BRIDGING THE GAP: INTRODUCING EXTENDED TECHNIQUES AND CONTEMPORARY
NOTATION THROUGH NEWLY COMPOSED ETUDES FOR CLARINET
Luke Michael Ellard B.M., M.M., M.M, P.D.
Dissertation Prepared for the Degree of
DOCTOR OF MUSICAL ARTS
UNIVERSITY OF NORTH TEXAS
May 2020
APPROVED:
Kimberly Cole Luevano, Major Professor Elizabeth McNutt, Committee Member Phillip Paglialonga, Committee Member Natalie Mannix, Interim Chair of the Division of Instrumental Studies Felix Olschofka, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School
Ellard, Luke Michael. Bridging the Gap: Introducing Extended Techniques and
Contemporary Notation through Newly Composed Etudes for Clarinet. Doctor of Musical Arts
(Performance), May 2020, 70 pp., 6 musical examples, 1 appendix, bibliography, 38 titles.
This dissertation aims to address the pedagogical gap in introductory material for contemporary clarinet instruction. Through examining the most prominent contemporary methods for the clarinet, the pedagogical gap is highlighted, particularly regarding material aimed at newcomers and early undergraduate students. To address these needs, a new collection of etudes is proposed, introducing extended techniques and contemporary notation for newcomers to modern music.
Copyright 2020
By
Luke Michael Ellard
ii ACKNOWLEDGMENTS
There are many I wish to thank not only throughout my doctoral studies but throughout my life as an artist as well. First, I would like to thank my supportive and brilliant committee
Kimberly Cole Luevano, Phillip O. Paglialonga, and Elizabeth McNutt for their time, insight, and openness to my ideas and aspirations. I would also like to thank the University of North
Texas College of Music Composition Department, the Center for Experimental Music and
Intermedia, and composition faculty Joseph Klein, Andrew May, and Kirsten Broberg for providing an inspiring and supportive environment for contemporary performers like myself and for those within the contemporary music performance related field. I would like to thank a few of the many clarinetists who have laid the groundwork for and inspired this dissertation: Eric
Mandat, William O. Smith, Gregory Oakes, Heather Roche, Suzanne Stephens, Phillip Rehfeldt,
F. Gerard Errante, Michael J. Maccaferri, and my colleagues at the University of North Texas and beyond. Lastly, I would like to thank my family for their endless support in all areas of my life. It is a privilege I do not take for granted and I hope to use the opportunities they’ve afforded me to uplift those around me and future generations of musicians.
iii TABLE OF CONTENTS
Page
ACKNOWLEDGMENTS ...... iii
LIST OF MUSICAL EXAMPLES ...... vi
CHAPTER 1. INTRODUCTION ...... 1
CHAPTER 2. DEFINING CONTEMPORARY THROUGH HISTORY AND BACKGROUND ...... 2
CHAPTER 3. A COMMENTARY ON MODERN PEDAGOGICAL MATERIAL FOR CLARINETISTS...... 9
CHAPTER 4. THE PEDAGOGICAL GAP ...... 16
CHAPTER 5. INTRODUCTION TO NEW ETUDES ...... 22
CHAPTER 6. QUARTER TONE EXERCISES AND ETUDE I ...... 24
CHAPTER 7. MULTIPHONICS EXERCISES AND ETUDE II ...... 28
CHAPTER 8. VOCALIZATION EXERCISES AND ETUDE III ...... 33
CHAPTER 9. GUIDED IMPROVISATION EXERCISES AND ETUDE IV ...... 35
CHAPTER 10. MANIPULATING ARTICULATION EXERCISES AND ETUDE V ...... 39
CHAPTER 11. GRAPHIC NOTATION NOTES AND ETUDE VI ...... 41
CHAPTER 12. CONCLUSION ...... 44
APPENDIX: THE ETUDES...... 45 Etude I: Quarter Tones ...... 46 Fingering Chart ...... 46 Exercises ...... 47 Score ...... 48 Etude II: Multiphonics ...... 50 Fingering Chart ...... 50 Exercises ...... 51 Score ...... 53
iv Etude III: Vocalization ...... 54 Exercises ...... 54 Score ...... 55 Etude IV: Guided Improvisation ...... 56 Tools Used ...... 56 Score ...... 57 Etude V: Manipulating Articulation ...... 58 Double Tonguing Exercises ...... 58 Flutter Tonguing Excercises ...... 59 Score ...... 60 Etude VI: Graphic Notation ...... 64 Examples ...... 65 Score ...... 66
BIBLIOGRAPHY ...... 67
v LIST OF MUSICAL EXAMPLES
Page
Example 6.1: Accidentals for quarter tones with semitones ...... 26
Example 6.2: Etude I, m. 5, fingering sequence ...... 26
Example 6.3: Etude I, mm. 20-27, 41 to end, fingering sequence ...... 27
Example 7.1: Mandat’s exercise for “under-blowing ...... 29
Example 7.2: Mandat exercise based on Brahm’s Sonata for Clarinet, Op. 120, No. 2, m. 22 .... 29
Example 7.3: Mandat’s exercise for “over-blowing” ...... 30
vi CHAPTER 1
INTRODUCTION
Etudes have long been a vehicle through which instructors teach fundamental concepts and hone the technical facility of musicians. With each advancement in instrument design and with increased technical demands, new method books and materials are created and adapted to meet new needs. However, despite a century of musical experimentation and its correlating increase in overall technical prowess, there remains a lack of material introducing contemporary concepts to developing clarinetists (advanced high school and early undergraduate) and clarinetists who are new to modern music. Because numerous contemporary works present techniques or challenges not previously encountered, the works are thought to be "difficult;” therefore, many clarinetists begin studying repertoire containing extended techniques and contemporary notation later in their education, if at all. This delayed introduction may often involve trial and error, and, in the case of the significant contemporary resources, assume a level of predisposition or technical ability in regard to modernist musicianship. Additionally, with the hesitation to perform newer works, clarinetists miss opportunities to perform music by living, diverse composers, particularly those previously excluded from Western classical music.
Learning contemporary techniques and notation offers clarinetists the chance to create a repertoire that is culturally relevant and equitable. Thus, examining the most prevalent contemporary methods for the clarinet reveals a pedagogical need for a collection of new etudes introducing extended techniques and contemporary notation for newcomers to modern music as well as the next generation of performers.
1 CHAPTER 2
DEFINING CONTEMPORARY THROUGH HISTORY AND BACKGROUND
Musically, a shift began to occur during the twentieth century toward timbre and tone
color as primary elements of composition. The relationship between advancements in instrument
design and the expansion of compositional processes resulted in radically diverse methods of
expression through incorporation of extended techniques.1 It is important to note that many
extended techniques are not new on a global, non-Western scale and experienced a gradual
inclusion in notated Western art music during the twentieth century. For this discussion, the term
“contemporary” refers to experimental or avant-garde stylistic elements of notated musical practice used increasingly over the past century.
One prevalent technique that saw its rise by the 1960s is the phenomenon of simultaneous sonorities produced on the clarinet, or multiphonics. E. Michael Richards attributes this discovery to two main reasons: advancements in electronic elements in music and their incorporation as a compositional tool. With new technology, composers were able to sculpt unique timbres, influencing writing for acoustic instruments. These advancements worked in tandem with “the logical continuation and progression of the importance of timbre and texture in musical harmony.”2
Multiple simultaneous sounds on the clarinet are “as old as the instruments themselves,”3
often manifesting when clarinetists first begin to study the instrument. Yet, in a more structured
way, jazz had an immense influence on the experimentation of multiple sounds on woodwind
1 Gerald J. Farmer, Multiphonics and Other Contemporary Clarinet Techniques (Rochester, N.Y.: SHALL-u-mo Publications, 1982), 1. 2 E. Michael Richards, The Clarinet of the Twenty-First Century (Place of publication not identified: E + K Pub., 1992), 141. 3 Richards, 142.
2 instruments. There exists recorded evidence of live performances by jazz clarinetists Pee Wee
Russell and Sidney Bechet producing what, at the time, was referred to as buzz tones—humming
while playing—that experienced broader implementation by the 1940s. By the 1950s, musicians increasingly incorporated timbral experimentation into performances. Bass clarinetist Eric
Dolphy regularly employed extended techniques, including smears, microtones, animalistic
sounds, and multiphonics. Continuing into the 1960s, saxophonists John Coltrane, Ornette
Coleman, and Archie Shepp utilized techniques such as squeaks and variations in embouchure
(producing microtones) as expressive tools in their music.4
Experimentation in timbral production and multiple sounds predates written compositions
by Western art composers, with one of the earliest notated instances found in John Cage’s
Concerto for Piano and Orchestra, specified as an “undertone.”5 One finds early, more directly
notated examples of multiple simultaneous sonorities in William O. Smith’s Five Pieces for
Flute and Clarinet, John Eaton’s Concert Music for Solo Clarinet, and Donald Scavarda’s
Matrix for Solo Clarinet, all composed between 1961 and 1962. Notably, John Eaton’s work was
the result of his creative partnership with clarinetist and composer William O. Smith. From their
collaboration, Smith noted over 700 multiphonics, or as Eaton referred to them, “double stops.”6
Inspiring their incorporation in future works, Smith’s 1964 Variants was described in a review as
“must be seen to believe - double, even triple stops; pure whistling harmonies; tremolo growls
and burbles; ghosts of tones, shrill screams of sounds, weird echos… Completely impossible
except that it happened.”7
4 Ibid. 5 Ibid. 6 Ibid., 143. 7 Ibid.
3 Multiple sonorities were not the only pitch-based extended techniques that saw increased
implementation in the twentieth century. Microtones grew as a prevalent tool for further
expression on the clarinet and have a longer history than other extended techniques in musical
traditions across the world. Microtones are any interval smaller than a semitone, such as quarter
tones in which an octave is partitioned into twenty-four equally-spaced pitches. In Western art music, as early as the sixteenth century, a description of a quarter tone harpsichord is given by N.
Vincentino and Christopher Simpson’s 1667 Compendium of Practical Musick.8 Microtonal
production on the clarinet existed by the early twentieth century, including the invention of
modified clarinets such as Richard H. Stein’s quarter tone clarinet, built around 1911, that
featured additional keys and tone holes to the Boehm system clarinet at the time. Utilizing a
different approach, Fritz Schuller crafted a clarinet-like instrument in 1937 featuring two
different tubes tuned a quarter tone apart. Early works adopting Schuller’s system are Czech
composer Alois Haba’s Suite Op. 24 for clarinet and quarter tone piano in 1925 as well as his
Suite Op. 55 for solo quarter tone clarinet in 1943.9 However, the adoption of the new quarter
tone system failed to gain a foothold. Microtonal composition occurred by utilizing new
fingerings while playing standard clarinet models, which aided in achieving microtones yet
sacrificed the evenness of timbre.10 Richards makes an important point that microtonal fingerings
on the clarinet are relative, and numerous factors influence the accuracy of pitch.11 Subtle
differences in dimensions between clarinets broadly affect intonation and response, affecting
microtones. In some cases, particularly in pitch adjustment within larger ensembles, microtonal
8 Ibid., 56. 9 Ibid. 10 Ibid., 57. 11 Ibid.
4 fingerings may assist with tuning in relation to the other performers. Tone color is affected by
these fingerings, yet having an understanding of microtonal adjustments on the clarinet proves
beneficial for performers.
Over the twentieth century, an imaginative variety of extended techniques outside of
single and multiple pitched sounds emerged. Like many extended techniques, glissandi and
portamenti surely entered common avant-garde practice through the influence of jazz musicians.
As previously discussed for microtones, bending and sliding of pitches is not a twentieth-century
invention, but rather a method of musical expression that has long existed in cultures across the
globe. Richards writes that, though used interchangeably, there is an important distinction
implied. By his definition, glissandi act as a rapid, often roughly chromatic, scale between
pitches. Depending on the context, the performer may adjust their embouchure to blur the pitches
slightly. Portamento, on the other hand, is defined as a smooth, continuous sliding between
pitches without interruption. Richards cites a famous example in which clarinetists employ
portamento: the opening solo from George Gershwin’s Rhapsody in Blue.12 In Phillip Rehfeldt’s
New Directions for Clarinet, he also agrees with Richards in this distinction that portamento is a
continuous slide in pitch (with adjustments in lip pressure, oral cavity shape, and some
manipulation of the fingers between pitches) while glissandi is a rapid run in between notes or
falling off of notes.13 These views are further corroborated in Gerald Farmer’s Multiphonics and
Other Contemporary Clarinet Techniques.14 Yet across instrument families and even between
clarinetists, these definitions for glissando and portamento are not agreed upon. In Samuel
12 Ibid., 191. 13 Phillip Rehfeldt, New Directions for Clarinet (Berkeley: University of California Press, 1994), 59. 14 Gerald J. Farmer, Multiphonics and Other Contemporary Clarinet Techniques (Rochester, N.Y.: SHALL-u-mo Publications, 1982), 134–135.
