Advanced Contemporary Techniques For Clarinet

Advanced Contemporary
Techniques for the Clarinet

A Step by Step Guide to Mastery in
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
Introduction
Double Tonguing
Standard Technique
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 Musics Community Division, I take my educative work
very seriously. While maintaining a studio of private students, Ive 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
2
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.
3
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 clarinets 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
4
Advanced Contemporary Techniques for the Clarinet: 1 Double Tonguing
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. Ill 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 players 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 Pinos book - The Clarinet and Clarinet Playing.
5
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 youll 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 Im 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 dont 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
6
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 youre doing youll 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
7
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
styles 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, its time to move towards mixing
the syllables.
8
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
k k k etc...
nee nee nee nee
k k k k k k k k
n n n n n n n n
n n n n etc...
9
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...
10
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).
11
EXAMPLE 3
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
12
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
13
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. Youll 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.
14
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?
15
How to Learn the Flicking Technique

Although initially the flicking method can be tricky to learn, with focused practice once
youve 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 reeds 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.
16
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, youll 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 everyones mouth shape is
different and you may have to make slight alterations to what is described here.
REMEMBER
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 youre comfortable across the full range of the instrument.
If you feel your tongue getting tired or sore, you should take a break.
17
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.
18
EXAMPLE 7
On the notes before the "flick" play as written or double tongue (nee kee nee kee)
44

flick
flick
flick
sim.
REMEMBER
Articulation should have an even sound
Preserve the lightness and position of
the tongue
19
Benefits and Goals

Double tonguing is a useful skill and helpful addition to a clarinetists 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!
20
Advanced Contemporary Techniques for the Clarinet: 2 Circular Breathing
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 wont 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 fingers 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 Respighis 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.
21
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
Dont 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.
22
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, youll be able to see any inconsistencies in the
water. The bubbles will get bigger and smaller if there are inconsistencies. Believe me Ive 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.
23
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.
24
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 youll 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 youll 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.
25
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 youre 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.
26
EXAMPLE 9
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.
27
EXAMPLE 10
Repeat each exercise many times. Listen for smooth technique, accuracy, and consistency of tone.
44

sim...
f, mf, mp, p
4
4
4

4
28
DONT FORGET
Once youve 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.
29
Advanced Contemporary Techniques for the Clarinet: 3 Singing While Playing
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 Ive broken
down the subject into even smaller stages.
30
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, its time to pick up your instrument.
31
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
32
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.
Dont 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.
33
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 youre 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 youre successful.
EXAMPLE 12
Voice
V.
Clarinet
Cl.
44
44
34
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.
35
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
36
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
EXAMPLE 20
43
3
4

Clarinet
Voice
Cl.
V.
PRACTICE TIPS
Listen carefully
Dont rush
Fix problems through slow repetition
Follow each step with attention to detail
Dont 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.
38
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.
39
Advanced Contemporary Techniques for the Clarinet: 4 Multiphonics
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 Ive 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. Well call this the direct style
because these sounds are derived directly from the harmonic series.
The second type of multiphonic is somewhat better known. Well 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
40
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
41
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 cant find it,
look for it by slowly moving the tongue in and out of your usual playing position.
Basically, youll 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.
42
Learning Indirect Multiphonics

The second type of multiphonic, which Ive 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.
43
EXAMPLE 20
= harmonic/no register key
44
Etc...
Etc...
F#
Ab
Use other fingerings from the Multiphonics Etude to further enhance this exercise.
44
Here are the fingerings used in the multiphonic etude:
Multiphonic
Fingering
T xxx xox F#
xxx xoo
xxx ooo
T xxo xox F#
T Ab xxx ooo
T xxo xox Eb
T xox xxo F#
T xox xox Eb
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
45
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.
46
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.
47
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 clarinetists 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.
48
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!
49
Advanced Contemporary Techniques for the Clarinet: The Etudes
The Etudes
Double Tonguing Etude

Moderate, Improvisatory
flz
Adam Berkowitz

n k n etc...
flick
mf
repeat as needed
From here on double tongue as much as possible. Use the marked articulations as a guide.
flick
pull back
push ahead
k n k
gliss
flz
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.
50
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
24
Repeat ad. lib.
6
6
6

44
6
cresc.
44
pcresc.

