Advanced Contemporary Techniques for Clarinet

Advanced Contemporary Techniques for the Clarinet A Step by Step Guide to Mastery in

4

By Dr. Adam Berkowitz

Key Areas

For my son, Noam – who has given me the confidence to share my ideas with the world without even knowing it.

Table Of Contents About the Author

1

Introduction

3

Double Tonguing

5

• Standard Technique

8

• Flicking Technique

16

Circular Breathing

21

Singing While Playing

30

Multiphonics

40

• Direct

41

• Indirect

43

Conclusion

48

Practice Etudes

50

Advanced Contemporary Techniques for the Clarinet: About The Author

About The Author I am currently based in Hartford CT and have built a reputation as an as an energetic teacher and performer. As a teacher at the Hartt School of Music’s Community Division, I take my educative work very seriously. While maintaining a studio of private students, I’ve also taught a wide range of courses and lectures including music theory, music history and Jewish music. In addition, I have given a number of workshops on clarinet technique. I received my Bachelors of Music in a dual degree program - performance and music education - from Ithaca College School of Music, studying with Michael Galvan. In 2004, I was awarded my Masters in Clarinet Performance at the Conservatory of Music of SUNY Purchase and worked with Ayako Oshima. While completing the requirements for a DMA in Clarinet Performance at Mason Gross School of the Arts, Rutgers University, I was a student of Maureen Hurd. Amongst my private teachers I have been particularly influenced by: • David Krakauer - clarinet and chamber music faculties of the Mannes College of Music of the New School University, the Manhattan School of Music and the Bard College • Kenneth Grant - Professor of Clarinet at the Eastman School of Music • Robert Di Lutis - Professor of Clarinet at Louisiana State University I have a vibrant interest in the works of contemporary composers as well as those that form part of the standard and more familiar clarinet repertoire. A founding member of Tonal Center - a unique and innovative clarinet, soprano, and percussion trio – I have been fortunate to work with many fine musicians and extensively with a variety of composers. Along with other Tonal Center members: soprano Tiffany Du Mouchelle and percussionist Stephen Solook, a number of new works have been commissioned and premiered.

1 © Adam Berkowitz 2010. All Rights Reserved.

Advanced Contemporary Techniques for the Clarinet: About The Author

These works include: • Specs for Unaccompanied Bass Clarinet - Seth Rozanoff • Five Songs for Soprano, Clarinet, and Vibraphone - Seth Rozanoff • Three Songs of Lluis Julia - Raphael Fusco • When Released from the Bonds of Winter - David Loeb • Archers of Solitude - Davide Zannoni I have also been a member of the Manhattan-based Ensemble 212 - a collaborative orchestra founded by Yoon Jae Lee. Other notable highlights of my teaching career comprise: • Instructor in Music Theory for Non-Majors at Mason Gross School of the Arts, Rutgers University • Teaching Assistant in Music History at SUNY Purchase • Delivering the first course in Jewish Music to be offered at the University of Hartford in 2009


Advanced Contemporary Techniques for the Clarinet: Introduction

Introduction The Purpose of the Book In this practical manual on extended clarinet techniques, I share what I have learned to successfully enhance my own performances. Using an easy to follow, step by step approach, I have designed it to give players an opportunity to explore a range of skills which are often demanded in 20th and 21st century music. I first became interested in extended performance techniques when I came across a work by Dana Wilson: Piece for Clarinet – “Alone”. Despite the fact that only a few multiphonics were required, I was prompted to think about clarinet playing in a completely a new way. As a result of this “Aha!” moment, I began to proactively seek out other techniques which challenged my then limited concept of what was possible with the instrument. Composers have always taken advantage of the expressive range available to wind players and continue to explore the potential of the instruments with the inclusion of contemporary techniques. Writers who have used such means in their works include: Berio, William O. Smith, Libby Larsen, Evan Zyporin, Ron Caravan and a multitude of others.

The Benefits In this modest volume I have included core contemporary skills which fall outside the scope of standard “classical” performance. Familiarity with them can enhance your understanding of the way the clarinet works and also your own playing. In turn, these insights often lead to new approaches to fundamental skills such as breath control, tone production and articulation – each vital to us as clarinetists. Please note that it is absolutely essential for students to first gain complete proficiency with standard elementary material before attempting extended techniques. If the basics are not solid from the start, students are likely to face serious setbacks later on.


Advanced Contemporary Techniques for the Clarinet: Introduction

What to Expect While I acknowledge that the range of extended techniques for the clarinet is always growing, in this volume I have chosen to focus my attention on four in detail: • Double tonguing • Circular breathing • Singing while playing • Multiphonics Examples: • A basic understanding of double tonguing often improves the quality and speed of the articulation necessary for Classical and Romantic repertoire. • Students who learn how to circular-breathe are able to play through phrases that would otherwise be too difficult. • With a thorough knowledge of multiphonics, insight is gained into the fine degrees of oral and tonal control as well as knowledge of the clarinet’s unique harmonic series. Each section of this book is organized in the same way: 1 The technique is defined 2 The reasons for learning the skill are given 3 A series of exercises that include practice goals and tips are provided. Notated examples and diagrams accompany the exercises 4 An etude focusing exclusively on what has been taught, practiced and learned completes the section Finally, at the end of the book you will find an additional set of etudes that highlight important aspects from each of the four main chapters of the book. Practicing these exercises and etudes will help ensure that you have sufficient know-how when encountering these technical requirements in concert literature. Dr. Adam Berkowitz Hartford, CT January 2011


Advanced Contemporary Techniques for the Clarinet: 1 Double Tonguing

1

Double Tonguing

The technique of double tonguing is most commonly used by brass players which is a pity because it is a very useful skill to learn for clarinetists.

