtrtL,Lr
3t 1;
^l f I
bi.d!*1a b L*bblr
*r
rrrllrrrtr il
gtr ! fltF-fl- : /: ; r; bc;6rl di dg d
pPmp pPmP o?ril Wt N *rf *il *f ppf ppf pnrt pt ppmf pxrrt ppnf ppmr
.rb ..b .! ab r! ab .b ,b .! r! .b .b r! .! ab
12 12 t2 12 2 12 t2 12 12 T3 Z2 n 2 2 2 2
th St dadadadad.dEd.dada(hdede&A
sbc sbe slbc Glc sDc cE M3 GE clc clc! clcl clc rb clc clc clc
sns sns tt3! nud hrm hrm hrm bts bc bc be slbc
br bt btbtbbubtbb bbbbbb
ls ls ls ls ls
 ffi

@ g+ ?r ?Iryy@*2t*2 *:r ?rflv-Ynrl 1n ne+

ls-
--

lr tr Ir rr rr rt tt-rr tr Ir rg trr trr su

RRIT
II
rlrlt t1ra,trtrtrtrtr TI
qt Jtt,Urg {:tr 't#u,3 ,!{ g ,t,o t 13 1a *t*
' tr g ' ra{
tr tr tr s tr tr tr -tr { tr tr tr trg
ItrtrOtr trtrtrotrtrtrtrtr trtr
trtrtrtrtr otrtrgtrtrtrtr trtr
pfmp pFmp pp,mp prrf ptnf p-mp PmP Pmp pmp yl nPf rPf nPfr rPfr pp 99
aeaaa aaea..bbb ab ab
t2 12 12 12 12 12 12 12 12 12 12 T3 23 23 12. 12
&thththth de da & da brF bro brtP brtr brQ thbt thbt
dyad dlned 3vc 3vc 3vc ho[ hol hol 3vc 3vc 3ve bc bc bc datp detp
sns sns sns elc elc sns dc! clc! cb! nshol rsho!
rtttt brbtbtbtbtbbb ubr
ls ls

*N
1o?ut'Hvr@ tgr,@to.ti 1i c tEr 1+
AHil,t l5t il-Gt

9,RRRR.
IT II II Itr rtr II
R
rr*frb xb
ttr IE rr rr II rr rr rr
r rtrv rrrrlr
l3{tr,!tr 1s uE { rcil {jtX{s tg rrlr,:r:t:t:
trtrtrtrtr trtrtr Cilr r r r I
f-

trtrtrtrtr tr
tr trtrtr C.ITII-II
trtrtrgtr tr otrtr t I e. ?. f- r
pP9gmpmP mp mp mp Trrp o-+rnl Wrt prrf npf npf rrplf
ab ab ab ab ab ab ab ab ab aarababab
t2 12 12 t2 12 12 12 t2 12 12t2l21tr
thbt da de da da de da da de dbr dbt &t ffit .&t &t
datp 3vc 3vc 3vc 3vc sbe be tfm thtp tlilp myc nruc rwc
nsholl ns ns ,rs ns holl hol hol ho! }rc 3vc 3vc sns htm hrrn
bt bt bt bt bt bt bt br bt btbtbtbrbbr
ls ls
47

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rr lr rr
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rltrt
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rrrr
(D (D

rrtrtrtr I I ID

trtrrrr rrrtrtrtr r

fIIfflf r t .l r
r tr o r$t t. pr I '7t I gt r r St i.
.i.
mff mFf nrt;f pp pp pp pP p9 pp pp Pp mp rnprrf mPnrf mc'nrt
ababb abb bbbbbab bbbb
1123 12 23 23 23 23 23 23 12 2222
dtbt dtbt dlbt d,bt d,bt dtbt dlbt dlbt dlbt dhr dlbt dabt dabt dabt dabt
Wm Wm bts thtp thtp thtp thtp thtp ttttp thtp thtp ttm thtp ttrtp thtp
rrvc mvc elc! 6ns dysns dysns ns ns ns ns $6ns rwc lnvc mvc mvc
bt bt bt bt bt tbrbtbtbtbt bt bt bt bt
ls! ls ls ls ls

at 9,0 or1,
gt
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lEn ilairy
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- E=E *oi34:
5r, - €.1
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rr It !r rr
RRASRRI,
rr tt II It II lr I! rr tt lr tr !r
trrlrtlltrltttEtr
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r I I E I I r -:t r 'tr E'tr'O
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{.6toof do I !ftg.doc}.6il" tdt. E !lt

mprnf ffrt nrt ffrt pp pp pp pp pp pp pp p,nrf prnf prrf prrf yrnf
bbcbcbc ababababbbb ab ab ab ab ab
2yy34 2222333 t2 12 12 t2 t2
dabt dabt dabt dabt dlbt dtbt dlbt dlbt th rh rh dlbt dtbt dtbt dtbt dtbt
thtp thtp thtp ttrtp q/ad qrad qnd 3vc 3vc 3vc 3vc 3vc
nuc mvc rflYc tTtvc ns ns ns ns ns ns ns sns sns sns sns sns
bt bt bt bt b bbbttt bbbbb
ls ls! ls! lsl lsl lsl ls! ls! lsf
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94,
@l,2n y ry r: o:, ry
?
p^ @
@ u? i' y?,? 2
a-
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R RR R 9, (lt A RR ( R R ftb
lr rl It tt It tt tt rl tM lr tr ll IT
E gr I E O tr ! r- I I r r I I I

