History of Contemporary Clarinet Techniques

History of Contemporary Techniques

Where did contemporary techniques for the clarinet originate?

-       In Greek museums there are engravings of people playing double pipe instruments. These were engraved around 3000BC. The modern version of double pipe playing has been transformed into ‘double clarinet playing’. In 1977 a solo piece for double clarinet was written.

-       Flutter tonguing first seemed to appear in Schoenberg’s music. There is little evidence to prove it had been explored before him.

-       The glissando is thought to have originated from the Trombone. Trombone’s were used to imitate artists in U.S circus bands and often the glissando technique was used. The most famous use of a clarinet glissando is in Gershwin’s ‘Rhapsody in Blue’. Gershwin didn’t actually compose the note as a glissando, instead he heard the principle clarinettist warming up with the technique and asked him to incorporate it into the piece.

-       Growling was first heard in Sidney Bechet’s soprano saxophone recordings from New Orleans. This dated back to the early 30’s. He was also known for sophisticated use of microtone inflections.

-       Multiphonics can be found in Berio’s music. In particular, the sequenza. Multiphonics can also be found in Weber’s horn concerto, which was composed in 1806 and was incredibly startling at the time. (see example)

-       Another origin of multiphonics can be heard from singing techniques. Janis Joplin had a certain quality to her voice which made it seem as though she was splitting notes. This created multiphonics.

The use of mutes can be first seen in Berlioz’s music. This was achieved by putting a bag over the end of the clarinet. 

• William O Smith was the master of writing for contemporary clarinet. He wrote ‘variants for solo clarinet’
• Alexander Gehr ‘paraphrase’
• Iannis Xenaki’s ‘charisma’ requires a low E multiphonic
• To produce a multiphonic at a quiet dynamic – finger top C but underblow. This is also good to practice as it helps with your control.
• Try and do something memorable in your final exam. Ian demonstrated an example of this which was using the audience to hum a chord and then he improvised a folk melody over the top.

List of extended techniques

1)   Glissando

2)   Multiphonics

3)   ‘Barking’ down the clarinet (William O Smith)

4)   Growling

5)   Flutter tongue

6)   Slap tongue

7)   Hand popping (taking the clarinet apart and popping the hand over the top joint)

8)   Playing without the mouthpiece (like a wooden flute)

9)   Growling

10) Double clarinet playing

11) Using a mute

Clarinet tip!

By practicing very high notes, confidence is gained playing in this register. If there is a high note in a piece (for example, top G) practice notes higher than this such as A, Ab and B. This will make the G seem a lot easier and more comfortable.

When playing top notes RELAX THE EMBOUCHURE. The reed needs to vibrate at such a quick frequency and this can only be achieved if there is enough room.

Try out many different fingerings for the top register. Each clarinet is unique and there a variety of fingers for notes above top C. This applies especially to the bass clarinet.

In order to practice a glissando – play a top C and completely relax the embouchure so that it is flattened. The pitch should be behind the fingers.