What Is It? Double tonguing is employed to rapidly articulate a series of notes on a wind instrument. It increases the apparent speed of articulation by adding an additional articulation to the return stroke of the tongue. If the tongue is relaxed it will respond easily; should it only have to move a short distance, the tongue can make contact more rapidly. Logically therefore, both of the following recommended double tonguing methods are also ideal for improving the agility of the tongue in single articulation. Double tonguing is relatively simple to learn but challenging to master. A few weeks of hard work can yield extraordinary results and a well controlled double tongue technique.

Types There are two types of double-tonguing for the clarinet. I’ll call the first “standard” technique and the second “flicking” technique.

Standard This involves articulating both with the front and middle portions of the tongue. The syllables “tee-kee...”, “dee-kee…”, “nee-kee…” or “lee-kee…” will produce the right effect for the clarinetist. If done well, it directly doubles the speed of the player’s articulation. However, unlike other instruments such as the trumpet or flute, single reed instruments like the clarinet have a large mouthpiece that is placed directly in the mouth, making it more difficult to perform the “standard” style of double tonguing.

Flicking The second option available is to flick the tongue vertically over the end of the reed. This technique is also described in David Pino’s book - The Clarinet and Clarinet Playing.



Try saying “iddle, iddle…” or “lil, lil, lil…” quickly to achieve the desired result. As you practice, you will know when you are successful when your articulation doubles in speed and is also even both in rhythm and in sound.

Additional Considerations Both techniques require: • Relaxation of the mouth, throat, and tongue • Economy of motion in articulation • Lack of jaw movement • Avoidance of embouchure changes Good airflow is another essential feature, like all articulation. Without fast, focused air, neither approach will work. The best way to achieve this is to practice at a comfortable, strong mf dynamic. In addition, as in regular articulation, economy of motion is a must. Make sure that the front of the tongue stays close to the reed. The “kee” syllable in the standard technique can be produced in a number of places along the palate. Each student will need to determine the proper place in his or her mouth to get the best result. Ideally you should articulate without lowering the voicing. This can be difficult at first especially in the clarion register. In the case of “flicking” you’ll have to keep the tongue even closer to the tip of the mouthpiece/reed. In either case, moving the tongue too far will produce slow articulation, unevenness - in rhythm and sound of articulation - and an unfocused tone. Whilst I’m talking about the flicking method, you might like to try an excellent exercise which emphasizes just how lightly the tongue can touch the reed. Play an open G at a comfortable dynamic and get a mental image of the inside of your mouth, then follow these steps: • Move the tongue forward slowly • Keep moving until the reed tickles the tongue - when it does, the sound will also become very buzzy and may go flat but don’t worry about that! • Continue blowing air and leave the tongue in that spot • Feel the reed vibrate against the tongue • Press just a little more until the reed stops vibrating while of course maintaining air flow • Reverse the steps



So what you should feel on your tongue is: nothing- buzz – reed – buzz – nothing. What came as a big shock to me is just how little movement or pressure is required to practice this technique. As you refine what you’re doing you’ll have a greater sensitivity to where the tongue is inside your mouth and how little it should move.

REMEMBER Fast, continuous air Economy of motion Use the correct part of the tongue

Choosing Your Preferred Style Each style of double tonguing has its own positive and negative characteristics

Standard Double Tonguing Technique Pros: • Good for short, clear bursts • Possible at different speeds • Easy to produce an even “rhythm” of articulation • Simple to use after a rest or to start a run Cons: • Often initially confusing • Potentially difficult to coordinate tongue and fingers

Flicking Technique Pros: • Good for repeating the same note or long passages • Almost effortless to achieve fast articulation • Excellent if you are already playing



Cons: • Can irritate the tongue • Sometimes hard to get an even rhythm • Using this articulation from a silence can be a challenge Deciding which technique to employ depends upon your own preference. Just as some people find it easier to flutter tongue with the front or back of the tongue, you will have to choose between these two techniques depending on which style feels better for you. My advice is to practice both techniques so that you able to take advantage of each style’s benefits while minimizing their disadvantages.