)e3s3
tt'd 'd tr tr tlti
t!t=r= E d
3l:rf :rl:slgiS)*l
I I r r E u E
y:il
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trErlrrEtilrr.rtl
(-i. I [tl. r fit fi
ynrt p-rnf pnrf prnf frnf ptrp ppp pp pp 9p P9 pp pp pp pfnrf
ab ab ab ab ab ab ab ab ab ab ab ab ab ab ab
t2 12 22222 2222222 t2
dlbt dlbt dabt dabt dabt dabt dabt thbt thbt thbt thbt thbt thbt thbt brtp
elc! elc! 3vc 3yc 3yc 3yc dpd dyad dlrad dtfiad qnd dlilad qrad qnd dlbt
ns ns ns ns ns' ns ns ns ns ns ns ns rnvcsns
bb bt bt bt bt bt ttttttt bt
ls! ls! ls ls ls ls ls

o.- 19+ 2 2r?ta ! : {'t' t!0,=,

-
-
:* 3r +: I Wad, ilg. i +gtH +g+ 4t g+-'l' o.- LT
- +gJF

4arrhb frb hb R ab RP frhb

rr rrKhb
lrA"
r
rrrrrr rr rr II rrrru Itr Ttr IE Ttr rtr Itr
rrrrrr
g g:Eil:,,
Irru
fr
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tr g&l:stt
trtrtr -
rrrnrrr
Cl"i1- r -r
--, -r -r
tr -tr
Itrt-tr trtr8 rlrrr.l
tr
tr trtrtrtr
tr
tr trtrtr r r r f.e.f:t
pp,nrf pHrf ppnrf pHilf ppnrf pppp P prnf pnrf p.f Prnf Yrrtf
ab ababbb ab ab ab ab baaaaa
12 2122 2222 3nnfi1212
brtp brtp brtp brtp brtp dlbt dlbt dlbt dlbt dl dbt dlbt dlbt dlbt dlbt
dlbt dtbt dlbt dtbt dtbt thbt thbt thbt thbt be rnvc rvc rwc lruc mvc
rnvcsn bernvc rnvc m/h m/h m/h mlh rnlh mlh sns sns sns sns snbe
bt bb[[ bbbb bbbbbb
ls ls
49

ttr tu ttr lE lE ltr tE tE lE ltr rE tE rE rE ttr rE rE ls

Itlltltrtllrlltlrt
r::: r .: s s s s: r 3 s r: s
rrrrrrlrttrEEOgtrtrE
: d=/; ; dili : Ai x : li iti ? ?a? ioi
fmf o-mf yt ef yt pf yf g tt Fnf orrrt oarrt Wrrt 3+nrt Hnf Wt yrrt Wrt
aaaaaa aaaaaeaaaaaa
t2'l2tr11 1112u37,32323nnn23
d[Dt dht dlbt dlbt dlbt dbt dbt dtbt dbt dbr dtbt dm dbt dbt dbt dbr dbt dbt
mvc mvc rrc mvc mvc mvc tftt/c ,fltrc rnc mvc rivc rntrc nrvc lfivrc mtc ,nvc rwc fflYc
sns sns. sns sns sns sns sns sns sns sns sns sns sns snri sns be be be
hbbbbbbbbbbbbbbbbb
ls ls ls ls ls ,s ls ls b ls rrs vls r,ts vls vls vls vls vls

9.6 s{+tr,ry !E+: i== ":r;-rfl';e ?rl*: ?r

Itr
R,
IO
ARRRARRRR,N,
lE ttr Io tE to ttr tE lg lE ltr IE rtr IE ttr
I r rlttrtrrlltttr
r
ITD
I
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I f I I I I f ! I f ,tl e!.f-d'E
tr r rllrttotrtrtrtrtrEtr
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tr t r I .l I r E -t ! tr .E E O tr tr
t$t{f?r r odo
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tr
V F-.(.f. tr

p,nrf p I p pnrf mPrfif mPrrf mPmf mPrrf mPrnf Pp pp prnf ynrt p,rnf c'rrrt
a ababababaaeaaabab aaaa
23 2222121212121222 1111
dlbt dlbt dtbt dtbt dtbt dtbt dtbt dlbt dlbt dlbt thbt thbt dabt dabt dabt dabt
rnvc ns ns ns ns ns nsbe nS nS ns ns ns elc elc elc elc
be be be be be
b bbbbbtbtbtbtbt none none bbbb
vls ls ls ls ls ls ls ls ls ls ls ls ls ls ls ls
 50
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ile'4
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a -o W=
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AP,RflR, **t o+ be+ ile?

