Clarinet Quarter-Tone Fingering Chart
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The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument
Columbus State University CSU ePress Theses and Dissertations Student Publications 5-2016 The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument Victoria A. Hargrove Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Hargrove, Victoria A., "The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument" (2016). Theses and Dissertations. 236. https://csuepress.columbusstate.edu/theses_dissertations/236 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT Victoria A. Hargrove COLUMBUS STATE UNIVERSITY THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT A THESIS SUBMITTED TO HONORS COLLEGE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE HONORS IN THE DEGREE OF BACHELOR OF MUSIC SCHWOB SCHOOL OF MUSIC COLLEGE OF THE ARTS BY VICTORIA A. HARGROVE THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT By Victoria A. Hargrove A Thesis Submitted to the HONORS COLLEGE In Partial Fulfillment of the Requirements for Honors in the Degree of BACHELOR OF MUSIC PERFORMANCE COLLEGE OF THE ARTS Thesis Advisor Date ^ It, Committee Member U/oCWV arcJc\jL uu? t Date Dr. Susan Tomkiewicz A Honors College Dean ABSTRACT The purpose of this lecture recital was to reflect upon the rapid mechanical progression of the clarinet, a fairly new instrument to the musical world and how these quick changes effected the way composers were writing music for the instrument. -
Andrián Pertout
Andrián Pertout Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition Volume 1 Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy Produced on acid-free paper Faculty of Music The University of Melbourne March, 2007 Abstract Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition encompasses the work undertaken by Lou Harrison (widely regarded as one of America’s most influential and original composers) with regards to just intonation, and tuning and scale systems from around the globe – also taking into account the influential work of Alain Daniélou (Introduction to the Study of Musical Scales), Harry Partch (Genesis of a Music), and Ben Johnston (Scalar Order as a Compositional Resource). The essence of the project being to reveal the compositional applications of a selection of Persian, Indonesian, and Japanese musical scales utilized in three very distinct systems: theory versus performance practice and the ‘Scale of Fifths’, or cyclic division of the octave; the equally-tempered division of the octave; and the ‘Scale of Proportions’, or harmonic division of the octave championed by Harrison, among others – outlining their theoretical and aesthetic rationale, as well as their historical foundations. The project begins with the creation of three new microtonal works tailored to address some of the compositional issues of each system, and ending with an articulated exposition; obtained via the investigation of written sources, disclosure -
The Clarinet and Piano
REVIEWS The explanations are succinct without CLARINET AND PIANO BOOKS sacrificing depth of understanding. The Brian Balmages. Dream Sonatina for Kornel Wolak. Articulation Types for pictures highlighting each muscle group are well presented and clear, and the clarinet and piano. Potenza Music, Clarinet. Music Mind Inc., 2017. 54 2015. Duration 10’30” $24.95 pp. PDF e-book $14.99, hard copy bibliography of materials for additional $19.99 study compliments his explanations nicely. American composer Brian Balmages I found this part of the book particularly (b. 1975) has written numerous works helpful. It directs the student to additional for wind and brass instruments. Dream exercises and methods that will help refine Sonatina was composed for clarinetist the technique in question. Articulation Marguerite Levin and premiered by Types for Clarinet is an excellent primer her in Weill Recital Hall, New York and first step in the understanding and City. Balmages fulfilled the specifics of application of the various available the commission by composing a work reflecting life in his 30s. For Balmages articulations. It was an enjoyable read, this centered on the birth of his two and I recommend it to anyone looking to children and three types of dreams they present articulation concepts to students experienced: daydreams, sweet dreams in a fresh and novel way. and bad dreams. The dreams are each Kornel Wolak’s book Articulation Types – Osiris Molina portrayed in a separate movement. for Clarinet is an extension of his work for The music is well-written, convincing Music Mind Inc. and his graduate research and of medium-hard difficulty, and it uses at the University of Toronto. -
Clarinet Quarter-Tone Fingering Chart