How to Learn the Standard Technique Stage #1 To learn the standard method of double tonguing, begin by focusing on just one sound at a time. This will help you isolate the motion of the tongue. There are two main things to bear in mind: • Keep the front of the tongue near the reed • Keep the tone focused Play one or two measures of each syllable in a comfortable register. At this stage, do not try to mix the syllables. Next, using the same metronome mark, try eighths, then triplets and finally sixteenths. Attempt the same exercise in a variety of registers. Once the patterns begin to sound good on single notes, have a go at playing scales and arpeggios using the same process. Each pitch should receive at least one measure of each syllable. This will enable you feel subtle differences in each register. For example, you may notice a tendency for the pitch to drop or scoop with the “kee” in the clarion register. I recommend that you practice all the exercises in this section with a metronome. As with other kinds of technical practice, your motivation levels will be maintained if you set daily and weekly goals for the metronome marks. In these early stages of learning, practice repeating single pitches and then move on to scales. When these exercises become consistent, it’s time to move towards mixing the syllables.



REMEMBER Tone must remain focused The kee and nee sounds should be very similar The tongue has to touch the same part of the reed and palette each time

EXAMPLE 1

 44         kee kee kee kee

 

 

nee nee nee nee

 

kee kee kee kee

 

nee nee nee nee

 

  kee kee kee kee

nee nee nee nee

                             

kee kee kee kee

3

3

k k k etc...

nee nee nee nee

3

 

 

 

k k k k k k k k

n n n n n n n n

3

n n n n etc...


 


EXAMPLE 2 Play this exercise ascending and descending in a variety of keys and registers. Try it with the additional rhythms below.

 44                     

nee nee nee nee kee kee kee kee

nee nee kee kee nee nee kee kee

                             

etc...

    

etc...

              nee kee nee kee nee kee nee kee

etc...

                                            



6

             3



Stage #2 The next step in the process will teach you how to combine the syllables. Starting as you did in the previous exercise, on one pitch in quarters, play “n, n, n, n” then play “neekee, neekee, neekee, neekee” in eighth notes. Keep the same three goals in mind when practicing this exercise: • Focused tone • Same sound of articulation • Economy of motion After you become proficient in quarters and eighths, try going from eighths to sixteenths. Once you can perform that exercise well, reduce the tempo slightly to try scales and arpeggios using the scales and patterns with which you are most comfortable. If you feel that your tongue and fingers are not lining up, slow the tempo down until you can play accurately.

QUICK TIPS Try the exercise with a variety of notes and registers Practice different articulation patterns (e.g., n k k k, or n n k).



EXAMPLE 3

 4        4                             

nee kee

kee nee

nee kee

kee nee

etc...

kee nee kee nee etc... nee kee nee kee

QUICK TIPS Continue practicing in different keys Alternate the pattern of “nees” and “kees”


 


                                     

nee kee

kee nee

nee kee

kee nee

etc... etc...

kee nee kee nee etc... nee kee nee kee

QUICK TIPS

Try this exercise on every scale Use a variety of rhythmic patterns


 


Stage #3 Playing short bursts of quick articulation like grace notes can be effective practice. Start with one pair of notes followed by a long tone. Then make the sustained tone shorter so that the “grace notes” become closer together.

EXAMPLE 4

 44   







nkn knk

nkn knk





nkn knk





 

 







           

nkn knk

nknkn nknkn knknk knknk

nknkn knknk



nknkn knknk

The next two exercises expand on “grace note” idea. You’ll find that short bursts of practice yield the best results along with keeping a steady air flow throughout the articulations and fermatas. You can also use a descending pattern.


 


EXAMPLE 5

         24                                                                                               43  nee kee nee kee nee

nee kee nee kee nee etc...

    43                                  etc...

QUICK TIPS Constantly ask yourself when practicing: Am I breathing well? Is the airstream consistent and fast? Is the rhythm, attack and sound even?



How to Learn the Flicking Technique Although initially the flicking method can be tricky to learn, with focused practice once you’ve grasped the basic idea, you can improve quickly.

Stage #1 This technique involves the end of the tongue moving vertically over the tip of the mouthpiece and reed. Begin practicing by touching the tongue to the reed so lightly that you can feel it vibrating as you play. You will learn that: • The tongue has enough sensitivity to touch but not interfere with the reed’s vibration • The reed can continue vibrating despite being almost stopped. • Using this technique will not damage the reed or mouthpiece

After you are satisfied with experiencing lightness, begin moving the tongue over the tip of the reed. Expect the articulation to sound uneven until you learn how to control the motion of the tongue.



You should aim the tip of the tongue for the curve in the hard palette just behind the teeth. Think of sounding “lillillill…” In order to play this way, you’ll need to slightly adjust the position of the tongue in your mouth. Given enough practice, the right position can be found so that the tone remains focused. A good practice technique for isolating the correct position for the upward part of the motion is to tongue only on the palette. Remember that everyone’s mouth shape is different and you may have to make slight alterations to what is described here.

REMEMBER Tone must remain focused The kee and nee sounds should be very similar The tongue has to touch the same part of the reed and palette each time

Stage #2 The next task is to ensure that the articulation of sound is even. Begin by playing long tones alternating with the new articulation. Just as when you practice regular articulation, this will demonstrate that touching the reed only interrupts the airflow. The air must always move. Having arrived at even articulation, move on to playing play some short scale passages to build up endurance. For example - begin by playing from C to G and back followed by systematically adding notes until you’re comfortable across the full range of the instrument. If you feel your tongue getting tired or sore, you should take a break.