+o+$€.1
rg rtr rtr rr rr rr rr rr rr rr rr rr rr tt
I I trtrtrstr trtrtrtrtrtrr
atr
J- ur
J- fl:g lI lr 1r Ir
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tr tr trtrugg rrlrrr
u tr tr hr r $r.6t r g.
rr :
tr u tr
E. E. f 6,,1 6fr di di ,il?
fnrf mp mp Pmp mp mp mp mp rnf-f ffrt4 fifi:f firt4 nrt-f nrt-t
a ab ab ab ab ab ab ab ab ab ab ab ab ab
1 12 12 122222 222222
dabt da da dtbt dlbt dtbt dtbt dlbt dabt dabt dabt dabt dabt dabt
elc elc holl dyad d6d dpd elc elc elc elc elc elc
be be sbe ns ns ns ns ns be be be be be be
b bt bt bt bt bt bt bt bbbbbb
ls ls ls ls ls ls ls ls ls ls ls ls ls ls

b+
ei
bL, *0 .J {+q+9'tt[
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rrtrrrrrrr rE ro ru
rIr
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rrtlrrrstrtr rrr
d? 6$? X ! *r rr rr r dr_rtr xr J tr r pr r
L. f=. 6\ tr 61d 6Fa 6ta 6lia tr
F. F r r
firt-f rfif-t rfif-t nrt't rnf-t nrt.fl' nrt4f nrt4t nrt4f nrt-ff nrt4f ffrt-ff rnf-ff mfrnf mfrnf mprnf
ab ab ab aabaaaaaaaa ab ab
222 ab
12211111111 t2 12 12
dabt dabt dabt d,bt d,bt brtp brtp brtp brtp brtp brtp brtp brtp dlbt dtbt
elc elc elc dlbt
elc elc elc elc elc elc elc elc elc etc
be be be lrlvc rrvc ruc rvc nuc mvc ruc ruc rvc rnvc ns ns
bbb bbbbbbbbbb bbb
ns
ls ls ls lslslslslslslslstsh ls ls ls
51
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lo+lo lot
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sffifl17f
rfit tr s tr rftf. f t ft
rnfrnf m?nrt nrt mFf firt mc-rtf mfff mpff mc-ltf mfff mfff gppynrtp-nrt
babababab aaaaaa ab ab ab ab ab
t2 12 12 12 t2 111111 111r1
dlbt dtbt thtp dlbt tlrtp ftfrfrfitt dbt dtbt dtbr dtbt dtbt
be truc rnvc rn/c mvc nvc rTMc sns sns sns sns ruc
ns ns ns ns ns bal bal bal bal bal bal bel
bbbbb bbbbbb bt bt br
ls ls ls ls ls

b*+ *.,fr +e+

2etl! +zr@ +gv *:

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t- + 4.
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gb gb gb gb ftb frb *sbfrb gt pb

II II II TI TT rr rT II IT rr
rrrtr r rrr t
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r. I r r r r lrl I rr N'I
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r r 1trtr€ r {tr tr 1r r
rst;ala?s tr g! ttrtr tr trtr u
f'r
firt mtrnrf nerrf mpnrf mpnrf mprrf mprrf mp'nrf rnp'rrf mpmf mprnf mprrf trmp Pmp o-,mp
bababababababababababab a abb
2111111111tl 1 122
brtp da brtr brtp brtp da da da da da 6a da da da da
ehi holl holl holl holl 3vc 3'rc 3vc 3vc 3vc 3vc
be be be be be be be be be be be be be ns ns
bt bt bt bt bt bt bt bt bt bt bt bt bt bt bt
ls ls
 52

t t,t
?nir\Iffn?^Er 1m frorr 9++!+
1==6ng! *2
IFl+2*a =6 Z*+in
=
gb gbxb fi P Ab hbf p.*
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rr;ji;ji;
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li : &idilt r
tr
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gtr
rtrgtr
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mp nrt-f nrt4 t nrt-f lrrt4 nrt4 firt-t mpf nrt-f pp pp pp pp
ab bbcbabababab ab bc ab ab ab ab
t2 223212121212 122 12 12 12 12
da dlbt dtbt dlbt dtbt dtbt dtbt dtbt drbt dtbt dl dt dt dl
holl rnvc mvc elc elc elc elc elc brtp brtp holl holl holl holl
sbe elc elc be be be be be elcbe elcbe ns ns ns ns
bt bbbbbbb bt bt bt bt bt bt
ls lsl ls! lsl ls! ls! lsl lsl ls ls

t+f gbl_go L ip-+

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6',r tr?odnah tr tr tr rt: r 6 r tr tr

mp mprnf mFrnf mpf rnrf mpf t t mrf mpf mpf rfit nrt4 rrrt-f firt4 rnff
ababababababbcbcbbb babababb
1212121212122323222 2 12 't2 12 12
da da da da da da da da da da da dlbt dtbt dtbt dtbt da
mvc mvc rnvc tnvc rnvc rnvc rvc mvc mvc rnvc nvc brtP brtp brtp brtp nvc
ns ns ns ns ns ns ns ns elc elc elc hollel rnvcel rrucel rnvcel elc
bbbbbbbbbbb btbtbtbtb
ls ls ls ls ls ls ls! lsl lsl ls! lsl
53

