BRIDGING THE GAP: INTRODUCING EXTENDED TECHNIQUES AND CONTEMPORARY NOTATION THROUGH NEWLY COMPOSED ETUDES FOR CLARINET Luke Michael Ellard B.M., M.M., M.M, P.D. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2020 APPROVED: Kimberly Cole Luevano, Major Professor Elizabeth McNutt, Committee Member Phillip Paglialonga, Committee Member Natalie Mannix, Interim Chair of the Division of Instrumental Studies Felix Olschofka, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Ellard, Luke Michael. Bridging the Gap: Introducing Extended Techniques and Contemporary Notation through Newly Composed Etudes for Clarinet. Doctor of Musical Arts (Performance), May 2020, 70 pp., 6 musical examples, 1 appendix, bibliography, 38 titles. This dissertation aims to address the pedagogical gap in introductory material for contemporary clarinet instruction. Through examining the most prominent contemporary methods for the clarinet, the pedagogical gap is highlighted, particularly regarding material aimed at newcomers and early undergraduate students. To address these needs, a new collection of etudes is proposed, introducing extended techniques and contemporary notation for newcomers to modern music. Copyright 2020 By Luke Michael Ellard ii ACKNOWLEDGMENTS There are many I wish to thank not only throughout my doctoral studies but throughout my life as an artist as well. First, I would like to thank my supportive and brilliant committee Kimberly Cole Luevano, Phillip O. Paglialonga, and Elizabeth McNutt for their time, insight, and openness to my ideas and aspirations. I would also like to thank the University of North Texas College of Music Composition Department, the Center for Experimental Music and Intermedia, and composition faculty Joseph Klein, Andrew May, and Kirsten Broberg for providing an inspiring and supportive environment for contemporary performers like myself and for those within the contemporary music performance related field. I would like to thank a few of the many clarinetists who have laid the groundwork for and inspired this dissertation: Eric Mandat, William O. Smith, Gregory Oakes, Heather Roche, Suzanne Stephens, Phillip Rehfeldt, F. Gerard Errante, Michael J. Maccaferri, and my colleagues at the University of North Texas and beyond. Lastly, I would like to thank my family for their endless support in all areas of my life. It is a privilege I do not take for granted and I hope to use the opportunities they’ve afforded me to uplift those around me and future generations of musicians. iii TABLE OF CONTENTS Page ACKNOWLEDGMENTS ............................................................................................................. iii LIST OF MUSICAL EXAMPLES ................................................................................................ vi CHAPTER 1. INTRODUCTION ................................................................................................... 1 CHAPTER 2. DEFINING CONTEMPORARY THROUGH HISTORY AND BACKGROUND ......................................................................................................................................................... 2 CHAPTER 3. A COMMENTARY ON MODERN PEDAGOGICAL MATERIAL FOR CLARINETISTS............................................................................................................................. 9 CHAPTER 4. THE PEDAGOGICAL GAP ................................................................................. 16 CHAPTER 5. INTRODUCTION TO NEW ETUDES ................................................................ 22 CHAPTER 6. QUARTER TONE EXERCISES AND ETUDE I ................................................ 24 CHAPTER 7. MULTIPHONICS EXERCISES AND ETUDE II ................................................ 28 CHAPTER 8. VOCALIZATION EXERCISES AND ETUDE III .............................................. 33 CHAPTER 9. GUIDED IMPROVISATION EXERCISES AND ETUDE IV ............................ 35 CHAPTER 10. MANIPULATING ARTICULATION EXERCISES AND ETUDE V .............. 39 CHAPTER 11. GRAPHIC NOTATION NOTES AND ETUDE VI ........................................... 41 CHAPTER 12. CONCLUSION ................................................................................................... 44 APPENDIX: THE ETUDES......................................................................................................... 45 Etude I: Quarter Tones ...................................................................................................... 46 Fingering Chart ..................................................................................................... 46 Exercises ............................................................................................................... 47 Score ..................................................................................................................... 48 Etude II: Multiphonics ...................................................................................................... 50 Fingering Chart ..................................................................................................... 50 Exercises ............................................................................................................... 51 Score ..................................................................................................................... 53 iv Etude III: Vocalization ...................................................................................................... 54 Exercises ............................................................................................................... 54 Score ..................................................................................................................... 55 Etude IV: Guided Improvisation ....................................................................................... 56 Tools Used ............................................................................................................ 56 Score ..................................................................................................................... 57 Etude V: Manipulating Articulation ................................................................................. 58 Double Tonguing Exercises .................................................................................. 58 Flutter Tonguing Excercises ................................................................................. 59 Score ..................................................................................................................... 60 Etude VI: Graphic Notation .............................................................................................. 64 Examples ............................................................................................................... 65 Score ..................................................................................................................... 66 BIBLIOGRAPHY ......................................................................................................................... 67 v LIST OF MUSICAL EXAMPLES Page Example 6.1: Accidentals for quarter tones with semitones ......................................................... 26 Example 6.2: Etude I, m. 5, fingering sequence ........................................................................... 26 Example 6.3: Etude I, mm. 20-27, 41 to end, fingering sequence ................................................ 27 Example 7.1: Mandat’s exercise for “under-blowing ................................................................... 29 Example 7.2: Mandat exercise based on Brahm’s Sonata for Clarinet, Op. 120, No. 2, m. 22 .... 29 Example 7.3: Mandat’s exercise for “over-blowing” ................................................................... 30 vi CHAPTER 1 INTRODUCTION Etudes have long been a vehicle through which instructors teach fundamental concepts and hone the technical facility of musicians. With each advancement in instrument design and with increased technical demands, new method books and materials are created and adapted to meet new needs. However, despite a century of musical experimentation and its correlating increase in overall technical prowess, there remains a lack of material introducing contemporary concepts to developing clarinetists (advanced high school and early undergraduate) and clarinetists who are new to modern music. Because numerous contemporary works present techniques or challenges not previously encountered, the works are thought to be "difficult;” therefore, many clarinetists begin studying repertoire containing extended techniques and contemporary notation later in their education, if at all. This delayed introduction may often involve trial and error, and, in the case of the significant contemporary resources, assume a level of predisposition or technical ability in regard to modernist musicianship. Additionally, with the hesitation to perform newer works, clarinetists miss opportunities to perform music by living, diverse composers, particularly those previously excluded from Western classical music. Learning contemporary techniques and notation offers clarinetists the chance to create a repertoire that is culturally relevant and equitable. Thus, examining the most prevalent contemporary methods for the clarinet reveals a pedagogical need for a collection of new etudes