EXAMPLE 6

 44                                                                As this exercise becomes easier, reduce the length of the held and articulated notes until you can play continuous streams of 32nds. Another important skill when using this style is to move seamlessly between the “flick” articulation and your regular tonguing. To do that, practice the same exercise as written and in a variety of other keys.



EXAMPLE 7 On the notes before the "flick" play as written or double tongue (nee kee nee kee)

 44                                                                                     flick

flick

flick

sim.

                                                                                                                                                                                                    

         

        

        

REMEMBER Tone must remain focused Articulation should have an even sound Preserve the lightness and position of the tongue


        


Benefits and Goals Double tonguing is a useful skill and helpful addition to a clarinetist’s performance technique. Clarity, speed, and coordination of your regular articulation will most certainly be improved. The ultimate goal is to have this style of articulation sounding the same as your single tonguing. However, even if you never get the full facility you are looking for there are benefits. There is no real mystery to learning to double tongue effectively and efficiently. All that is required is the daily practice of a logical series of steps and most of all patience!


Advanced Contemporary Techniques for the Clarinet: 2 Circular Breathing

2

Circular Breathing

What Is It? Circular breathing does not involve breathing in and out at the same time! It is a tool that wind players can use to sustain a sound for extended periods of time by storing and releasing air in the cheeks while inhaling or exhaling through the nose. Mastering to circular breathing is the same as learning how to ride a bike. Tricky at first, but once you have acquired the technique, you won’t forget how to do it. The steps below will teach you to develop and coordinate the muscles of your cheeks in order to keep your air moving. Every player - even one with excellent breath control - knows the sensation of needing just a little bit more air. Many pieces in the clarinet repertoire offer challenges to your finger’s agility, the quickness of the tongue and endurance. However, some phrases are so long that musicians have to make awkward intermediate pauses to top up their breath. This is deeply frustrating for accomplished artists who always strive for the most musical approach to a phrase. A good example of this is in the third movement of Respighi’s Pines of Rome. Even with careful planning, this piece can catch players off guard. We have to remember that wind players are supposed to take breaths in their music so be careful not to overuse this technique in standard repertoire. If you do, it will lead to unnatural sounding phrases. Believing that you can actually circularly breathe is actually the most challenging aspect of this technique! So - after you have convinced yourself that you are perfectly capable with a little practical application, find yourself a cup of water and a straw, then read through the instructions below.



Learning How to Circular Breathe Stage #1 At the outset, focus on inhaling through the nose. Once this has been perfected you can use the same process to learn to exhale through the nose. The goal is to eliminate the gap between breathing in through the nose/pushing out with the cheeks and the continuation of normal playing so that they happen unobtrusively. You may feel the need to push the air slightly with the tongue. This is ok, although moving the tongue too much will create a change in tone quality and volume. 1 Blow bubbles in the water through the straw.* 2 Fill your cheeks with air and using your hand, push the air through the straw. Do not use the air in your lungs; only use the air in the cheeks. 3 Repeat this to build up the muscles in your mouth. 4 While blowing through the straw, puff out your cheeks as before, then stop blowing Don’t blow the air out from the cheeks quite yet. First take in a breath through your nose. 5 Push the air trapped in the cheeks through the straw. Do not use any air from your lungs. 6 Pause. Use the air in your lungs to continue blowing bubbles. 7 Repeat the last three steps. Try to eliminate the gaps between steps. *If you need more resistance in order to blow the air through the straw, position the straw so that it is near the upper lip and teeth. You will know that you have learned the basic technique when you are able to keep blowing bubbles without interruption.



Stage #2 The next level of this technique is to keep the air - and therefore tone - as even as possible throughout the process. By using the cup of water and a straw, you’ll be able to see any inconsistencies in the water. The bubbles will get bigger and smaller if there are inconsistencies. Believe me I’ve been splashed more than once! The smoother you can make the transition, the less the tone of your instrument will be disrupted.

Circular Breathing A - Normal

Air goes in and then out again in one motion.



Circular Breathing B

Some air gets stored in the cheeks while the rest goes through the clarinet. Circular Breathing C – Return to Normal

The air in the cheeks goes out while air comes in through the nose.



QUICK TIPS Practice using different dynamics Try blowing the air from the cheeks at different speeds Experiment with different situations

You can also practice exhaling through the nose instead of inhaling. This is useful for greatly extended lines. By exhaling you can relieve some of the pressure that builds up in the lungs.

Stage #3 Before proceeding, you should be aware that there are differences between circular breathing through a straw and circular breathing while playing your clarinet. One change you’ll notice is the amount of resistance you will feel. The straw will almost always appear to be more resistant than your clarinet. Another contrast is that the amount of time you spend cycling through a breath will eventually have to be shorter on the clarinet as it helps eliminate some of the distortion in the tone. It will also mean that you’ll have to take in a slightly larger breath in less time. Taking a quicker breath can also reduce the chance of making a mistake with the music. Now you can begin to apply this basic technique to your instrument.



EXAMPLE 8

 4 4 

 



 

 

You can pick any note to trill on. Tremolos will work as well.

