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A Pedagogical Approach for Incorporating Extended Techniques into the UAmny Md. Heurmgberrdaduate Clarinet Curriculum

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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 of one type of extended technique. The purpose of this research is to provide a pedagogical resource that addresses the inclusion of extended techniques in the undergraduate clarinet curriculum as a necessary skill for current performance practice and as a tool for further fundamental development. It aims to provide an overview of extended techniques and their history as well to give a concise pedagogical guide that explains each skill. Each chapter will contain sections of exercises, etudes, and solo pieces that will aid in the process of mastering these skills in a more constructive and in-depth format. Five extended techniques have been chosen for inclusion in this document: portamenti, microtones, singing and playing, multiphonics, and double tonguing. These techniques have been selected for their frequent appearance in repertoire and their perceived usefulness for fundamental skill development. Three appendices will be included at the end of the document providing a list of additional works with these extended techniques, a multiphonic fingering chart for the French system clarinet, and a microtonal fingering chart for the same.

vii CHAPTER 1

INTRODUCTION

While the study and performance of music with extended techniques are not uncommon, there is a significant gap within this branch of pedagogy. Before this document, little research had been done on extended techniques to address the systematic, linear pedagogy of these skills. The overwhelming majority of the existing literature focusing on extended techniques discusses the study of specific pieces, the performance or interpretation of works by individual composers, or the development or execution of one type of extended technique; in other words, the current research primarily acts as a guide for isolated performance goals. There are a few useful documents which provide etudes and easier repertoire utilizing extended techniques, which may be useful for study while learning these skills; however, these documents also fail to address the pedagogy of these skills adequately. One recently published article briefly addresses the use of extended techniques for improving clarinet fundamentals, but no other document addresses this concept. These sources will be discussed at length in the survey of literature and appropriate chapters. Of particular note, there is limited information about teaching extended techniques to undergraduate clarinetists. One hesitation may be the perceived difficulty of these techniques and pieces that utilize them, which can lead to the belief that these techniques should not be studied until the student’s fundamental technique is at a high level.1 However, there are many benefits to studying extended techniques at the undergraduate level that should not be ignored. First, it is becoming increasingly necessary to master these techniques as the body of repertoire incorporating them grows.

With the development of jazz techniques and the ‘cross-over’ influence between popular and classical music, today’s clarinetists must possess a technical ability extending beyond the conventional in order to perform ‘new music.’ Flutter-tonguing, multiphonics and quarter- and micro-tones, glissandi, tremolos, slap-tonguing, key noise, circular breathing, air and vocal sounds, and an extended high register have become essential skills.2

1 Ronald L. Caravan, Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet ([s.l.]: Ethos Publications, 1979), introduction. 2 Eric Hoeprich., The Clarinet (New Haven and London: Yale University Press, 2008), 229. 1 Furthermore, learning these techniques, which has often been seen as an advanced performance goal, can aid undergraduate students in mastering many fundamental skills like voicing, embouchure stability, tongue position, air support, and many more.3 This document aims to discuss extended techniques from a pedagogical approach that reinforces the usefulness of each skill for proper fundamental development and current performance practice.

Purpose This document aims to provide valuable information for applied faculty and students as they strive to work within and expand the boundaries of what the clarinet can accomplish while meeting the ever-changing demands of the music field. Specifically, its aim is to provide a pedagogical resource that addresses the inclusion of extended techniques in the undergraduate clarinet curriculum for current performance practice and for further fundamental development in a way that has not yet been addressed. The following information will be presented: 1. A definition of extended techniques as it applies to this document 2. A brief history of the use of extended techniques 3. An examination of five extended techniques and their overall utility 4. A presentation of exercises, etudes, and pieces that aid the systematic development of these techniques and strengthen fundamental clarinet technique 5. An appendix of pieces that utilize extended techniques 6. An appendix with microtonal fingering suggestions 7. An appendix with multiphonic fingering suggestions

Survey of Literature The primary focus of most of the research has been on the performance and interpretation of works by specific composers or the execution of one type of extended technique. Of the available research, a few documents, like those by Meadows and Danard, do address the need for a deeper pedagogical understanding of these concepts for use in the applied clarinet studio; however, none go into great detail with a plan for actually teaching these techniques. At most, some provide one or two short exercises on very few extended techniques (mostly on

3 Tiffany Valvo, “Refining Fundamentals through Extended Techniques,” The Clarinet 47, no. 2 (March 2020): 34-37. 2 multiphonics) that neglect to break the skills down further into their fundamental parts. There are a few useful sources that provide more practical information and resources that shed light on the historical context of these techniques. Bruno Bartolozzi’s (1911-1980) New Sounds for Woodwinds (1967) is one of the first published resources addressing these skills for clarinet or any woodwind instrument.4 The educational content is somewhat dated due to changes in notational practice and the addition of newer extended techniques; however, it provides a useful historical context. Bartolozzi’s work also provides basic multiphonic fingering suggestions for each orchestral woodwind instrument. Following this, Phillip Rehfeldt’s (b.1939) New Directions in Clarinet Playing (1994)5 provides a guided overview of each extended technique along with helpful microtonal and multiphonic fingering charts and extensive bibliographies of contemporary repertoire. Rehfeldt’s work is currently the most comprehensive literature on the subject of extended techniques available. In addition, his work also includes an appendix on William O. Smith that provides Smith’s original multiphonic catalog from 1960. Both of these volumes are valuable historically and for overviews of each technique. One of the only weaknesses in these writings is their applications for non-Boehm system clarinets, like the Oehler or Albert systems. Although Albert system clarinets are not played widely today outside of some folk traditions or Dixieland jazz,6 Oehler, or German system clarinets, are still prominent in several parts of Europe.7 While many skills are transferrable to any type of clarinet, the fingering charts provided in both are limited to Boehm, or French system instruments only and would therefore not be useful for other fingering systems. Some other pedagogical resources were written early on to help address the execution of extended techniques. These resources are still available in some universities and personal libraries, although many are out of print at this current time. Of the resources currently available, the most comprehensive are Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet (1979) by Ronald L. Caravan (b. 1946) and Multiphonics and Other Contemporary Clarinet Techniques (1982) by Gerald Farmer.8 Though these are also some of the earliest resources available, they do an excellent job of providing an introduction to each technique and

4 Hoeprich, The Clarinet, 229. 5 Phillip Rehfeldt, New Directions for Clarinet (Berkeley: University of California Press, 1994). 6 Hoeprich, The Clarinet, 182-183 7 Ibid, 4-5. 8 Gerald Farmer, Multiphonics and Other Contemporary Clarinet Techniques (Rochester, NY: SHALL-u- mo Publications, 1982). 3 offer supplementary materials like etudes, exercises, and short pieces that are useful. Caravan’s writing primarily focuses on quarter tones and multiphonics, with a preliminary section covering timbre, or tone color, variations. Since this method was first published in 1979, many extended techniques had not been fully categorized; because of this, Caravan’s writings on multiphonics focus on the technique as understood during that time. This resulted in multiphonics as they are currently understood grouped with a technique which is now termed “singing and playing” or “humming and playing.”

One technique is to combine conventional clarinet tone production with vocal tones produced simultaneously by the performer. The other basic source for the simultaneous production of more than one tone does not lie in introducing another tone generator (i.e., the voice), but in altering the resonance of the air column inside the instrument so that two or more tones are rendered rather than just one.9

The exercises included in Caravan’s work are very useful for younger students attempting these techniques and will be used as examples later in this document. Although Caravan’s book is comprehensive in this way, it fails to explain the fundamentals of the techniques included; however, the exercises provided are exceptional and should be incorporated into a thorough study of extended techniques along with other resources. Gerald Farmer’s Multiphonics and Other Contemporary Techniques for Clarinet contains one of the most thorough explanations of clarinet multiphonics currently available. It provides a detailed overview of the technique as well as exercises for developing reliable multiphonic production. Farmer’s categories of multiphonics and his chapter on multiphonic trills and tremolos are particularly useful. Like Caravan, Farmer includes singing and playing as another type of multiphonics. This work also includes an overview of the history of extended techniques in clarinet playing, one of a few books to do so. This book certainly deserves a place in contemporary pedagogy; however, the book focuses primarily on multiphonics and does not explain many other techniques in great detail. Of course, many extended techniques were not necessarily in extensive use at the time, so this could explain the lack of detail. In recent research, several dissertations have addressed the lack of more approachable repertoire utilizing extended techniques. Writings by Rebecca Danard and Olivia Meadows seek

9 Caravan, Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet, 18. 4 to bridge a perceived gap by commissioning new etudes and solos that effectively simplify the technical challenges often inherent in musical works with non-traditional demands. In her dissertation, “A Program of Study for 21st Century Clarinet Techniques Featuring Five New Compositions for Unaccompanied Clarinet” (2019),10 Olivia Meadows provides several unique unaccompanied works that may act as an intermediary step for undergraduate students studying extended techniques. The last three works included in her dissertation utilize microtones and multiphonics; however, they are much less technically demanding than most of the standard unaccompanied clarinet repertoire, such as William O. Smith’s (1926-2020) Variants for Solo Clarinet (1963), Eric Mandat’s (b. 1957) Tricolor Capers (1981), Ronald Caravan’s Excursions for A Clarinet (1974), and many others. Rebecca Danard’s work, “Études in Performing Extended Techniques: Twelve Newly-Commissioned Canadian Works for Solo Clarinet” (2011),11 is similar in that it seeks to introduce modern techniques through newly commissioned etudes. Danard explains each technique before introducing a new work. Etudes, which have historically been composed to address specific musical and technical issues that arise later in the performances of larger-scale works, seem to be an appropriate introduction to these techniques. These dissertations are excellent resources that provide background and a general overview of some extended techniques; however, they do not adequately teach these techniques before introducing the pieces, nor is that their purpose. Though the afore-mentioned sources were the most useful for this research, other helpful resources may be found in the bibliography following this document. Polychromatic Diversions for Clarinet (1979)12 by Ronald Caravan and Jeremy Larkham’s dissertation, “Humming and Singing While Playing in Clarinet Performance: An Evidence Based Method for Performers and Resource for Composers” (2019)13 are of particular note. Tiffany Valvo’s article “Refining Fundamentals through Extended Techniques” (2020)14 recently appeared in The Clarinet and is a

10 Olivia Meadows, “A Program of Study for 21st Century Clarinet Techniques Featuring Five New Compositions for Unaccompanied Clarinet” (D.M.A., Arizona State University, 2019), ProQuest Dissertations & Theses Global. 11 Rebecca J. Danard, “Études in Performing Extended Techniques: Twelve Newly-Commissioned Canadian Works for Solo Clarinet” (University of Cincinnati, 2011). 12 Ronald L. Caravan, Polychromatic Diversions for Clarinet: 10 Graded Compositions Using Non- Traditional Techniques (Oswego, N.Y.: Ethos Publications, 1979). 13 Jeremy Larkham Ruth, “Humming and Singing While Playing in Clarinet Performance: An Evidence Based Method for Performers and Resource for Composers” (D.M.A., Arizona State University, 2019), ProQuest Dissertations & These Global. 14 Valvo, “Refining Fundamentals through Extended Techniques,”: 34-37. 5 beneficial introduction to the topic discussed in this document. Jason Alder’s website, www.jasonalder.com/resources,15 is also an excellent tool, as is Greg Oakes’ website www.gregoryoakes.com/multiphonics/index.php.16 Both have extensive lists of quarter tone and multiphonic fingerings for clarinet. Finally, Dean Tuner’s dissertation A Survey of Four Clarinet Compositions by William O. Smith: As an Introductory Source of Contemporary Clarinet Performance Techniques (1975)17 is very useful because it outlines some of the early history of extended techniques as well as provides a few possible sequences of study for four works by William O. Smith as a way to introduce extended techniques.

15 “Resources,” Resources, Jason Alder, accessed February 27, 2020, http://www.jasonalder.com/resources. 16 “Clarinet Extended Techniques,” Clarinet Extended Techniques, Gregory Oakes, accessed March 12, 2020, http://www.gregoryoakes.com/multiphonics/index.php. 17 Dean William Turner, “A Survey of Four Clarinet Compositions by William O. Smith: As an Introductory Source of Contemporary Clarinet Performance Techniques” (Ph.D., Michigan State University, 1975), ProQuest Dissertations & These Global. 6 CHAPTER 2

HISTORICAL PERSPECTIVE

To adequately provide a history of the use of extended techniques, it seems that a definition of the term must be established. For this document, the term “extended technique” will refer to any unconventional method of playing a musical instrument, usually employed to obtain particular timbres and effects. These techniques lie outside of traditional instrumental skills; however, this is not to say that they do not have an essential place in the pedagogy. It is also important to note that many of the musical examples described when discussing these techniques are drawn from contemporary music; however, extended techniques are not solely within contemporary works. Similarly, many contemporary works do not utilize extended techniques. It is challenging to pinpoint exactly when the use of non-standard techniques in clarinet performance first began. Phillip Rehfeldt, in his book New Directions for Clarinet, estimates these techniques evolved in the mid-twentieth century.

The purpose, simply stated, has been to assemble material dealing with clarinet performance as it has evolved since approximately 1950: to identify or “catalogue” the practices now prevalent which differ from those formerly standardized; to provide some perspective on specific performance capabilities and limitations; and, where appropriate, to include suggestions for performance.18

In the acknowledgments of his book, Bartolozzi gives credit to one of his mentors, Sergio Penazzi (1934-), for showing him “how multiple sounds could be played on the bassoon as long ago as 1960…”.19 He later continues, stating that the production of multiple sonorities had already been achieved on other orchestral woodwind instruments.20 Techniques like multiphonics have risen in popularity and frequency of use since the 1950s; however, some techniques, such as flutter tonguing and portamento, were somewhat conventional by this time. Furthermore, extended techniques on other instruments had been employed for much longer; for

18 Rehfeldt, New Directions for Clarinet, vii. 19 Bruno Bartolozzi, New Sounds for Woodwinds (London: Oxford University Press, 1967), acknowledgments. 20 Ibid. 7 example, the col legno effect for strings used in Hector Berlioz’s (1803-1869) Symphonie Fantastique (1830). To pinpoint musical examples that demonstrate this, one can look at Alban Berg’s (1885- 1935) Vier Stücke (1913) or The Rite of Spring (1913) by Igor Stravinsky (1882-1971), which include the use of flutter tonguing for clarinets. The use of the portamento in writing for clarinet can be found throughout history, especially in jazz, and is made famous by George Gershwin’s (1898-1937) Rhapsody in Blue (1924), even if this was not the originally intended effect in the manuscript. Fantasy for Clarinet (1960) by Peter Phillips uses multiphonics, and John Eaton’s (1935-2015) Concert Music for Solo Clarinet (1961) includes portamenti, quarter tones, multiphonics, and more. The most surprising of these techniques for this time is the use of multiphonics, a by-product of Eaton’s collaboration with composer William O. Smith.21 Perhaps one reason that flutter tonguing and portamenti are often left out of the history of extended techniques is the frequency with which they were used in jazz and other popular styles. By then, these techniques were part of the traditional language of jazz, which was widespread in most of Western culture. In addition, portamenti were also a traditional part of klezmer and other folk music. To the authors of these books on extended techniques, portamento must have seemed like a skill that had always been standard. The prevalence of extended techniques in compositions during and after the mid-twentieth century should be seen as the emancipation of new sounds and unorthodox techniques, much like the early 1900s were not seen as the beginning of dissonance, but as a time of compositional freedom, where composers were able to work with fewer boundaries and apart from the bonds of conventional tonality. Therefore, the mid-twentieth century was also not the beginning of all extended techniques, but a time when composers and performers more frequently explored these skills. The relationship between composers and performers also greatly influenced the development of these techniques and compositions. In his book Farmer states, “Early experimentation with instrumental sounds of all kinds during the late 1950s and early 1960s developed to a point where a variety of formerly unemployed sound resources began to be incorporated into the compositions of a variety of composers, often with the help of adventurous performers.”22 Much credit for this experimentation with new sounds on the clarinet must be

21 Farmer, Multiphonics and Other Extended Techniques, 2. 22 Ibid, 1-2. 8 attributed to William O. Smith, who was well-known throughout his career as both a classical and jazz musician. Smith was highly intrigued by new sound possibilities for clarinet, and one of the earliest examples of multiphonic composition in clarinet writing, John Eaton’s Concert Music for Solo Clarinet, was composed in collaboration with him.23 About Smith, Deborah Bish states, “His career is most accurately described as someone who was obsessed with the discovery of new ideas, and he pursued them relentlessly as a performer, pedagogue, and composer.”24 Most notably, Smith created the first catalog of multiphonics for the clarinet, which he began in the early 1960s.25 His Duo for Flute and Clarinet (1961) was most likely the first composition to notate multiphonics so precisely for the instrument.26 As one of the most influential pedagogues and composers of new music, Smith also influenced future generations of clarinetists and is one of the reasons why so many resources, compositions, and guides for extended techniques exist today.