4x
ff decresc.
Copyright 2006
51
(last time)
Vocalization Etude
3 24 46
46
4
24 46
44
46
43
Moderato
44
Clarinet in Bb
mp
Voice
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
Voice
46
D.C.

46

46
From here on mix the voice and clarinet parts freely.
Voice
43
46
16
Cl.
44 24
44
24

43 46
43

46
43
Cl.
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.
52
24
44
24
44
Multiphonics Etude
Free (ad lib.)
Adam Berkowitz
15 - 30" on A#
15"
Clarinet in Bb
Cl.
30"
4"
15"
10 - 20" as at beg. on G#
Cl.
Cl.
11
Cl.
4" use fingerings below
10
15"
12
13
Improvise on notes within []. Durations are approximate.

1
F#
11
Eb
12
F#
Eb
Ab
13
Ab
Eb
F#
Eb
Eb
Copyright 2010
53
Eb
10
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

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Advanced Contemporary Techniques For Clarinet

Uploaded by

Copyright:

Available Formats

Advanced Contemporary

Techniques for the Clarinet

By Dr. Adam Berkowitz

For my son, Noam who has given me the

Singing While Playing

Advanced Contemporary Techniques for the Clarinet: About The Author

About The Author

Advanced Contemporary Techniques for the Clarinet: About The Author

These works include:

Advanced Contemporary Techniques for the Clarinet: Introduction

Advanced Contemporary Techniques for the Clarinet: Introduction

Advanced Contemporary Techniques for the Clarinet: 1 Double Tonguing

Advanced Contemporary Techniques for the Clarinet: 1 Double Tonguing

Advanced Contemporary Techniques for the Clarinet: 1 Double Tonguing

Choosing Your Preferred Style

Standard Double Tonguing Technique

Advanced Contemporary Techniques for the Clarinet: 1 Double Tonguing

How to Learn the Standard Technique

Advanced Contemporary Techniques for the Clarinet: 1 Double Tonguing

nee nee nee nee

kee kee kee kee

nee nee nee nee

nee nee nee nee

kee kee kee kee

nee nee nee nee

Advanced Contemporary Techniques for the Clarinet: 1 Double Tonguing

nee nee nee nee kee kee kee kee

nee nee kee kee nee nee kee kee

Advanced Contemporary Techniques for the Clarinet: 1 Double Tonguing

Advanced Contemporary Techniques for the Clarinet: 1 Double Tonguing

kee nee kee nee etc...

Advanced Contemporary Techniques for the Clarinet: 1 Double Tonguing

kee nee kee nee etc...

Try this exercise on every scale

Advanced Contemporary Techniques for the Clarinet: 1 Double Tonguing

Advanced Contemporary Techniques for the Clarinet: 1 Double Tonguing

nee kee nee kee nee

nee kee nee kee nee etc...

Advanced Contemporary Techniques for the Clarinet: 1 Double Tonguing

How to Learn the Flicking Technique

Advanced Contemporary Techniques for the Clarinet: 1 Double Tonguing

Advanced Contemporary Techniques for the Clarinet: 1 Double Tonguing

Advanced Contemporary Techniques for the Clarinet: 1 Double Tonguing

Advanced Contemporary Techniques for the Clarinet: 1 Double Tonguing

Benefits and Goals

Advanced Contemporary Techniques for the Clarinet: 2 Circular Breathing

Advanced Contemporary Techniques for the Clarinet: 2 Circular Breathing

Learning How to Circular Breathe

Advanced Contemporary Techniques for the Clarinet: 2 Circular Breathing

Circular Breathing A - Normal

Air goes in and then out again in one motion.

Advanced Contemporary Techniques for the Clarinet: 2 Circular Breathing

Some air gets stored in the cheeks while

The air in the cheeks goes out while

Advanced Contemporary Techniques for the Clarinet: 2 Circular Breathing

Advanced Contemporary Techniques for the Clarinet: 2 Circular Breathing

Circular breathing is not a substitute for

Advanced Contemporary Techniques for the Clarinet: 2 Circular Breathing

Advanced Contemporary Techniques for the Clarinet: 2 Circular Breathing

Advanced Contemporary Techniques for the Clarinet: 2 Circular Breathing

Once youve mastered these patterns try

Benefits and Goals