REMEMBER

Circular breathing is not a substitute for good breath control

An effective way to begin to use the circular breathing technique is to pick an easy trill and hold it. This will mask some of the inconsistencies in the sound and allow you to concentrate fully on the breathing. When you think that you’re running out of air, by using the same process as described above, try to take a circular breath. Repeat this three times. Then, return to the cup of water and straw and take three circular breaths. Repeat this process until you begin to feel comfortable circular breathing on the instrument. Next, move to playing easy scales in sixteenths - Chromatics, C, F, G, etc - so that you can focus on keeping an even rhythm and not be distracted by technique. Once you can do this with a minimal disruption of volume or tone, move onto some of the other patterns written below. Bear in mind that these may also be transposed into different keys and modes.



EXAMPLE 9

           4               4                      

mf

mf



  

                                       

 

 

mf



 

               

 

                mf

mf

                                                

 

 

mf

mf

The final stage is to practice circular breathing on long tones which is the most difficult because any change in tone or volume will be highlighted. For a greater challenge - slow the tempo or change the meter.


 


EXAMPLE 10 Repeat each exercise many times. Listen for smooth technique, accuracy, and consistency of tone.

 44                                                               

 

 

 

sim...

f, mf, mp, p

 

                  

 

 

 

 

               

 

 

                       4      6     4          4  

 

 

 

 4                         4                                                                                           

 

 

3

 

 

5

 

3

 

 

5

 

 

 

3

 

 

5

 

                              

 

 

3

3

3

                           5

5


 

 

3

 

5

 

5

 


DON’T FORGET

Once you’ve mastered these patterns try circular breathing on long-tones

Benefits and Goals As always, your success is a matter of daily practice and learning how to bring together the separate parts of circular breathing. The goals to keep in mind for this technique are: • Coordinating the inhalation and exhalation and • Maintaining a steady tone Practicing circular breathing is an excellent way to improve your concentration, breath control and tone production which in time will feel natural and relaxed.


Advanced Contemporary Techniques for the Clarinet: 3 Singing While Playing

3

Singing While Playing

What Is It? To “sing while playing” involves making vocal sounds at the same time as conventional clarinet sounds. The simplest way to do this is commonly known as “growling”. In this case the vocalized sound is un-pitched. Refining this idea, it is possible to create two tones on the clarinet. The goal is to play and sing either the same or different notes and for both to move independently of one another.

Applications At first consideration, this technique may not seem to have much obvious use. Many perfectly valid questions spring to mind when you consider trying to sing and play at the same time: • Why would anyone try to sing into a clarinet? • Would anybody actually demand this in a piece? • Why should a clarinetist be concerned with playing more than one note at once? • How could this technique help in more general playing? It does seem that there are more pieces using multi-phonics than requiring singing while playing. However, singing while playing does have practical applications, aside from producing some truly interesting effects!

Learning to Sing While Playing There are three main parts to this technique: A Singing a steady tone with a moving line B Playing a steady tone while singing a moving line. C Playing and singing moving lines In my experience, these chunks are too much for some people to tackle, so I’ve broken down the subject into even smaller stages.



Stage #1 I recommend that you start with the most basic step - singing or humming. In order to be successful, you will need to be able to sing without straining, match pitch and sing with solfege syllables. Most musicians should be able to manage this already. Now follow the instructions below: 1 Begin simply by humming. Hum any tune you want so long as you hum fairly loudly. 2 Hum the tune and think about the solfege syllables of the song. This will help later on when you are playing as well. 3 Blow a steady stream of air as if you were playing the clarinet. Then try humming at the same time as you blow steadily. 4 As you exhale, you should be able to feel the pitch in your throat and chest. If you feel the pitch more in the nasal cavity/head, you need to change the sound from a nasal “eee…” to a deeper “oh...” Another good way to determine if you are doing this correctly is to use a “v” sound or the syllable “vuh”. For example, holding out the “v” – “vvvvvv”… - will put the humming in the right part of the throat/chest. To check, place your hand on your throat and feel if it is vibrating. You will probably feel the need to use more air. This is fine, since you will need to use more air when you use the clarinet. When you are confident with this exercise, it’s time to pick up your instrument.



QUICK TIPS If you have trouble with this initial exercise try this: Find a New Years Eve party blower. The kind that curls and uncurls is best Blow air through it normally Blow air through it and hum/sing at the same time Try the same steps on just the barrel and mouthpiece

Stage #2 Starting out learning this technique, it may seem that sustaining a sung pitch while playing the clarinet should not be much different than simply singing. Be warned - if the air stream is unstable, your throat gets tired, or you lose concentration, the sung pitch can suddenly change.

REMEMBER Maintain a sense of relaxation – essential Whatever note you choose, make sure it is in a comfortable and natural range for your voice Maintain a comfortable dynamic



These concepts will ensure that the air moves easily. Any straining is counterproductive and could cause an injury. The process: 1 Using good airspeed and volume at mf play a middle register note. An open G works well. 2 As you are sounding that note, try to hum or sing any other note at the same time. Don’t worry about matching the pitch right now. Focus only on the sensation of humming. Note that this is similar to growling but without as much force. 3 Now, although this may sound obvious, in order to improve your attention shift your awareness most onto the note you are singing. Again, most of the feeling should be in the throat. If you are having difficulty, go back to point 1).