23 Ibid, 2. 24 Deborah Bish, “William O. Smith: The Composition of a Life” (D.M.A., Arizona State University, 2005), 76. 25 Rehfeldt, New Directions for Clarinet, 99. 26 Ibid, 95. 9 CHAPTER 3

PORTAMENTI

Before continuing further, it may be appropriate to explain the terms “glissando” and “portamento,” which are often defined differently and are somewhat subjective in their definitions. There are two main avenues of thought regarding these terms. Some sources, cited below, claim that they have different meanings and that they are often misused. In this vein, a glissando is a rapid scalar movement that is often, but not always, diatonic. It distinguishes each pitch from the other. In comparison, a portamento is a rapid scalar motion that involves the “smearing” of pitches so that the individual pitches within the passage may not be distinguished from one another. To contrast these two terms, Rehfeldt in his New Directions for Clarinet, compares the running up a scale on a piano to a glissando, while the sliding up a string on a violin or other stringed instrument is an example of portamento.27 Gerald Farmer, in his Multiphonics and Other Contemporary Clarinet Techniques, also uses this comparison,28 and Caravan agrees with these definitions as well in his Polychromatic Diversions for Clarinet.29 Other sources claim that these two techniques have the same effect and should be approached similarly. The Harvard Dictionary of Music defines a glissando as “a continuous or sliding movement from one pitch to another” and goes on to say that on a wind instrument, “the sliding movement may produce a continuous variation in pitch rather than a rapid succession of discreet pitches.”30 Grove Music Online also defines these terms similarly.31 Because of the different definitions available, the terms “portamento” and “glissando” are often used interchangeably. Several sources make a note of this. Farmer says, “the term glissando has been used interchangeably with the word portamento,”32 and The Harvard Dictionary of Music says this as well, stating, “some writers have preferred to restrict the meaning of glissando to the motion in which discrete pitches are heard, reserving ‘portamento’

27 Rehfeldt, New Directions for Clarinet, 57. 28 Farmer, Multiphonics and Other Contemporary Clarinet Techniques, 134. 29 Caravan, Polychromatic Diversion for Clarinet: 10 Graded Compositions Using Non-Traditional Techniques, iii. 30 The Harvard Dictionary of Music, 4th ed., s.v. “Glissando.” 31 Grove Music Online, s.v. “Glissando,” accessed February 28, 2020, https://doi- org.exaccess.libaries.psu.edu/10.1093/gmo/9781561592630.article.11282. 32 Farmer, Multiphonics and Other Contemporary Clarinet Techniques, 134. 10 for continuous variation in pitch, but musical practice is not consistent in this respect.”33 For the purposes of this document, the term “portamento” will be used for consistency. One of the most frequently employed extended techniques in the clarinet repertoire, portamenti are found throughout the standard repertoire as well as in jazz, klezmer, and other styles of composition. Often this extended technique is one of the first introduced into the clarinetist’s palette of skills, not least of all because of the frequency with which pieces like George Gershwin’s Rhapsody in Blue, Frank Ticheli’s (b. 1958) Blue Shades (1996), and other pieces requiring this technique are programmed in high school orchestra and band concerts. With regards to range and execution of the technique, portamento is most comfortable in the clarion register; however, it is possible in the altissimo register, although it is somewhat more difficult. The chalumeau register is much more limited, and the range of portamento capable in this register is much smaller than that of the other registers. Portamento can be one of the most useful extended techniques to explore not only due to the frequent use of this skill in repertoire, but also as a tool that will provide one more flexibility in voicing that and tone-production that will allow for a more natural transition to other extended techniques such as multiphonics.34

Fundamental Exercise A: Pitch Bending Exercise In order to fully master the portamento technique, one must first address the skill of individual pitch bending. Pitch bending is a raising and lowering of pitches by manipulation of the oral cavity and tongue position. On the clarinet, this is possible to varying degrees of success in all registers of the instrument, the most difficult of these registers being the chalumeau. A great deal of flexibility is afforded in the altissimo register; however, much more control is required of the clarinetist in this register than in the clarion register.35 By far, the most accessible register in which to accomplish pitch bends, the clarion register, is where it is suggested that most students begin this technique before expanding their range to the altissimo or chalumeau. The technique of pitch bending is similar to adjusting to lower the pitch for intonation, but more exaggerated. Therefore, bending a pitch downward should feel similar to trying to lower the pitch.

33 The Harvard Dictionary of Music, s.v. “Glissando.” 34 Caravan, Polychromatic Diversions for Clarinet: 10 Graded Compositions Using Non-Traditional Techniques, i. 35 Rehfeldt, New Directions for Clarinet, 57-59. 11

Figure 1: Pitch Bending Exercise #1

1. Begin on a B or C above the treble staff. 2. Hold the note until comfortable. Then, move the tongue downward and forward toward the reed. This should be done slightly at first, and more acutely if necessary. Moving the tongue forward should help maintain a focused sound while moving it down should lower the pitch. If after several attempts pitch bending is still a problem, try these solutions and see if one works: a. If possible, try whistling a high pitch and then lowering the pitch. The motion this creates in the oral cavity is similar to what should occur when bending pitches down on clarinet. b. When holding a clarion B or C, relax the mouth to make an “Ah” vowel, like when yawning or chewing hot food. c. If the explanations or exercises above do not work, try moving the tongue as described above while lowering the jaw. This motion of the jaw should be subtle. It may be better described as moving the teeth down inside the lower lip. This should lower the pitch further. It is important to note that this is not necessary to lower the pitch, but it may help initial attempts. After initial portamenti are achieved, try moving away from this technique, using only the tongue to lower the pitch. 3. Repeat step two and continue this motion until an under-tone develops. 4. Repeat steps one through three, attempting to extend the downward range as far as possible before the under-tone appears. Advanced players can sometimes bend these pitches as far down as a clarion C or D; however, bending it down to a clarion G is an excellent first step. If there are problems extending the range, try to make sure that there are no problems with tension in the body, particularly in the embouchure. Maintain air support during this process.

12 5. When the steps above are comfortable, attempt to bring the pitch back upwards, returning to the starting pitch just before reaching an undertone. Repeat this until mastered. 6. Continue these exercises, progressing slowly downward by half-step. Remain in the clarion register. 7. Once these exercises are comfortable in the clarion register, attempt them in the altissimo and chalumeau registers. Note: it will most likely be challenging to bend the pitch down substantially in the chalumeau register at first. It is limited in this capacity. In addition, the pitch is often significantly more flexible toward the top of a register than it is at the bottom. For example, bending the pitch of a high clarion C is much easier than bending a lower clarion C.

Intermediate Exercise A: Portamento Exercise – Moving Down the Clarion Once pitch-bending is mastered, it is relatively easy to move on to portamenti. There are some range limitations, which will be discussed later in this chapter, that make the technique more difficult in the altissimo and very difficult in the chalumeau, but portamenti in the clarion register should come naturally at this point. Portamenti between intervals are a combination of pitch bending, like in the exercises above, and some finger motion, although some more advanced players can accomplish portamenti with less or even no finger sliding. It is important to note that the finger sliding merely makes this technique easier. The oral cavity adjustments are critical to actually creating the portamenti and, therefore, are much more important to this technique. Below are simple, more comfortable pitch-bending exercises to try. It is crucial when moving the fingers down onto the instrument to try for smooth, seamless motion without any audible bumps or key noise. 1. Start on a clarion C. 2. Bend the pitch down like in the previous pitch-bending exercise. 3. While doing this, lower the first finger of the left hand down until the pitch bend sounds close to a clarion B. Then, finish lowering the first finger. 4. Repeat this exercise until it is comfortable while trying to perfect the timing. 5. Once this is comfortable, move down the C Major scale diatonically to D, as shown in Figure 2.

13

Figure 2: Portamento Exercise #1

Intermediate Exercise B: Moving Down by Intervals Larger than a Step The following two exercises are similar to the previous one. The only difference is that now, instead of moving by one step, the exercise will attempt to introduce portamenti larger than a step. The same techniques should be used for the voicing and oral cavity. Only the finger motion will be slightly different. 1. Start on a clarion C. 2. Bend the pitch down like in the pitch-bending exercises. 3. While doing this, lower the first two fingers of the left hand down. 4. When the pitch bend sounds close to a clarion A, finish lowering the fingers. Try to make sure this motion is as smooth as possible without extraneous finger noise. 5. Repeat this exercise until it is comfortable while trying to perfect the timing. 6. Once this is comfortable, move down the C Major scale two notes at a time to D, as shown below in Figure 3. 7. This exercise should be repeated, extending the interval one step at a time (i.e., thirds, fourths, fifths, etc.) until a smooth portamento directly from clarion C to D is achieved.

Figure 3: Portamento Exercise #2

Intermediate Exercise C: Portamento Exercise – Moving Up the Clarion Executing portamenti upwards requires a slightly different approach. Before moving on to more complicated exercises, it may first be better to attempt the pitch-bending exercises again, making sure to raise the pitch back up after bending it downwards. This is the feeling of the voicing and oral cavity that is required for the next exercise. Furthermore, when bending the pitch upwards, two techniques of finger motion can be used: sliding or lifting. Sliding the fingers off works by peeling the fingers off the instrument from the bottom of the instrument to the top

14 while maintaining a lower voicing to hold the pitch before bending upwards. This is often done in a staggered way, so that several fingers are moving at once. Lifting refers to pulling the fingers off the instrument in a normal way while keeping the voicing low to hold a lower pitch before bending upwards. Use whichever one is most comfortable at first and experiment with the other later. For this exercise, the term “sliding” will be used for consistency, but either technique may be used. 1. Start on a clarion B. 2. Lower the pitch like in the previous exercise. 3. Begin raising the pitch as if trying to come back up from the bottom of the pitch bend. This is the reverse of what was required to lower the pitch. 4. While doing this, begin slowly sliding the left index finger off the tone hole. 5. Continue this motion with the finger and the oral cavity until the pitch raises to clarion C. This part of the exercise is shown below in Figure 4.

Figure 4: Pitch Bending Exercise #2

6. Repeat this exercise until it is comfortable while trying to perfect the timing. 7. After this initial exercise is comfortable, try it again. This time, instead of starting at the pitch and lowering the B, start with the B already lowered as much as possible. This is shown in Figure 5.

Figure 5: Portamento Exercise #3

8. Once this is comfortable, move down the C Major scale diatonically to D (i.e., A to B, G to A, F to G, etc.), as shown in Figure 6.

15

Figure 6: Portamento Exercise #4

Intermediate Exercise D: Moving Up by Intervals Larger than a Step 1. Start on a clarion A. 2. Begin raising the pitch as if trying to come back up from the bottom of the pitch bend like in the second intermediate exercise. This means that the tongue position will start low, for the pitch, and forward in the mouth, to maintain a focused sound. 3. While doing this, begin slowly sliding, or peeling, the left index and middle finger off the tone holes. Some players find more success with this if they slide the fingers off, starting with the finger farthest away and staggering so that several are moving at the same time. When sliding, there should be an audible pitch bend toward the next note on the instrument. Be careful not to withdraw air support when working on this exercise. 4. Continue this motion with the finger and the oral cavity until the pitch raises to clarion C.

Figure 7: Portamento Exercise #5

5. Repeat this exercise until it is comfortable while trying to perfect the timing. 6. Once this is comfortable move down the C Major scale diatonically to D (i.e., G to B, F to A, E to G, etc.), as shown in Figure 8.

Figure 8: Portamento Exercise #6

7. This exercise should be repeated, extending the interval to thirds, fourths, and more until a smooth portamento from clarion D to C is achieved.

16 Advanced Exercise A: Pitch Bending in the Altissimo Register Portamenti in the altissimo register are a more advanced technique. Before beginning the exercises, a basic understanding of clarinet partials should be understood. All of the partials described in this section can be found notated below in Figure 9. The ranges notated in Figure 9 are for standard fingerings. Alternate or trill fingerings for some notes may exist in other, usually lower, partials. Many portamenti in the clarinet repertoire are in the third partial; however, they are also found in the fifth and seventh partials, the altissimo register, as well. In addition, the partials in the altissimo register are much closer together, meaning that performers will often have to cross several “breaks” in the instrument.36 Finally, because of the different fingerings usually employed in standard clarinet playing, most clarinet players frequently shift between partials in this register, and this can make portamenti in this range even more difficult.37

Figure 9: Partial Ranges for Standard Fingerings

Because of this, it is vital to work on bending pitches in the altissimo before moving on to portamenti. A similar approach to learning to bend pitches in the clarion can be used; however, in the altissimo register, smooth finger motion is necessary for certain intervals.38 1. Begin on an altissimo F-sharp. 2. Hold the note and, when comfortable, slowly move the tongue position forward and downward. This action should lower the pitch. A good goal for this is to bend it down to an altissimo C-sharp.

Figure 10: Pitch Bending in the Altissimo

36 Rehfeldt, New Directions for Clarinet, 58. 37 Elizabeth Marie Gunlogson, “Stanley Hasty: His Life and Teaching” (D.M. The Florida State University, 2006), http://diginole.lib.fsu.edu/etd/, 155 38 Rehfeldt, New Directions for Clarinet, 59. 17

3. Repeat step two and continue pitch bending downward, past C-sharp, until an under-tone develops. There may be a feeling of jumping across several breaks, and that is normal.39 4. Repeat steps one through three, attempting to extend the downward range as far as possible, even across the breaks. 5. When the above steps are comfortable, attempt to bring the pitch back upwards just before reaching an undertone. Repeat this until mastered. 6. Continue these exercises further into the altissimo. Rather than continuing up by half or whole steps, it is more logical to begin further up in the fifth partial, for instance, on an altissimo A rather than a G. 7. Once pitch-bending downward is comfortable, try these exercises in reverse. Start on altissimo C-sharp and move up to F-sharp. This will require starting slightly lower than C-sharp, with the tongue position low and forward. Extend this exercise farther into the altissimo, staying within each partial.

Advanced Exercise B: Harmonics and Voicing Exercise Harmonic exercises can be useful for developing an understanding of the function of the oral cavity that is necessary to create a genuinely smooth portamento. These exercises shift the oral cavity and vowel shape substantially, often more than what would occur in a regular portamento. By gaining control over the voicing of the lowest and highest notes in the portamento, it should be simpler to move between these voicings to create the correct effect. Below are some examples of voicing exercises, the first of which can be found in Michele Gingras’s book, Clarinet Secrets: 52 Performance Strategies for the Advancing Clarinetist.40 The exercise contained in Figure 11 may continue downward by semi-tone. The second example, shown below in Figure 12, expands upon that exercise. The vowel sounds shown below the first exercise do not have to be followed precisely. The vowel suggested for the first pitch is similar to an “ah” syllable shape, which can lower the back of the tongue too much, creating an unfocused

39 Ibid. 40 Michele Gingras, Clarinet Secrets: 52 Performance Strategies for the Advancing Clarinetist (Lanham, MD: Scarecrow Press, 2006), 98. 18 sound. The back of the tongue does have to move to switch between these partials effectively, but other syllable choices may work better. One possibility is to think of the standard voicing syllable as an ü, which is pronounced by saying “ee” and then forming the facial muscles in an “oo” shape, as with the word “cool.” However, when using this syllable on the clarinet, it is important not to alter the outer embouchure as one might during speech. Instead, simply try to accomplish this vowel change while maintaining a normal embouchure. It may be helpful to attempt to vocalize the ü, using one of several recorded examples, while adopting a familiar embouchure shape. Regardless of one's preferred voicing, the back of the tongue may descend as progressively higher partials are sounded, and the same is true here. Another similar possibility would be to replicate the syllables “ee,” “ae,” and “eu” or “ue” while only changing the tongue position in the back of the tongue. Other possibilities may include the use of standard “ee,” “eh,” “ah” syllables, but to maintain all other aspects of the tongue position except for the back of the tongue. The result would be much more of a nasal sounding “ee”, “eh”, “ah”, rather than the pure, open syllables themselves. When doing this correctly, there may be a slight vibrating feeling around the nasal cavity. Another similar possibility would be to think of the sound “ng,” and to move the tongue as little as possible away from the roof of the mouth, just enough to create sound while adjusting the back of the tongue slightly for the different partials. There are, of course, many different methods of voicing, and not all are described here. The individual should use whatever method is most comfortable and effective, preferably in consultation with a qualified teacher. The most important concept to gain from this section is that control of voicing is crucial to success in moving reliably between partials and creating smooth portamenti.