5 Adler’s widely consulted book, The Study of Orchestration, he writes that for clarinetists,
glissandi are a combination of adjustments in embouchure, air, and lip pressure while, in some
cases, sliding fingers in between pitches, in order to create a smearing effect.15 Adler makes no
mention of portamento for the clarinet. Within his chapters on string instruments, he does note a
difference: glissando are a full volume, connected slide (hearing every pitch in between) in one
bow stroke while portamento are an expressive tool for subtly connecting notes widely spaced
apart, applying little pressure during the shift.16 Clarinetist Allen Sigel also agrees with Adler’s definition of glissandi, making no mention of portamento, in The Twentieth Century
Clarinetist.17 These discrepancies may give cause for concern in the interpretation of such
markings, as no universal definition is agreed upon. For recorded works, performers may defer to
the earliest or most widely used interpretation while in newer or less-performed works, it would
be wise to consult the composer or view their related compositions for examples.
Another common technique is flutter tonguing, produced “by rolling the tongue on the
upper palate” or “by a uvular undulation in the throat facilitated by raising the back of the tongue
slightly in the mouth.”18 An early notated example is found in Don Quixote by Richard Strauss,
composed in 1897.19
Other techniques that have been employed and notated during the twentieth century
include: playing with teeth on the reed; slap tonguing; growling into the clarinet; extending or
rearranging different parts of the clarinet, such as having the mouthpiece on the bottom half of
15 Samuel Adler, The Study of Orchestration, 4th ed. (New York: W.W. Norton and Company, 2016), 184. 16 Ibid., 16-17. 17 Allen Sigel, The Twentieth Century Clarinetist: Advanced Studies in Contemporary Music for the Clarinet (Melville, N.Y.: Belwin Mills, 1966), 49. 18 Rehfeldt, 63. 19 Ibid.
6 the instrument, gradation of air or breath sounds, and vocal sounds. Regarding vocal sounds,
simultaneously playing and humming at the same time has become a versatile tool for
composers, though not without its difficulty for clarinetists to execute. “When intervals are close
together, difference tones and beating effects are a natural by-product…”20
Jeremy Ruth explores the history of vocalizing while playing in Humming and Singing
while Playing in Clarinet Performance: An Evidence Based Method for Performers and
Resource for Composers.21 Similar to other extended techniques, vocalizing while playing the
clarinet can be traced back to the early twentieth century, primarily by jazz performers Pee Wee
Russell, Sidney Bechet, and Benny Goodman. This technique, influenced by the Uptown New
Orleans jazz style, is referred to as “growling,”22 amongst other names. Rarely used by Western classical clarinetists in the first half of the century, experimentation became more common as composers such as Ronald Caravan and William O. Smith composed for these specific techniques.
Though experimental aesthetics and techniques for the clarinet in contemporary music have evolved more rapidly over the past century, the instrument itself has been less synchronous with this movement. Despite modifications to the clarinet, primarily for intonation and response, and advancement in acoustics research, the clarinet that remains most prevalent today largely resembles that of the Klosé and Buffet model from 1893.23 Richards states that there are several
reasons, of which they “seem to apply to general attitudes of performance practice in the
20 Ibid., 68. 21 Jeremy Larkham Ruth, Humming and Singing while Playing in Clarinet Performance: An Evidence Based Method for Performers and Resources for Composers (DMA Diss., Arizona State University, 2019), ProQuest Dissertations & Theses Global. 22 Ruth, 3. 23 Richards, 1.
7 discovery, adaptation, and transformation of ‘extended techniques’ into ‘standard techniques.’”24
There is a business aspect to the evolutionary gradient in clarinet design, one that involves a tradition in practice and in the repertoire. Relatedly, it is more cost-effective for manufacturers to continue producing older designed instruments. Richards also writes that there is a hesitation among clarinetists to adopt new methods of playing and new models of instruments, as well as to invest in the higher cost of highly modified clarinets.25 These statements by Richards may be
contentious for manufacturers and clarinetists today, as craftspeople of instruments have
continually adjusted the clarinet over the past century to further refine the design.
24 Ibid. 25 Ibid., 2.
8 CHAPTER 3
A COMMENTARY ON MODERN PEDAGOGICAL MATERIAL FOR CLARINETISTS
By the mid-twentieth century, instrument-specific resources in contemporary music and
extended techniques became available. Italian composer Bruno Bartolozzi established an early
school of contemporary pedagogy in New Sounds for Woodwind,26 translated and published in
English in 1967. Although considered groundbreaking for its time, it was not without issues. A
significant hindrance was that the book focused on the Full-Boehm system clarinet, which was
rarely used outside of Italy, making it inapplicable to standard Boehm model clarinets.27
Additionally, Bartolozzi’s text predates much of the systematic theories applied to the pedagogy
of extended techniques and the research on acoustical principals on the clarinet.28 Richards
makes note that “to be fair to Bartolozzi, it must be mentioned that one-hundred-percent
reliability does not exist in any study on extended techniques.”29
Numerous resources have included “contemporary,” “modern,” or “new” in their titles.
Yet, one must consider how the actual content relates to contemporary performance practice, if at all, and not contemporary in terms of it briefly being new in proximity to the date of its publication. These resources are undoubtedly useful, yet in discussing contemporary notation and extended techniques, differentiation is required. Cecil Gold’s Contemporary Clarinet
Technique: A Study of the Altissimo Register30 includes chapters on choosing the correct
26 Bruno Bartolozzi and Reginald Smith Brindle, New Sounds for Woodwind (London: Oxford University Press, 1967). 27 As is discussed later, these discrepancies between instruments and ease of employing extended techniques between instrument models, mouthpiece, and reeds is still a concern today. 28 Richards, iv. 29 Ibid. 30 Cecil V. Gold, Contemporary Clarinet Technique: A Study of the Altissimo Register (Greensboro, N.C.: Spectrum Music Publishers, 1983).
9 instrument, mouthpiece, and reed; selected altissimo passages with suggested fingerings;
thoughts on high register playing; exercises in developing control, and a fingering chart.
Although useful, this resource is more an altissimo reference than a pedagogical resource for
contemporary techniques. Kalmen Opperman’s Contemporary Chordal Sequences for Clarinet:
276 Technical Studies31 and Contemporary Chordal Sequences for Intermediate Clarinet: 173
Technical Studies32 feature useful exercises built on non-diatonically structured chords, yet they
do not feature any form of extended techniques. In a similar vein, Opperman’s Modern Daily
Studies33 series also features useful interval, pattern, and articulation exercises outside of
traditional diatonically-based resources. Yet again, both are modern only in that they were of
increasingly practical use during the twentieth century, not due to any inclusion in extended
techniques or contemporary notation.
Another category of published works related to twentieth-century music are compilations
featuring solos by several composers. From the Associated Board of the Royal Schools of Music,
Spectrum for Clarinet: 16 Contemporary Pieces34 by Thalia Myers and Ian Mitchell features a
diverse array of composers, including Libby Larsen and William O. Smith. Though less of a
pedagogical resource, Spectrum contains introductory works to some twentieth-century elements,
such as spatial notation, that would prove useful for young clarinetists. Contrastingly, Pro
Musica Nova: Studien zum Spielen Neuer Musik: für Klarinette35 is intended for professional-
31 Kalmen Opperman, Contemporary Chordal Sequences for Clarinet: 276 Technical Studies (New York, NY: C. Fischer, 1999). 32 Kalmen Opperman, Contemporary Chordal Sequences for Intermediate Clarinet (New York, NY: C Fischer, 2005). 33 Kalmen Opperman, Modern Daily Studies Books 1, 2, 3 (Oyster Bay, N.Y. : M. Baron Co., 1952–1976). 34 Ian Mitchell and Thalia Myers, Spectrum for Clarinet: 16 Contemporary Pieces (London: Associated Board of the Royal Schools of Music, 2006). 35 David Smeyers and Beate Zelinsky, ed., Studien zum Spielen Neuer Musik: für Klarinette (Wiesbaden: Breitkopf & Härtel, 1996).
10 level performers with considerable experience in contemporary music. Similarly to Spectrum,
Pro Musica Nova is not intended for a primarily pedagogical function, but rather as an advanced
compilation of works by composers such as Giacinto Scelsi, Edison Denissow, Helmut
Lachenmann, and Iannis Xenakis.
In determining the most commonly used contemporary method books, several documents
aided in the process of differentiating between pedagogical resources for extended techniques
and those that are contemporary only in name. Kelly Austermann’s dissertation, A Supplemental
Repertoire List for the Development of Fundamental Skills in Pre-Collegiate Clarinetists36; Leo
Coleman’s An Annotated Bibliography of Woodwind Study Materials which Deal with
Performance Problems Encountered in Contemporary Music37; Theodore Jahn’s An Annotated
Bibliography of Selected Etudes and Studies for Advanced Clarinet Instruction38; Kelly Anne
Johnson’s Survey of Major Clarinet Etude Books for the College Undergraduate39; and Jana
Starling’s Comprehensive Musicianship: A Clarinet Method Book Curriculum and Sample
Units40 have all pointed toward a few key documents that provide a rich resource of pedagogy
for clarinetists.
One early method is Allen Sigel’s The Twentieth Century Clarinetist: Advanced Studies
36 Kelly Austermann, A Supplemental Repertoire List for the Development of Fundamental Skills in Pre-Collegiate Clarinetists (DMA Diss., Arizona State University, 2014), ProQuest Dissertations & Theses Global. 37 Leo Russell Coleman, An Annotated Bibliography of Woodwind Study Materials which Deal with Performance Problems Encountered in Contemporary Music (DMA Diss., The University of Iowa, 1969), ProQuest Dissertations & Theses Global. 38 Theodore Lee Jahn, An Annotated Bibliography of Selected Etudes and Studies for Advanced Clarinet Instruction (DM Diss., Indiana University, 1975), ProQuest Dissertations & Theses Global. 39 Kelly Anne Johnson, Survey of Major Clarinet Etude Books for the College Undergraduate (DMA Diss., Arizona State University, 1999), ProQuest Dissertations & Theses Global. 40 Jana Starling, Comprehensive Musicianship: A Clarinet Method Book Curriculum and Sample Units (DMA Diss., Arizona State University, 2005), ProQuest Dissertations & Theses Global.
11 in Contemporary Music for the Clarinet41, published in 1966. Sigel served as Principal
Clarinetist of the Buffalo Philharmonic Orchestra for almost twenty years, later accepting a
teaching position at the University of Buffalo.42 According to his preface, Sigel wrote the book
and composed the studies because, until that time, pedagogical resources lacked advanced
material instructing the clarinetist in “metric-rhythmic innovations, and expanded compass.”43
He posed a concern regarding the preparedness of emerging musicians when facing works of
Stravinsky, Bartók, Stockhausen, or other modernist composers; incredibly conservative training may have instilled a biased reaction against contemporary music. Sigel states that this work is to continue the canon of clarinet repertoire rather than replace what came before. The aim of his exercises and etudes are pedagogical and meant to introduce and instruct a highly advanced performer in contemporary notation.44
Following Sigel’s publication, Phillip Rehfeldt wrote the first edition of his New
Directions for Clarinet in 1977, later revising it in 1994. Rehfeldt—a clarinetist, recording artist,
and scholar—served on faculty at the University of Redlands in California from 1969–2004 and
published several books on music pedagogy. With “the purpose… to assemble material dealing
with clarinet performance as it has evolved since… 1950,”45 Rehfeldt’s New Directions is a
comprehensive resource containing historical background, pedagogical instruction, fingering
charts, musical examples, and techniques ranging from multiphonics to playing with teeth on the
41 Allen Sigel, The Twentieth Century Clarinetist: Advanced Studies in Contemporary Music for the Clarinet (Melville, N.Y.: Belwin Mills, 1966). 42 The Buffalo News Staff, “Allen Sigel, BPO principal clarinetist, UB professor,” accessed October 26, 2019, https://buffalonews.com/2013/03/15/allen-sigel-bpo-principal-clarinetist-ub-professor/ 43 Sigel, ix. 44 Ibid. 45 Phillip Rehfeldt, vii.