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trt trt gr
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tr9trtr II
f. tr

mp mp mp mynrt pp mP mp mp npf mpf npf npf

ababb a ab ab ab ab ababbbc
222 1 12 t2 t2 12 12 12 12 12
dtbt dlbt dt dabt th da da brtp dilp tttp thtp ffip
holl hol be IIUC hoI holl hol hoil eh elc eh eh
ns ns ns ns sbe sn sbe be be be be
bbbt b bt bt bt bt bbbb
fre ls ls ls

ofb. 4,} s+€

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g,

Itr rtrfrb rtr rE Itr rtr

R, Rot RAb Rth
rtr rtr rtr
P,RAK
rtr Itr Itr rtr
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trtr : d: 6ii /: dila .,{ tr

g
li:d= I
r .f
f ft rf (a
af

nrt rrrt Lft f-tr t-fr f-fr pp pp rrf mf mf mp mp mp Pp

ab ab bcbcbcbcbb bc ab ab abababb
12 12 2223231212 21212 12 12 12 t2
thtp thtp dlbt dlbt dlbr dlbt th th fatb fatb fatb be be be thbt
be! be nuc ruc ruc mvc 6fiad dlilad rnvc rnvc ruc ns ns ns holl
elc eh elc elc elc ns ns elcl elcl elc! brbtbtt
bb bbbbnono bbb
ls ls ls ls ls! ls! ls ls ls
 54
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7ti f t pr r di di dr di fafia rf,t
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pp pnrf frnf p,rrf firt-f nff-t ffrt-f nrt-t nrt4 pfmp trmp trmp Fmp nrt
b ab ab ab ababbb bab ab ab ab ab
12 12 12 12 12 12 23 23 ?312 12 .12 12 12
thbt th brtp da brtp brtp brtp brtp brtp th ilrtp thF fitp ffirp
holl ns elc ns nvc nrvc rnvc Jmrc m\rc holl be be be be
be holl be elc! elcl elc! elc! elc! ns M3!
t bt bt bt bt bt br bt br bt btubtbt
ls ls ls! lsl

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r^, * -t-{ io L
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dla dd u r{tL.it r{t r ft{t r r
firt nrt rrf-f pp pp pp pp pp pp pp pff ppf pPf PPf
ab ab ab ab ab ab ab ab ab ab aaaa
12 12 12 12 12 12 12 12 t2 12 12 12 12 12
thtp thtp dlbt thbt thbt thbt thbt thbt thbt thbt dlbt dlbt dlbt dlbt
be be ftr3! qrad qrad dlyrrd qiad d:y,aid dlr,ard d]fiad brtP
elc! holl holl ns holl holl ns ns hollbe hollbe hollbe hollbe
bt bt bt br bt br bt bt br bt bt bt bt bt
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55
to HouI+ +o+ la* ilo-
ilr *ot'.-- 3 +9 %+2+ r-qflgt fr€,,l, - Hg{, Ig+{e+
= zfl="='lE
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r--
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rl
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trtrtrtrtr9.9 rr rr rtr Itr rtr rE rg rtr rtr
trtrgtr
g o g gg t6 t! Irtrtr
trtrtr
1d 1a la
IIrrIrT ;-; j;.; rIr
f ;I f 4tr tr -,f I {orl InTr
7r 7r 16-1 7. 7t r tr tr ft r Frft r
pe,rrf pprnf pprrf ppnrf pprrf rnpnrf mfmf PP PP nprnf mpnrf tpnrt rprnf tpnttf -
ab ab ab ab ab ab ab ab ab ab ab ab ab
t2 t2 12 12 12 12 12 t2 12 12 t2 12 12
ab
dlbt dtbt dtbt dlbt dlbt dlbt dtbt thbt thbt rhm fibt thbt ttrbt
12
thbt
brtp brtp brtp brtp brtp thbt thbt datp datp datr datp datp &tp datp
holns hfimns hollns hollns hotns ly'rnns ly'mns ns ns ho[sn holsn hollsn holsn
bt bt br br bt tt tt mbt uubt
holtsn

ar? YrM yE,1{

Rp.,
rtr rtr rr
R.
rtr
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,3
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tr
trtr tr
t.rtr tr

mFrnf mpnrf prmp mp

ab ab a ab
12 12 12 12
thbt rhbt da da
datp datp bal bal
hollsn hollsn sns 3vc
bt bt bt bt
 56

The subject of multiphonic tills and temolos will only be brieffy broached here (it is
a fairly infricate area that is best lefr to advice ftom individual players). Trills between
adjacent multiple sounds in Table #5 (different right-hand fingerings; same lefi-hand
fingering) are possible. ln addition, they are possible between multiple sounds with the
same right-hand fingering but difierent left-hand fingering between the following Groups:

A4 and A5
B2.1 and B3.1
B2.1 and B;3.2
E and E1
E and E2
E and E2.1
E andE2.Z
EandH
EandL
land 12
landJ
K and K1
K and l(2
O and 02

Some multiphonics can be enhanced through a register key trill (Example #1).