Figure 11: Harmonic Exercise from Gingras: Clarinet Secrets, page 98

19

Figure 12: Expansion of Harmonic Exercise

The exercises contained in the second figure may be further expanded through the addition of the third harmonic partial, as shown in Figure 11. Further rhythmic variations may be attempted as well as these exercises become more fluid. With both of these exercises, it is essential to attempt to overblow the higher partials without using the tongue [to articulate].41

Advanced Exercise C: Portamenti Across Partials Once pitch bending in the altissimo is comfortable, it should be time to try the exercise below. It is important to note that this exercise requires a greater amount of control over the voicing and fingers. For some students it may be better to work on a portamento between clarion B and altissimo C-sharp first. This requires less finesse with the voicing than the exercise below while still accomplishing a portamento across the partials. The exercise below also requires maintaining a low tongue position in the back of the tongue, which would not always be ideal for other playing purposes. 1. Start on a clarion B with the tongue forward and low, as if already at the bottom of a pitch bend. 2. Begin a portamento from B while slowly moving to the altissimo D fingering. The voicing must remain low for as long as possible to achieve a smooth portamento and to

41 Ibid. 20 avoid transitioning to the fifth partial. It is also important to maintain proper air support during this exercise 3. While maintaining a low voicing, use a shading technique to transition to the first finger of the right hand. This is accomplished by partially pressing the right hand first finger down. Doing this will shade the tone hole and partially close the key above. While doing this, also begin shading the second and third fingers of the left hand. This will allow a gradual transition into a lowered fifth partial. 4. Finish by pressing the fingers down while raising the voicing. 5. By doing this, one can transition into the fifth partial gradually. Maintaining the lower voicing will keep the sounding pitch lower in the fifth partial, allowing for a smooth transition to D with the use of the fingers.

Figure 13: Portamento Exercise #7

6. This portamento may not be smooth at first, but with practice and working out the voicing, it will come. 7. Once this is comfortable, try extending the portamento by starting on notes lower than clarion B and by going higher than altissimo D. This is possible by maintain a lower voicing, and by slowly opening any necessary keys earlier in the process. This will aid in avoiding a slight bump in the sound and will create a smoother overall portamento. This technique can be used to transition to all other pitches in the fifth partial without a need for additional fingerings below that of the target pitch. 8. Once the movement from the third partial to the fifth feels comfortable, try going from the fifth to the seventh partial, starting on an altissimo F and going to an altissimo G or A.

Figure 14: Portamento Exercise #8

21 Etudes There are not many etudes available that specifically address portamenti, although there are a few. Most of these etudes come from compilations by Ronald Caravan, and one is from Rebecca Danard’s dissertation, “Études in Performing Extended Techniques: Twelve Newly- Commissioned Works for Solo Clarinet.” This list is by no means exhaustive. An attempt has been made to compile some of the more manageable etudes into a list organized by potential difficulty. Those etudes left out of the list typically require more advance control of other extended techniques. 1. Shane Krepakavitch: Sometimes Doing Nothing Leads to Something a. This etude is very approachable. There are several clarion and altissimo register portamenti, as well as quite a few that cross between partials. The latter usually go from the third to the fifth partial, but at least one crosses from the fifth partial to the seventh. The rest of the etude is reasonably straightforward. The pitch direction is mostly chromatic, and the rhythms are mostly easy and repetitive. 1. Ronald Caravan: Polychromatic Diversions for Clarinet, No. 4 Reverie a. This etude has several portamenti, all in the clarion register. Most of the standard requirements for the remainder of this etude, like rhythm and range, are comfortable; however, there are several multiphonics. These can either be omitted or attempted while learning the etude; however, once the multiphonics are learned, these should not pose a problem. Other suggested etudes focusing on portamenti include more from Ronald Caravan’s Polychromatic Diversions. These are No. 5 Dodecagon, No. 6 Graphic Designs, and No. 7 Translucence. These etudes do include portamenti; however, the other technical demands are more difficult, including more multiphonics, multiphonic trills, and singing and playing.

Pieces After portamenti are comfortable in exercises and etudes, it should be relatively easy to incorporate them into larger pieces. Portamenti are required in many places in the clarinet literature, and the following list is not comprehensive. The list of works in Appendix A includes more solo works than are listed in this chapter as well as chamber and larger works. 1. William O. Smith: Variants for Solo Clarinet

22 a. Three movements of Smith’s Variants for Solo Clarinet use portamenti. The third movement includes one really long portamento near the end of the short movement which requires overblowing a muted clarion B. The portamento crosses from the altissimo to the clarion and back again several times. The muting effect can be achieved easily, so this should pose no problem. The pitch range does go up very high, however, and students should be comfortable in the extreme altissimo. The fifth movement includes several portamenti, all of which go across several partials. The rest of the movement is very straightforward, except for two multiphonics at the end. The sixth movement is more difficult and should probably only be attempted once other extended techniques are comfortable. It includes several portamenti from the chalumeau to the clarion. Much of this movement also requires the execution of several multiphonic trills in succession, as well as flutter tonguing and key clicks. Other pieces that include portamenti that may be considered are David Blake’s Arias and Ronald Caravan’s Excursions for A Clarinet. While it is a wonderful work, Caravan’s piece requires the performer to be comfortable with several different multiphonics as well as singing and playing, microtones, and several other techniques. It is an excellent piece once several of the extended techniques in this document are comfortable; however, for the purposes of this chapter, it has been excluded from the list above.

Portamenti as a Tool for Fundamental Development In addition to learning portamenti for current performance practice, this technique can be useful as a tool for further fundamental development. Many students have problems with tongue position and voicing. There are plenty of fundamental voicing exercises to recommend, some of which are included in the earlier sections of this chapter. It is important to note that in this chapter a recommendation to lower the jaw was given to assist with initial attempts at pitch bending. This is not necessary to lower the pitch and is only meant as a means to achieve an initial pitch bend if all other suggested techniques had failed. Furthermore, it is not a recommended method for executing voicing exercises or in standard performance situations. Developing the portamento technique can aid students in establishing an awareness of their tongue position which may in turn help with proper voicing. The exercises included in this chapter can be helpful “when students are having trouble voicing altissimo notes or

23 understanding how to alter their voicing in general.” 42 Many students, especially younger students, do not have an awareness of tongue position and its role in voicing and tone production. Portamenti exercises can be a fun and engaging way of addressing this issue, and because they introduce exciting new sounds, the student may be more likely to practice them. Practicing portamenti can give students a more accurate understanding of the voicing process as well as a stronger awareness of tongue position relative to specific performance goals.

42 Valvo, “Refining Fundamentals through Extended Techniques,” 35. 24 CHAPTER 4

MICROTONES

Before beginning this chapter, it may first be necessary to address terminology that one may encounter while studying microtones. As with the development of any convention or concept, definitions and terms can and often do change over time. Therefore, anyone pursuing further study of microtones may find them described as “eighth tones” and “quarter tones.” Eighth tones and quarter tones are different from each other; quarter tones split conventional semi-tones, and eighth tones split quarter tones. Some documents distinguish them, while others do not. For instance, both Rehfeldt43 and Farmer44 discuss the differences between quarter tones and eighth tones, while Caravan does not. For the purposes of this document, the term “microtones” will be used to describe any specific variation of pitch smaller than a semi-tone. The terms “quarter tone” and “eighth tone” will be used where appropriate. While the performance of microtones has been uncommon in the Western classical tradition of the past, Eastern cultures have frequently employed the use of these sounds as an integral part of their musical systems.45 Several quarter tone clarinets have been designed throughout the years, the first appearing in eastern Europe in the early twentieth century.46 These instruments were initially popular for different styles of folk music. One of the most well- known champions of this early quarter tone clarinet, Alois Hába (1893-1973), features the instrument in his opera Matka (1929), and he cultivated enough popularity and interest in the instrument that a class was developed at the Prague Conservatory.47 These first quarter tone clarinets were created in one of two ways. First, they could be created with additional keywork and tone holes, which would require a new fingering system for the clarinet player, or they could be created with two separate bores that can be alternated to create the different tones. The latter allows the clarinet player to produce microtones without switching fingering systems and would work similarly to the way a double horn operates today.48 An illustration of a quarter tone

43 Rehfeldt, New Directions for Clarinet, 22. 44 Farmer, Multiphonics and Other Contemporary Clarinet Techniques, 131. 45 Rehfeldt, New Directions for Clarinet, 15. 46 Hoeprich, The Clarinet, 293. 47 Ibid. 48 Ibid. 25 clarinet employing the two-bore system can be found in Eric Hoeprich’s The Clarinet.49 While some of these quarter tone clarinets do exist, they are currently rare and more of a novelty item, and attempts at designing new quarter tone clarinets are very individual pursuits. On a conventional clarinet, microtones can be performed by using a variety of cross fingerings to achieve the desired pitch along with some voicing adjustments for intonation. “The term ‘cross fingering’ describes the situation in which there are one or more closed holes below an open hole [which for all practical purposes terminates the tube length] and then additional open holes below that.”50 As an example, a chalumeau B on the clarinet would be a cross fingering as long as the chromatic, or forked, fingering is not used.51 A quarter tone fingering chart for the modern French system clarinet has been included in Appendix B for further study. In general, performing microtones is relatively easy as long as musicians have access to a reliable fingering chart for their instrument, have time to experiment with different fingering combinations and a tuner, and have adequate time to develop fluency through practice. Concerning fingering charts, microtonal fingerings may vary depending on the individual setup, and some experimentation with different charts may be necessary. Furthermore, fingering charts designed for the French system clarinet, like the one included in this document, will not work well at all on a German system clarinet and vice versa. With these considerations in mind, this technique is quite possibly the easiest extended technique included in this document and should, therefore, pose no extreme level of difficulty to any undergraduate pursuing the study of new music. The most significant challenges may be the discomfort of a departure from conventional tonality and the need for aural acuity in this new area. In Preliminary Exercises & Etudes in Contemporary Technique for Clarinet Caravan states:

Although playing quarter tones should not place many additional technical demands on the clarinetist, there are certain aspects which deserve particular attention. The most important consideration is the refinement of the performer’s interval discrimination. One must be able to hear and imagine the interval of a quarter tone accurately enough to be able to adjust the tone production for intonation purposes. The quarter tone fingerings are no different from conventional fingerings in respect to this.52

49 Ibid, 291. 50 Caravan, Preliminary Exercises & Etudes in Contemporary Technique for Clarinet, 9. 51 Ibid. 52 Ibid. 26 In addition, because the clarinet was not designed with the performance of microtones in mind, the fingerings used to produce these tones may also cause a timbre change. This can be mediated in some ways, but performers should be careful to realize that some deviations in timbre may just be characteristic of the instrument.53

Microtonal Notation Currently, microtonal notation is not standardized in the same way as older notation. The system illustrated in Figure 15 is one that has been used by some composers, and it does an excellent job of delineating all of the various microtonal options. It contains the appropriate symbols for all microtonal notation contained in this document along with an explanation. Figure 16 includes one further notational example of this system. When performing microtonal music, clarinetists may come across a variety of symbols as well as other current systems of notation. Some scores with microtonal notation include explanations and a notation key, though this is not always the case. The system below was selected because of its clarity and thoroughness in naming all the notated variations of pitch.

Raised Microtones Lowered Microtones

1 eighth tone higher 1 eighth tone lower

1 quarter tone higher 1 quarter tone lower

3 eighth tones higher 3 eighth tones lower

sharp flat

5 eighth tones higher 5 eighth tones lower

3 quarter tones higher 3 quarter tones lower

Figure 15: Explanation of Microtonal Notation

53 Ibid. 27

Figure 16: Microtonal Notation

Fundamental Exercise A: Quarter Tones To better distinguish between microtones, it is easiest to start with quarter tone exercises before moving on to smaller intervals. It is best to use a tuner through this process to gauge accuracy at first while training the ear. Before doing this, it is essential to understand how intervals are divided on a tuner. Intervals are measured in cents, a logarithmic unit.54 A whole step, for example C to D, is 200 cents, a half step is 100 cents, and a quarter tone is 50 cents. On different tuners, the visual representation of these intervals will look different. It is important to get a tuner that will allow one to visualize this. With a tuner, practice the exercises below:

Figure 17: Microtonal Exercise #1

Figure 18: Microtonal Exercise #2

These exercises can be continued in this manner by using the fingering chart provided in Appendix B to transpose the exercise to any pitch.

54The Harvard Dictionary of Music, 154 “Cent.” 28 Fundamental Exercise B: Eighth Tones After the interval of a quarter tone feels comfortable to the ear, it is time to bisect the intervals even further. Like in the previous exercise, it is useful to use a tuner to execute these microtones accurately. Eighth tones should measure around 25 cents on a tuner and should bisect the distance from the starting pitch and the quarter tone. With a tuner practice the exercises below:

Figure 19: Microtonal Exercise #3

Figure 20: Microtonal Exercise #4

These exercises can and should be continued in this manner by using the fingering chart provided in Appendix B to transpose the exercise to any pitch.

Intermediate Exercise A: Major Scales Built on Quarter Tones Now, move to familiar interval patterns with quarter tones, such as major scales and the chromatic scale. When played correctly, a major scale built on quarter tones will still sound like a major scale because the intervals of the scale will all remain the same. Like in the previous exercise, it is useful to use a tuner at first to execute these microtones accurately. Once a level of comfort has been established, then it may be time to rely on the ear, only checking the tuner

29 when necessary. It may be necessary to perform the exercise below in half notes or whole notes while becoming accustomed to the fingerings.

Figure 21: Major Scale Exercise

Advanced Exercise A: Partial Chromatic Scales Built on Quarter Tones The exercise below is a chromatic scale built on a C quarter-flat. When played correctly, this exercise should sound like a chromatic scale. The intervals will all be half steps. Like in the previous exercise, it is useful to use a tuner at first. Once a level of comfort has been established, then it is time to rely on the ear to perform this exercise, only checking the tuner when necessary. It could be necessary to perform the exercise below in longer rhythms until it is comfortable.