12 reed to electronic applications. This book positions itself primarily as a reference resource for
performers and composers, including extensive appendices with brief annotations and
biographies for further research.46
Ronald Caravan, author of Extensions of Technique for Clarinet and Saxophone and
composer of several works featuring extended techniques for clarinet, composed his Preliminary
Exercises & Etudes in Contemporary Techniques for Clarinet47 in 1979. This method provided
an introductory resource primarily for timbre variation, quarter tones, and multiphonics. The
initial section, “Etudes on Timbre Variation for Clarinet,”48 begins with a focus on timbre,
providing fingerings that color the sound. This introduction to new fingerings is useful, allowing
a more accessible point of entry to microtones. The second section of his method introduces
quarter tones with a fingering chart provided. These etudes, in particular, feature a steep learning
curve, and with the breadth of quarter tones provided, these etudes would be most suitable for
clarinetists well acquainted with the notation who wish to improve. In transitioning to
multiphonics, Caravan offers an approach he refers to as “use of conventional fingering with
distorted tone production,”49 which largely consists of under-blowing high clarion fingerings into
the clarinet at a soft dynamic to produce specific undertones. This is a useful method to have in
addition to others when practicing multiphonics. As with Caravan’s other etudes, the exercises
on singing while playing are suited for those who are more proficient in ear training and would
prove valuable as a supplemental resource to previous study.
46 Ibid., 179. 47 Ronald L. Caravan, Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet: Introductory Material for the Study of Multiphonics, Quarter Tones, & Timbre Variation (Oswego, N.Y.: Ethos Publications, 1979). 48 Ibid., 3. 49 Ibid., 19.
13 Written in 1982, Gerald Farmer’s Multiphonics and Other Contemporary Techniques50
presents a concise approach to extended techniques. In Farmer’s book, his isolated exercises, fingerings, and tremolo charts provide a useful supplemental resource to address particular issues regarding the execution of multiphonics. The additional notes in the final section of his book on extraneous contemporary skills may serve as a supplemental perspective on the execution of specific techniques. Particularly useful aspects of Farmer’s book are multiphonic trill charts and an opening chapter featuring historical background information on new techniques, referencing notational practices and the influence of jazz; this provides a broader context for the remainder of his book.51
Lastly, E. Michael Richards’ The Clarinet of the Twenty-First Century,52 published in
1992, provides background material and contextual information regarding the execution of
extended techniques, moving from single to multiple sounds, timbral techniques, and working
with electronics. Richards is a contemporary performance specialist, conductor, and Professor of
Clarinet at University of Maryland - Baltimore County who has premiered more than 150 new
compositions.53 In his preface, Richards states: “the material in this book is intended primarily
to provide the imaginative performer and composer with a point of departure.”54 Useful aspects of this book are the historical information on clarinet development with a focus on acoustics and historical information as they pertain to specific techniques. Richards took care to apply context
50 Gerald J. Farmer, Multiphonics and Other Contemporary Clarinet Techniques (Rochester, N.Y.: SHALL-u-mo Publications, 1982). 51 Ibid., 1-12. 52 E. Michael Richards, The Clarinet of the Twenty-First Century (Place of publication not identified: E + K Pub., 1992). 53 University of Maryland - Baltimore County, “Dr. Michael E. Richards,” accessed October 26, 2019, https://music.umbc.edu/directory/richards/ 54 Richards, i.
14 throughout his chapters and concisely explain even the most obscure techniques, such as buzzing lips while playing and speaking through the clarinet. Additionally, the section regarding wind controllers, though outdated, differentiates Richards’ work from similar resources.
15 CHAPTER 4
THE PEDAGOGICAL GAP
With new methods becoming primary resources for contemporary clarinet performance, a
pedagogical gap remains in the performance of twentieth-century techniques and deciphering
non-standard notation. One of the most significant hindrances for many clarinetists exploring
newer and experimental music is the lack of an early introduction, particularly without an
adverse predisposition. It is important to note that, as with any more complicated skill, a certain
level of understanding regarding clarinet fundamentals is essential before incorporating extended
techniques into one’s pedagogy. In the introduction to Preliminary Exercises, Caravan states,
“For the fairly advanced student who possesses good basic playing habits, the material in this
volume may be able to serve as appropriate introduction to the unconventional sounds
involved…”55 Following this, he warns that introducing these concepts to students with a
fundamental technique that is less solidified may cause bad habits to form due to the high
demands for flexibility in air support, embouchure, and articulation.56 However, understanding
the flexibility required to execute extended techniques is invaluable in refining clarinet
fundamentals. Variations in air speed, embouchure pressure, and articulation are called for in
common practice music to achieve a high level of musical nuance. Gaining the ability to perceive
the difference early on provides a basis for students to understand why certain responses from
the instrument occur and how to address them. These skills also aid clarinet instructors in
addressing fundamental issues in clarinetists of all levels: undertones or multiphonics when
55 Ronald L. Caravan, Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet: Introductory Material for the Study of Multiphonics, Quarter Tones, & Timbre Variation (Oswego, N.Y.: Ethos Publications, 1979), i. 56 Ibid.
16 students play upper clarion and altissimo notes; issues related to poorly supported air; inconsistencies in clarinet tone and tongue position.
Another aspect that often hinders clarinetists from exploring extended techniques and contemporary notation further is their steep learning curve. Though method books exist with exercises in multiphonics, microtones, etc., their implementation within a curriculum is often reserved for specific moments of need. Additionally, the lack of etudes incorporating contemporary techniques and notation in an approachable manner to newcomers is significant.
Through further examination of Sigel’s The Twentieth Century Clarinetist, the scope of the method’s instruction in contemporary music is limited. The notation remains firmly within the common practice, including only glissandi and flutter tonguing as extended techniques.
Sigel’s book would indeed aid in preparing the already advanced clarinetist to perform works of Stravinsky and his contemporaries, however, these exercises would not prepare one for encounters in more far-reaching extended techniques and contemporary notation common in today’s avant-garde writing. Pedagogically, the structure of his etudes hinders their application within a curriculum. In Sigel’s first etude, clarinetists are asked to perform highly advanced technical material and execute difficult flutter tonguing with no clearly stated main focus aside from tremolos to a chalumeau D in the accompanying exercise.
Rehfeldt’s New Directions for Clarinet is undoubtedly a rich reference resource for clarinetists regarding performance practice of extended techniques. The inclusion of fundamentals early in the book is a useful addition, to which he transitions into eighth tone and color fingerings for the purpose of adjusting intonation. An understanding of these fingerings is particularly useful when a clarinet is out of adjustment or a particular range of one’s clarinet has significant intonation issues. It is interesting to note their categorization is “eighth-tone” and
17 “color” as opposed to microtones or quarter tones when they are featured within.57 The range of
extended techniques included within New Directions introduces clarinetists to all manner of
sound manipulation and experimentation, as well. Yet despite these highly positive aspects, New
Directions is not without its limitations, particularly regarding moments within the text to apply
newly learned techniques. For example, one might find difficulty executing several multiphonics
found within Rehfeldt’s method. Determining if this difficulty is of one’s own technical
limitations or that the instrument is not always clear. From clarinet to clarinet, many
multiphonics do not clearly sound the pitches marked, and their response is equally varied in
volume and control. To increase complications, Rehfeldt’s method has become a primary
resource for composers who often choose multiphonics based on the pitches alone without
considering the actual sound they will produce. To have audio examples, such as those found in
clarinetist Gregory Oakes’ multiphonics database58, gives a clearer representation of the timbre,
dynamics, and sounding pitches in multiphonics.
Caravan’s Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet59 is
a well-suited method for advanced clarinetists becoming familiar with quarter tones,
multiphonics, and singing while playing. The structure and pacing of the color and quarter tone sections is a highlight of Caravan’s method, although the number of fingerings introduced would remain a challenge in a method intended for pedagogical purposes. Aside from a very limited
group of techniques featured within, the variety of fingerings is included within each exercise
57 Rehfeldt, 15-39. 58 Gregory Oakes, “Clarinet Multiphonics,” accessed November 1, 2019, https://www.gregoryoakes.com/multiphonics/index.php 59 Ronald L. Caravan, Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet: Introductory Material for the Study of Multiphonics, Quarter Tones, & Timbre Variation (Oswego, N.Y.: Ethos Publications, 1979).
18 may present a challenge to newcomers as well. Within sections on distorted tone and multiphonics, Caravan’s method of first learning to under blow high clarion notes is a useful additional method to learn voicing multiphonics. Caravan defines “distorted tone” as a means to introduce multiphonics voicing through playing standard clarinet fingerings while manipulating the oral cavity, air speed, and embouchure to produce a lower pitch. One example is utilizing the fingering for clarion A and achieving a lower pitch of chalumeau, thumb F through Caravan’s distorted tone technique.60 For the introduction of singing and playing, Caravan’s etudes require a notable ability in ear training, even when they avoid leaps in the vocal line. Despite
“preliminary” being a key aspect of this method, it would be more appropriate to consider
Preliminary Exercises as a second level resource rather than an introduction.
Farmer’s Multiphonics and Other Contemporary Techniques is a suitable reference resource to consult, though it lacks the introductory musical content to put the exercises into practice. From the first exercise in humming while playing, a clarinetist would need to have a significant level of ear training. Farmer’s voicing exercise for dyads resembles the distorted tone and multiphonics exercises by Caravan and is more suitable for those well-accustomed to these techniques.
Resembling Rehfeldt’s New Directions in terms of structure, pace, and content, Richards’
The Clarinet of the Twenty-First Century allows for an additional perspective regarding extended techniques. The overarching critique for this book is the lack of material for the application of new techniques. Richards does include brief examples within the text as micro-exercises; however, he did not include etudes as a means to apply these exercises.
60 Ibid., 18.
19 With the advent of digital content available for clarinetists, older publications,
particularly those not easily found to purchase, are less utilized by those without access to such resources. Having varying perspectives published over the past half-century provides performers with many resources and methods with which to approach the study of extended techniques and contemporary notation. Yet, each serves more as a specific pedagogical index often assuming a high, even virtuosic, level of technical facility on the clarinet has been attained. Aside from
Caravan’s Preliminary Exercises & Etudes, the learning curve may prove daunting for newcomers to extended techniques and contemporary notation, instructors included. Public domain web-content has allowed additional accessibility to pedagogical information regarding extended techniques, a few notable sources being Gregory Oakes’ database of multiphonics
(with specific search parameters and audio excerpts),61 Jason Alder’s Clarinet Quarter-Tone
Fingering Chart (featuring concise examples with their enharmonic spellings),62 clarinetist
Heather Roche’s website63 and blog featuring a broad range of pedagogical instruction, Rachel
Yoder’s blog64 and research in contemporary performance and electronic music, and YouTube
channels such as Michael Lowenstern’s Earspasm Music.65 Yet even with these resources, there remains a gap in musical studies focusing on contemporary music and techniques for those new to modern music, especially those beginning their collegiate studies. With an earlier introduction to pedagogical—and most importantly, musical—contemporary material, a new generation of
61 Oakes. 62 Jason Alder, Clarinet Quarter-Tone Fingering Chart, accessed November 1, 2019, https://www.jasonalder.com/fingeringchart/Clarinet_quarter-tone_fingering-chart--Jason_Alder.pdf 63 Heather Roche Clarinet, accessed March 1, 2020, https://heatherroche.net/ 64 Rachel Yoder, Clarinet, accessed March 1, 2020, https://www.rachelyoderclarinet.com/. 65 Michael Lowenstern, Earspam Music, accessed November 1, 2019, https://www.youtube.com/user/earspasm/featured
20 clarinetists will be able to experience modern concepts without prior stigma. Contemporary
music becomes a natural outgrowth of holistic musical education, one that provides the important
opportunity to continually expand a clarinetists repertoire to include more voices of diverse, living composers.
21 CHAPTER 5
INTRODUCTION TO NEW ETUDES
Among the many reasons to compose a new collection of etudes focusing on extended
techniques and contemporary notation, the foremost was filling a pedagogical gap after
observing a hesitation many clarinetists feel regarding contemporary or recently composed
music.
From one’s first squeaks and wrong fingerings that result in multiphonics, extended
techniques and experimentation are actually a continuation of a natural pedagogical process that
clarinetists follow. As a clarinetist continually develops as a musician, they work to prevent these
“accidental extended techniques.” The following etudes, and future additions, aim to instruct
those new or curious about contemporary music, turning “accidental extended techniques” into
new skills from which one learns.