Clarinet Quarter-Tone Fingering Chart 1st Edition rev.1 2017 Jason Alder www.jasonalder.com ii Author’s Note This clarinet quarter-tone fingering chart developed as a continuation of my initial work of one for bass clarinet, which grew from my extensive playing of contemporary music and study of South-Indian Karnatic music. My focus had been primarily on bass clarinet, so the development of this chart for soprano clarinet didn’t come to realization until some years later as my own need for it arose, occurring simultaneously with a decision to rework the initial bass clarinet chart into a second edition. The first edition for clarinet therefore follows the same conventions as the second edition bass clarinet fingering chart. This first revision revisits a few quarter-tone fingerings around the “break” after I discovered some better ones to use. Jason Alder London, 2017 iii Guide to the Fingering Chart This fingering chart was made using a Buffet R13 clarinet, and thus the fingerings notated are based on the Boehm system. Because some differences may exist between different manufacturers, it is important to note how this system correlates to your own instrument. In some fingerings I have used the Left Hand Ab//Eb key, which not all instruments have. I’ve included this only when its use is an option, but have omitted the outline when it’s not. Many notes, particularly quarter-tones and altissimo notes, can have different fingerings. I have notated what I found to be best in tune for me, with less regard for ease and fluidity of playing. -
Microtonality As an Expressive Device: an Approach for the Contemporary Saxophonist
Technological University Dublin ARROW@TU Dublin Dissertations Conservatory of Music and Drama 2009 Microtonality as an Expressive Device: an Approach for the Contemporary Saxophonist Seán Mac Erlaine Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/aaconmusdiss Part of the Composition Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, and the Music Theory Commons Recommended Citation Mac Erlaine, S.: Microtonality as an Expressive Device: an Approach for the Contemporary Saxophonist. Masters Dissertation. Technological University Dublin, 2009. This Dissertation is brought to you for free and open access by the Conservatory of Music and Drama at ARROW@TU Dublin. It has been accepted for inclusion in Dissertations by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License Microtonality as an expressive device: An approach for the contemporary saxophonist September 2009 Seán Mac Erlaine www.sean-og.com Table of Contents Abstract i Introduction ii CHAPTER ONE 1 1.1 Tuning Theory 1 1.1.1 Tuning Discrepancies 1 1.2 Temperament for Keyboard Instruments 2 1.3 Non‐fixed Intonation Instruments 5 1.4 Dominance of Equal Temperament 7 1.5 The Evolution of Equal Temperament: Microtonality 9 CHAPTER TWO 11 2.1 Twentieth Century Tradition of Microtonality 11 2.2 Use of Microtonality -
Standard Music Font Layout
SMuFL Standard Music Font Layout Version 0.5 (2013-07-12) Copyright © 2013 Steinberg Media Technologies GmbH Acknowledgements This document reproduces glyphs from the Bravura font, copyright © Steinberg Media Technologies GmbH. Bravura is released under the SIL Open Font License and can be downloaded from http://www.smufl.org/fonts This document also reproduces glyphs from the Sagittal font, copyright © George Secor and David Keenan. Sagittal is released under the SIL Open Font License and can be downloaded from http://sagittal.org This document also currently reproduces some glyphs from the Unicode 6.2 code chart for the Musical Symbols range (http://www.unicode.org/charts/PDF/U1D100.pdf). These glyphs are the copyright of their respective copyright holders, listed on the Unicode Consortium web site here: http://www.unicode.org/charts/fonts.html 2 Version history Version 0.1 (2013-01-31) § Initial version. Version 0.2 (2013-02-08) § Added Tick barline (U+E036). § Changed names of time signature, tuplet and figured bass digit glyphs to ensure that they are unique. § Add upside-down and reversed G, F and C clefs for canzicrans and inverted canons (U+E074–U+E078). § Added Time signature + (U+E08C) and Time signature fraction slash (U+E08D) glyphs. § Added Black diamond notehead (U+E0BC), White diamond notehead (U+E0BD), Half-filled diamond notehead (U+E0BE), Black circled notehead (U+E0BF), White circled notehead (U+E0C0) glyphs. § Added 256th and 512th note glyphs (U+E110–U+E113). § All symbols shown on combining stems now also exist as separate symbols. § Added reversed sharp, natural, double flat and inverted flat and double flat glyphs (U+E172–U+E176) for canzicrans and inverted canons. -
Prominent Schools of Clarinet Sound (National Styles)