Stage #3 When you begin to feel at ease holding on to a pitch, it is time to try matching the sung pitch with the played pitch. 1 First, within your vocal range play a sustained note on the clarinet. 2 Once you have that sound in your ear, try to sing a pitch to match just as you would when sounding a note on the piano. 3 You will know if you are successful if there are no dissonant “beats” between the pitches. 4 The next goal is to immediately sound the two pitches - without any beats - and sustain them

EXAMPLE 11 Clarinet

Voice

 44   44

 

 

 

 

NB - In all examples the voice part is transposed to match the clarinet part.



Stage #4 Once you are able to successfully perform Stages #1- #3, attempt sustaining a single tome while playing moving notes on the clarinet the same time: 1 Begin by matching pitch with a note in your range and think of that as the tonic. 2 Hold on to that note and play arpeggios and scale segments above or below it. 3 Focus on the tonic pitch which you are humming 4 Listen to check that there are no fluctuations in the sung pitch as you go through the exercise. 5 Similarly, listen for the intervals that are formed as the scale progresses. 6 If you’re in doubt, go back to the tonic and then continue from where you left off. 7 Work up to playing full scales, arpeggios, and other patterns. 8 If there are no beats when you return to tonic, then you’re successful.

EXAMPLE 12

Voice

V.



                                     

Clarinet

Cl.

 44   44 





EXAMPLE 13

 44                  44    

Clarinet

Voice

Cl.

V.



       





QUICK TIPS Transpose these exercises into a comfortable key Try them in minor modes as well Invert the voices Be creative and invent your own!

Should the sung pitch fluctuate when practicing these exercises, analyze whether if it tends to go higher or lower than where you started and compensate. A good tip is to pick scales that not only fit your vocal range, but also require no conscious effort to play. Remember to listen to each vertical interval as you go up and down the passage. This will help train your ear to hear the unique qualities of the dyads. Pay particular attention to the differences between major and minor intervals. You may find that the note you are singing will tend to creep towards the note you are playing.



Stage #5 Next – the same procedure but in opposite! While holding on to a sounding note on the clarinet, first match the pitch, then try to sing scales and arpeggios. Again, this where thinking in solfege will be invaluable. One thing that you may notice is that when you sing this way, the intervals can seem larger than if you were to sing them without the clarinet. When you begin to hear and more importantly feel the relationship between the intervals, it is time to work towards playing them right away. 1 Decide what interval and notes you would like to use. Initially a unison/octave 3rd or 5th is best. Remember to keep them in your vocal range. 2 Start by matching the pitch of the note you want to sing. 3 Finger the other note on the clarinet. 4 Take a breath and try to replicate that sound right away. 5 Finally, return the fingering on the clarinet to the pitch you are singing and see if they still match.

EXAMPLE 14 Clarinet

Voice

 44   44 

 

 







 





EXAMPLE 15 Clarinet

Voice

 44 



    44                



EXAMPLE 16 Clarinet

Voice

   44                   44               

EXAMPLE 17 Clarinet

Voice

 44                 44              

EXAMPLE 18 Clarinet

Voice

Cl.

S.

 44                 44                

       

       

       

     

EXAMPLE 19 Clarinet

Voice

Cl.

V.

 44                                44                

                    37 © Adam Berkowitz 2010. All Rights Reserved.


EXAMPLE 20

 43    3 4             

Clarinet

Voice

Cl.

V.

                                   

               

PRACTICE TIPS Listen carefully Don’t rush Fix problems through slow repetition Follow each step with attention to detail Don’t move on to the next step before mastering the step you are working on.

Remember that if your throat becomes tired or sore, stop and rest or practice another technique until you feel that it has returned to normal. You may get some relief by having water on hand while you practice. If you have serious concerns about the level of discomfort you are feeling be sure to consult a professional vocalist to get some advice about proper vocal technique. You may also wish to consult a doctor if the soreness persists.



Benefits and Goals In singing while playing, your goals are: • To keep the throat open • To maintain constant air • To sound correct intervals by using solfege This technique will help you: • Develop good tone production by ensuring that the throat is not tense or constricted. Singing and playing forces you to keep the throat relaxed which results in a better air stream and tone in regular practice. • Demonstrate how much air a clarinet can handle. • Enable you to divide your concentration between multiple tasks and parts which is an essential skill for all musicians. Please do not get discouraged. Be patient with yourself. Enjoy the process and the unique sounds you can produce.