Example #1
bo o
a
+
O -
= a-
#o -D
a-
ala
-

@ @
ul trr trI
r I T
I (I
r I
I
r
rI!

T I
I TI I
I It
E'€,
g

II
I
l-
t
,I
I
tr
57

Some multiphonic trills can begin with a trill of the lorest pitches, and gradually add the
higher pitches, which in some cases remain at a constant pitch level, and at others,
alternate between two different pitches. Several of these trills are easily produced on the
bass clarinet (Exam ple #2).

Example fz
'll lqi
tn
+rilt,t (g Gg) (o0) As 2*)

-\ f+ $ n{- ib' Xb
II TI trI II
t., ?r
,I r
{} 3E9n
r
tr tr -r -r
tr tr tr , E'l
tr tr tr {t
 58

NOTES

Kennelh Peacock, "Mufiiphonic Specta," The Clarinet 13: 2 (1986), 14.

2
curiously enough, a comphint nusicians have often voiced abort pwety electronic music
concems tfre fxed' quali$ of the soumds. Evenwift the npst porrerful tligfital qptems avaihble, it is
not possible to ctuplicate the constanfiy changing tirnbral effects urtrich occur cil^ning a 'steaQf
mulliphonic. These minute charqes are preciselyufiat accounts for a fifelike sourd. Recent advances
in technology have addressed lhis issue, M slill do not accourt for the "contolled randomness" foutd
with a human perfonner of an acouslic insfument
3
Bamey Childs ard Eiliott Sctnrvartz, eds., Contemporary Composers on Contemporarv Music, New York 1967.
4
John Arderson, "An Ana$ical Strdy of Three Twentieth Cent4ywcks for Unaccompanied
Clarinet" Dss. Teachers College atCdumbia University 1974,179.
5
to this end, tradilionalear-taining and sigfrt-singirp exercises shor.^dd consistenfly be a part of
the clarturcltsfs praclice session.
o
hravan,27.
7
@raH Farmer, Mulliphorics ard Otrer Contenporary Chrinet Teciniqres, Rocfrester Nt SHALL-
umo, 1981, 13.
59

CHAPTER III
Other Resources

Many other sounds can be produced on the bass clarinet ilrrough extended
technigues that dely cabgorization wfth the singte or multiple sounds that have been
described in the last two chapters, even though they may maintain a number of similar
qualities. These have been divided into sounds of definite pitch (glissandilportamenti),
sounds of indefinite or approximate pitch (half-pitched percussive sounds, vocalizing -
gradations of singing and speaking - through the bass clarinet, air sounds) and specific
techniques (i.e. flutter tonguing) which may be applied to sounds of one or both
categories (or, in addition, conventional bass clarinet tones, sounds ftom Chapters I and
ll, etc.). The reader is referred to fte Clarinet of the Twenty-Firct Century for a
discussion of specific techniques - they are all applieble to the bass clarinet.

The descriptions and musicalexamples on the following pages are not meantto impty
that these are the only possibilities. Rather, it is hoped that these may serve as
provocations to composers and bass clarinetists who may discover and create neur
musical ideas, and, in so doing, expand and refine the instrumental techniques required
to realee these ideas. The palete of potentially expressive sounds on the bass clarinet
is virtually limiUess.

Sounds of Deftnite Pitch

GlissandolPortamento

These terms are still often used interchangeably, even though they have been clearly
defined in earlier terils on nerv clarinet techniques.i Part of the problem may result from
the use of these terms by performerc of insiluments (string, brass) on which the
glissando is executed in a different fiashion; tfiese insfuments do not have keys (or as
many keys), for example, vvhich greatly assist in clearly defining pitches. At any rate, we
will define the glissando as "a rapid chromatic scale between ttrvo notes - it is desirable to
slightly blur these notes (by speed) so that they are nst distinct, evenly-spaced in time,
pitches." This technique is possible without a great deal of difficulty throughout the
range of the clarinet (it is, of course, more dfficult if required over one of the two "breaks"
of the instrument). Since it is rather easily produced, we will move on to discuss the
much more difficult portamento.
 60

Portamento can be described as a continuously smooth, sliding glissando. Caravan

has given us a Proper definition - "Bre connection of two tones by a smooth slide which
passes through all of the possible pitches or frequencies between the two tones without
interuption."2 The continuous movement of a kombone slide, or a string playe/s finger
slid along a single string yields similar effiecb. The sound has entered the avant-garde
repertoire most surely as a result of influences fiom iaz'z voalisb and clarinetists
(including its widely known use in Gershwin's Rhapdy in Blue - 1924), in addition to
influences from the common practice of "circumlocution" (pitch sliding and bending)
found in many non-western traditional musics (Japanese and West African, for example).
Xenakis (in Eonfa) and HaubenstochRamatiwere among the first to extensively emptoy
portamento forwoodwinds in post-1945 music. The music of Eonta effectively combines
steady pitches with slow portamenti, creating a maruelous, constanfly changing rate of
acoustical beating.