Figure 22: Chromatic Scale Exercise

Etudes Ronald Caravan’s Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet and Polychromatic Diversions for Clarinet include several etudes specifically for microtones. Listed below are the selections from these books in which microtones are most significant. In addition, Richard Désilets has composed his etude, A Micro Tale, specifically for 30 the development of microtones. It can be found mentioned in the doctoral dissertation, “Études in Performing Extended Techniques: Twelve Newly-Commissioned Canadian Works for Solo Clarinet” by Rebecca Danard. This list of etudes is organized by order of difficulty and could be used as a potential sequence of study for microtones. 1. Ronald Caravan: Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet, Quarter-Tone Etudes for Clarinet, I a. This etude is rather simple, utilizing only ten unique quarter tones, and none of them occur in succession. It is very slow, and the fastest rhythms are quarter notes. The pitch range is small, and no other extended techniques are included. 2. Ronald Caravan: Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet, Quarter-Tone Etudes for Clarinet, IV a. This etude is also very slow, and the fastest rhythms are also quarter notes. There are ten unique quarter tones, and only one set is in succession. Furthermore, there are no other extended techniques required in this piece. The range does cross over into the altissimo for several passages, but the pitch content does not exceed an altissimo F-sharp. 3. Ronald Caravan: Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet, Quarter-Tone Etudes for Clarinet, II a. This etude has thirteen unique quarter tones. It is slightly more difficult because three sets of these are in succession. Furthermore, although the tempo is slow, the shortest durations are eighth notes. Some of the quarter tones occur on these rhythms. The range is very reasonable, and there are no other extended techniques required. 4. Ronald Caravan: Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet, Quarter-Tone Etudes for Clarinet, III a. This is the first etude at a moderately fast tempo. In addition, there are several instances of mixed meter. There are twelve unique quarter tones, and one set is in quick succession. There are no other extended techniques required. The range is very reasonable, and the fastest rhythms are eighth notes. 5. Ronald Caravan: Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet, Quarter-Tone Etudes for Clarinet, V

31 a. This etude is slow again; however, there is a series of successive quarter tones in the middle that lasts for twelve notes. Furthermore, trills on quarter tones are introduced in this etude. There are nineteen unique quarter tones in this etude. The range is reasonable, and the fastest rhythms are eighth notes. There are no other extended techniques required in this etude. 6. Ronald Caravan: Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet, Quarter-Tone Etudes for Clarinet, VI a. This etude is the hardest of the six from this book. The tempo is moderately fast, and sixteenth notes are the fastest rhythms. There is one instance of mixed meter, and there are sixteen unique quarter tones. The range is reasonable and crosses into the altissimo twice. There are trills on microtones as well as ten sets of successive microtones. There are no other extended techniques required in this etude. 7. Ronald Caravan: Polychromatic Diversions for Clarinet, No. 1, Chorai a. Caravan’s Polychromatic Diversions are slightly harder than his Preliminary Exercises & Etudes. They often include multiple types of extended techniques, which can make them more difficult for students new to these skills. The range of this etude is reasonable, and the tempo is very slow. The fastest rhythms are several thirty-second note flourishes. There are twenty-four unique quarter tones, many more than in the previous etudes. Sixteen sets of these are in quick succession. Other extended techniques included are air sounds, timbre trills, and smorzato. 8. Richard Désilets: A Micro Tale a. This etude is a little longer than the previous ones, but it is still in a moderately slow tempo. It also contains thirty unique quarter tones, and ten are in succession. The range is reasonable, only crossing into the higher altissimo once, and the fastest rhythms are sixteenth notes. The other extended techniques required in this etude are vibrato and portamenti. 9. Ronald Caravan: Polychromatic Diversions for Clarinet, No. 2, Digital Etchings a. The next etudes are the most difficult of the group. They are faster overall and require a higher degree of command with other extended techniques. This etude

32 contains thirteen unique quarter tones, and several are in very fast succession. The range is very reasonable, and the fastest rhythms are thirty-second notes. The other extended techniques required in this etude are key clicks and multiphonics. 10. Ronald Caravan: Polychromatic Diversions for Clarinet, No. 3, Cylindrical Sonorities a. The range of this etude is reasonable, and the fastest rhythms are sixteenth notes. However, the etude requires a degree of comfort with multiphonics. There are many in this etude, some in succession. There fourteen unique quarter tones. Other extended techniques required are multiphonics and flutter tonguing.

Pieces Once microtones are comfortable in exercises and etudes, they should be incorporated into larger pieces. Many contemporary works require microtones; however, many of these pieces also require the execution of other extended techniques as well as virtuosic technical demands. It is up to the discretion of the studio teacher when these pieces can be assigned; however, the below list is simply a suggestion of more accessible repertoire incorporating microtones. This way, the main focus of each work can still be on the perfection and execution of the technique. The list is not comprehensive and may be supplemented with additional pieces; furthermore, the list includes only solo works or works with piano. The list of works included in Appendix A includes more solo works than are listed in this chapter as well as chamber and larger works. Of the works listed below, two are discussed in greater detail for their potential usefulness in studio teaching. 1. Eric Mandat: Preludes, Book 1 a. Movement IV of this piece is an excellent example for students new to extended techniques. There is a lot of mixed meter, but the fastest rhythm is an eighth note. There are quite a few unique quarter tones; however, there are very few in succession. The tempo is fast, so it might be better to practice it under tempo for a while. The only other extended techniques included in this movement is one final multiphonic and vibrato. The remainder of this work focuses primarily on multiphonics, so those movements are most likely best left until that technique is comfortable. 2. Ronald Caravan: Excursions for A Clarinet

33 a. This piece is a fantastic choice when teaching extended techniques for many reasons. Aside from the extended techniques, the piece is within a good range, and the rhythms are standard, a thirty-second note flourish being the fastest rhythm. There are eleven unique quarter tones. The other extended techniques required for this piece are portamento, glissando, smorzato, multiphonics, vibrato, and singing and playing. Other pieces that are excellent examples for students new to microtones are William Pottebaum’s Microsuite and Larry Austin’s Current for Clarinet and Piano.

Microtones as a Tool for Fundamental Development Extended techniques are not just useful in and of themselves. Many of them, like the ones included in this document, can be useful as tools to develop other fundamental skills and techniques. Two of the extended techniques included in this document are useful for aural training: microtones and singing and playing. These two techniques develop different aural skills: intonation and interval recognition. Of course, once the skill of hearing intonation is developed, it is equally necessary to know how to affect a change in pitch. This comes through practice with voicing. Generally, a higher voicing will raise the pitch, and a lower voicing will lower it. Working on microtones can assist in training the ear for intonation adjustments. Because the clarinet was not initially designed with microtones in mind, many of the fingerings require some adjustments to get in tune. Once microtones are more comfortable, students should have no problem hearing the tuning of half steps and whole steps, which are much larger intervals. This can help students in all areas of performance, whether working on repertoire with piano accompaniment or in chamber music, where tuning often needs to be adjusted. Although it is not the only way to work on ear training with young clarinet players, working on microtones can be a unique way to approach this skill that may help some students.

34 CHAPTER 5

SINGING AND PLAYING

Singing and playing, or humming and playing, is “the production of humming [or singing] sounds while playing in an otherwise normal manner.”55 It is possible throughout the entire playable range of the clarinet; however, this technique is more difficult in the altissimo register.56 Previously, the technique of singing and playing was categorized in the same group as multiphonics, but these two techniques are distinct enough to deserve their own categorization. Furthermore, older resources that describe this technique use the terms “singing and playing” and “humming and playing” interchangeably, as in the first sentence above. However, some more recent sources describe these as separate techniques, and the argument can certainly be made for this.57 The main difference when these techniques are separated is that humming while playing uses a more “complex set of physiological changes”58 in which air is stored in the oral cavity, similar to the same technique in circular breathing. In contrast, singing and playing does not require storing air in the oral cavity.59 For the purposes of this research, the discussion and techniques in this chapter will refer to the technique of singing and playing as it is described in the first sentence. There are several factors to consider when attempting to sing and play for the first time. In Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet, Caravan states:

The simultaneous production of tones in this manner is often difficult for the clarinetist who has done little or no experimenting with this technique. Typically, the most difficult hurdle is getting used to the feel of singing and blowing into the instrument at the same time. (The demand on the air stream is substantial, and correct breathing habits are essential.)60

As Caravan says, it is true that air is expended much faster when singing and playing than while playing the instrument in a standard way. This is because to sustain both pitches, the amount of

55 Rehfeldt, New Directions for Clarinet, 68. 56 Farmer, Multiphonics and Other Contemporary Clarinet Techniques, 16. 57 Ruth, “Humming and Singing While Playing in Clarinet Performance: An Evidence Based Method for Performers and Resource for Composers.”, 72. 58 Ibid. 59 Ibid, 75. 60 Caravan, Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet, 30. 35 air typically required is more similar to that of playing forte. Therefore, it is essential to have a strong concept of correct breathing technique. In addition, a strong aural sense is necessary for the accurate performance of this skill. It is very common when performing this technique to allow the vocal pitch to drift, and because of this, it is useful to practice several pitch matching and scale exercises with this technique before incorporating it into the repertoire. It may be beneficial for students to have had some basic aural skills classes before beginning. The exercises included are at a manageable level, and so even basic aural skills should help with this. For more difficult, chromatic passages, additional training may be necessary. Furthermore, it is important to understand that the voicing and tongue position should remain the same as it is in normal clarinet playing during this technique. There should be no noticeable shift in the tongue position or vowel choices used during this technique. Finally, it is important to understand the interaction between the clarinet and the voice. In New Directions for Clarinet, Rehfeldt states, “when intervals are close together, difference tones and beating effects are a natural by- product.”61 Some composers like Smith and Mandat have used this effect in their music.62 Because of this, as the vocal pitch approaches the sounding pitch of the clarinet, this technique may become harder to sustain. This is because the frequencies of the vocal pitch and the vibrations of the clarinet reed will attempt to cancel each other. This results in a very strong oscillating beat sensation, much like the waves that can be heard when tuning to a drone.63

Fundamental Exercise A: Singing with Mouthpiece and Barrel Before beginning attempting to sing and play, it is necessary to get used to singing while forming the embouchure.64 The facial muscles during this action are very different from what normally occurs when singing, where the outer embouchure is used to form vowel shapes. To effectively sing and play, the embouchure must be as firm as it typically is when playing the instrument. Furthermore, it is important while singing and playing to always stay relaxed,65 and to keep the tongue position and voicing where it normally is during playing. 1. Sing out loud without the instrument or mouthpiece.

61 Rehfeldt, New Directions for Clarinet, 68. 62 Ibid. 63 Ibid. 64 Valvo, “Refining Fundamentals through Extended Techniques,” 34. 65 Farmer, Multiphonics and Other Contemporary Clarinet Techniques, 13. 36 2. While continuing to sing, form the embouchure without the instrument. 3. Now, form the embouchure loosely, using the mouthpiece and barrel. 4. Then, sing loudly on a single pitch while continuing to hold the embouchure loosely. 5. Repeat steps three and four, and then, when comfortable, form the embouchure into its normal playing position. It is important not to withdraw support from the air column when doing this. 6. Repeat step five until comfortable and consistently producing a tone on the mouthpiece and barrel.

Fundamental Exercise B: Singing while Playing Throat Tones Once singing and playing is comfortable with the mouthpiece and barrel alone, it is time to try it with the instrument. There are a few things to note before attempting this exercise. Because of the demand on the air column required for singing and playing, it can often feel a little more like the amount of air required is more akin to yelling rather than singing. Therefore, it is very important not to withdraw the air support. Also, because of this, it is often hard to sustain this technique for a long time at first. If the chosen singing pitch is close to the played pitch, there will be beats in the sound, and the player will feel this inside their mouth and in the intensity of the reed vibrations. For some players new to this technique, this can be uncomfortable. If that is the case, changing the pitch, either up or down, will alleviate this. 1. Hold the instrument and loosely form the embouchure while fingering a throat G. 2. Sing loudly on a single pitch while continuing to hold the embouchure loosely. 3. When comfortable, form the embouchure into its normal playing position. Maintain the air support and be sure that the tongue is in its normal position for a throat G. Don’t change the vowel shape to reflect the sung pitch. 4. Repeat step three until comfortable and consistently producing a G. After comfort has been established with this exercise, move on to notes in the chalumeau.

Fundamental Exercise C: Singing and Playing in Unison Singing and playing in unison is one of the more natural exercises to begin with because it is one of the easier exercises to find the correct vocal pitch. However, this exercise may feel strange to begin with because, as mentioned earlier, playing in unison causes beats in the sound,

37 which can feel uncomfortable to new students beginning this technique. However, this is normal. Finally, for all of the exercises in this chapter, the singing pitch is transposed to the key of the clarinet. For example, in the exercise below, the played pitch is a written C natural, and the singing pitch should match this, sounding at a B-flat.

Figure 23: Singing and Playing in Unison

Fundamental Exercise D: Singing a Sustained Pitch over Scale Exercises During this exercise and all of the following exercises, it is essential to stay relaxed and maintain proper air support. Be careful not to let the singing pitch drift as the resistance of the instrument changes. If, after several attempts, the vocal pitch does drift, try playing a drone or sustained pitch while attempting the exercise to give more stability for the ear. Finally, transposition of these exercises may be necessary, as the performer’s vocal range limits singing and playing.66 Therefore, performers should feel free to transpose these exercises to where they are most comfortable.

Figure 24: Scale Exercise #1

66 Ruth, “Humming and Singing While Playing in Clarinet Performance: An Evidence Based Method for Performers and Resource for Composers.,” 83. 38 Fundamental Exercise E: Singing a Scale Exercise over a Sustained Pitch

Figure 25: Scale Exercise #2

Intermediate Exercise A: Playing Thirds Exercises over a Sustained Pitch

Figure 26: Thirds Over a Sustain

Intermediate Exercise B: Parallel Fifths

Figure 27: Parallel Fifths

39 In addition to these fundamental exercises, Farmer and Caravan both do an excellent job of providing more advanced exercises using contrary motion and chromatics in Multiphonics and Other Contemporary Techniques and Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet.

Etudes There are very few etudes written for clarinet that address singing and playing. The majority of these etudes are composed by Ronald Caravan in his books, Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet and Polychromatic Diversions for Clarinet. Below is a list of these etudes; however, more may be supplemented. When possible, these etudes have been categorized by difficulty as a potential sequence of study. 1. Ronald Caravan: Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet, Multiphonic Etudes for Clarinet, II a. This is the easiest etude of the set. Every pitch with one exception is played before it is sung, making it easier for the ear. It is moderately slow, and most of the rhythms are half notes. All of the motion in the sung part is by half step except for one short passage. About half of the piece is performed over a few sustained pitches. The playing range is very easy; the vocal range may need to be transposed up an octave for some female voices. There are no other extended techniques required. 2. Ronald Caravan: Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet, Multiphonic Etudes for Clarinet, III a. This is the last of the etudes in Caravan’s Preliminary Exercises & Etudes that requires only singing and playing. It is quite a step up from the last example, although still slow and rhythmically simple. It requires the performer to sing before playing several times, and often at dissonant intervals against the clarinet part. It would most likely require some practice on the singing part first before putting it together with the clarinet part. Again, the playing range is comfortable, but the vocal range may need to be transposed up an octave for some female voices. There are no other extended techniques required in this etude. 3. Ronald Caravan: Polychromatic Diversions for Clarinet, No. 9, Prelude & Undulations

40 a. This etude is the first to require additional extended techniques. The singing and playing portion of the exercise occurs at the beginning. This time, singing occurs only after playing has already begun. Most of the intervals are easier than in the previous example; however, the last two statements are more dissonant. Some practice on the vocal part alone may be required. The rest of the etude is mostly slow and straightforward. The ranges are all easy, except for the vocal range. It may need to be transposed for some female voices. There are microtonal trills and some glissandi included in the etude as well.

Pieces After singing and playing is comfortable in etudes, it should be simple to incorporate into larger pieces. Many contemporary works require singing and playing; however, many of these pieces also require the execution of other extended techniques and virtuosic technical demands. It is up to the discretion of the studio teacher when these pieces can be assigned; however, the list below is simply a suggestion of more accessible repertoire using this technique. This way, the main focus of each work can still be on the perfection and execution of the technique. The list is not comprehensive and may be supplemented with additional pieces; furthermore, the list includes only solo works or works with piano. The list of works included in Appendix A includes more solo works than are listed in this section. 1. William O. Smith: Variants for Solo Clarinet a. Movement II of Smith’s Variants for Solo Clarinet is an easy movement with singing and playing. It is very short, and the range of the clarinet part is easy. Again, some of the vocal range may not be within the range of some female voices. Some transposition may need to be done. Most of the vocal part uses easy intervals, or the clarinet plays the note before the vocal part sings it. There are a couple of more difficult intervals at the end of the movement, but a little practice on the vocal part alone should help with that. Two multiphonics are required in addition to singing and playing, but they are both easier dyads. No other extended techniques are required. 2. Matthew Recio: Sea Calls for Clarinet Alone

41 a. This piece is a short work for unaccompanied clarinet. The vocal parts are mostly easy, typically matching what the clarinet is playing at first or mimicking it. There are a few harder intervals throughout that would take more practice. In addition, some of the vocal parts may need to be transposed as they are too low for some female voices. There are other extended techniques involved in this piece as well. Both portamenti and timbre trills are required.

Singing and Playing as a Tool for Fundamental Development Of all of the concepts that are taught to young players, one of the most important is the development of a good ear. Students cannot self-correct in a practice room, or later in life, if they cannot hear their own problems, assess them, and find the correct solution. There are many different ways to help a student develop a good ear in private and group lessons as well as in studio classes, and there are many aspects that make up an excellent aural sense. Some ways to help students develop a better ear include working with drones, performing chamber music with students, assessing the student’s observations of playing in their own performances as well as of others playing in studio classes, asking students to perform familiar tunes or patterns by ear, and many more. An opportunity should never be missed to help a student develop this because a good ear can take students very far. Two of the techniques addressed in this document can help different aspects of aural training: microtones and singing and playing. While microtones can primarily be used for intonation and a strong sense of intervallic relationships, singing and playing can help develop a strong aural sense for chords and harmonies. Practicing scale and pattern work while singing drones and harmonies can help establish a sense of where a pitch should be placed for excellent intonation. This is extremely useful in all areas of music, particularly in chamber music and in larger ensemble playing. In addition, singing and playing can also assist with the development of proper breathing techniques and embouchure stability. It is almost impossible to play and sing at the same time without proper breath support and proper breathing technique due to the demands on the air column while executing this technique. Furthermore, singing and playing can be a useful tool for maintaining proper embouchure stability while changing vowel sounds. This can help students who often change their outer embouchure when switching registers or partials.