Advanced Contemporary Techniques for the Clarinet: 4 Multiphonics

4

Multiphonics

Instruments such as the piano, guitar, or violin play chords or stops, and wind instruments can only play one note at a time, right? Well, not quite. As I’ve already detailed, you can sing and play at the same time to get two notes sounding together. By changing the voicing, using unique fingerings or other means, the clarinet can sound at least two notes at a time. This is called a multiphonic. The clarinet is capable of vivid, varied, and wonderful multiphonic sounds. Learning about multiphonics is a terrific way to explore the unique acoustical properties of the clarinet and clarinet playing in general. There are two methods of producing these sonorities. The first involves using voicing only and is an exploration of the harmonic series. We’ll call this the “direct” style because these sounds are derived directly from the harmonic series. The second type of multiphonic is somewhat better known. We’ll call this the “indirect” style because it relies not only on voicing, but also on unique finger combinations. Combining these will allow you to separate or crack apart the separate tones

REMEMBER You must make subtle adjustments to your embouchure and blowing pressure in order to play multiphonics Multiphonics require precise control of the embouchure and airstream, as well as the memorization of nonstandard fingerings



Learning Direct Multiphonics Stage #1 1 Begin by playing a middle C. 2 Add the register key to sound a G. 3 Once that is stable, remove the register key and continue to hold that pitch. 4 Continue up chromatically - C#/G# - until you reach F/C. When you can do this well… 5 Continue the same exercise below C going down as far as you can. A tip – the farther down you play, more you will have to move your tongue towards the front of the mouth.

Stage #2 Repeat the above exercise by trying to pitch the harmonic without using the register key first the exercise. Make sure that the voicing is consistently high and forward in the mouth. If the harmonic drops down, the problem is that the voicing or air is unstable. As you descend past C/G into the lower register of the clarinet, you will have to work harder to keep the tone in the higher partial.

Further Exercises Chromatic Descent 1 Start with the interval throat F to clarion C. 2 Descend chromatically without the register key. Remember to keep a high and forward voicing throughout the exercise.

The Bugle 1 While sitting, close the bell of the clarinet with your leg and finger a low E. 2 Blow. 3 Try to get any pitch to sound to start. 4 Have a go at manipulating the pitches according to the harmonic series. 5 If you feeling particularly brave, attempt a simple melody like “Twinkle, Twinkle”



Whistling Away from the clarinet, practice simple whistling. When we whistle our tongues move in order to change the pitch. The higher you want to whistle the higher the tongue must go and vice versa. The highest note you can whistle is also a pretty good approximation of your best voicing. There are many other exercises that you can use to practice playing the harmonic series and some will be included at the end of the section.

Beyond the Third Partial Once you feel comfortable with reaching the third partial - i.e., C to G - try reaching the fifth and even the seventh. You will observe that by starting on C you will have played G, E, and A. You should also notice that, according to how we usually finger these notes, they are all related. The differences concern how the notes are vented (i.e. which tone holes are opened or closed). During your practice sessions, you may notice another phenomenon. On occasion when you try to go from one partial to the next, the result may not be clean. There may be some additional sound in between the two pitches. This can also occur when you are trying to sustain a harmonic and your voicing or air changes. The intermediate sound represents a type of multiphonic - two parts of the overtone series have sounded simultaneously. In order to repeat the technique, try to replicate that same voicing. If you can’t find it, look for it by slowly moving the tongue in and out of your usual playing position. Basically, you’ll be practicing in a manner similar to how you worked on the harmonic series. The only difference will be that you are intentionally looking for the places where that series will crack and allow you to play at least two notes at once.



Learning Indirect Multiphonics The second type of multiphonic, which I’ve called “indirect”, is somewhat better known than the first. It relies not only on voicing but also on unique finger combinations which you to separate or crack apart separate tones. Composers often include fingering charts for the multiphonics they want you to produce. Some composers, like William O. Smith or Ron Caravan, are better than others at providing accurate charts. It can be extremely helpful to practice micro-tonal fingerings in conjunction with multiphonics.

How to Learn Indirect Multiphonics The method of practicing this technique is similar to the first one. 1 Pick a multiphonic fingering that you want to try to play. This can be from a list or from a piece. 2 Starting with the bottom note, try to play each note individually using only that fingering. Note - if you do this with a tuner be aware that it is likely that none of the pitches will be “in tune”. The tuner will only show if you are in the right pitch area. 3 Make sure that you have a good idea of what each tone sounds like and how they will sound as a group. A good aural “image” of the multiphonic can save you a lot of time. This is similar to mentally “hearing” pitches in the altissimo register before actually playing them. 4 Once you can play the notes one at a time, try to put them all together. This is usually a matter of experimenting with the voicing and airflow. Making the embouchure looser or tighter can also help.



EXAMPLE 20 

= harmonic/no register key

 

 44  







                            







       













                                           

Etc...

 



























Etc...

n





  

  

 n

 

 





     n

 

F#

 





Ab















Use other fingerings from the Multiphonics Etude to further enhance this exercise.




 

 


Here are the fingerings used in the multiphonic etude:

Multiphonic

Fingering

1

T xxx xox F#

2

xxx xoo

3

xxx ooo

4

T xxo xox F#

5

T Ab xxx ooo

6

T xxo xox Eb

7

T xox xxo F#

8

T xox xox Eb

9

xxx xxx E

10

R xxx xxx E

11

T tr4 xxx oxx Eb

12

T Ab xxx xxx C

13

T A xxx xxx C



Each multiphonic has a different fingering. There are a vast number of possible fingerings that will allow you to play multiphonics. Books with extensive fingering charts that I recommend include: • Multiphonics and Other Contemporary Clarinet Techniques - Gerald Farmer • New Directions for Clarinet - Philip Rehfeldt • The Bass Clarinet Manual - Henri Bok Having listed these resources, I do encourage you to feel free to experiment with finding new ones. Often times you can find combinations that move smoothly from one sonority to another by changing the pinky keys. Also experiment with playing and reading fingerings for micro-tones. It is essential that you become experienced in reading alternative fingerings so that you can play multiphonics properly.