For quarter tone studies, Caravan’s Preliminary Studies66 aided in addressing pacing and
groupings of exercises in addition to Jason Alder’s public domain Clarinet Quarter Tone
Fingering Chart that served as a reference.67 Regarding multiphonics, further background
research helped determine an appropriate introduction for growing musicians, such as Rebecca
d'Alessio’s dissertation Eric Mandat (B. 1957): A Multiphonic Meditation on a Composer,
Clarinetist and Teacher,68 Farmer’s Multiphonics and Other Contemporary Clarinet
Techniques69, the other major resources by Rehfeldt and Richards, and Gregory Oakes’
multiphonics database. For vocalization by singing and humming, Jeremy Ruth’s dissertation,
66 Caravan. 67 Alder. 68 Rececca Tout d’Alessio, Eric Mandat (B. 1957): A Multiphonic Meditation on a Composer, Clarinetist and Teacher (DMA Diss., Arizona State University, 2012), ProQuest Dissertations & Theses Global. 69 Farmer.
22 Humming and Singing while Playing in Clarinet Performance: An Evidence Based Method for
Performers and Resource for Composers,70 was the primary source for introductory exercises
and for determining an optimal pedagogical approach. Richards’ text informed double tonguing
and flutter tonguing.
Unique elements of this collection of etudes include improvisation, pre-recorded tracks
(often referred to as “tape”), and graphic notation. As performing with electronic elements grows
more common, it is important to introduce these facets of contemporary music as well.
The following chapters consist of research regarding the specific etudes, explanations of their method of composition, and the exercises and etudes.
70 Jeremy Larkham Ruth, Humming and Singing while Playing in Clarinet Performance: An Evidence Based Method for Performers and Resources for Composers (DMA Diss., Arizona State University, 2019), ProQuest Dissertations & Theses Global.
23 CHAPTER 6
QUARTER TONE EXERCISES AND ETUDE I
Caravan writes, “The issue of timbre, or tone quality, as a parameter which can be predictably manipulated by the performer, suggests a wide range of manifestations. The development of a performer’s characteristic tone quality is itself, in the final analysis, the development of [their] ability to achieve and consistently manifest [their] tonal concepts throughout the pitch and dynamic ranges of the instrument.”71 There are more factors to tone production than a “fixed pattern of harmonics (overtones)”72 across the full range of the clarinet, and adjustments to tone color greatly in composition and performance expand the possibilities for expression, such as quarter tones.
Timbre is a moving and shifting variable in one’s playing. In creating adjustments to one’s tone, Caravan argues that the most systematized manner to achieve a breadth of timbres on a specific pitch is through use of alternate fingerings. Timbral fingerings and quarter tone fingerings are related by their distinct adjustment to the clarinetist’s sound, exploiting the already perceptible range of shifting timbre across the clarinet. Caravan warns the performer attempting to adjust embouchure, air speed, or the oral cavity against overcompensating for pitch fluctuations and sharp changes in tone color. These changes, like “going from ‘dark’ to ‘bright’ can enhance the effect of the overall gesture.”73 Richards notes that a focus on the relative acoustical distance in cents may be the primary method many clarinetists will achieve the effect.74
71 Caravan, 2. 72 Ibid. 73 Ibid. 74 Richards, 57.
24 The design of the standard Boehm system clarinet was not intended to facilitate quarter tones, thus clarinetists have devised their own systems of alternate and cross fingerings to produce pitches smaller than a semitone. These fingerings affect the air column’s resonance, which distorts the harmonic spectrum in comparison to standard semitonal fingerings. Often, quartertone fingerings result in a duller, more covered, or darker tone quality, often lacking an abundance of higher overtones. Clarinetists can adjust these factors through manipulating their oral cavity, embouchure, etc., yet “it should be realized that some timbre deviation in passages involving quarter tones is simply characteristic of the instrument.”75
The performance demands of quarter tones fall on two main issues: the addition of, and the movement to and from, new fingerings may not be written idiomatically. The performer may not be able to aurally discern the subtle interval of a quarter tone in relation to semitones.
Clarinetists may encounter instances where movement to and from quarter tones is nearly impossible due to cross fingerings. In these cases, performers may find a solution by utilizing the half hole technique for problematic pitches. If a note is to be raised, oftentimes a key below the quarter tone may be lifted to raise the pitch. If a quarter tone is lowered, a clarinetist may employ the half hole technique or depress keys to lower the pitch. Experimentation is required due to the differences in clarinet models; however, both methods may be utilized to make seemingly impossible passages involving quarter tones more feasible. An additional challenge to quarter tone mastery is variation in new notation introduced for microtonal performance that complicates the process of learning quarter tones.76 The accidentals for quarter tones with semitones is as follows:
75 Caravan, 9. 76 Ibid.
25 Example 6.1: Accidentals for quarter tones with semitones
In practicing quarter tones, Caravan writes “an excellent course of practice for the purpose of
familiarity is for the performer to play isolated quarter-tone intervals or successions of adjacent quarter tones…”77
In creating the exercises for Etude I, only relevant quarter tone fingerings are included
and a differentiation is made between the two styles of quarter tones used. The first section
focuses on pure quarter tones produced by standardized fingerings. These trill studies, in the
order of appearance within the etude, aid in solidifying the new fingerings as a facet of one’s
own chromatic fingerings. The “Right-Hand-Down” exercises feature more timbral, coloristic
fingerings produced by leaving the right hand down while fingering notes above.
The method for composing Etude I began with identifying orders of fingerings that
resemble idiomatic patterns of technique for the clarinet. For example, measure 5 presents the
following sequence of fingerings:
Example 6.2: Etude I, m. 5, fingering sequence78
77 Caravan, 9. 78 Alder, 6.
26 This is one example of a sequence of adjacent quarter tones that introduces subtle
changes in pitch while maintaining a more homogenous timbre. Measures 20 through 27 and 41
until the end provide an opportunity for the performer to explore the timbral, right-hand-down fingerings. The manner in which a clarinetist can perceive these new fingerings is as if one failed to lift their right hand while playing higher chalumeau notes:
Example 6.3: Etude I, mm. 20-27, 41 to end, fingering sequence79
As mentioned earlier, a multitude of quarter tone and timbral fingerings are available, as
well as methods that address them. However, the creation of a concise, highly idiomatic
pedagogical work such as Etude I provides a resource before studying methods such as
Caravan’s Preliminary Studies and Frank Dolak’s Augmenting Clarinet Technique.80
79 Leftmost fingering chart from Alder, 5. 80 Frank Joseph Dolak, Augmenting Clarinet Technique: A Selective Sequential Approach Through Prerequisite Studies and Contemporary Etudes (DMA Diss., Ball State University, 1979), ProQuest Dissertations & Theses Global.
27 CHAPTER 7
MULTIPHONICS EXERCISES AND ETUDE II
One of the most crucial aspects of executing multiphonics is the manner in which a
clarinetist 'voices' the air into the instrument. In his 1989 article in The Clarinet,81
clarinetist/composer Eric Mandat discusses the importance of flexibility in one’s playing,
specifically voicing and embouchure in producing multiphonics:
It's important to understand the relationship between flexibility and stability in order to devise an appropriate method whereby one can achieve some degree of stability at being flexible! According to Webster, stability is "the state or quality of being stable, or fixed; resistance to change." Flexibility is defined by Webster as "adjustable to change; capable of modification." Stability, therefore, implies a lack of flexibility; the converse, however, is not true: flexibility does not imply a lack of stability, but rather the presence of stability at many different levels simultaneously.82
He writes that subtle alterations in one’s air speed, embouchure pressure, and tongue position affect one’s timbral flexibility which are crucial to producing the vast array of multiphonics available. Mandat explains that proper voicing is critical; “As a rule, the allowable variance in embouchure formation and wind pressure characteristics required to produce multiphonics is much smaller than that for normal notes…”83
With such a variety of multiphonics, care must be taken to identify and address each
multiphonic specifically, which in turn increases flexibility in timbre as a clarinetist improves
their ability to quickly adjust. The first category Mandat cites is the result of “under-blowing”
clarion and altissimo notes, resulting in a lower partial or “undertone.” Through the relaxing of
one’s embouchure, tongue position, and/or air on a higher pitch, a clarinetist may determine the
subtle changes needed to create a dyad between upper and lower pitches. Mandat instructs a
81 Eric Mandat, “Expanding Timbral: Flexibility Through Multiphonics,” The Clarinet 16, no. 3 (1989), 27. 82 Ibid. 83 Ibid.
28 clarinetist to practice the following exercise, starting on an “under blown” high C (with a G produced as the undertone):
Example 7.1: Mandat’s exercise for “under-blowing84
Mandat instructs the performer to notice the subtle changes in voicing that occur through the descent. He next advises the performer to immediately play the sotto voce section (beginning at measure 22) from Johannes Brahms Sonata for Clarinet Op. 120, No. 2, taking care to keep the same voicing of the clarion G at the end of the exercise:
Example 7.2: Mandat exercise based on Brahm’s Sonata for Clarinet, Op. 120, No. 2, m. 2285
He describes this as sotto voce timbre and offers the option to “maintain the feel from the
E/A- flat or F/A multiphonic”86 if the tone is less focused than desired. In this manner of practice, “a lot of deviation from normal embouchure and air pressure may be necessary…
However, it's very important that this deviation become minimized as time goes on (notice that the deviation required becomes greater as the third partial fingering gets lower).”87 He also
84 Mandat, 28. 85 Ibid. 86 Ibid. 87 Ibid.
29 instructs the clarinetist to work toward their best sound on the lower partials, which will help
strengthen the diaphragm and embouchure. This subtle ability to relax the embouchure helps
facilitate more delicate multiphonics, particularly dyads. One might view these skills as
“acrobatic,” yet with newfound flexibility, “the player can now tackle the first movement of the
William O. Smith Variants.”88
Another method in which Mandat instructs is “overblowing”, or over-voicing, chalumeau notes, for example, playing a first partial (chalumeau) E and manipulating the tongue position to achieve a fifth partial (altissimo) G, sounding a quarter or three-quarter sharp. This exercise, which can be done on any chalumeau pitch, helps facilitate the execution of wide, upward leaps, which often require significantly subtle changes in the oral cavity. In returning to Brahms,
Mandat notes the opening line ascent to B-flat, which is often missed. He proposes the following exercise in overblowing to find the correct voicing needed to create a smooth connection to upper partials:
Example 7.3: Mandat’s exercise for “over-blowing”89
Exercises such as these aid in increasing awareness of voicing, air speed, the direction of air, and
embouchure.
Gerald Farmer discusses similar issues in the oral cavity, embouchure, and air speed
adjustment in his Multiphonics and Other Contemporary Clarinet Techniques. The topic of
subtle adjustments is difficult to address on a universal level due to individual differences
88 Ibid. 89 Ibid.
30 between performers and their instruments. Farmer advocates for gaining awareness of how
producing multiphonics feels physically: “The embouchure and breath support for each
individual must be subjected to experimentation with the physical sensations of performance,
that is, the ‘feel’ of the reed on the bottom lip and the ‘feel’ of certain amounts of air entering the
mouthpiece.”90 Though, similarly to Mandat, Farmer notes that there are methods of
manipulating or relaxing the air speed, tongue position, dynamics, and embouchure that aid in
initially producing multiphonics, leading to a greater awareness of the physical feeling of playing
them. Farmer notes that knowing which partial of a multiphonic is more prominent than others in
the “chord” further aids in feeling the difference between the unique responses of all
multiphonics. Multiphonics are dynamic dependent, and generally have a specific dynamic range
they will respond more fully in. Equal resonance is often desired in multiphonics, and through
manipulation of voicing and dynamics, a clarinetist can isolate different partials or play all
simultaneously. Farmer transitions to discussing humming and playing as a means to transition
towards playing multiphonics, even considering humming and playing as a type of
multiphonic.91 Following Farmer’s exercises, he suggests working toward sounding notes a
twelfth apart: playing a clarion note at a soft dynamic, removing the register key briefly back and
forth in order to hear upper and lower partials at the same time.92 The next series of Farmer’s
exercises task the clarinetist with fingering a multiphonic but isolating its lower partial, then
voicing for the upper partial to sound both simultaneously, then isolating the upper partial.93 This method is also used in Caravan’s Preliminary Studies.
90 Farmer, 13. 91 Ibid., 16. 92 Ibid., 21. 93 Ibid., 22.
31 Caravan begins his multiphonic exercises by isolating under-blown clarion pitches. For example, starting on a thumb chamuleau F, pressing the register key while using a more relaxed
embouchure and air pressure to achieve an undertone of a chalumeau open G, moving stepwise,
maintaining the lower partial. Caravan’s next section adds slurs from lower to upper partials, the
reverse, and moving from lower to upper and then both members of the chord.94 In subsequent
pages, Caravan employs multiphonics fingerings to create similar exercises, approaching from
clarion register, attacking directly, slurring in between, and linking multiphonics from the lower
partial through voicing manipulation alone. This method is extensive and could be condensed
into exercises such as those included here in Etude II.