Prominent Schools of Clarinet Sound (National Styles) German School (Oehler system, up to 27 keys) Description: dark, compact, well in tune but difficult to play very softly Players: Karl Leister, Sabine Meyer French School (Boehm system, 16 or 17 keys) Description: clear, bright/too bright, large dynamic range Players: Anthony Gigliotti, Phillippe Cuper Italian School (Boehm system) Description: voice-like quality Opera tradition Players: Ernesto Cavallini, Alessandro Carbonare American School (Boehm system) Description: Strong French influence but more open and wide, more air and flexibility Connections to jazz and film music Players: Larry Combs, Richard Stolzman, Charles Neidich, Benny Goodman, Artie Shaw JDG 20200815 The Most-used Types of Clarinets Band Eb Clarinet Bb Clarinet***** Eb Alto Clarinet Bb Bass Clarinet Eb Contra Alto Clarinet Bb Contra Bass Clarinet Orchestra Eb Clarinet C Clarinet Bb Clarinet A Clarinet Bb Bass Clarinet Worth Mentioning Basset Horn (in F) Basset Clarinet (in A) When an instrument plays its C and that sound/pitch is the same as the piano’s C, we say the instrument is “in C” When an instrument plays its C and that sound/pitch is the same as the piano’s Bb, we say the instrument is “in Bb” When an instrument plays its C and that sound/pitch is the same as the piano’s Eb, we say the instrument is “in Eb” And so on. JDG 20200815 Equipment Clarinets Rubber/plastic/ebonite, wood, carbon composites • Buffet • Selmer • LeBlanc • Yamaha • Bundy Mouthpieces Rubber, glass (metal) • Vandoren • Selmer • Yamaha • LeBlanc Reeds Cane or synthetic • Vandoren • Rico • Alexander • Gonzalez Ligatures and mouthpiece caps • Vandoren • Bonade (inverted) • LeBlanc • Rovner • Unnamed Tips • I purchase new instruments and used instruments. -
A Study of Microtones in Pop Music
University of Huddersfield Repository Chadwin, Daniel James Applying microtonality to pop songwriting: A study of microtones in pop music Original Citation Chadwin, Daniel James (2019) Applying microtonality to pop songwriting: A study of microtones in pop music. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34977/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Applying microtonality to pop songwriting A study of microtones in pop music Daniel James Chadwin Student number: 1568815 A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Arts University of Huddersfield May 2019 1 Abstract While temperament and expanded tunings have not been widely adopted by pop and rock musicians historically speaking, there has recently been an increased interest in microtones from modern artists and in online discussion. -
Listening to String Sound: a Pedagogical Approach To
LISTENING TO STRING SOUND: A PEDAGOGICAL APPROACH TO EXPLORING THE COMPLEXITIES OF VIOLA TONE PRODUCTION by MARIA KINDT (Under the Direction of Maggie Snyder) ABSTRACT String tone acoustics is a topic that has been largely overlooked in pedagogical settings. This document aims to illuminate the benefits of a general knowledge of practical acoustic science to inform teaching and performance practice. With an emphasis on viola tone production, the document introduces aspects of current physical science and psychoacoustics, combined with established pedagogy to help students and teachers gain a richer and more comprehensive view into aspects of tone production. The document serves as a guide to demonstrate areas where knowledge of the practical science can improve on playing technique and listening skills. The document is divided into three main sections and is framed in a way that is useful for beginning, intermediate, and advanced string students. The first section introduces basic principles of sound, further delving into complex string tone and the mechanism of the violin and viola. The second section focuses on psychoacoustics and how it relates to the interpretation of string sound. The third section covers some of the pedagogical applications of the practical science in performance practice. A sampling of spectral analysis throughout the document demonstrates visually some of the relevant topics. Exercises for informing intonation practices utilizing combination tones are also included. INDEX WORDS: string tone acoustics, psychoacoustics, -
Dissertation 3.19.2021
Cultivating the Contemporary Clarinetist: Pedagogical Materials for Extended Clarinet Techniques Caitlin Beare A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2021 Reading Committee: Timothy Salzman, Chair David Rahbee Benjamin Lulich Program Authorized to Offer Degree: Music © Copyright 2021 Caitlin Beare University of Washington Abstract Cultivating the Contemporary Clarinetist: Pedagogical Materials for Extended Clarinet Techniques Caitlin Beare Chair of the Supervisory Committee: Timothy Salzman School of Music The exploration and implementation of new timbral possibilities and techniques over the past century have redefined approaches to clarinet performance and pedagogy. As the body of repertoire involving nontraditional, or “extended,” clarinet techniques has grown, so too has the