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View of Extended Techniques and Their History As Well to Give a Concise Pedagogical Guide That Explains Each Skill Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School A Pedagogical Approach for Incorporating Extended Techniques into the UAmny Md. Heurmgberrdaduate Clarinet Curriculum Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A PEDAGOGICAL APPROACH FOR INCORPORATING EXTENDED TECHNIQUES INTO THE UNDERGRADUATE CLARINET CURRICULUM By AMY M. HUMBERD A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2020 Amy M. Humberd defended this treatise on April 6, 2020. The members of the supervisory committee were: Jonathan Holden Professor Directing Treatise Jane Piper Clendinning University Representative Deborah Bish Committee Member Michael Thrasher Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I am profoundly grateful to the individuals who have given me their guidance and assistance while completing this document, and I wish to extend my sincere appreciation to Dr. Jonathan Holden and Dr. Deborah Bish, my wonderful teachers and mentors, for their unceasing support; to the other members of my committee – Dr. Jane Piper Clendinning and Dr. Michael Thrasher for their continued guidance, support, and advice; and to my friends, fiancé, and colleagues for their tireless interest and encouragement, which has never waned. iii TABLE OF CONTENTS List of Figures .................................................................................................................................. v Abstract .......................................................................................................................................... vii 1. INTRODUCTION ...................................................................................................................... 1 2. HISTORICAL PERSPECTIVE ................................................................................................. 7 3. PORTAMENTI ........................................................................................................................ 10 4. MICROTONES ....................................................................................................................... 25 5. SINGING AND PLAYING ..................................................................................................... 35 6. MULTIPHONICS .................................................................................................................... 43 7. DOUBLE TONGUING ........................................................................................................... 55 8. CONCLUSION ........................................................................................................................ 64 APPENDICES ............................................................................................................................... 66 A. PIECES FOR FURTHER STUDY OF EXTENDED TECHNIQUES ................................... 66 B. MICROTONAL FINGERING SUGGESTIONS .................................................................... 74 C. MULTIPHONIC FINGERING SUGGESTIONS ................................................................... 83 References ................................................................................................................................... 104 Biographical Sketch ..................................................................................................................... 108 iv LIST OF FIGURES 1 Pitch Bending Exercise #1 ....................................................................................................... 12 2 Portamento Exercise #1 .......................................................................................................... 14 3 Portamento Exercise #2 .......................................................................................................... 14 4 Pitch Bending Exercise #2 ...................................................................................................... 15 5 Portamento Exercise #3 .......................................................................................................... 15 6 Portamento Exercise #4 .......................................................................................................... 16 7 Portamento Exercise #5 .......................................................................................................... 16 8 Portamento Exercise #6 .......................................................................................................... 16 9 Partial Ranges for Standard Fingerings .................................................................................. 17 10 Pitch Bending in the Altissimo ............................................................................................... 17 11 Harmonic Exercise from Gingras: Clarinet Secrets ............................................................... 19 12 Expansion of Harmonic Exercise ........................................................................................... 20 13 Portamento Exercise #7 .......................................................................................................... 21 14 Portamento Exercise #8 .......................................................................................................... 21 15 Explanation of Microtonal Notation ........................................................................................ 27 16 Microtonal Notation ................................................................................................................ 28 17 Microtonal Exercise #1 ............................................................................................................ 28 18 Microtonal Exercise #2 ............................................................................................................ 28 19 Microtonal Exercise #3 ............................................................................................................ 29 20 Microtonal Exercise #4 ............................................................................................................ 29 21 Major Scale Exercise .............................................................................................................. 30 22 Chromatic Scale Exercise ....................................................................................................... 30 v 23 Singing and Playing in Unison ............................................................................................... 38 24 Scale Exercise #1 ..................................................................................................................... 38 25 Scale Exercise #2 ..................................................................................................................... 39 26 Thirds Over a Sustain .............................................................................................................. 39 27 Parallel Fifths ........................................................................................................................... 39 28 Expansion of Harmonic Exercise ............................................................................................ 45 29 Original Harmonic Exercise .................................................................................................... 45 30 Fundamental Tones with Register Key ................................................................................... 46 31 Fundamental Tones to Clarion Register ................................................................................. 47 32 Slurring from the Clarion to the Fundamental ........................................................................ 47 33 Multiphonic Exercise #1 .......................................................................................................... 48 34 Multiphonic Exercise #2 .......................................................................................................... 49 35 Multiphonic Exercise #3 .......................................................................................................... 50 36 Multiphonic Exercise #4 .......................................................................................................... 50 37 Double Tonguing Exercise #1 ................................................................................................ 57 38 Double Tonguing Exercise #2 ................................................................................................ 58 39 Double Tonguing Exercise #3 ................................................................................................ 59 40 Double Tonguing Exercise #4 ................................................................................................ 60 vi ABSTRACT Although many extended techniques have been included in compositions for clarinet since the early 1900s, very few resources address the inclusion of these techniques in the clarinet curriculum. Specifically, there are very few resources that address the pedagogy of these techniques. Instead, the primary focus of research on extended techniques for clarinet has been on the study and interpretation of works by specific composers or the execution
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