Etude II condenses the exercises by Caravan to those that apply specifically to the etude.
The choice of dyads for Etude II was for aesthetic and pedagogical reasons. For proper response of dyads, special care must be taken in adjustments of voicing, air speed, dynamics, and embouchure, as mentioned by Mandat and Farmer. This skill in manipulating dyad sound production, particularly to such a subtle degree that is required, helps diagnose personal performance issues as well as in students. Larger, spectral multiphonics were chosen for their general stability and similar fingerings, requiring only the movement of the right-hand fifth finger for most. The etude is also meant to show the duality of many multiphonics: subtle, more tonal versus raucous and spectral. The methods of approaching and producing a multiphonic are found within an etude, including from an upper partial, lower partial, and from one multiphonic to another.
94 Caravan, 19-21.
32 CHAPTER 8
VOCALIZATION EXERCISES AND ETUDE III
Utilizing the same column of air to vibrate the reed and produce a hummed pitch, vocalizing while playing, is a challenging technique initially. This technique utilizes the closing of the soft palate, sealing off the velopharyngeal port that connects the throat to the nasal cavity.
This is an act we already do while playing the clarinet. Thus the difference between producing sound solely by playing and playing while humming is the additional vibration of the vocal cords; two points produce sound rather than one, requiring far more energy and air than playing clarinet alone.95
An exercise taken from vocal pedagogy can help illustrate the amount of air and energy required for this technique: vocal lip trills (also called tongue trills). With this technique, the vocal folds and lips (or tongue) must have enough air pressure behind them to properly vibrate, producing sound. For singing while playing, the reed assumes the role of the lips or tongue trills.
Clarinetists must “allocate enough pressure to cause both the reed and the vocal folds to vibrate, but [they] must also learn to produce vocalized pitches within a much higher-pressure environment than [they] would in normal phonation.”96
The method of production for which Ruth advocates begins with filling one’s cheeks with air and forming the syllable that allows for the soft palate to close, resembling “an ‘eng’ sound as in the word ‘cling.’”97 This process helps to instruct a clarinetist in the difference between the syllable needed to sing while playing and standard clarinet voicing. The overall aim is to “ensure
95 Ruth, 14. 96 Ibid., 15. 97 Ibid., 271.
33 that your tongue and soft palate are indeed closing your oral cavity off from the rest of your
vocal tract.”98
Notation for singing while playing does not have a unified nomenclature and can be seen
in several ways, one utilizing two staves: played, and sung.99 In some cases, the vocal and clarinet lines are written on the same staff utilizing opposite beaming, and in some cases, alternate noteheads indicate humming.100
The exercises for Etude III are a condensed form of Ruth’s suggested method, though with little emphasis placed on storing air in the cheeks. Increased air support and air speed
behind the sound helps to facilitate humming while playing. Focusing on an “eng” syllable and
imagining the sensation of singing through one's nose also helps to project both tones. Regarding
the vocal range notated in Etude III, players are allowed to choose any octave in which they feel
comfortable singing. Practicing the exercises and working to match pitch quickly will prove to
be a skill useful in all areas of music, not just Etude III.
98 Ibid., 272. 99 Ibid., 4. 100 Ibid., 9-10.
34 CHAPTER 9
GUIDED IMPROVISATION EXERCISES AND ETUDE IV
No musical notation designed for printed reproduction can exclude some particular and possibly unique element of interpretative inflection when performance takes place, and there have been many instances, especially during the middle years of the twentieth century, of music whose intentionally indeterminate or aleatory aspects invite performers to act as co-creators, granting them freedom of choice within a range of specified possibilities.101
Improvisation can be an intimidating element in music for many classical musicians. The
performer is asked to join with the composer in the creative process in real-time, sometimes with
parameters, sometimes without any instruction save a few words. This relationship, described as
co-creators, is discussed in Arnold Whittall’s chapter from Distributed Creativity: Collaboration
and Improvisation in Contemporary Music, highlighting the long tradition of performers taking
part in the process of creation.102 Regarding improvisation, Una M. MacGlone and Raymond A.
R. MacDonald writes, “music educators face significant challenges when considering how to teach and develop creative practices and innovation.”103 For many classical musicians, their
education centers on clear parameters in how to interpret and think about music, with authority
often given to the composer. Yet, as American philosopher and gender theorist Judith Butler104
notes in Negotiated Moments: Improvisation, Sound, and Subjectivity, there is a movement away
from these parameters in improvisation. According to Butler, improvisation “involves a certain
101 Arnold Whittall, “Composer-performer collaborations in the long twentieth century,” in Distributed Creativity: Collaboration and Improvisation in Contemporary Music, ed. Eric F. Clarke and Mark Doffman (Oxford: Oxford University Press, 2017), 49. 102 Ibid., 49-64. 103 Una M MacGlone and Raymond A. R. MacDonald, “Learning to improvise, improving to learn,” in Distributed Creativity: Collaboration and Improvisation in Contemporary Music, ed. Eric F. Clarke and Mark Doffman (Oxford: Oxford University Press, 2017), 338. 104 Brian Duignan, “Judith Butler,” Encyclopædia Britannica, February 20, 2020, accessed March 1, 2020, https://www.britannica.com/biography/Judith-Butler
35 relationship to rule-bound behavior” even when the musical rules are being bent by the improvising performer.105 There are still parameters in musical improvisation from composer-
specified to the technical limitations of instruments; however, it is in the bending away from, or
manipulation of, these parameters that improvisation is explored.
In Etude IV, a clarinetist is given an opportunity to explore improvisation through a guided experience. The parameters are the notation and written instructions, yet it is up to the performer to bend or manipulate these rules, co-creating with the composer. Without the clarinetist’s improvised performance, the etude is not complete. The decision to include a pre- recorded track, or “tape,” is to provide an accompanimental support system as the clarinetist creates their own melodic lines and sounds.
Within Etude IV, the main tools presented are two tonal centers (Concert F and Concert
G), a notation for key clicks, a notation for air sounds, and moments of spatial (or durational/proportional) notation. Within the exercise, the performer is given the guidelines of two tonal centers that, if they play within the scales, will align with the track. The tonal centers serve as a safety net for those who need more parameters in their improvisation. The introduction of key clicks and airy clarinet allows more timbral range for a clarinetist to explore. Key clicks and producing only air sounds through the clarinet are a natural bi-product of our performance preparation: fingering through parts silently, practicing a difficult section of music without pushing enough air through the clarinet to produce a full sound. The final aspect of this etude, though not improvisation, is spatial notation which is “a system of writing music which eliminates the bar lines in order to allow a certain flexibility and an element of ‘chance’ in the
105 Tracy McMullen, “Improvisation within a scene of constraint: an interview with Judith Butler,” in Negotiated Moments? Improvisation, Sound, and Subjectivity, ed. by Gillian H. Siddall and Ellen Waterman, (Durham: Duke University Press Books, 2016), 25.
36 way a performer interprets a score.”106 Spatial notation adds another element of choice for the
performer, giving the performer further freedom to interpret the written musical phrase.
In practice, one may begin by listening to the accompanimental track and following
along, playing only when written notation occurs. What happens within the tape part? Is there a
moment one could respond to or imitate the accompaniment? Students may write out ideas if so
desired, however the aim is to free a clarinetist to co-create with the etude in real-time. If the performer has an idea, they should try to execute it. With two scales as parameters for the performer, they have a definite boundary that they may explore, even if that exploration is a slow scale. Once a clarinetist is more comfortable with tonal aspects of the work, they may begin adding in key clicks and air sounds. With each repetition of the etude, care must be taken to experiment and avoid performing the same material each time.
For working with the pre-recorded track in the most optimal setting, a clarinetist will need a set of large speakers on both sides behind the performer. However, any setup can work as long as the clarinetist can adequately hear and meld into the recorded track. A time-keeping device will also be useful, though not required. When performing with tape, a separate line is often provided as a timeline to follow instead of specific measures. As with other contemporary techniques, the method in which tape is notated (if at all) varies greatly from work to work. As always, one should consult the composer or the composer notes for clarification regarding their specific notation. For further research, clarinetists such as F. Gerard Errante107, Rachel Yoder108,
106 Farmer, 147. 107 F. Gerard Errante, "Performing with tape: music for clarinet and electronics," Music Educators Journal 72, no. 3 (1985), 49-69, accessed March 4, 2020, www.jstor.org/stable/3400538 108 Rachel M. Yoder, Performance Practice of Interactive Music for Clarinet and Computer with an Examination of Five Works by American Composers (DMA Diss., University of North Texas, 2010), ProQuest Dissertations & Theses Global.
37 Mary Alice Druhan109 and David Brooke Wetzel110 have written extensively on performing with
electronics.
109 Mary Alice Druhan, A Performer's Guide to Multimedia Compositions for Clarinet and Visuals: A Tutorial Focusing on Works by Joel Chadabe, Merrill Ellis, William O. Smith, and Reynold Weidenaar (DMA Diss., Louisiana State University and Agricultural & Mechanical College, 2003), ProQuest Dissertations & Theses Global. 110 David Brooke Wetzel, Analysis, Reconstruction, and Performance of Interactive Electroacoustic Works for Clarinet and Obsolete Technology: Selected Works by Musgrave, Pennycook, Kramer, and Lippe (DMA Diss., The University of Arizona, 2004), ProQuest Dissertations & Theses Global.
38 CHAPTER 10
MANIPULATING ARTICULATION EXERCISES AND ETUDE V
Articulation manipulation can come in various forms: double/triple tonguing, flutter tonguing, slap tongue, etc. Richards writes that “the clarinet is capable of responding to single tonguing at a fairly rapid rate.”111 Unlike many extended techniques, double tonguing serves as a functional technique that is not often specified within compositions. A general goal is often to have one’s double tonguing sound match that of single tonguing as closely as possible. For the most economic means to double tongue, the tongue position may be arched high and forward while the air stream is fast and supported. Tension must also be released from the throat and neck to avoid a strained clarinet tone and stiff articulation.
One of the common manners in which articulation is presented is through syllables, such as “tee” or tē which facilitate the higher tongue position needed for optimal clarinet voicing. For double tonguing, Richards suggests a “ka” sound, however, this could likely result in too much manipulation of the oral cavity, disrupting articulation. Another suggested syllable is a soft “gee” or gē syllable, with the “g” sounding as in “good.” This syllable enables a more forward placement of articulation close to the soft palate as well as avoiding too much motion in the throat. The motion is more fluid and subtle, not forced, with the air focused and fast, driving the articulation.
Rehfeldt describes the method of flutter tonguing as a rolling of the tongue on the upper palate as a rolled rr (d-r-rr) or a uvular undulation in the throat created by raising the back of the tongue, producing a g-r-r-r sound similar to the rolled rr. Each clarinetist must determine which
111 Richards, 218.
39 method of flutter tonguing allows the production of the desired sound. Flutter tongue practice
may be done without a clarinet, using only air and rolling rr’s or a uvular undulation.
One articulation not included within the etude is slap tonguing. This percussive
articulation is created by suctioning a larger portion of the tongue to the reed, releasing it
suddenly while releasing air into the mouthpiece.112 Due to the percussive nature contrary to
traditional methods of clarinet articulation, slap tongue is not included within the Etude V as a
facet of the introductory etudes. Slap tongue will be included in further additions, however.
Similarly to Etude IV, Etude V utilizes a pre-recorded track to provide accompanimental support for the performer. Unlike the guided improvisation etude, this track is notated within the part. The performer is required to line up with the tape as if they were a partner in chamber music, adding an additional challenge but also a new element commonly found in electronic music: an unchanging, driving electronic line to which one must adhere. The exercises for Etude
V may be applied to all areas of one’s warmup as a means to further refine articulation, tongue position, and air speed since all three elements are crucial in executing double tonguing and flutter tonguing.