Benefits and Goals Your ultimate practice goal should be to use multiphonics fluidly and with harmonic and timbre sophistication. With “direct” multiphonics you will: • Develop a fine control over air, embouchure, and voicing. While “indirect” multiphonics will enable you: • To gain a sense of fluency in unusual fingerings when they appear. • To establish a greater sensitivity to intonation. Most multiphonics incorporate elements which are not strictly “in tune”.


Advanced Contemporary Techniques for the Clarinet: Conclusion

Conclusion Extended techniques require the clarinetist to use his or her instrument in a style outside that of historical tradition. This guide began with the idea that these are, or should be, an integral aspect of the contemporary clarinetist’s performance repertoire. My aims have been to provide helpful definitions, instruction, practice strategies, and exercises for a key set of four: • Double tonguing • Circular breathing • Singing and playing • Multiphonics Even for those who are more interested in the traditional path, I hope you now appreciate that practicing these techniques can lead to valuable insights into how the clarinet works. Examples • Practicing circular breathing will lead to better breath control. • Work on double tonguing will help speed up articulation in general. • Singing and playing is a great way to develop dividing your concentration. • Mastering multiphonics will lead to a greater sensitivity for voicing and breath control. Constant practice and refinement of basic techniques is always necessary in order to maintain a high level of musicianship. However, that same musicianship can only grow when a performer reaches beyond the repertoire and techniques with which they are comfortable. Learning to be proficient at anything takes time. You should not expect to become an expert in any given area after a mere one or two practice sessions. It is important to recognize the progress you are making. One way to do that is to record your practice sessions over time and critically listen for improvement. Go slowly and focus on what you are achieving.


Advanced Contemporary Techniques for the Clarinet: Conclusion

An attitude of persistent curiosity, along with a constant thirst to learn and develop, adds challenge and excitement for musicians. This applies both to performance and composition and of course, audiences. Your task now is to experiment to produce an expanded musical range. Be bold!


Advanced Contemporary Techniques for the Clarinet: The Etudes

The Etudes Double Tonguing Etude

            Moderate, Improvisatory 



flz

Adam Berkowitz

        n k n etc...

flick

 

 

T

 



mf

repeat as needed

                                                        From here on double tongue as much as possible. Use the marked articulations as a guide.

  

flick





k¦

3

k

k

n

n

k

k



pull back

                             3

push ahead

           k n k

.

gliss

flz

3

                       flick

k k k k

alternate flick/flz

normal

flz

n k n k

Feel free to take liberties with the tempo and dynamics in this etude. The goal should be to explore a wide range of articulated sounds. For the flutter tongue (flz), use the back of the tongue to contrast it with the flick techique.


flick

pp


Circular Breathing Etude

Clarinet in Bb

         

  

Play these notes in any order while maintaining the trill. Hold trill and repeat notes ad. lib.

Adam Berkowitz

Repeat ad. lib.

         

 

mf

                                                      p

24  

Repeat ad. lib.

                              

    6 6 6                                      44 6 

cresc.

f

 44                      p¦cresc.



                 4x

ff decresc.

Copyright © 2006


    

(last time)

n


Vocalization Etude

3    24   46       46  4        24   46  44  46 43     Moderato

 44

Clarinet in Bb

mp

Voice

n

 46      45   5 4  46         43          43

repeat ad lib. rit. last time

 



mf

free vocal gliss

Voice

mf

12

Cl.

A tempo, Legato and laid back 3

3



3

Voice

 46 

D.C.

 

 



 

 





 

 

 

 

        46                    46       From here on mix the voice and clarinet parts freely.

3

Voice

43

 

 46   

16

Cl.



44     24     44 24               43       46   43     46 

43         

7

Cl.



n





f

similar to the beginning 



        44        44               44     44    

20

Cl.

Voice



23

Cl.

Voice

Use independent dynamic swells in both parts in bar 23.

This etude can be transposed as needed. Always maintain a comfortable dynamic. Never strain to get the vocal part.


24  44  24  44      




Multiphonics Etude

                                                                        Free (ad lib.)

1

Adam Berkowitz

15 - 30" on A#

15"

Clarinet in Bb

2

3

4

Cl.

5

30"

4"

15"

6

7

10 - 20" as at beg. on G#

Cl.

     

      

8

Cl.

9

  

11

Cl.





  

    

4" use fingerings below



  



10

15"

  

12

13



Improvise on notes within [¦]. Durations are approximate. 1

2

     

     F# 

11

   

      

Eb

12

     

3

4

     

     F# 

6

5

     

      Eb

Ab

13

Ab

C

     

A

C

   

      

Eb

7

       F#

8

9

       Eb

           Eb

Copyright © 2010


      E 

          

Eb

10

       E 

For these fingerings, freely use the LH fingers to modulate the pitch basic pitch created by the trill key combinations.

Advanced Contemporary Techniques for Clarinet

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