pedagogical literature on contemporary clarinet performance, yielding method books, dissertations, articles, and online resources. Despite the wealth of resources on extended clarinet techniques, however, few authors offer accessible pedagogical materials that function as a gateway to learning contemporary clarinet techniques and literature. Consequently, many clarinetists may be deterred from learning a significant portion of the repertoire from the past six decades, impeding their musical development. The purpose of this dissertation is to contribute to the pedagogical literature pertaining to extended clarinet techniques. The document consists of two main sections followed by two appendices. The first section (chapters 1-2) contains an introduction and a literature review of extant resources on extended clarinet techniques published between 1965–2020. This literature review forms the basis of the compendium of materials, found in Appendix A of this document, which aims to assist performers and teachers in searching for and selecting pedagogical materials involving extended clarinet techniques. -
Instructions for Authors
Journal of Science and Arts Supplement at No. 2(13), pp. 157-161, 2010 THE CLARINET IN THE CHAMBER MUSIC OF THE 20TH CENTURY FELIX CONSTANTIN GOLDBACH Valahia University of Targoviste, Faculty of Science and Arts, Arts Department, 130024, Targoviste, Romania Abstract. The beginning of the 20th century lay under the sign of the economic crises, caused by the great World Wars. Along with them came state reorganizations and political divisions. The most cruel realism, of the unimaginable disasters, culminating with the nuclear bombs, replaced, to a significant extent, the European romanticism and affected the cultural environment, modifying viewpoints, ideals, spiritual and philosophical values, artistic domains. The art of the sounds developed, being supported as well by the multiple possibilities of recording and world distribution, generated by the inventions of this epoch, an excessively technical one, the most important ones being the cinema, the radio, the television and the recordings – electronic or on tape – of the creations and interpretations. Keywords: chamber music of the 20th century, musical styles, cultural tradition. 1. INTRODUCTION Despite all the vicissitudes, music continued to ennoble the human souls. The study of the instruments’ construction features, of the concert halls, the investigation of the sound and the quality of the recordings supported the formation of a series of high-quality performers and the attainment of high performance levels. The international contests organized on instruments led to a selection of the values of the interpretative art. So, the exceptional professional players are no longer rarities. 2. DISCUSSIONS The economic development of the United States of America after the two World Wars, the cultural continuity in countries with tradition, such as England and France, the fast restoration of the West European states, including Germany, represented conditions that allowed the flourishing of musical education. -
The Clarinet Choir Music of Russell S
Vol. 47 • No. 2 March 2020 — 2020 ICA HONORARY MEMBERS — Ani Berberian Henri Bok Deborah Chodacki Paula Corley Philippe Cuper Stanley Drucker Larry Guy Francois Houle Seunghee Lee Andrea Levine Robert Spring Charles West Michael Lowenstern Anthony McGill Ricardo Morales Clarissa Osborn Felix Peikli Milan Rericha Jonathan Russell Andrew Simon Greg Tardy Annelien Van Wauwe Michele VonHaugg Steve Williamson Yuan Yuan YaoGuang Zhai Interview with Robert Spring | Rediscovering Ferdinand Rebay Part 3 A Tribute to the Hans Zinner Company | The Clarinet Choir Music of Russell S. Howland Life Without Limits Our superb new series of Chedeville Clarinet mouthpieces are made in the USA to exacting standards from the finest material available. We are excited to now introduce the new ‘Chedeville Umbra’ and ‘Kaspar CB1’ Clarinet Barrels, the first products in our new line of high quality Clarinet Accessories. Chedeville.com President’sThe EDITOR Rachel Yoder [email protected] ASSOCIATE EDITOR Dear ICA Members, Jessica Harrie [email protected] t is once again time for the membership to vote in the EDITORIAL BOARD biennial ICA election of officers. You will find complete Mitchell Estrin, Heike Fricke, Denise Gainey, information about the slate of candidates and voting Jessica Harrie, Rachel Yoder instructions in this issue. As you may know, the ICA MUSIC REVIEWS EDITOR bylaws were amended last summer to add the new position Gregory Barrett I [email protected] of International Vice President to the Executive Board. This position was added in recognition of the ICA initiative to AUDIO REVIEWS EDITOR engage and cultivate more international membership and Kip Franklin [email protected] participation.