42 CHAPTER 6

MULTIPHONICS

A multiphonic is the production of more than one pitch simultaneously through the manipulation of the overtone series using the techniques of voicing and embouchure adjustment.

The other basic source for the simultaneous production of more than one tone does not lie in introducing another tone generator (i.e., the voice), but in altering the resonance of the air column inside the instrument so that two or more tones are rendered rather than just one. This can be executed by the performer utilizing a maximum of tone-production distortion (e.g., embouchure, oral-cavity, air-speed adjustments) on fingerings as unlikely as normal, traditional single-tone fingerings, or by utilizing special unconventional fingerings that tend to enhance these more complex resonances, often requiring a minimum of tone-production adjustment.”67

In the past, multiphonics have been categorized into two types, one type producing multiple sonorities through the manipulation of the overtone series and the other type through the simultaneous playing and singing of a pitch. This can be observed clearly in the writings of Caravan, Farmer, and Rehfeldt; however, in recent years, these two types have been separated and categorized as two different techniques. These two types of playing, resulting in the production of two or more pitches are distinct enough in their execution to categorize them in this way. However, for clarification, in pursuing further study of multiphonics, both of these two types may be discussed in other literature as “multiphonics.” The composition of pieces with multiphonics became prominent in the mid-twentieth century and onward. In his book Farmer states, “Early experimentation with instrumental sounds of all kinds during the late 1950’s and early 1960’s developed to a point where a variety of formerly unemployed sound resources began to be incorporated into the compositions of a variety of composers, often with the help of adventurous performers.”68 Perhaps one of the earliest examples of multiphonic composition in clarinet writing include John Eaton’s Concert Music for Solo Clarinet (1961), composed in collaboration with William O. Smith.69 About Smith, Deborah Bish states, “His music is a unique statement of all of the elements that inspired

67 Caravan, Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet, 18. 68 Farmer, Multiphonics and Other Contemporary Clarinet Techniques, 2. 69 Ibid. 43 him throughout the years: a sincere expression of his being–generally quite daring (although often in a quiet, humble way), and always entirely from the heart.”70 Smith has come to be known as one of the primary frontrunners in the innovation and composition of new techniques for clarinet. He was the first to truly experiment with these types of sounds on clarinet, and he was the first to catalog multiphonics extensively.71 In New Directions for Clarinet, Rehfeldt argues that “Few would disagree that multiple sonorities have now become established practice.”72 However, even though the existence and categorization of multiphonics are no longer new, many students do not learn these techniques early enough in their careers. This is not to say that there is no pedagogy for teaching these techniques, but that many students are not exposed to these resources early enough. It would seem that multiphonics are often approached later in clarinet study, if at all. However, with proper training beforehand, specifically on techniques related to bending pitches like portamenti and voicing or overtone exercises, this technique should come easier. In his Polychromatic Diversions for Clarinet Playing, Ronald Caravan states that “unconventional techniques generally require a high degree of flexibility with the tone- production processes on the part of the performer” while discussing his system of graded etudes for introducing extended techniques.73 He later goes on to state:

Having previously become somewhat adept at making certain adjustments and distortions from normal tone-production processes in a predictable and consistent manner, the individual clarinetist will generally be well equipped to produce a Multiphonic successfully, given the fingering, pitch content, and most importantly an aural concept as to the sound which is being sought.74

The adjustments and distortions to which Caravan is referring are the production of portamenti and the introduction of voicing exercises. Having previously been introduced in Chapter 3, many of the exercises to practice secure voicing and produce portamenti should already be available; however, a review of these exercises may prove useful before attempting full multiphonic exercises. Following this review exercise, the remainder of the chapter will be structured in two

70 Bish, A Biography of William O. Smith: The Composition of a Life, 82 71 Ibid, 51. 72 Rehfeldt, New Directions for Clarinet, 41. 73 Caravan, Polychromatic Diversions for Clarinet, i. 74 Ibid, i. 44 parts: exercises using traditional fingerings and exercises using special fingerings. The exercises listed in this chapter are a compilation of borrowed exercises from many sources. Appropriate credit is given where necessary, and the sources cited are excellent resources for further study. Furthermore, a comprehensive multiphonic fingering chart has been included in Appendix C of this document.

Review Exercise: Harmonics and Voicing Exercise Harmonic exercises can be useful for developing an understanding of the function of the oral cavity that is necessary for reliable multiphonic manipulation. Below is a review of the exercises in Chapter 3. The first can be found in Michele Gingras’s book, Clarinet Secrets: 52 Performance Strategies for the Advancing Clarinetist, and it may continue downward by semi- tone.75 The second exercise is an expansion of this. As a quick reminder, multiple vowel syllables can be used during this exercise, not just those recommended under the first example. The full explanation can be found in Chapter 3.

Figure 28: Expansion of Harmonic Exercise

Figure 29: Original Harmonic Exercise

75 Gingras, Clarinet Secrets: 52 Performance Strategies for the Advancing Clarinetist, 98. 45 Fundamental Exercise A: Fundamental Tones with Register Key Depressed There are two main types of multiphonics that rely on the manipulation of the overtone series. The following four exercises will primarily focus on multiphonics produced using traditional fingerings and the manipulation of partials. Ultimately, multiphonics are formed through manipulation of the harmonic series, although there are different ways to achieve this.

Multiphonics are largely dependent on effective tube lengths and vibration modes, emphasizing various overtones in the harmonic series by changing the internal structures of the vocal tract (henceforth referred to as voicing) and the use of cross fingerings. There are two main types of multiphonics: one created through only voicing changes and the other created using a combination of voicing changes and different effective tube lengths76

The purpose of the following exercise is to maintain the lower fundamental pitch through voicing manipulation, even though the register key is pressed. This may be very difficult at first. The clarinet is designed to produce the third partial notes when the register key is depressed. Effort will have to be made throughout this exercise to overcome this. It is an excerpt taken from an exercise in Caravan’s Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet.77 The suggested fingerings are those provided by Caravan and apply for the rest of the excerpt after they are first introduced.

Figure 30: Fundamental Tones with Register Key

Fundamental Exercise B: Fundamental Tones with Register Key, Slurred to Clarion This exercise is another excerpt from Caravan’s Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet.78 The fingering suggestions are those from Caravan’s

76 Sarah Watts, Spectral Immersions: A Comprehensive Guide to the Theory and Practice of Bass Clarinet Multiphonics (N.p.: Metropolis Music Publishers, 2015), 31-98. 77 Caravan, Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet, 19. 78 Ibid. 46 book, and once they are applied, they remain in effect until a new fingering is introduced, regardless of note changes. This exercise focuses on the switch from producing the fundamental pitch to the clarion register. The goal is to voice the lower fundamental pitch, even with the register key depressed, and then transition to the clarion using voicing while maintaining the same fingering. This will often be difficult at first, since the clarinet is designed to produce third partial notes when the register key is pressed. A significant effort will be required to overcome this. It may be important to note that the fundamental pitches in these exercises will have a different timbre to those produced with conventional fingerings. Typically, they will sound stuffier, and will have a change in resistance. This may feel and sound unusual at first, but it is correct.

Figure 31: Fundamental Tones to Clarion Register

Fundamental Exercise C: Slurring from Clarion to Fundamental with the Register Key The opposite of this exercise can be done as well. That is, slurring from the clarion to the fundamental, maintaining the upper register fingering throughout the exercise. This is also an excerpt from Caravan’s Preliminary Exercises & Etudes in Contemporary Techniques.79

Figure 32: Slurring from the Clarion to the Fundamental

79 Ibid 47 Fundamental Exercise D: Fundamental and Clarion Tones Simultaneously This exercise, found in Caravan’s book,80 adds one more step as an extension from the previous exercise by introducing true multiphonics. After playing the fundamental and clarion register notes with the same fingering, both notes are sounded together. As one further step to this exercise, one could practice returning to the fundamental after ascending to the clarion and before playing the full multiphonic. This can serve as a useful challenge for switching between the partials.

Figure 33: Multiphonic Exercise #1

Once the above exercises are mastered, then it is time to move on to multiphonic exercises with special fingerings.

Fundamental Exercise E: Approaching Multiphonics from Clarion-Register Though it may seem more difficult at first, producing multiphonics with special fingerings can often be easier than the previous exercises.81 The unconventional fingering interacts with the air column to allow for the multiphonic production. This is not to say that the fingering alone will produce the multiphonic. While it may “enhance the possibility that a specific sound will result, this in and of itself is not totally adequate for the production of that exact sound.”82 It is essential that the student has an idea of what the multiphonic should sound like in order to manipulate the voicing to better produce the technique.

In addressing the issue of multiphonics production, as well as that of undertaking such activities as overtone exercises, perhaps the most important consideration of all is that of

80 Ibid, 21. 81 Ibid, 22. 82 Ibid. 48 developing the aural flexibility. As important as the physical flexibilities may be, the performer who does not possess a clear aural concept of the sound he seeks to produce has a much lower potential for success in these endeavors.83

The following three exercises are intended for an introduction to producing multiphonics with special fingerings. They are all excerpts borrowed from Caravan’s Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet.84 Once a fingering is suggested, it lasts throughout the measure or until another fingering is suggested.

Figure 34: Multiphonic Exercise #2

Fundamental Exercise F: Approaching Multiphonics from Fundamental Register This exercise, taken from Caravan’s book,85 is somewhat similar to Fundamental Exercise D. The goal at first is to use the fingering provided to voice the lower pitch of the subsequent multiphonic. Then, transition to voicing the entire multiphonic. Some notes of every multiphonic will speak louder than others and producing all of the interior pitches of the multiphonic may be difficult at first. However, this will eventually come with practice and experimentation. The goal is to find the best way to resonate as many of the notes as possible as

83 Ibid. 84 Ibid, 23. 85 Ibid. 49 equally as possible through voicing manipulation. If obtaining the full multiphonic is difficult at first, students might benefit from once again trying to isolate individual pitches before proceeding to the full multiphonic.

Figure 35: Multiphonic Exercise #3

Fundamental Exercise G: Attacking Multiphonics Directly This exercise is the final step in executing multiphonics with special fingerings. The goal is to voice the entire multiphonic directly. It has also been taken from Caravan’s book.86

Figure 36: Multiphonic Exercise #4

Etudes Although there are not many resources available that include multiphonic etudes, there are two that have proven useful. Ronald Caravan’s Polychromatic Diversions for Clarinet includes ten etude-like compositions with different extended techniques included in them. The first of this set to introduce multiphonics is number three, Cylindrical Sonorities. From there, most of the remaining etudes in this book include multiphonics in a significant way. Listed

86 Ibid 50 below are the selections from this book in which multiphonics are most significant. In addition, Cha Ka Nim’s Speak Out is an etude specifically for the development of multiphonics. It can be found mentioned in the doctoral dissertation, “Études in Performing Extended Techniques: Twelve Newly-Commissioned Canadian Works for Solo Clarinet” by Rebecca Danard. 1. Ronald Caravan: Multiphonic Etudes for Clarinet, IV a. This etude relies on many of the techniques practiced in the exercises. Most of the multiphonics included are prepared by playing the fundamental first. There are several direct multiphonics and some in succession. There are no other extended techniques required in this etude. The rest of the etude is easy. The rhythms are simple, and the range requirements are easy. 2. Ronald Caravan: Multiphonic Etudes for Clarinet, V a. This etude is a little more advanced, requiring the performance of more direct multiphonics. There are still some prepared by playing the fundamentals first, but these are fairly evenly balanced with direct multiphonics. There are several multiphonics in succession as well. There are no other extended techniques required, and the remainder of the etude is simple. 3. Ronald Caravan: Multiphonic Etudes for Clarinet, VI a. This etude is the hardest of those from Caravan’s Preliminary Exercises & Etudes. It requires the most multiphonics that are not prepared by playing the fundamental first, and the most multiphonics in succession. There are also two additional challenges. One multiphonic is repeated several times and articulated, and one is also required to be trilled. No other extended techniques are required, and the remainder of the etude should pose no significant challenges. 4. Ronald Caravan: Polychromatic Diversions for Clarinet, No. 3 Cylindrical Sonorities a. This etude is the first that contains additional extended techniques. It is still mostly easy. There are several multiphonics that are prepared by the playing of the fundamental first, and about as many that are direct. The tempo and range are very reasonable, and there are several multiphonics in succession. The only other extended technique are microtones, and fingerings are provided. 5. Ronald Caravan: Polychromatic Diversions for Clarinet, No. 4 Reverie

51 a. Several more extended techniques are required in this etude. These include portamento, vibrato, air noises, slap tonguing, and timbre trills. There are fewer multiphonics in this etude, but most of these are in succession. There are the same number of direct multiphonics and multiphonics that are prepared. The rest of the etude is very reasonable. 6. Ronald Caravan: Polychromatic Diversions for Clarinet, No. 5 Dodecagon a. This etude is a little more advanced. The multiphonics included are almost exclusively approached directly, and many of those are in quicker succession. The other techniques included in the etude are flutter tonguing and portamenti. The remainder of the etude is a little more difficult as well, although there is nothing too hard. There are a couple of sixteenth-note passages with some awkward fingering combinations. 7. Ronald Caravan: Polychromatic Diversions for Clarinet, No. 7 Translucence a. This etude requires timbre trills, microtones, vibrato, portamenti, and glissandi in addition to multiphonics. The remainder of the etude is not very difficult. The tempo is moderately quick, and there are only direct multiphonics. Almost all of these are in succession. One of the multiphonics is in a trill passage. 8. Cha Ka Nin: Speak Out a. Speak Out has the most multiphonics of all of the etudes and has several trickier sixteenth-note runs. Almost all of the multiphonics except for a few are approached directly. There are also many more multiphonics in succession. This etude is also longer than the others and requires portamenti and multiphonic trills.

Pieces After multiphonics are comfortable in etudes, it should be relatively simple to incorporate them into larger pieces. Many contemporary works require multiphonics; however, many of these pieces also require the execution of other extended techniques and virtuosic technical demands. A representative list of these types of works can be found in Appendix A. It is up to the discretion of the studio teacher when these pieces can be assigned; however, the list below suggests more accessible repertoire incorporating multiphonics. This way, the main focus of each work can still be on the perfection and execution of the multiphonic technique. The list is not

52 comprehensive and may be supplemented with additional pieces; furthermore, the list includes only solo works or works with piano. 1. Ronald Caravan: Excursions for A Clarinet a. Caravan’s work has already been referenced several times as it is an excellent pedagogical resource. Therefore, only the multiphonics in the piece will be described here. Almost all of the multiphonics included are approached directly, and all but about a third are in succession. There is one set of multiphonics that are articulated. The multiphonics are spaced throughout the piece well. 2. William O. Smith: Variants for Solo Clarinet a. All the movements in this piece use multiphonics, with the exception of movement three. The first movement has multiphonic dyad pairs that are fairly easy. Only two sets come in succession. The remainder of the movement is very simple. Movement two only contains two multiphonic dyad pairs. The remainder of the movement is composed for the singing and playing technique. The fourth movement is a little harder than the previous movements. There are many multiphonic dyad pairs in succession with a few in a trill passage. Most of the movement is structured around these types of multiphonics. Movement five only contains two multiphonics that are easy. The remainder of the movement is accessible with a few portamenti. Movement six contains several multiphonic tremolos. The rest of the movement uses flutter tonguing, key clicks, and portamenti. 3. Eric Mandat: Preludes, Book 1 a. Overall this piece is more advanced than the other two. Several movements are entirely or almost entirely successive multiphonics. The third movement is the easiest. It is slow, and the multiphonics are more accessible dyad pairs that are overblown from the fundamental pitches. The first movement is also slow and uses easier multiphonics; however, the entire movement is successive multiphonics. This may pose a problem for students new to this technique. The second and fifth movements are the hardest. They are entirely multiphonics in succession as well, with only a few differences. The tempi are faster in these movements as well, so a lot of deliberate practice may be necessary. The fourth

53 movement is omitted from this discussion because it includes no multiphonics. It is examined in the microtones chapter.