A variety of explanations and methods have been suggested for portamento. All
involve lip pressure, oral cavity shape, throat opening, tongue position, air pressure, and
fingers, although in different hierarchical positions of importance. Phillip Rehfeldt
recommends adjustments in lip pressure, oral cavtty shape, and throat opening to
produce a lower pitch from the fingering employed.e This lower pitch must be
maintained in parallel motion by the embouchure as the fingered pitches begin to move
upwards or downwards. Garborino discusses, in a somewhat confusing way, what he
labels as an "acciaccatura-portamento."4 This is realized with the lips by either relaxing
or squeezing the embouchure at the moment that the portamento begins, or with an
abrupt change in fingering just as the portamento begins. Neither method seems to be
dependable in practice. Ronald Cararran states that portamento is produced primarily by
manipulating the shape of the oral cavity by means of tongue position changes.s
Embouchure adiustment and tone hole uncovering are not as important. Caravan
contends that allftngers of the right hand may be lifted simultaneously and all fingerc of
the left hand may be lifred simultaneously without afiec{ing the portamento. What he fails
to mention, however, is hor much time this portamento is to take from beginning to end,
what the dynamic level is, or what its shape in time should be (Example #1). These
factors all determine the role of embouchure and fingers.

Example #1
Possible Shap€s, in Time, of Portamenti
61

Caravan does offer some good suggestions for leaming portamento production. Since
downraard tone bends are the most difficuh these shoud be praciiced hrst masterinj g,re
required technique (tongue and throat position confiol) for ihis skill is applimble ti all
other (including ascending) portamenti. Eventually, a series of downward tone bends
can be linked to form a longer portamento. After one has practiced series of downward
tone bends, the ne$ logiel step is to practice ascending bends, follovred by series of
ascending bends. Short ascending bends are especiatty iAiomatic in the clarion and
altissimo registers of the bass ctarinet where the third finger of the right hand is
employed. Takayuki Raiemploys some in Sparf<e/for bass clarinet and coripr.tertape.

Example #2

e'ytg'?'
R R. R R
Itr trtr II II
tr tr I I
tr tr r r
r -tr
ID I

o -tr
tr tr
@ 6 @ 6

Longer ascending portamenti can be initiated and/or aided by this frnger - some
examples of especially easy portamenti follow:
 62

Example #

o
af,

(--
*o -
-

g,A
frb
II gtr trtr
I tr tr
t g
(-r O 7lL
g
r tr
tr tr
tr
tr tr) tr

Descending portamenti in the altissimo register are also idiomatic. Takayuki Rai writes
the following small portamenti:

Example #

R fl R A R (^R R
rrlrrrr616)r
tr rt rr rr @ir rI rr R

d r r r- r@)g ttO,J W
@qE; tr tr tr tr @
PB9do x x x x x
63

others, including larger ones, are notated below:

Example #5

ilo\
3-o
a-
r-t
= ilo+
.aD

-
==

RR
Itr II
RffR,
trd Ir
trItrI
Itg :ril
trtrtrtr Eg
s

otrtrtr
trtrgo

Sounds of lndefinite pitch

Half-Pitched Percussive Sounds

The bass clarinet ofiers an incredible resource for percussive (both unpitched and
half-pitched) sounds because of the size and harmonic richness of its resonating body.
The fact that keys cover the seven finger tone holes (different from the key ringJ of the
sopEno clarinet) also helps to ampliff the volume of the percussive sounds made when
fingers sffike the tone holes (either as single sfiikes or fiills/kemolos).

The following chart ctassifies these sounds (in a similar fiashion to the classification of
multiple sounds) according to left hand fingering, beginning with the entire upper joint
covered (A), and gradually progressing to none of the upper joint coverea
ip). The
number following the lefter (i.e. Al) denotes which fingers/keys ire moved. The number
1 represents one or more of the three fingers of the right hand - the numb1Jr 2
represents
one or more of the three fingers of the left hand - the number .5 represents a low key
moved by the right hand without all the fingers of the right hand covering the three toni
holes. Finally, the leters wtth no numbers fotlowing them (i.e.A) represent a low key
 64

moved by the right hand with all the fingers of the right hand covering the three tone
holes. These sounds are most resonant when the mouthpiece is not in the mouth. They
differ in color from a skong hollow resonance to very thin, short, click resonances.
 65 Table #

f ;r
rt rr rI rr rt rI
trlttI
IITINI
II
ttI
tIl
IT TT TI II II
T tIl
TI & ITI
tQt : ttl E E
666
--- .- * t- r-
r .Y r r r
.D