112 Rehfeldt, 65.
40 CHAPTER 11
GRAPHIC NOTATION NOTES AND ETUDE VI
During the mid-twentieth century, composers such as John Cage, George Crumb, Earle
Brown, and Morton Feldman began to create graphic and pictorial sketches as a means to convey
“direct sonic reality.”113 The graph compositions of Morton Feldman represent some of the
earliest experiments within the genre, affecting the works of John Cage’s own compositions,
which would include elements of chance, graph paper, and experiments in notational systems
and indeterminacy. According to Feldman, his graph music came through his friendship with
John Cage (with whom he lived in the same building as in the 1950s), David Tudor, and later
Christian Wolff. Feldman recollected that while preparing a meal with Cage, he decided to
sketch on a sheet of graph paper while waiting. This freely drawn sketch indicated low, middle,
and high ranges and were not the result of any previous conversation: “It was just automatic…
Actually I didn’t have any kind of theory and I had no idea what was going to emerge.”114
John Cage’s approach to composition and experimentation with chance and
indeterminacy influenced his new notations combining musical actions with graphic or pictorial
elements.115 Cage’s Concert for Piano and Orchestra, composed from 1957 to 1958, featured “a
collection of eighty-four different methods of composition and notation,”116 serving as a
compositional sour for his compositions in the following years. The sixty-three page solo
113 David Ryan, “Energy fields: Earle Brown, open form, and the visual arts,” in Beyond Notation, edited by Rebecca Y. Kim, (Ann Arbor: University of Michigan Press, 2017), 115. 114 David Cline, The Graph Music of Morten Feldman (Cambridge, United Kingdom: Cambridge University Press, 2016), 26. 115 James Pritchett, The Music of John Cage (Cambridge, United Kingdom: Cambridge University Press, 1993), 109. 116 Ibid., 112.
41 includes scattered, notated and sketched visual fragments throughout and was composed “based
on the premise of continuously inventing new notations and new methods of composition.”117
As Feldman’s music influenced the works of Cage, so did these visual scores influence
the music of composer Earle Brown as well.118 Taking a more open approach, Brown’s
December 1952 for unspecified performer(s) featured scattered lines of varying thickness and
length across the page. Brown writes that they were “produced by using random sampling tables
of numbers”119 and that he wanted to incorporate three parameters: relative dynamics, duration,
and frequency. The work was to be played from any point in any direction, a “kinetic score”
where the sound created by the performer would be moving freely through the space of the
music.120 The intentions for this work were sonic as opposed to visual, with each performance
existing only in that particular time, or rather, no interpretation or performance would be the
same.121 One result of this new notation system would yield “a musical reading that floats in
time,”122 where imposed systems of traditional musical hierarchy are removed.
For many graphic and pictorial scores, the traditional methods of reading music, such as reading right to left or utilizing standard notation, are removed in favor of stimuli and free improvisation based on images. Each score may contain unique performance instructions by the composer, but freedom in interpretation is emphasized. Etude VI seeks to explore this freedom, expanding on the concept of the performer as co-creator discussed in Etude IV. Etude VI also may serve as a culmination of all techniques learned throughout the previous etudes. The
117 Ibid., 113. 118 Cline, 15. 119 Ryan, 121. 120 Ibid. 122. 121 Ibid. 122 Ibid., 120.
42 performer may begin at any point along the page and move in any direction or jump from point to point. Examples are given as optional methods of interpreting the markings in the performance notes, however it is to be stressed that the performer invent their own interpretation of the score.
43 CHAPTER 12
CONCLUSION
Because art and technology have evolved drastically over the past century, performers and educators have an even more significant opportunity to expand their own musical horizons.
Learning contemporary skills and repertoire is not simply an issue of aesthetics and techniques; it also concerns the stories we amplify through our performances. When embracing new ways of performing music, including recently composed works that are not entirely focused on contemporary techniques, new opportunities arise to perform the music of those living today including some whose voices have traditionally been silenced. In learning and performing contemporary music, performers are given an abundant, continually expanding repertoire with which to share and amplify the music of those historically pushed to the margins. Learning new techniques not only provides a chance to better interpret the compositions of today but to use our music to create a more inclusive space, if we only open our ears and minds.
44 APPENDIX
THE ETUDES
45 Etude I Exercises Quarter Tones Luke Ellard
Three-Quarter Flat Flat Quarter Flat Natural Quarter Sharp Sharp Three-Quarter Sharp
For the purposes of consistency, arrowed accidentals will be utilized throughout. Fingering Chart
Applies to all notes except from measures 20-27, 41-46. J l L & Lw w w w
s.k. l L w Lw & wn w
j j w j w j w w &
Timbral microtones, for meaures 20-27, 41-46 only. & L j jw FORlw REVIEWw w wONLY
46 Etude I Exercises
Exercises For each group, begin slowly in quarter notes, transitioning to eighth notes, then eighth note triplets.
j j œ œ œ œ œ jœ œ jœ & ......
L œ Lœ œ Lœ Lœ œ l & . . . . . œ# . . œ .
. . . . . J . . J . & œ Lœ Lœ œb œb œ œ œn
L L s.k. & . lœ œ . . œ œ . . œ œb . . œ œ .
Right-Hand-Down Exercises
Timbral microtones, for meaures 20-27, 41-46 only.
. . . j . . j jœ . & l œ Lœ l œ l œ L œ œ Lœ œ œ œ œ
FOR REVIEW ONLY
47 Clarinet in B b Etude I Quarter Tones Luke Ellard
Announcing, freely. q = 60 j j œ œ œ œ L j ˙ œ œLœLœ œ œ œ ˙ œ œLœ œn œn œ ˙ œ œ & 4 œ# œ# œn f 5 Rhythmically driving. 4 q = 138 L j > > jUœ , œ œ œLœ œ œ œn lœ œ œ œ 3 3 L J J L J & 4 œ œb œ œ œ œn œ œb œ œ# œ œ Lœ œb œ œ œ œn P 8
& œb L J œ œ œn Jœ L L J œ œ œn œb œb œn œb œ œb œ œb œ œ# œ œ œ œb œ 12 s.k. s.k. s.k. L L œLœ œn lœ œ œ L & œ œ œb œn œn œb œ œlœ œ œ œ œ œb œn œn œb œ œ œb œn œn œb F 20 17 keep right hand + E/B down s.k. , œL œ œn l œ l œ Lœ œb œn œn œb œ œ L j L & œ œ œ œ lœ œ œ œ œ œl œ œn œn œ œ œ p 22 r.h. down r.h. down
L j Œ L j L L j Œ & lœ œ œ œ œ Lœ œ lœ œ œ œ œ œl œ œn œn œ lœ œ œ œ L˙ ˙ œ œ œ œ œ œ 28 FOR REVIEWP FONLY &L J J L L J œb œ œb œ œ œ œn œ œb œ œ# œ œ œ œb œ œ œ œn œb œn œb f œb
48 2 Etude I
32
L J J L J & œ œb œ œ œ œn œ œb L œ œ# œ œ œ œb œ œ œ œn
35 s.k. L L jU. , L œ Lœ œn l œ œ œ œ œn L œ œ œ ˙ & œ œ œb œn œn œb œ 4
Brief reprise. ƒ 39 q = 60 j j œ œ œ œ j U ˙ œ œ Lœ Lœ œ œ œ œ ˙ ˙N œ & 4 œ# 43 Rushing. r.h. down q = 142 41 j U 3 L j jœ L L j jœ j œ & 4 lœ œ œ œ œ œ œ œ œ lœ œ œ œ œ œ œ œLœ œ œ œ œLœ l˙. œ œ œ œ ˙. ƒ ß
FOR REVIEW ONLY
49 Etude II Exercises Luke Ellard Multiphonics For this section, multiphonics are given a brief description, with tips on execution. It is important to note that not all multiphonics will respond equally for all clarinetists. One's instrument and a number of other factors affect one's ability to execute multiphonics with complete pitch accuracy or comfort.
Fingering Chart
ww w &Generally delicate with a w& limited dynamic range. Relatively stable, can Experiment with air speed achieve a solid dyad in and jaw pressure. Angle of louder dynamics. air affects which partial is Experiment with relaxing stronger. Generally best at the embouchure to achieve soft dynamics. this dyad. w & w w& Somewhat stable, Very delicate with limited similar to the G, D dynamic range. Slower air and dyad. a relaxed embouchure can help achieve this finicky dyad. Try aiming for the G. Generally best at soft dynamics. w #w & & Delicate andw requires subtle The followingw multiphonics adjustments in air speed and are very stable, require little tongue position. Try aiming manipulation, and have a for D rather than E. wide dynamic range. Generally softer in dynamics. #w w & #w & w w
# w & FORw# REVIEW ONLY
50 Etude II Exercises Exercises A key aspect of these exercises is to highlight the various partials in the multiphonics, particularly the dyads. Each exercise begin with a reference pitch followed by linking a "chord tone" with the rest of the multiphonic with no change in fingering. For each, remember that aiming the air, variation in air speed, jaw pressure, and tongue position aid in achieving a fuller sounding multiphonic.
* U U w œ ˙ œ ˙ & ˙ w œ* ˙ œ For upper partials, they are most often achieved through aiming the air higher and faster. To transition, relax both until the dyad is achieved. For lower partials, it is most often the opposite case, thus requiring a slight increase in intensity overall.
* U U w œ ˙ œ ˙ & ˙ w œ* ˙ œ It is not uncommon for an adjustment to be made in tongue position and jaw pressure, however these are often a slight relaxing and not completely giving way.
* U U w œ ˙ œ ˙ & ˙ w *œ ˙ œ
* U U w œ ˙ œ ˙
& ˙ w œ* ˙ œ On particularly delicate multiphonics, experiment with one variable at a time. Perhaps the air stream is too focused or the jaw is pushing into the reed? This flexibility is a useful skill in diagnosing issues in tongue position, air, etc., particularly with younger clarinetists.
* U U w œ ˙ œ ˙ & ˙ w œ* ˙ œ FOR REVIEW ONLY
*Finger the following multiphonic while aiming for the specific partial.
51 Etude II Exercises 3
For the following multiphonics, it is important to emphasize that the partials may not sound "in tune" as you isolate them. What one should pay attention to is the variations in air, embouchure, etc. that are needed to achieve the upper/lower partials and execute the multiphonic in full.
* * œ #˙ œ #˙ œ# ˙ œ #˙ & ˙ œ* ˙ œ ˙ œ* ˙ œ
* * œ ˙ œ ˙ #œ ˙ œ ˙ & #˙ #˙ ˙ ˙ ˙ œ* ˙ œ ˙# œ# * ˙ œ
For further experimentation, see how quickly you can isolate partials. What do you have to manipulate to achieve the multiphonic and is that adjustment proper clarinet technique for monophonic playing? As you practice these exercises, memorize the voicing for the multiphonics and use them as specific tools rather than new adjustments to your standard embouchure. We always want well supported air, a tongue position that is high & forward, and a snug embouchure engaging the entire muscular structure.
FOR REVIEW ONLY
52 Clarinet in B b Etude II Multiphonics Luke Ellard
Serene, slowly moving. q = 52 U U ˙ 3 j & 2 ˙ œ œ ˙ œ ˙ ˙˙. ˙ œ œ ˙ œ ˙ ˙˙. œ. œ ˙ œ œ p F p F p 7 6 U U ˙ ˙. ˙ œ ˙ ˙ œ œ ˙ œ ˙ œ œ œ œ . œ œ ˙. & ˙ ˙. ˙ ˙ ˙. œ œ ˙ P p P F p 11 U ˙ ˙. œ œ ˙ œ œ œ ˙˙. œ œ œ ˙ œ œ œ . & œ œ ˙ ˙. ˙. P F 15 Noisier, more anxious. q = 66 >œ ˙ œ > >œ > > . > #˙ œ# œ ˙ œ œ# œ #œ. œ œ œ# ˙ 3 J ˙ & dashed lines = highlight ˙ that particular partial but ˙ œ. ˙# f don't change fingering 19 ˙ ˙ ˙ #˙ #˙ #˙ ˙ #œ ˙ #˙ U & #˙ œ ˙ ˙ Œ sub.œ ˙ ˙ œ œ ˙ ˙ œ œ#- œ ˙ ˙ œ P 23 Returning. q = 52 œ ˙. ˙ U œ œ œ œ œ ˙ œ œ œ œ œ œ ˙. & œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙. œ* ˙ œ finger multiphonic ˙. p F p but first focus on G
28 U & œ œ œ ˙˙. ˙ œ ˙. ww. w. πFOR REVIEW ONLYπ
53 Etude III Exercises Luke Ellard Vocalization Singing/humming while playing into the clarinet can be tricky: one reason is simply the multitasking of a clarinetist reading two lines of notes while working to maintain proper clarinet technique. For some, the ear training required to sing and play might pose the largest challenge. For others, the written vocal range in a piece might beyond what one might find comfortable. Despite these obstacles, singing and playing can highlight a different way to use our air. In fact, in order to sing and play, one must use proper embouchure and air.
Vocal Exercises
U U U & w w œ œ œ œ œ ˙ 1. Set a tuner or drone 2. Sing the pitch on an "oo" œ to B-flat (concert syllable, checking yourself 3. Hum the line with your lips slightly parted, paying close to attention to pitch). Let it continue with a tuner if needed. your diaphragm support and air speed. Just like clarinet, fast, supported air to sound. is required at all times.