Multiphonics as a Tool for Fundamental Development Many young students struggle with tongue position and voicing. There are plenty of fundamental voicing exercises to recommend, some of which are included in this document in the portamenti chapter. However, even to the most adept of students, problems with tongue position and voicing can and does still happen. Practicing multiphonics, particularly the exercises using traditional fingerings, can give students a more precise understanding of just what is involved in the voicing process. As a general rule, multiphonics are some of the hardest sounds to produce well on the instrument, because if the execution is not just perfect, the multiphonic will not speak properly and students will end up with either the lower fundamental or higher partial of the chosen multiphonic. Students who master this particular extended technique will have little problem with voicing as a fundamental technique.

54 CHAPTER 7

DOUBLE TONGUING

For a long time, the technique of double tonguing was thought to be impossible or so difficult that it was not worth learning on clarinet. In New Directions for Clarinet (1979), Rehfeldt writes,

Double and triple tonguing which are commonplace on the flute and rapidly becoming common, particularly double tonguing on the oboe and bassoon, have been mastered by only relatively few clarinet and saxophone players. The advice to young players, however, is to practice it. There are places in the contemporary as well as traditional literature where it is useful.87

Even now, students rarely learn this technique, but there are many pieces and excerpts that can benefit greatly from its use. Furthermore, double tonguing may allow the performer to attain a desired tempo that would otherwise be unreachable by single tonguing. For some individuals, double tonguing can be particularly beneficial at tempi higher than ♩ = 130.

Just like other extended techniques, double tonguing is not impossible, and with the right amount of practice, anyone can accomplish it. One of the most challenging aspects of double tonguing is lining up the fingers with the tongue.88 The other area in which double tonguing is harder to accomplish is in the altissimo register.89 This is because of the precision of tongue position required for this register in relation to the movement of the tongue during double tonguing. Double tonguing in the altissimo register is considered a very advanced skill. One further issue when attempting double tonguing, or any new technique, is the tendency to become tense. On the contrary, it is imperative when double tonguing to stay relaxed. Something that may help some students with this is to focus on the air and air support rather than the tongue. The tongue should generally “float” on the air. Kenneth Douse says something similar in his book How to Double and Triple Staccato for Saxophone and Clarinet: A Revolutionary System of Rapid Double and Triple Tonguing. He claims that “To acquire the correct ‘playing feel’ of

87 Rehfeldt, New Directions for Clarinet, 11. 88 Danard, “Études in Performing Extended Techniques: Twelve Newly-Commissioned Canadian Works for Solo Clarinet,” 122. 89 Ibid. 55 double staccato one must imagine the air column flowing through the instrument, similar to a film running through a movie camera, with the tongue acting the part of the shutter.”90 In his article on synthetic speed tonguing, Clark Fobes addresses some additional stigma associated with double tonguing, and suggests methods to overcome traditional pitfalls in this technique.91 The consonants that instrumentalists use when double tonguing vary, and ultimately it is up to the individual performer. The most common consonants for double articulation are variations on “t – k,” “d – g,” and “t – g.” It is important to note that these are the written consonants, and not the enunciation of a full consonant sound or syllable. Any variation of these consonants has the potential to work and chosen consonants may be followed by a variety of vowels to form complete syllables that are specific to the individual or context. Before moving on to the exercises portion of this chapter, it may be beneficial to discuss the small, subtle differences between articulation consonants. Any articulation starting with a “t” sound will have an inherently more percussive quality than syllables starting with a “d.” This can be very useful in specific musical scenarios, for example, at the end of the first movement of Carl Nielsen’s Clarinet Concerto, Op. 57. This section of the music is very characteristic, and the more punctuated articulation suits the character. In contrast, articulation starting with a “d” will be less percussive. This can be useful in moments like Widmann’s Fantasie. Here the main point of the faster articulation is not a character but a transition to a new section. On the backside of the double articulation, the “k” consonant will also have a more percussive sound. Vice versa, the “g” sound will be less so. Both are valid ways of performing double articulation; however, there is one more important point to note before choosing articulation syllables. The “k” sound on the second part of the double articulation will place the tongue more forward in the mouth. In addition, because it is more percussive, it often carries with it a certain amount of backpressure that can make it a harder consonant for beginners.92 Meanwhile, “g” sounds rest farther back in the mouth and have a less percussive articulation. However, for some students, these consonants

90 Kenneth Douse, How to Double and Triple Staccato for Saxophone and Clarinet: A Revolutionary System of Rapid Double and Triple Tonguing (New York: M. Baron, 1948). 91 “Synthetic Speed Tonguing,” Synthetic Speed Tonguing, Clark Fobes, accessed March 28, 2020. https://www.clarkwfobes.com/pages/synthetic-speed-tonguing. 92 Danard, “Études in Performing Extended Techniques: Twelve Newly-Commissioned Canadian Works for Solo Clarinet,” 122. 56 can be too relaxed, causing the articulation not to speak clearly enough. The student and teacher are free to exercise their discretion in choosing consonants. In Joshua Gardner’s dissertation, “Ultrasonic Investigations of Clarinet Multiple Articulation,” he argues that the choice of vowel matters even more than the choice of consonant and that there are less options that work well in all the registers.93 This is because the choice of vowel can greatly alter the voicing inside the oral cavity. Choice of vowel sound is a matter of interpretation and may be deemed crucial to voicing, because of this, a player’s vowel choice may be predetermined. However, Robert Spring argues that the best vowel sound for double tonguing is “ee”, as it places the tongue in the best position to produce a focused sound in all the registers.94 It may be best for students new to this technique to experiment with using the “ee” vowel sound as well.

Fundamental Exercise A: Double Tonguing – Air Only Before attempting to double tongue on the instrument, it may be beneficial to practice with air alone to become accustomed to the different consonants.95 During this process, it is essential to maintain proper air support and not to stop the air between consonants. The exercise below is intended for air alone. Continue alternating consonants throughout the exercise. Any consonants may be used, but “t” and “k” will be used here for consistency. This exercise can be executed at any tempo; however, it may be easier to begin at a moderately fast tempo that is then sped up. For instance, it may be useful to start the exercise at around ♩ = 120 and move the tempo up in subsequent repetitions. Of course, this exercise can be accomplished slower as well if needed.

“t” “k” (continue alternating) Figure 37: Double Tonguing Exercise #1

93 Joshua Thomas Gardner, “Ultrasonic Investigation of Clarinet Multiple Articulation” (D.M.A., United States – Arizona: Arizona State University, 2010) 86-88. 94 Robert Spring, “Multiple Articulation for Clarinet,” The Clarinet 17, no. 1 (December 1989): 44-49. 95 Ibid. 57 Fundamental Exercise B: Double Tonguing – Throat Tones Once double tonguing on air alone is comfortable, it is time to try it on the instrument. This exercise is written on a throat G; however, any throat tone note can provide useful practice. Throat tones provide very little resistance and can be beneficial for building up the strength of the second half of the articulation. Once the exercise feels comfortable, any lower register note can be substituted, as the lower register is the easiest for double tonguing.96 Again, make sure to alternate chosen tonguing consonants.

Figure 38: Double Tonguing Exercise #2

When working on the exercise above, it is vital to take note of the sound quality and timing of both of the consonants to try and match them as closely as possible. The above exercises can also be attempted at a variety of tempo markings.

Intermediate Exercise A: Changing Notes Once the basics of double tonguing have been established, it is time to begin changing notes. Because finger coordination can be a problem at first, it may be better to attempt this exercise at a moderate tempo before moving to faster tempi. The main goal is to make sure the articulation is consistent and steady while speeding it up and that the fingers are moving with the articulation. Be sure to alternate double tonguing consonants throughout the exercise. Once the exercise feels comfortable, try transposing it down a step until it feels comfortable throughout the lower range. The resistance farther down in the low register will be a little higher than the throat tones, which are some of the least resistant notes on the instrument. In addition, the tone can become a little stuffy, and the articulation can become a little unclear. To counter this, it is important to maintain proper air support. In addition, experimentation and refinement of the tongue position may be necessary to achieve the clearest possible articulation in this register.

96 Ibid. 58

Figure 39: Double Tonguing Exercise #3

Once double tonguing is comfortable in the lower register, it may be time to begin experimenting in the clarion register. Similar exercises to those above can be attempted in the clarion. These can start anywhere the technique feels most comfortable. This may be different for each individual, and experimentation is necessary. There are certain areas where this is typically more difficult, for instance high B or C in the clarion. Typically, it may be best to begin a little lower in the clarion, for example on clarion E or F. It is even more critical to maintain a relaxed throat position in this register while relying on air support.

Intermediate Exercise B: Basic Patterns At this point, the basics of double tonguing should be comfortable, and the student may be ready to apply this technique to basic patterns. This can be any scale or other memorized pattern. The pattern below is simply a suggestion. It works well because the pattern stays in the lower register and throat tones for a while and can allow students to gain confidence there before moving further up into the clarion, which may still pose some challenge. When working on any exercise requiring finger motion, it is essential to be sure that the fingers and articulation align rhythmically. Generally, there are two possibilities if the fingers and articulation do not line up. First, when double tonguing, there is a tendency to go very fast, because students are essentially subdividing their normal tongue speed, effectively doubling the tempo. The second possible problem occurs in single articulation as well, and that is that the fingers are moving unevenly compared to the tongue. This can often happen in single tonguing as well. The tongue tends to be reasonably stable in rhythm, except at extremes of tempi and in several unusual articulation cases, such as with anchor tonguing, a type of articulation in which the tongue is anchored

59 behind the lower teeth and the middle of the tongue is used to touch the reed for articulation. Daniel Bonade discussed a similar phenomenon in his Clarinetist’s Compendium.97

* Continue this pattern upwards by half step (the next set starts in F Major) Figure 40: Double Tonguing Exercise #4

Etudes Though there are few resources available which specifically require double tonguing, virtually any etude that is explicitly focused on articulation can be adapted to support the development of double tonguing. The following list highlights a few, but not all of these possibilities. 1. Gustav Langenus: Complete Method for the Clarinet, Part III, Exercise 11, p. 22 a. This exercise is terrific for both single and double articulation practice. The range does not extend beyond a clarion C. In addition, the exercise requires repeated articulation on single pitches throughout most of the exercise. The exercise was initially written to aid in the development of lighter tonguing, so in that sense, it is a perfect etude. 2. Cyrille Rose: 32 Etudes, No. 30 a. This etude is an entirely staccato etude. It is an excellent tool for practicing this technique; however, there are frequent jumps and arpeggiations that can cause problems when first learning to double tongue. It is an excellent etude to practice once mastering the technique in the clarion. The range only extends to a clarion B. 3. Cyrille Rose: 40 Studies, No. 40

97 Daniel Bonade, The Complete Daniel Bonade Clarinetist’s Compendium (Stony Point, N.Y.: Rivernote Press, 2007), 3-5. 60 a. This is a very straightforward articulation study. There are very few large jumps, and most of the etude is scalar. The range is generally excellent as well, crossing into the altissimo only about three times. This is excellent practice for switching between double and single tonguing. 4. Cyrille Rose: 40 Studies, No. 11 a. This etude is mostly articulated, but the first two notes of each pair are slurred. This is great practice for changing up articulation styles while continuing to double tongue. There are a couple of spots where the tonguing goes into the altissimo, but this is only for one or two measures. Altissimo double tonguing is very advanced, so this may be good practice switching between single and double tonguing. The remainder of the tonguing should pose no problem for double articulation. 5. Alfred Uhl: 48 Etudes, No. 6 a. Primarily an articulation study, this should pose very few problems after basic double tonguing is understood. In addition, frequent breaks from straight sixteenth notes are provided, giving the tongue a small break. The motion is primarily stepwise with a few skips and jumps. The range is reasonable, only crossing into the altissimo briefly twice. Uhl etudes are notoriously tricky as they do not follow traditional harmonic patterns, unlike the Rose etudes.

Pieces After double tonguing is comfortable in etudes, it should be simple to incorporate into larger pieces. Unlike some other contemporary techniques, double tonguing is not explicitly required in many works; however, it is implied and heavily suggested by the indicated tempi of specific works or sections. While single tonguing is possible at very high tempi, articulation can be made easier by double tonguing. It can be a particularly valuable skill at any tempo higher than ♩ = 130, although the point at which double tonguing becomes valuable will be different for every individual. The list below suggests some repertoire and excerpts incorporating double tonguing. It is by no means comprehensive and is merely a representation. The list of works in Appendix A includes more works than are listed in this chapter. Some additional suggestions for excerpts include Smetana’s Bartered Bride and Mendelssohn’s Symphony No. 4. 61 1. Jörg Widmann: Fantasie a. Although it is not absolutely required to double tongue in this work, there are places where it is implied. About halfway through the fourth notate page of the piece is a passage that is indicated “presto poss.”. Double tonguing this passage can really add excitement to the piece. Furthermore, it is actually very easy to double tongue this section. All of the sets of sixteenth notes are in the lower register and the throat tones, which are the easiest parts of the instrument in which to accomplish this technique. 2. Ludwig van Beethoven: Symphony No. 4 a. The fourth movement solo from Beethoven’s Symphony No. 4 is an excellent example of the usefulness of double tonguing. Some players can single tongue this, but many cannot. While it is possible to insert some cleverly disguised slurs, double tonguing this excerpt is not impossible. It sits in a decent range, just above and below the break, and only changes resistances when going into the throat tones below the break and a little in the mid to upper clarion in the last few measures. The throat tones are no problem. It is much easier to double tongue in this area of the instrument. The challenge comes when crossing back over the break; however, if proper air support and air speed are maintained, this will not be a huge obstacle. 3. Carl Nielsen: Clarinet Concerto, Op. 57 a. Rehearsal 10 in this concerto is a particularly tricky passage that includes almost six full measures of tongued thirty-second notes. There are a couple of different ways to approach this passage. Some performers try and single tongue as fast as they can and succeed. Others may play the passage a little slower. Some use the sixteenth note rest as a break to rest and reset. Some do this and start slowly and accelerando out of the passage. However, this passage is actually very easy to double tongue once the technique has been learned. All of the high notes, with the exception of the last sixteenth note set in measure 109, are on a “t” consonant. 4. Felix Mendelssohn: Scherzo from a Midsummer Night’s Dream a. While this excerpt is typically acceptable at a decent range of tempi in an orchestral audition, often the chosen tempo in performance can be much faster.

62 Because of this, it is beneficial to be able to double tongue the excerpt. Most of the double tonguing at the beginning of the excerpt is in the throat tones, and this is very easy to do. Where the real challenges lie is in the requirements to be soft and delicate, especially in the first set of full sixteenth-note runs ascending to the clarion C. This takes much more practice to accomplish.

Double Tonguing as a Tool for Fundamental Development Many young clarinet players have a hard time keeping their embouchure steady, specifically when they articulate and change registers. This can look like a “chewing” motion that affects the whole jaw while the student plays. When accurately double tonguing, it is impossible to move the jaw this way. This is because of the precision of tongue placement needed for double tonguing to occur. This stability of jaw and tongue position can be carried over into single tongue playing as well. Furthermore, double tonguing can be useful for teaching proper tongue position. Because of the precision and tongue placement needed for double tonguing, it is very difficult to accomplish well with poor tongue position.98 Furthermore, the high air pressure required while double tonguing makes proper air support indispensable. Although it may not be the preferred means of teaching proper air support, it may be a worthwhile supplement.99

98 Danard, “Études in Performing Extended Techniques: Twelve Newly-Commissioned Canadian Works for Solo Clarinet,” 122. 99 Ibid. 63 CHAPTER 8

CONCLUSION

Many extended techniques have been used in compositions for clarinet since the early to mid-1900s; however, there is still a relatively large gap in the pedagogical resources addressing these techniques. With the prevalence of these types of techniques in the current repertoire, it is no longer a viable option to avoid or ignore the pedagogy of these skills. In addition, it is likely that this body of repertoire will continue to grow, and even more extended techniques will be developed. The clarinet is such a versatile instrument that the limits of these possibilities are almost synonymous with the limits of the imaginations of composers and performers. Therefore, it is essential to begin including these techniques in studio pedagogy even as early as the undergraduate curriculum. This research provided pedagogical resources that addressed the inclusion of extended techniques in the undergraduate clarinet curriculum as a necessary skill for current performance practice and as a tool for further fundamental development. The second chapter provided a brief history and overview of extended techniques as they relate to clarinet playing. In the following chapters, five extended techniques were addressed for their usefulness as tools for strengthening fundamental skills in addition to their necessity for modern clarinet playing. These techniques were: portamenti, microtones, singing and playing, multiphonics, and double tonguing. Each chapter addressed one of these techniques by providing an overview, exercises, etudes, and pieces to aid in the systematic development of these types of skills. In addition, each chapter also addressed each technique as a tool for further development of fundamental skills, which is a topic that has not been focused on so far in the current research. Finally, three appendices were included, which provided a list of additional pieces for clarinet utilizing these extended techniques and provided microtonal and multiphonic fingering charts for the French system clarinet. Practically, this research can be used in several different ways. The goal of this document was to provide a case for teaching extended techniques in the undergraduate curriculum. This was addressed by providing materials and resources that assert that extended techniques can be used to teach fundamental clarinet skills. It is always useful to have multiple ways to teach different techniques. The material in this document can be used to supplement a teacher’s current

64 methods. Furthermore, teaching fundamental skills using these methods also has the added benefit of the acquisition of these extended techniques. Of course, this document can also be used to simply focus on the teaching of the extended techniques themselves. After reviewing the materials available, it is apparent that a gap in the repertoire still exists that needs to be addressed. Specifically, there are not enough etudes and easier pieces that can serve as a useful resource for students approaching this repertoire. Much of the body of current repertoire is technically demanding and requires the mastery of many different types of extended techniques before an accurate and confident performance of these works can be achieved. The selection of etudes is even smaller for most extended techniques. The dissertations by Rebecca Danard and Olivia Meadows are excellent resources, as are the works by Ronald Caravan; however, more needs to be done. For many of the techniques described in this document there are only one or two sources which provide additional etudes or easier pieces. In addition, further research into this topic may benefit from addressing other extended techniques, like circular breathing, that can serve a double purpose in the development of fundamental clarinet skills.