TII
:66aid@ ;'
- - - T tr
r -rrtr
only lighter
,.."
ddd slighUy
@{ tr
flI
tr
L
o
tr
tr
tr)
pgssible timbre
slowly more
hollor resonant more
-resonant clicks
, +l
noise

t hollow
+
&buzzy
as loudcr
& fastcr

resonant resonant
(bu-)

6
IT rO 6b tl rt II lr
r
II
trlr rI IT rI tt
@ go -E
tr
{D
o
3)
T
trotrtr IIT
trtro %o v
E
r !(o
t-
(D rr r- (I
t nttr
7q.- (I a- (I)
-t tr o tr
tr tr o
oI ": q(DE tr ;
L
tr o o
) 6t++
@=a= c/trtr
0 t+
tr
tr
o
I

more some hollor thinner hollow

clicks resonant
bt,- more less tTlotl
& buzzy
as louder
t higher
partials
key
sound
higlpr
partials
& faster (no buzz)
resonant
wiilr big
click
 A
II rT II TT ll tl mtr ttr rtr tu IO
v tu otr tr tr tr tr g
tr o otr tr tr E r rc ?
6r oo - II
.I

-T 6o
rD
tr 6tr 6tr 6 :
r
tr
t +
g
aiq o
I
+
tr
o
tr tr tr
o
tr
0i
thinner
less highest
key
sound

fr A
rtrAA A A AAA A
Itr
tr
Itr
o oo
ltr Itr
tt
trtr
g
trtr
tr
rtr or gtr trtr
trotr tr
& tr
I I ll tr g g trtrtr g
.T
I
.I

I ro
(D

q r I -!(f' - -tr
&1
sx6 tr
-
tr
Otr otr
@i 6 trtr tr
d 6 tr
tr

highcC
67

&g f30
:E & tr
@
trtr
gO
trtr trtr otr
tr tr
1tr
)- e
tr 311 trtr trg
-trI
.D
g
tr tr
tr - r T
tr tr tr
tr ..r r o
tr g tr (r). o tr

highest

"99.?gro'g.ggg Itr rtr Ttr Itr rtr Ttr Ttr Itr

;. ;.; T ; T ;F,; r d6d6
I r I r r I t.I
&r 6"0 br
x ; x ;di: : f, i- JtrI.r
Iltr 7C
tr tr tr6n Irrtrr ft
.{ r
3-
 68

Multiple lines of half-pitched sounds are also possible. The bass clarinetist may
create the following half-pitches by trilling ftngers of the right hand (a) [as an ostinato
accompanimentl, while creating a line of half-pitches with the left hand (b).

Table #7

q) b)

@tr .-ae
@
trtr trtr trg trtr

t-
tr
o
T
tr
tr
.-
r
tr
g
T
tr
g
tr
3
tr.
9E
;.E
oo I T E tr trtr
o@ o tr trtr
 Vocalizing through the clarinet

Singing through the ctarinet on various vovrcl sounds an create interesting formants
(reinforced harmonics) when one lifts the fingers of either (or both) hand from their tone
holes. The sound will change drastically betuveen tte following vorel sounds: ee, a{y, o,
and oo.

Example ffi

This sound is even more pronounced if the player takes more mouthpiece than normal
into the mouth.

It is also possible to re-articulate this sound in an interesting vmy by pronouncing "te"

with the tongue on the roof of the mouth. Ofrrer variations include adding a growl-like
flutter or vocal portamento.

Further sounds that are possible to generate through the clarinet with the mouthpiece
on are a barking sound f(r)utrl with a low E fingering, a slovv laugh from the throat with a
low E fingering, or a throat fremolo (ululation) "eh-eh-eh etc," (the tmy young children
imitate a machine gun) which can be altered with a vocal portamento andlor by randomly
moving the fingers of the right hand.

Through the bass clarinet, it is also possible to produce an ingressive or egressive

"vocal fiy." Deborah l(avasch, a former member of the Extended Vocal Techniques
Ensembles at the University of Califomia, San Diego, describes this phenomenon:
 7A

Vocalfry is perceived as dry, clicklike pulses and is often used to

imitate the opening of a creaky door. The pulse rate of vocal fty can
be conkolled to produce a range from very slow individual clicks to a
sfream of clicks so fast that it is heard as discrete pitch. tt can
be produced both egressively (exhaling) and ingressively (inhaling).
The individual mayfind one mode easierto confolthan the other in
terms of such parameters as pulse rate, dynamics, and pitch.
The term "pitch," as used here in relation to vocal fry, refers to the
range of perceived pitches ratherthan to any implication regarding
the mode of phonation.o

This effect is especially interesting wfien one moves the fingers of both hands, since very
soft, airy sounds ar€ apparent, in addition to the rrocal fry (Example *F/). These can be
especially beautiful when amplifted.