U U U & w w œw œ œ œ œw œ ˙ 4. First play the C and begin to hum into the clarinet, making sure to keep your air fast, focused, and your 5. Hum the C and play the stemmed-up notes. Repeat this tongue position high. exercise, now playing the held C and singing the stemmed-up notes
U U U & w w œ œ œ œ œ œ ˙ 6. Repeat the same exercise with a tuner or drone on G (concert pitch).
U U U & wFORw REVIEWœw œ œ œ ONLYœw œ ˙
54 Clarinet in B b Etude III Vocalization Luke Ellard
Clarinet play stems up. Hum stems down, Pushing. can be in any q = 76 octave. U U ŒŒ Œ & ˙ œ ˙. œ œ ˙ œ ˙. œ˙ œ wœ œ ˙ œw œ œ œ dotted lines indicate transition to humming and P back to solely playing F 12 Faster, moving ahead. 9 3 U U , Œ Œ Œ Œ œ & ˙. œ . œ œ œ œ œ ˙ œ œ œ œ œ ˙ œ ˙ ˙. œ ˙. œ ˙. ˙. œ œ ˙. ˙. p P F f
18 hum D U , U U œ ˙ ŒŒ & œ ˙œ œ w ˙œ œ w ˙ œ ˙. œ œ ˙ œ ˙. P p P 26 Slightly faster, moving ahead. , U Œ œ œ Œ & œ œ œ œ œ œ ˙. œ œ ˙ ˙ œ œ œ˙ ˙. ˙ ˙ œ ˙. œ œ˙. œ œ œ P f P f 33 Pushing. 38 3 32 q = 76 U Suddenly less hurried. U , , , œ œ œ Œ œ œ œ œ œ ˙ ∑ Œ & ww ˙ ˙ œ œ œ œ ˙. ˙ œ˙ ˙ ˙ w ˙ œ œ f ƒ F
rit. Resolving, much slower. 40 , U U & œ œ Œ ˙FOR. œ ˙ œ œ wREVIEWœ œ œ˙. ˙ ˙ . ONLYœœ ww p
55 Etude IV Exercises Luke Ellard Guided Improvisation This etude (along with Etude V) is unique in that it requires study and performance with an audio track. Performing with electronics/tape is a compelling way a performer can expand their repertoire and skills. The ability to keep time while listening to the electronics is invaluable and transferable to purely acoustic music. Guided improvisation aims to free the clarinetist to explore their imagination with the stability of a solid tonal center (the piano). It's also very fun!
For optimal performance, a clarinetist will need a set of large speakers placed behind the performer (see diagram below). However, any setup will be fine as long as a clarinetist can properly hear and meld into the track. A time-keeping device will also be useful, though not required for this etude due to consistent piano time marker cues throughout. Tools Used Concert F Major Tonal Center œ# œ œ œ œ œ œ œ œ œ œ# œ & œ œ# œ œ œ œ œ œ œ œ Concert G Major Tonal Center œ# œ œ œ# œ œ œ# œ œ œ# œ# œ & œ# œ# œ œ œ# œ œ œ# œ œ Key Clicks
As with many special techniques, notation for key clicks is frequently written in different ways and dependent upon the composer. To perform key clicks, simply rapidly press the keys on the clarinet (fifth-finger keys in particular). This is more a coloristic effect, but take time to experiment with & what sound fits most for the moment. Air Sounds As with key clicks, notation varies widely for airy sounds. Airy clarinet is not only a interesting timbral effect but can also be an invaluable practice tool to determine proper air support and air ¿ speed. Experiment with air speed and volume of air used. Where is the threshold before tone & ¿ ¿ ¿ ¿ ¿ ¿ ¿ emerges?
Spatial Notation
Spatial notation is an interesting, durational way of indicating time. The performer plays the written notes relative to those around them, meaning, if notes are close together, they are fast and vice versa. Some composers will prefer a very specific interpretation, however throughout this etude, all that is required is a contrast made (not simply a string of quarter FOR REVIEWnotes). ONLY
56 Etude IV Guided Improvisation Luke Ellard
0:00 0:06 0:12 0:21 0:34 0:34 each time marking has a piano hit to help guide the performer without a stopwatch Tape Timeline ÷ w w ww bw bw w w w wb you can play this melody, or make your own variation Lyrical,w increwdibly free, expressive. Clarinet in B U b & ∑ ∑ ∑ Œ œ œ œ œœœ. œ œ œ ˙ œ ˙. œ P 0:43 0:56 1:01 1:16 1:23 ÷
elaborate on melody, just air air to tone based on F concert scale wind down... Ÿ key clicks U œ# œ ¿¿ ¿ ˙ & ∑ ‰ œ# J œ# ¿¿ ¿# ¿ increase range 6 by an octave P p p 1:34 1:46 ƒ 1:53 ÷
elaborate on this material, increase activity, air sounds, 16 increase activity more than before based on G concert scale key clicks, trills more key clicks, airy sounds, trills
& [œ œ# œ# œ# ] peak of theme and improv. œ this section on these pitches any octave/order
2:08 2:15 2:21 2:35 ÷
quickly calm down return to melody within free melody again alternate between in & out, air to tone, one octave, just notes airy tone & full less tone each time U & œ œ# œ œ œ ˙ Œ [ œ# ˙ ] w P 2:42 2:54 FOR÷ REVIEW ONLY U & fade∑ away
57 Etude V Exercises Luke Ellard Manipulating Articulation
For many single reed musicians, double tonguing and flutter tonguing are skills that take an immense amount of time to master. Yet with a little practice, and fast air, one can begin the journey to becoming proficient in these techniques. Though the merits of double tonguing are debated, the skills gained in air support, air speed, and tongue position are even more invaluable than articulation speed. This also applies to flutter tonguing where the air speed drives the movement to create the effect, not any forceful exertion.
To add an additional element, the clarinetist is asked in study and performance to use the audio backtrack as accompaniment. Similarly to Etude IV, skill in playing with electronics opens up numerous doors for performers to explore. In this case, performing with a track that does not adjust tempo forces the performer to have a steady internal pulse.
An important note is that double tonguing on the clarinet differs from that of other instruments. For clarinet, our high & forward tongue position must remain intact thus forcing us to utilize slightly different syllables for double tonguing. Each person's oral cavity is different, and each will have a slightly different point of articulation, however a soft gē/gee ("g" as in "get") can help one find the correct position. Double Tonguing Exercises
1. Begin but using just your air. Hold your palm in front of your mouth to check for consistent and fast air speed and clean interruption of the air flow from the articulation.
& . ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ . . ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ . tē tē tē tē gē gē gē gē tē gē tē gē gē tē gē tē
The less motion in the back of the tongue/oral cavity, the better. The "gē" syllable is very light and does not require force. As always, let the fast air drive your articulation.
2. Now to put this new articulation with the clarinet with the same fast air, high & forward tongue position, and relaxed articulation
& . œ œ œ œ œ œ œ œ . . œ œ œ œ œ œ œ œ . tē tē tē tē gē gē gē gē tē gē tē gē gē tē gē tē
& . œ œ œ œ œ œ . tœē gœē tœē gœē tœē gœē tē gē tē gē tē gē tœē gœē tœē gœē
Try your own variation with slurs and order or syllables! . . . . & . œ œ œ œ œ œ œ . . œ œ œ œ œ œ œ . FORtœē gē tē gē REVIEWtē gē tē gē œ ONLY For further practice, try double tonguing your scales as a part of your daily warm up. The high the notes, the more difficult, so keep practice within one octave at first.
58 2 Etude V Exercises
Flutter Tonguing Exercises
Unlike double tonguing, flutter tonguing is similar to other wind instruments. Flutter tonguing is the act or blowing into their instrument while rolling their rr's or rolling the back of their tongue, known as a uvular trill (similar to the French "r"). For some, both are possible, for others one or neither are possible due to anatomical factors. However, the effort to produce the effect helps the clarinetist gain a new perspetive on the relationship of air speed to tongue.
Flutter tonguing is usually denoted by slashes along the stem of a note, by the note head, or an U indication of "flatterzunge," notated as flz. For this first exercise, practice flutter tonguing (either rr or @ gg) without the clarinet. How fast can you make the air stream? Check with your hand to see if you & ¿ can feel cold air breaking through the flutter tongue.
Now try flutter tonguing on an open G, remembering that fast air and a tongue that is not tense will help in U achieving the desired effect. Begin with an open G and release the front or back of your tongue to flutter tongue, just like when you create the effect without the clarinet. If you squeak, that is most likely due to @ biting down on the mouthpiece, moving the tongue away from the high & forward position, and/or not & ˙ ˙ focusing the air forward.
. . . . & ˙ ˙@ ˙ ˙@ œ œ@ œ œ@
. @ . . @ . & œ œ@ ˙@ ˙ ˙@ ˙@ ˙@ ˙ ˙@
. @ @ @ . . . & . @ œ@ œ@ œ œ œ œ@ œ@ . . @ @ @ @ @ @ @ @ . œ œ œ œ œ œ œ œ œ For further practice, try flutter tonguing scales in half notes. The higher the notes, the more difficult it is the flutter tongue, FOR REVIEWso stay within an one octave at first. ONLY
59 Score Etude V Manipulating Articulation Luke Ellard Driving, very rythmic. q = 100 Clarinet in B b & 4 ∑ ∑ œ tœb ē tœē tœē tœē œ gœb ē gœē gē Driving, very rythmic. q = 100 P Tape 4 & 4 œb œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‘ œb œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‘
5
& œ œb Œ Œ gē gœb ē œb gē œ tœē tœb ē œb gē œ gœb ē tœē gœē tœē œgē tœb ē œgē tœb ē œ gœē
5
& œb œb œœœœœœœœœœœœœœ œb œb œb œœœœœœœœœœœœœ ‘ œb œb œœœœœœœœœœœœœœ
9 double tongue combining a soft gē/key syllable, paying attention to placement that works best for you Œ Œ œb œ & œ œb œ œ œ œ œ œ œ œ œ œ œb œb œ œ œ œ œ œb œb œ œ F œ œ 9 P
& œb œb œœ œœ œœ œœ œ ‘ œb œb œœ œœ œœ œœ œ ‘ œb œ œ œ œ 13 œb œ œ œ œ
& Œ œb œb œ œ Œ œb œb œ œ œ ŒŒ œb f œ œ œ œ œ 13 p
& ‘ ‘ ‘ FOR REVIEW ONLY
60 2 Etude V
16 flutter tongue (flz.) rolled gg if possible rolled rr if possible @ & ˙ ˙@ Œ ˙b @ œ œb œb œ Œ œb œ œ œ Œ ˙b @ œ@œ@ œb @ œb ŒŒ œ@ tē gē tē gē tē gē tē gē
œb œ œ œ & œb œ œb œ œ œ œœ œ œ œ œ ‘ ‘ ‘ ‘
continue to alternate "rr" & "gg," paying attention to which feels most comfortable 21 @ Œ œb ˙ œ œb œ œ Œ @ ˙@ œ œ œ œ Œ œ & ˙# @ back to double tonguing œ# œ f 21 œb œ œ œ œb œ œ œ œb œ œ œ œ œ œ œ & œb œb œb œœœ œœœ œœœ œb œb œb œœœ œœœ œœœ œb œb œb œœœ œn œb œn œœœ œ œb œ œœœ œœœ œœœ
25 œ œ & œ œ œ œ@ œ# @ ˙@ œ@ œ Œ Œ @ œb œ œ œ œb œ œ œ œ œ
25
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œb œ œb œ œ œ œb œ œœ œœ œn œ œœ œœ œœ œœ œœ œœ œb œb œb œœœ œb œb œb œœœ œœœ œœœ
29
& œb @ Œ @ œ# @œ@ ˙ Œ @ @ œ œ ˙ œ @ œ œ# œb œ œb œ œ p P 29
& œb œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œb œb œb œb œn œ œ œ œ œ œ œ œ# œ œ œ œ# œ œ œ
32 @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ @ & œn œb œb œ œ Œ @ œb œ œ œ œb œb œ Œ œ œb œ œ œ œb œb œ œ œ ‰ œ œb œ œ FOR REVIEWœb ONLY
32 F f f œb œ œ œ & œb œ œb œ œ œ œ œ œ œ œ œ ‘ ‘ strange synth cnters on beat 3 61 Etude V 3
36 35 back to double tonguing Œ @ @ @ œb @Œ @ @ @œ@ ∑ & œb œ œ œ œ œ œb œb œ œ p œb œ 35 ? & ‘ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
38 j ‰ @ ∑ & j œb œb œ œ œb œb œ œ wb œ œb œ P 38 ? œb œœœœœœœœœœœœœœœ œb œœœœœœœœœœœœœœœ œb œœœœœœœœœœœœœœœ& œb œb œœœœœœœœœœœœœœ
42 ∑ & œb œ œ œ œ œb œ œ œ œb œb œb
42 P
& ‘ œb œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‘ œb œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ
46 Œ & œ œ œb œb œ œb œ œ œ œ œ œ œb œ œ œ œ œ
46
& œb œb œb œ œ œ œ œ œ œ œ œ œ œ œ œ ‘ œb œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ
49 Œ Œ FOR& REVIEWœ œb ONLYœ œ œ œ œb œb œ œ œ œ œ œb œb œ œ F œ œ 49 P
& œb œb œ œ œ œ œ œ œ œ œ ‘ œb œb œ œ œ œ œ œ œ œ œ œb œ œ œ œ œb œ œ œ œ 62 4 Etude V
if 16th notes are not possible yet, articulate them on tē 52 œ œ & ‰ œ œ œb œ œ œb ‰ œ œ œb œ œ œb Œ œb œ œ œb œ œ Œ œb œ œ œ œ œ œ 52
& ‘ ‘ ‘ ‘
repeat 4x, gradually fade to 56 just air, no distinct tone Œ œb œ œ œ œ œ w ∑ . œb œ œ œ œ œ œ œ œ œ . & gradually fade out f repeats 11x 56 transition to percussive pulse gradually fading out œb œ œ œ & œb œ œb œ œ œ œ œ œ œ œ œ ‘ ‘ . ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ .
FOR REVIEW ONLY
63 Etude VI Graphic Notation
So here you are, faced with memes and scribbles… what now? Well, the easy answer is, whatever you want! The tough answer is… whatever you want… When faced with an infinite possibility of choices, it’s often difficult for us to choose where to begin.
The easiest place to start is knowing that pieces like Etude VI are meant to be performed for as short and as long as you’d like (about 2-3 minutes is great). What shape or symbol speaks to you first? Perhaps you’d like to start with the opening of Mozart’s Clarinet Concerto? Well, right next to it are some tiny scribbles then stars… Star-Spangled Banner excerpt? Now perhaps jump to the bottom of the page… or flip it upside down! These are just a few possibilities found.
From a study/performance perspective, there are several ways to approach graphic notation in whatever way it is presented (in open form such as Etude VI or along a traditional staff in music). The first step is to see what the composer says if there are program/performance notes. Etude VI’s is as follows:
“Have fun!”
GREAT, now what? Grab a pencil and write down whatever idea each graphic inspires. A great place to start is marking where you could flutter tongue, play quarter-tones, wail on a multiphonic, and the other techniques you’ve just learned. Next, experiment with sounds. Try growling into the instrument. Maybe take the mouthpiece off and do duck calls. Jump down to the Christmas tree and play jingle bells backward! The possibilities are limitless.
In studying this work, make several copies of the page if you’re planning out your performance. Try to make each run-through different than the last, in fact, AVOID spots you didn’t get to. You don’t have to hit everything on the page.
If you feel self-conscious, that’s completely normal! This is your permission slip to make “ugly” sounds or try something and it not go how you’d like. Why not have a friend join you in playing this etude? Make it a game! It’s all about applying the techniques you’ve learned, discovering new ones, and getting out of your comfort zone. This freedom can be transferred to FORcommon-practice musicREVIEW in the form of taking creative risks in phrasing, ONLY stretching your imagination with new repertoire, and reminding yourself that you perform music because you love it.
64 Example 1
For this first example, you may start on a chalumeau D, loudly playing rapid scales up and down, following the contour of the image, gradually fading out.
Example 2
For this example, you may play a multiphonic, gradually fading notes in and out, following the shape of the lines. You may also sing and play while holding a long note, following the contour of the lines.
Example 3
For this image, you may play with a wild tone, a particularly loud multiphonic, or even shout out loud. The image can seem quite aggressive and your interpretation might reflect that.
Example 4
FORFor this example, you mayREVIEW follow the shape of the dots, using key clicks ONLY or air sounds.
65 66 BIBLIOGRAPHY
Adler, Samuel. The Study of Orchestration, 4th ed. New York: W.W. Norton and Company, 2016.
Alder, Jason. “Clarinet Quarter-Tone Fingerings.” Accessed November 1, 2019. https://www.jasonalder.com/fingeringchart/Clarinet_quarter-tone_fingering-chart--Jason_ Alder.pdf.
Austermann, Kelly. "A Supplemental Repertoire List for the Development of Fundamental Skills in Pre-Collegiate Clarinetists." Order No. 3666885, Arizona State University. 2014 https://libproxy.library.unt.edu/login?url=https://libproxy.library.unt.edu:2165/docview/1 641125319?accountid=7113.
Bartolozzi, Bruno. New Sounds for Woodwind. London: Oxford University Press, 1980. The Buffalo New Staff. “Allen Sigel, BPO principal clarinetist, UB professor.” The Buffalo News. Accessed October 26, 2019. https://buffalonews.com/2013/03/15/allen-sigel-bpo- principal-clarinetist-ub-professor/
Caravan, Ronald L. Preliminary exercises & etudes in contemporary techniques for clarinet: Introductory material for the study of multiphonics, quarter tones, & timbre variation. [Oswego, N.Y.]: Ethos Publications. 1979.
Childs, Barney. "Young Performers & New Music." Music Educators Journal 51, no. 1 (1964): 40-42. http://libproxy.library.unt.edu:2204/stable/3390245.
Cline, David. The Graph Music of Morten Feldman. Cambridge, United Kingdom: Cambridge University Press, 2016.
Coleman, Leo Russell. "An Annotated Bibliography of Woodwind Study Materials which Deal with Performance Problems Encountered in Contemporary Music." Order No. 7004342, The University of Iowa. 1969. https://libproxy.library.unt.edu/login?url=https://libproxy.library.unt.edu:2165/docview/3 02433083?accountid=7113.
d'Alessio, Rebecca Tout. "Eric Mandat (B. 1957): A Multiphonic Meditation on a Composer, Clarinetist and Teacher." Order No. 3505440, Arizona State University. 2012. https://libproxy.library.unt.edu/login?url=https://libproxy.library.unt.edu:2165/docview/1 012771200?accountid=7113.
Davis, Vanessa A. "A Concept-Based Pedagogy Approach to Selected Unaccompanied Clarinet Repertoire." Order No. 11005441, University of North Texas. 2018. https://libproxy.library.unt.edu/login?url=https://libproxy.library.unt.edu:2165/docview/2 130610661?accountid=7113.
Dolak, Frank Joseph. "Augmenting Clarinet Technique: A Selective, Sequential Approach Through Prerequisite Studies And Contemporary Etudes." Order No. 8101196, Ball State University. 1979.
67 https://libproxy.library.unt.edu/login?url=https://libproxy.library.unt.edu:2165/docview/3 02903832?accountid=7113.
Druhan, Mary Alice. "A Performer's Guide to Multimedia Compositions for Clarinet and Visuals: A Tutorial Focusing on Works by Joel Chadabe, Merrill Ellis, William O. Smith, and Reynold Weidenaar." Order No. 3135297, Louisiana State University and Agricultural & Mechanical College, 2003. https://libproxy.library.unt.edu/login?url=https://libproxy.library.unt.edu:2165/docview/3 05320111?accountid=7113.
Duignan, Brian. “Judith Butler.” Encyclopædia Britannica. February 20, 2020. Accessed March 1, 2020. https://www.britannica.com/biography/Judith-Butler.
Errante, F. Gerard. "Performing with Tape: Music for Clarinet and Electronics" In Music Educators Journal 72, no. 3 (1985): 49-69. Accessed March 4, 2020, www.jstor.org/stable/3400538.
Farmer, Gerald J. Multiphonics and other contemporary clarinet techniques. Rochester, N.Y.: SHALL-u-mo Publications. 1982.
Gold, Cecil V. Contemporary clarinet technique: a study of the altissimo register. Greensboro, N.C.: Spectrum Music Publishers. 1983.
Jahn, Theodore Lee. "An Annotated Bibliography of Selected Etudes and Studies for Advanced Clarinet Instruction." Order No. 10296786, Indiana University. 1975. https://libproxy.library.unt.edu/login?url=https://libproxy.library.unt.edu:2165/docview/1 913424885?accountid=7113.
Johnson, Kelly Anne. "Survey of Major Clarinet Etude Books for the College Undergraduate." Order No. 9923936, Arizona State University. 1999. https://libproxy.library.unt.edu/login?url=https://libproxy.library.unt.edu:2165/docview/3 04521962?accountid=7113.
Karkoschka, Erhard. Notation in new music; a critical guide to interpretation and realisation. New York: Praeger. 1972.
Lowenstern, Michael. “Earspam Music.” Accessed November 1, 2019. https://www.youtube.com/user/earspasm/featured.
MacGlone, Una M. and Raymond A. R. MacDonald. “Learning to improvise, improvising to learn.” In Distributed Creativity: Collaboration and Improvisation in Contemporary Music, edited by Eric F. Clarke and Mark Doffman. Oxford: Oxford University Press, 2017.
Mandat, Eric. “Expanding Timbral: Flexibility Through Multiphonics,” The Clarinet 16, no. 3 (1989).
68 McMullen, Tracy. “Improvisation within a Scene of Constraint: an Interview with Judith Butler.” In Negotiated Moments : Improvisation, Sound, and Subjectivity, edited by Gillian H. Siddall and Ellen Waterman. Durham: Duke University Press Books, 2016.
Oakes, Gregory. “Clarinet Multiphonics.” Accessed November 1, 2019. https://www.gregoryoakes.com/multiphonics/index.php.
Pritchett, James. The Music of John Cage. Cambridge, United Kingdom: Cambridge University Press, 1993.
Rehfeldt, Phillip. New directions for clarinet. Berkeley: University of California Press. 1994.
Richards, E. Michael. The clarinet of the twenty-first century. [Place of publication not identified]: [E + K Pub.]. 1992.
Roche, Heather. “Heather Roche Clarinet.” Accessed March 1, 2020. https://heatherroche.net/.
Ruth, Jeremy Larkham. "Humming and Singing while Playing in Clarinet Performance: An Evidence Based Method for Performers and Resource for Composers." Order No. 13864232, Arizona State University. 2019. https://libproxy.library.unt.edu/login?url=https://libproxy.library.unt.edu:2165/docview/2 228566412?accountid=7113.
Ryan, David. “Energy Fields: Earle Brown, Open Form, and the Visual Arts.” In Beyond Notation, edited by Rebecca Y. Kim. Ann Arbor: University of Michigan Press, 2017.
Sigel, Allen. The twentieth century clarinetist: advanced studies in contemporary music for the clarinet. Melville, N.Y.: Belwin Mills. 1966.
Starling, Jana. "Comprehensive Musicianship: A Clarinet Method Book Curriculum and Sample Units." Order No. 3173242, Arizona State University. 2005. https://libproxy.library.unt.edu/login?url=https://libproxy.library.unt.edu:2165/docview/3 05026801?accountid=7113.
University of Maryland - Baltimore County. “Dr. Michael E. Richards.” Accessed October 26, 2019. https://music.umbc.edu/directory/richards/.
Warren, Ariana. "21st Century Beginning Clarinet Method." Order No. 3630466, University of California, San Diego. 2014. https://libproxy.library.unt.edu/login?url=https://libproxy.library.unt.edu:2165/docview/1 564033349?accountid=7113.
Wetzel, David Brooke. "Analysis, Reconstruction, and Performance of Interactive Electroacoustic Works for Clarinet and Obsolete Technology: Selected Works by Musgrave, Pennycook, Kramer, and Lippe." Order No. 3158168, The University of Arizona, 2004. https://libproxy.library.unt.edu/login?url=https://libproxy.library.unt.edu:2165/docview/3 05207420?accountid=7113.
69 Whittall, Arnold. “Composer-performer collaborations in the long twentieth century.” In Distributed Creativity: Collaboration and Improvisation in Contemporary Music, edited by Eric F. Clarke and Mark Doffman. Oxford: Oxford University Press, 2017.
Winkler, Todd Eric. "Three Interactive Etudes for Clarinet and Computer. (Original Composition);" Order No. 9309694, Stanford University. 1992.
Yoder, Rachel M. "Performance Practice of Interactive Music for Clarinet and Computer with an Examination of Five Works by American Composers." Order No. 3452004, University of North Texas, 2010. https://libproxy.library.unt.edu/login?url=https://libproxy.library.unt.edu:2165/docview/8 63478139?accountid=7113.
70