65 APPENDIX A

PIECES FOR FURTHER STUDY OF EXTENDED TECHNIQUES

The list of pieces included in this appendix is intended as a guide for performers and pedagogues interested in further study and performance of works with extended techniques. It is not meant to serve as comprehensive list; however, it is intended to provide information on lesser known composers and works and to highlight several well-known composers of extended techniques. The list is divided into five primary sections, reflecting the five extended techniques discussed in this document. This is to provide readers with a list of extended techniques using a specific extended technique of their choosing. The pieces in each section may, and often do, have other extended technique included in them. The main sections are broken down further by instrumentation, starting with unaccompanied clarinet repertoire and proceeding through works with clarinet and orchestra. These sub-sections are organized by author name. When available, the publishing information is also included.

Portamenti/Glissandi

Clarinet Alone Adler,Samuel Canto XIV (1998) Ludwig Music Publishing Company Andre, Mark Atemwind 1 (2017) C.F. Peters Báchorek, Milan Epigramy (1970) Panton Blake, David Arias (1981) Novello Bolcom, William Chalumeau (2005) Edward B. Marks Music Brouwer, Margaret No Rotary Phone (1995) Brouwer New Music Publishing Caravan, Ronald Excursions for A Clarinet (1974) Seesaw Music Company Davies, Peter Maxwell The Seven Brightnesses (1975) Boosey & Hawkes Eisler,Hans Moment Musical (2017) Gajewski, Jaromir Scherzo (2009) Wydawnictwo Patrias Mandat, Eric The Jungle (1989) Judy Green Music Smith, William O. Fancies for Clarinet Alone (1972) MJQ Music

66 Smith, William O. Variants for Solo Clarinet (1963) Universal Rih,, Wolfgang Vier Male for Clarinet in A (2000) Widmann, Jörg Fantasie (1993) Schott Music

Clarinet and Piano Cochran, Paul Drone/Fantasy for Clarinet and Piano (1974) Seesaw Music Company Smith, William O. Mosaic for Clarinet and Piano (1964) MJQ Music

Clarinet and Electronics Plain, Gerald Showers of Blessings (1970)

Microtones

Clarinet Alone Blake, David Arias (1981) Novello Brouwer, Margaret No Rotary Phone (1995) Brouwer New Music Publishing Caravan, Ronald Excursions for A Clarinet (1974) Seesaw Music Company Finnissy, Michael Uzundara (1983) CE Composers Edition Johnston, Ben Ponder Nothing (1989) Smith Publications Mandat, Eric Preludes, Book 1 (1994) Cirrus Music Mandat, Eric The Jungle (1989) Judy Green Music Melenbacher, Kurt Caprice for Interval Musings (2018) Pottebaum, William Microsuite (1979) Shall-u-mo Publications Rih,, Wolfgang Vier Male for Clarinet in A (2000)

Clarinet and Piano Austin, Larry Current for Clarinet and Piano (1964) Composer/Performer Edition Hába, Alois Suite for Quartertone Clarinet and Quartertone Piano (1924)

Duet Childs, Barney A Music: That It Might Be . . . (1973) [2 cl.] Okra Music Corp.

67 Dahl, Ingolf Five Duets for Clarinets (1970) [2 cl.] J. Boonin

Trio Childs, Barney Trio for Clarinet, ‘Cello, and Piano (1973) [cl, vcl, pn] American Society of Univ. Composers

Quintet Biedenbender, David Refraction (2016) [reed quintet: ob., cl., sax, bass cl., bsn.] Bent Space Music

Orchestra Childs, Barney Concerto for Clarinet and Orchestra (1970) American Composers Alliance

Singing and Playing

Clarinet Alone Caravan, Ronald Excursions for A Clarinet (1974) Seesaw Music Company Caravan, Ronald Five Duets for One Clarinetist (1976) Seesaw Music Company Fennelly, Brian Tesserae VII (1979) Margun Music Errante, F. Gerard Another Look at October for Solo Clarinet (1988) Seesaw Music Company Smith, William O. Fancies for Clarinet Alone (1972) MJQ Music Smith, William O. Jazz Set for Solo Clarinet (1978) Shall-u-mo Publications Smith, William O. Variants for Solo Clarinet (1963) Universal Edition

Clarinet and Piano Martinsson, Rolf Suite Fantastique for Clarinet and Piano (2011) Gehrmans Musikförlag Smith, William O. Mosaic for Clarinet and Piano (1964) MJQ Music

Trio Smith, William O. Musings for Three Clarinets (1983)

Clarinet and Orchestra Martinsson, Rolf Concert Fantastique (2017) Gehrmans Musikförlag

68 Multiphonics

Clarinet Alone Andre, Mark Atemwind 1 (2017) C.F. Peters Antoniou, Theodore Three Likes for Clarinet (1974) Bärenreiter Ballif, Claude Solfeggietto No. 5 (1974) Transatlantiques Bartolozzi, Bruno Collage (1973) Edizioni S. Zerboni Bassett, Leslie Soliloquies (1978) Merion Music Beall, John Multiphonic Study for Clarinet (1973) Berio, Luciano Sequenza IXa (1980) Universal Edition Bettinelli, Bruno Studio da Concerto (1975) Ricordi Block, Augustyn Clarinetto Divertente (1976) Boulex, Pierre Domaines (1968) [may also be performed with orchestra] Harmonia Mundi Braun, Gerhard Pinocchio (1996) Edition Gravis Brouwer, Margaret No Rotary Phone (1995) Brouwer New Music Publishing Bucchi, Valentino Concerto per Clarinetto Solo (1969) Caravan, Ronald Excursions for A Clarinet (1974) Seesaw Music Company Carter, Elliot Gra (1993) Assoc. Musicale Valentino Bucchi Constant, Marius For Clarinet (1974) Salabert Desica, Manuel Voice per Clarinetto in B-flat (1971) Desportes, Yvonne La Naissance d’un Papillon (1975) G. Billaudot Eaton, John Concert Music for Solo Clarinet (1961) Shawnee Press Errante, Gerard Souvenirs de Nice (1975) Shall-u-mo Publications Fennelly, Brian Tesserae VII (1979) Margun Music Fox, Jim All Things Fancy (1976) Girron, Arsenio Planos II (1976) Gistelinck, E. Shouts (1971) Goehr, Alexander “Paraphrase” on the Dramatic Madrigal “Il combattimento di Schott Tancredi e Clorinda” by C. Monteverdi (1969) Heininen, Paul Discantus II - Sonatina for Clarinetto Solo in Tre Tempi, Op. 21 Schott (1969) Hekster, Walter Play (1972) Donemus Lachenmann, Helmut Dal Niente (Interieur III for Solo Clarinet Player) (1974) 69 Laporte, Andre Reflections (inner space music) (1970) Chester Lehman, Hans Mosaik (1964) Mandat, Eric Preludes, Book 1 (1994) Cirrus Music Mandat, Eric The Jungle (1989) Judy Green Music Maxwell Davies, Peter The Seven Brightnesses (1975) Boosey & Hawkes Obradovic, Micro-Sonata (1970) Aleksander Phillips, Peter Fantasy for Clarinet (1960) Murbo Ran, Shulamit For an Actor- Monologue for Clarinet (1978) Theodore Presser Scavarda, Donald Matrix for Solo Clarinetist (1962) Schilling, Hans Clarinetissimo (1970) Ludwig Schuller, Gunther Episodes for Solo Clarinet (1964) Associated Music Smith, William O. Fancies for Clarinet Alone (1972) MJQ Music Smith, William O. Jazz Set for Solo Clarinet (1981) Shall-u-mo Publications Smith, William O. Variants for Solo Clarinet (1963) Universal Strawser, Richard Amorphous 2 (1974) Allen Taranu, Cornel Improvisation for Clarinet Alone (1977) Tiet, Ton-That Boa La pour Clarinette Seule (1977) Tipei, Sever Clariphannies for B-flat Clarinet (1980) American Composers Alliance Tisne, Antoine Invocations pour Ellora (1972) G. Billaudot Verrall, John Brief Elegy (1970) J. Verrall White, Gary Strata (1968) Seesaw Music Company Widmann, Jörg Fantasie (1993) Schott Zonn, Paul Revolutions for Solo Clarinet (1969) Media Press Zonn, Paul Stray Puffs (1968) American Solo Alliance

Clarinet and Piano Austin, Larry Current (1964) Composer/Performer Edition Cleman, Thomas For Clarinet and Piano (1974) Eberhard, Dennis Two Poems (1971) Margun Music

70 Hannay, Roger Time Remembered (1970) Seesaw Music Company Perle, George Sonata quasi una Fantasia (1972) Theodore Presser Rice, Thomas Fantasy, Op. 32 (1971) Seesaw Music Company Smith, William O. Mosaic for Clarinet and Piano (1964) MJQ Music

Duet Beerman, Burton Shadows Cast (1979) [cl. and perc.] American Composers Alliance Bergsma, William Illegible Canons (1973) [cl. and perc.] Galaxy Music Chan, Francis Ka Nin Three Movements for Clarinet and Percussion (1979) [cl. and perc.] Coban, Vincentiu- Metabole I (1979) [cl. and perc.] Cristian George, Ron Music for a Favorite Person (1974) [cl. and perc.] Harada, Tomoatsu Arcturus (1979) [cl. and perc.] Holmes, Reed Shapes for Clarinet and Percussion (Florestan and Eusebius) (1979) [cl. and perc.] Kvam, Oddvar Sonata for Clarinet and Percussion (1979) [cl. and perc.] Mais, Chester Night Procession (1974) [2 cl.] Mais, Chester Prelude and Licks [cl. and perc.] Marshall, James Après Moi le Sommeil (1974) [cl. and perc.] Maxwell Davies, Peter Stedman Doubles (1968) [cl. and perc.] Boosey & Hawkes McCarty, Frank Variation Duos (1981) cl. and perc.] Miyazawa, Kazuto Bindung-Teilung (Variationen ohne Thema) (1979) [cl. and perc.] Nakamura, Shigenobu Invention II (1979) [cl. and perc.] Nelson, Larry Cadenzas and Interludes (1975) [cl. and perc.] L.A. Nelson Pierce, Alexandra After DuBuffet’s “Limbour as a Crustacean” (1979) [cl. and Seesaw Music perc.] Polin, Claire Vigniature (1979) [cl. and perc.] Rosen, Jerome Serenade for Clarinet and Percussion (1967) [cl. and perc.] Smith, William O. Five Pieces for Flute and Clarinet (1961) [cl. and fl.] MJQ Music Stibilj, Milan Zoom (1970) [cl. and perc.] Sydeman, William Clarinet Duo (1973) [2 cl.] C.F. Peters

71 Whitaker, Howard Music for Two Clarinets (1975) [2 cl.]

Trio Caravan, Ronald Montage I (1973) [ob., cl., vlc.] Childs, Barney Trio for Clarinet, Cello, and Piano (1972) [cl., vlc., pn.] American Society of Univ. Composers Heussenstamm, Periphony for Four Clarinet Trios (1981) [cl. trio] Dorn Publications George

Quartet Bartolozzi, Bruno Concertazionia Quattro (1969) [fl., ob., cl., bsn.] Edizione Suvini Zerboni Harris, Roger Silent Things (1973) [cl., hn., pf., perc.] Seesaw Music Company

Quintet Foss, Lukas The Cave of the Winds (1972) [woodwind quintet] Editions Salabert

Sextet Maxwell Davies, Peter Eight Songs for a Mad King (1969) [recit., cl., perc., pf., vln., and Boosey & Hawkes vla.]

Octet Xenakis, Iannis Anaktoria (1969) [cl., bsn, hn., 2 vln, vla., vcl., dbl. bass] Editions Salabert

Chamber Orchestra Smith, William O. Elegia (1976) [cl., 6 vlns., 2 vla., 2 vlc. Cbs.]

Orchestra Boulez, Pierre Domaines (1968) [may also be performed without orchestra] Universal

Clarinet and Electronics Beerman, Burton Polygraph I (1971) Beerman, Burton Polygraph III (1975) American Composers Alliance Beerman, Burton Sensations (1969)

72 Bubalo, Rudolph “Albert’s System” for Clarinet Multiphonics (1972) Cervetti, Sergio Aria Suspendia (1974) Diemente, Edward Mirrors V for Clarinet and Tape (1974) Bowdoin College Music Press Eaton, John Mass (1970) [sop., cl., synthesizers, tape] Fortner, Jack De Plus En Plus [cl., pf., tape, and visuals] Hannay, Roger Pied Piper (1970) Seesaw Music Kramer, Jonathan Renascence (1974) [cl., tape delay system, and pre-recorded tape] G. Schirmer Nelson, Larry Music II for Clarinet and Tape (1977) Oliveros, Pauline The Wheel of Fortune (1969) [cl., tape, and slides] Plain, Gerald Showers of Blessings for Clarinet and Tape (1970) Saucedo, Victor RAN. i.x. (1976) Schwartz, Elliot Dialogue No. 2 for Solo Clarinet in B-flat and Taped Clarinet C. Fischer Sounds (1969) Sekon, Joseph Locus (1974) Stalvey, Dorrance Togethers III (1970) [cl., tape, and optional visuals] D. Stalvey

Double Tonguing

Clarinet Alone Berio, Luciano Lied for Clarinet Solo (1983) Universal Edition Brouwer, Margaret No Rotary Phone (1995) Brouwer New Music Publishing Caravan, Ronald Excursions for A Clarinet (1974) Seesaw Music Company Rih, Wolfgang Vier Male for Clarinet in A (2000) Widmann, Jörg Fantasie Schott Music

73 APPENDIX B

MICROTONAL FINGERING SUGGESTIONS

The microtonal fingering chart provided in this section is a compilation of various resources as well as the author’s own preferences. The outside resources represented here are Phillip Rehfeldt’s monophonic fingering chart from his New Directions for Clarinet,100 Ronald Caravan’s Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet,101and his Polychromatic Diversions for Clarinet.102 It should be noted, that these fingering suggestions are intended for the French system clarinet and may not be easily transferrable to other systems. When possible, multiple fingering suggestions were provided. Furthermore, though this list is intended to be as comprehensive as possible, more fingering possibilities may be available that what is currently represented in this appendix. Finally, a table is provided below containing a microtonal notation key for the fingering chart.