Example #7

IT II II II II II II II II II II II IT Itr
IIITIIIITIIIUU
I r I I I I I I I .ft u tu u
J

rllllrIlugtrtrgtr
-
I I rI r 1I I tr E E U U g o
Er frflr r6rr s o Tat E o ll tr ll E

Air Sounds

Air sounds can also serve as sound material when blown through the bass clarinet
with the mouthpiece attached. This is accomplished with an embouchure that is
insufiicient for the production of a conventional tone. Difierent oral cavity formations
(based on vowel sounds), as well as different fingerings, can afiect the quality of these
sounds.
71

Helmut Lachenmann has developed a system in Dat Nientte. The notation, described
below, includes a symbol for blowing on the reed with the inskument held a short
distance from the mouth (Example #8).

Example *18

flngered, but pltchless playlng = f-

lnhale = V
exhale = l-|
closed oral cavlty = -
open oral cavlty = O
blow on reed : F
V

Subtle filtered color changes are exploited in numerous phrases; the music is very
expressive, despite few standard pitches!

Hans-Joachim.Hespos offers a slightly different notation for subfle air colors.z

Example #9

= j"* ai6fTc.oa
z= barcly co loreA qi rs/reqt't
C= tgX+ty colore{ *irsfrea,'1

\,
^-. - oPu\ qltack, oPUr rele^fe
) = ofcn qlfrv.ckt clea,r releette
c' : cleqr a,flqck) ofut releue
 72

Speaking through the Bass Clarinet

Works have been written for solo trombone (Robert Erickson - Generat Speech) and
solo trumpet (Kenneffir Gaburo - Mouthpiece) that have successfully employed speech
through instruments.e Part of the beauty of this technique is the production of ambiguous
meanings through difierent shades of intelligibility of the tert. Words begin to sound like
other words, or even music! The listener begins to listen to the rhythm, shape, and
inflection of speech with a new awareness. ln addition, ttle theater inherent in this
technique reminds one of Liebowit/s coment about sprechstimme:

This new uay of treating the voice permits the elaboration of melodramafrc
scenes according to purely musical principles, which is not the case in classic
recitatives.g

The following consonant fransients are especially efiective on the clarinet as short
sounds: T, H, W, K, Y, and Th (touch reed). Furthermore, allof the phonemes below are
plausible:

Table ffi
a as in act front vowel
ng as in bring voiced nasal
a as in ago
o as in odd
ah as in father back vowel
o as in official
ahr as in arm
oh as in oat back vowel
air as in dare
ohr as in board
aw as in walk
oi as in join
ay as in age front vowel
oo as in soon back vowel
d as in dog voiced plosive
oor as in poor
e as in bed voiced plosive
or as in horse
e as in tiaken front vowel
ow as in now
ee as in see front vo\ryel
r as in red voiced semivowel
eer as in beer
s as in sit unvoiced fricative
 g as in get voiced plosive
t as in top unvoiced plosive
h as in hat
th as in thin unvoiced fticative
hrv as in wheat unvoiced glide
frt as in this voiced fricative
i as in give fiontvowel
u as in cut mid vor,yel
i as in pencil
u as in circus
i as in fire
ur as in bum
i as injam voiced comb. plosive-fticative
uu as inbook back vowel
k as in king
y as inyes voiced glide
I as inleg voiced semivowel -
n as inno voiced nasal

The few oamples below do not work well, primarily because of the invasion by the reed
of the oral cavity.

Table *F (not possiblel

b as inboy (voiced plosive)

f as infat (unvoiced fricative)
p as inpin (unvoiced plosive)
v as invan (voiced fticative)
z as in zebra (voiced fricative)
ch as inchin (unvoiced comb. plosive-fricative)
m as inme (voiced nasal)
sh as in rush (unvoiced fricative)
w as inwill (voiced glide)
zh as in vision (voiced fricative)
 74

NOTES
1

by Phillip Rehfeldt New Diredions for Clarinet Berkeley: University of Califom{a Press, 1927;
Ronald L. Caranan, lExtensions of Technique for Clarinet and Saxophone," Diss- Easfrnan Sclmlof
Music 1974; Gerald Farmer, Mudliohonics and Ofircr Contenroorarv Chrinet Tecfmioues, Rochester, NY:
SHALL-urno, 1981.
2
Ronald Caramn,205.
3
Rehfeldt,58.
4
Giuseppe Garborino, Metodo oer Clarinetto. Milano: Ediziono SL$/ini Ze6oni, 1973.
5
Caravan,204.
o
Deborah Kavasch, "An lnfoduction to Extended Vocal Tefiniques: Some ComposilionalAspects
and Performance Problems,".El@@, lll, No. 1 (April 1985), ,6.
7
David Smeyers, "The Hespos Phenomenon: A Performe/s Polnt of Mew," Conhct 33 (AtrtJmn 1988).
I
see Jack Logian "Nor Tnrnpet Tectmiques as the Matiere Sonore in Kenneh Gaburo's
'MorJthpieee'", Wnds Quarterly, vol. 1 (Sunnrer 19811, 2-1 4.
I
Rene Liebo,ri?, Schoerbero and His Sctrool, (PhilosophicalLibrary: NewYork, 1949), hans. by
Elika Newlin, Da Capo: NewYork, 1975, 85.