Raised Microtones Lowered Microtones

1 eighth tone higher 1 eighth tone lower

1 quarter tone higher 1 quarter tone lower

3 eighth tones higher 3 eighth tones lower

sharp flat

5 eighth tones higher 5 eighth tones lower

3 quarter tones higher 3 quarter tones lower

100 Rehfeldt, Phillip. New Directions for Clarinet, 23-31. 101 Caravan, Ronald. Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet, 10. 102 Caravan, Ronald. Polychromatic Diversions for Clarinet. 74

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82 APPENDIX C

MULTIPHONIC FINGERING SUGGESTIONS

The fingering suggestions provided in the chart below are intended for the French system clarinet and may not be easily transferrable to other systems. When possible, multiple fingering suggestions were provided. Furthermore, though this list is intended to be as comprehensive as possible, more fingering possibilities may be available that what is currently represented in this appendix. The multiphonic fingering chart provided in this section is a compilation of various resources as well as the author’s own preferences. The resources represented are Gerald Farmer’s Multiphonics and Other Contemporary Clarinet Techniques,103 Phillip Rehfeldt’s multiphonic suggestions (including William O. Smith’s multiphonic catalog) from his New Directions for Clarinet,104 and Ronald Caravan’s Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet105.

103 Farmer, Gerald. Multiphonics and Other Contemporary Clarinet Techniques, 42-54. 104 Rehfeldt, Phillip. New Directions for Clarinet, 48-51 and 100-121. 105 Caravan, Ronald. Preliminary Exercises & Etudes in Contemporary Techniques for Clarinet, 23-28. 83

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100

101

102

103 REFERENCES

Jason Alder. “Resources.” Accessed February 27, 2020. http://jasonalder.com/resources.

Alessio, Rebecca Tout d’. “Eric Mandat (B. 1957): A Multiphonic Meditation on a Composer, Clarinetist and Teacher.” D.M.A., Arizona State University, 2012. ProQuest Dissertations & Theses Global.

Anderson, John Edward. “An Analytical and Interpretive Study and Performance of Three Twentieth-Century Works for Unaccompanied Clarinet.” Educat.D., Columbia University, 1974. ProQuest Dissertations & Theses Global.

Bartolozzi, Bruno. New Sounds for Woodwinds. London: Oxford University Press, 1967.

Behm, Gary Wilson. “A Comprehensive Performance Project in Clarinet Literature with an Essay on the Use of Extended, or New, Technique in Selected Unaccompanied Clarinet Solos Published from 1960 through 1987.” D.M.A., The University of Southern Mississippi, 1992. ProQuest Dissertations & Theses Global.

Bish, Deborah F. “A Biography of William O. Smith: The Composition of a Life.” D.M.A., Arizona State University, 2005.

Bonade, Daniel. The Complete Daniel Bonade Clarinetist’s Compendium. Stony Point, N.Y.: Rivernote Press, 2007.

Caravan, Ronald L. Preliminary Exercises and Etudes in Contemporary Techniques for Clarinet. [s.l.]: Ethos Publications, 1979.

———. Polychromatic Diversions for Clarinet: 10 Graded Compositions Using Non- Traditional Techniques. [Oswego, N.Y.]: Ethos Publications, 1979.

Clark Fobes. “Synthetic Speed Tonguing.” Accessed March 28, 2020. https://www.clarkwfobes.com/pages/synthetic-speed-tonguing.

Crookshank, Suzanne M. “Selected Chamber Music of the Clarinetist/Composer Eric Mandat: A Performer’s Perspective.” A.Mus.D., University of Illinois at Urbana-Champaign, 2007. ProQuest Dissertations & Theses Global.

Danard, Rebecca J. “Études in Performing Extended Techniques: Twelve Newly-Commissioned Canadian Works for Solo Clarinet.” University of Cincinnati, 2011. https://etd.ohiolink.edu/pg_10?::NO:10:P10_ETD_SUBID:84247#abstract-files.

Davis, Vanessa A. “A Concept-Based Pedagogy Approach to Selected Unaccompanied Clarinet Repertoire.” D.M.A., University of North Texas, 2018. ProQuest Dissertations & Theses Global.

104 Dierickx, Zachary Daniel. “The Clarinet Works of Jörg Widmann: A Performance Guide to Fantasie for Clarinet Solo with a Survey of Unaccompanied Clarinet Repertoire and Guide to Contemporary Techniques.” D.M.A., The Ohio State University, 2018. ProQuest Dissertations & Theses Global.

Dranch, Gary Steven. “A Performer’s Approach to New Demands in Selected Contemporary Clarinet Compositions.” D.M.A., University of Illinois at Urbana-Champaign, 1981. ProQuest Dissertations & Theses Global.

Douse, Kenneth. How to Double and Triple Staccato for Saxophone and Clarinet: A Revolutionary System of Rapid Double and Triple Tonguing. New York: M. Baron, 1948.

Endel, Kimberly Michelle. “A Performer’s Perspective on Double Clarinet Music: Pieces by William O. Smith, Eric Mandat, and Jody Rockmaker with Interviews and a Recording.” D.M.A., Arizona State University, 2013. ProQuest Dissertations & Theses Global.

Farmer, Gerald James. Multiphonics and Other Contemporary Clarinet Techniques. Rochester, NY: SHALL-u-mo Publications, 1982.

Galbreath, Jonathan. “An Examination and Analysis of the Extended Techniques Used in William O. Smith’s Variants for Solo Clarinet.” M.M., California State University, Long Beach, 2019. ProQuest Dissertations & Theses Global.

Gardner, Joshua Thomas. “Ultrasonographic Investigation of Clarinet Multiple Articulation.” D.M.A., Arizona State University, 2010. ProQuest Dissertations & Theses Global.

Gentzsch, Andrew Charles. “Technique Builders with a Pedagogical Approach to New Music Proficiency.” D.M.A., The University of Iowa, 2019. ProQuest Dissertations & Theses Global.

Gingras, Michele. Clarinet Secrets: 52 Performance Strategies for the Advancing Clarinetist. Lanham, MD: Scarecrow Press, 2006.

Gold, Cecil. Contemporary Clarinet Techniques: A Study of the Altissimo Register. Greensboro, NC: Spectrum Music Publishers, 1983.

Gregory Oakes. “Clarinet Extended Techniques.” Accessed March 12, 2020. http://www.gregoryoakes.com/multiphonics/index.php.

Elizabeth Marie Gunlogson. “Stanley Hasty: His Life and Teaching.” D.M., The Florida State University, 2006, http://diginole.lib.fsu.edu/etd/.

Haddad, Holly Ann. “The History and Comparison of Three Diverse Systems of Producing Multiphonics on the B -Flat Boehm System Clarinet.” D.M.A., The University of Arizona, 2006. ProQuest Dissertations & Theses Global.

105 Hoeprich, Eric. The Clarinet. New Haven and London: Yale University Press, 2008.

Liang, Jack Yi Jing. “Clarinet Multiphonics: A Catalog and Analysis of Their Production Strategies.” D.M.A., Arizona State University, 2018. ProQuest Dissertations & Theses Global.

Matthys, Herbert Alfred. “New Performance Techniques in Selected Solo Clarinet Works of William O. Smith, John Eaton, Donald Martino and Paul Zonn.” D.Mus., Indiana University, 1982. ProQuest Dissertations & Theses Global.

McCarty, Keith. Methods for New Music for Clarinet. Lubbock, TX: Lariken Press, 1970.

Meadows, Olivia Lauren. “A Program of Study for 21st Century Clarinet Techniques Featuring Five New Compositions for Unaccompanied Clarinet.” D.M.A., Arizona State University, 2019. ProQuest Dissertations & Theses Global.

Morrison, Amanda R. “Eric Mandat: His Musical Life, a Performer’s Perspective of ‘Preludes, Book 1’ and ‘Rrowzer!’, And a Descriptive Catalog of His Published Clarinet Works (1980–2010).” D.M., The Florida State University, 2011. ProQuest Dissertations & Theses Global.

Plasko, George M. F. “Contemporary Performance Effects on the Clarinet in Selected Music Literature from 1960 to 1974.” D.M.A., University of Cincinnati, 1975. ProQuest Dissertations & Theses Global.

Powelson, F.D. Modern System of Double Tonguing for Clarinet & Saxophone. Cleveland, OH: F.D. Powelson, 1926.

Rehfeldt, Phillip. New Directions for Clarinet. Rev. ed. Berkeley: University of California Press, 1994.

Richards, Edwin Michael. “Microtonal Systems for Clarinet: A Manual for Composers and Performers.” Ph.D., University of California, San Diego, 1984. ProQuest Dissertations & Theses Global.

———. The Clarinet of the Twenty-First Century. Fairport, NY: E & K Publishers, 1992.

Ruth, Jeremy Larkham. “Humming and Singing While Playing in Clarinet Performance: An Evidence Based Method for Performers and Resource for Composers.” D.M.A., Arizona State University, 2019. ProQuest Dissertations & Theses Global.

Sigel, Allen. The Twentieth Century Clarinetist: Advanced Studies in Contemporary Music for the Clarinet. New York: Franco Columbo, 1966.

Spring, Robert. “Multiple Articulation for Clarinet” The Clarinet 17, no. 1 (December 1989): 44- 49.

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Taylor, Matthew Jeffery. “Teaching Extended Techniques on the Saxophone: A Comparison of Methods.” D.M.A., University of Miami, 2012. ProQuest Dissertations & Theses Global.

Turner, Dean William. “A Survey of Four Clarinet Compositions by William O. Smith: As an Introductory Source of Contemporary Clarinet Performance Techniques.” Ph.D., Michigan State University, 1975. ProQuest Dissertations & Theses Global.

Valvo, Tiffany. “Refining Fundamentals through Extended Techniques” The Clarinet 47, no. 2 (March 2020): 34-37.

Wastall, Peter (ed.). Contemporary Music for the Clarinet. England: Boosey & Hawkes Music Publishers Limited, 1978.

107 BIOGRAPHICAL SKETCH

Education

Florida State University College of Music Doctor of Musical Arts in Clarinet Performance August 2017 – May 2020 Cognate Area: Music Theory Primary Teachers: Deborah Bish and Jonathan Holden

Indiana University Jacobs School of Music Performer’s Diploma in Solo Clarinet Performance August 2016 - July 2017 Primary Teachers: Howard Klug and Eric Hoeprich, Early Clarinet

Indiana University Jacobs School of Music Master of Music in Clarinet Performance August 2014 - May 2016 Primary Teachers: Howard Klug and Eric Hoeprich, Early Clarinet

Lee University Bachelor of Arts in Psychology, Magna Cum Laude September 2009 - August 2014 Bachelor of Music Education, Magna Cum Laude September 2009 - May 2014 Primary Teachers: Peter Cain and David Shaffer

College & Summer Festival Teaching Experience

Graduate Assistant – Florida State University College of Music Florida State University Clarinet Choir, Co-Director 2018 - 2020 Sophomore Scale and Technique Class Instructor 2018 Undergraduate Chamber Music Coach 2017 Administrative Duties: College of Music Office of Graduate Studies 2017 - 2020

Blue Lake Fine Arts Camp Summers 2019-2020 Clarinet Faculty Member

Lee University Summer Music Camp Summers 2014 - 2016 Summer Camp Clarinet Faculty

Masterclasses Southern Adventist University School of Music February 2020 Pellissippi State Community College Department of Music September 2018

Conference Leadership

American Single Reed Summit 2019 - Present Planning Committee Member and Social Media Coordinator

108

Original Creative Activity

Publications Humberd, Amy. 2017. “First Annual Henri Selmer Paris Summer Clarinet Academy and Competition.” The Clarinet. Volume 45. Issue 1, page 7 (December 2017)

Recordings Ari Fisher. 2016. Fulfilling the Promise: Michael Uslan. Indiana University Orchestra, Commercial Recording. Alvin Ho. Indiana University.

David R. Holsinger. 2012. The Symphonic Music of David R. Holsinger – Volume 11. Lee University Wind Ensemble. David R. Holsinger, TRN Music Publisher, INC.

Performance Experience

Solo Competitions Miami Music Festival Concerto Competition - Finalist 2018 Classics Alive Young Artist Competition - Semi-Finalist 2018 Concert Artists International Virtuoso Competition - Second Place 2017 Brevard Music Festival Concerto Competition - Finalist 2017 Lee University Concerto and Aria Competition - Winner 2013

Chamber Music Competitions Coltman Chamber Music Competition - Semi-Finalists 2019 Florida State University ‘Noles in NYC Carnegie Competition - Winner 2018 MTNA Chamber Music State Competition - Alternate 2018 MTNA Chamber Music State Competition - Alternate 2017

Professional Ensemble Experience Northwest Florida Symphony Orchestra - Substitute Clarinet 2019 - Present Pensacola Symphony Orchestra - Substitute Clarinet 2018 - Present Ocala Symphony Orchestra - Substitute Clarinet 2018 - Present Tallahassee Ballet - Substitute Clarinet December 2017 Tallahassee Community Chorus - Substitute Clarinet November 2017 Columbus Indiana Symphony - Substitute Clarinet 2015 - 2016

Invited Concerto Appearances The Cleveland Orchestra of Tennessee - Cleveland, TN February 2019 Mozart Clarinet Concerto in A Major, K. 622

Conference Performances North American Saxophone Alliance: Region 6 Conference - Oxford, MS March 2019 American Single Reed Summit - Kirksville, MO October 2018

Guest Recitals and Performances Southern Adventist University – Collegedale, TN February 2020 University of Florida - Gainesville, FL April 2019

109 Pellissippi State Community College - Knoxville, TN October 2018

Commissions and World Premieres Cathern McMichael - A Beautiful Soul April 2020 James M. Daivd - Malambo Meccanico March 2019 Luke Ellard - sorry, I have to run March 2019 Sy Brandon - Emoticons III April 2018 Matthew Recio - Marilyn’s Room: A New Voice’s Opera Production May 2017 Don Freund - Southwinds for Mixed Ensemble March 2016 Ari Fisher - The Return of Draw Egan for Chamber Orchestra February 2016 Jay Hurt - Still Lives for Orchestra September 2015 Matthew Recio - Sea Calls for Clarinet Alone November 2014

Festival Experience Taneycomo Festival Orchestra Summer 2019 National Music Festival Summer 2019 Miami Summer Music Festival Summer 2018 Brevard Summer Music Festival Summer 2017 Henri Semler Summer Clarinet Academy Summer 2017 Interharmony International Summer Music Festival Summer 2015 Indiana University Summer Clarinet Academy Summer 2015 Lee University Summer Music Camp Summer 2009

Masterclass Experience Jessica Phillips - Second and E-flat Clarinet, The Metropolitan Opera Spring 2019 Anthony McGill - Principal Clarinet, The New York Philharmonic Fall 2018 Libby Larsen - American Composer Spring 2018 Ricardo Morales - Principal Clarinet, The Philadelphia Orchestra Spring 2018 Guy Yehuda - Professor of Clarinet, Michigan State University Summer 2017 Stephen Williamson - Principal Clarinet, The Chicago Symphony Summer 2017 Philippe Berrod - Professor of Clarinet, The Paris Conservatory Summer 2017 Michaek Rusinek - Principal Clarinet, The Pittsburgh Symphony Summer 2017 Robert Spring - Professor of Clarinet, Arizona State University Summer 2017 Eric Ginsberg - Professor of Clarinet, Western Illinois University Summer 2017 Tasha Warren - Professor of Chamber Music, Michigan State University Summer 2017 Daniel McKelway - Former Acting Principal Clarinet, The Cleveland Orchestra 2017 Robert Woolfrey - Former Assist. Principal Clarinet, The Cleveland Orchestra 2017 Eli Eban - Professor of Clarinet, Indiana University 2014 - 2017 Steve Cohen - Professor of Clarinet, Northwestern University 2014 and 2017 James Campbell - Retired Professor of Clarinet, Indiana University 2015 Jose Franch-Ballester - International Clarinet Soloist 2014 Eric Mandat - Professor of Clarinet, Southern Illinois University Summer 2014 David Shifrin - Professor of Clarinet, Yale University 2012

Secondary & Private Teaching Experience

Mason’s School of Music, Dance, and Arts - Tallahassee, FL 2018 - Present Applied Woodwind Instructor – All Woodwinds

Melody Music Shop, LLC - Bloomington, IN July 2016 - May 2017 110 Applied Clarinet and Saxophone Instructor

Student Teacher - Tunnel Hill, Georgia Spring 2014 Northwest Whitfield High School and New Hope Middle School

Community Outreach and Volunteer Experience

Classical Revolution – Tallahassee, FL Co-Coordinator 2018 - 2020

Additional Honors and Awards

Indiana University Artistic Excellence Award - School of Music Scholarship 2014 - 2017 Lee University Department of Performance Studies Award 2014 Centennial Scholarship Award - Lee University Academic Scholarship 2009 - 2014

Professional Memberships

International Clarinet Association College Music Society National Association for Music Education

111