Introduction to "extended" techniques for Bb and Bass Clarinets: A Guide for Composers PART ONE
ฝัง
- เผยแพร่เมื่อ 2 มิ.ย. 2024
- Learn about how to write extended techniques for the clarinet and bass clarinet with this video! Blogposts that explain things further linked below. Leave questions in the comments!
To support the channel, please consider becoming a patron for as little as $1 a month! / heatherroche
For business inquiries, or if your institution/college/university/conservatory is interested in having me for a workshop or masterclass, e-mail: heather@heatherroche.net
If you’d like to book me for a recording session, you can do so on Fiverr: www.fiverr.com/s/1Z908z
Check out more information on my website -- www.heatherroche.net
My Notion templates heatherroche.gumroad.com/
And get Notion! It's great: affiliate.notion.so/ttzlt8eyidt7
My clarinet gear:
Vandoren V12 reeds: www.amazon.co.uk/VANDOREN-CR1...
Legere bass clarinet reeds: www.amazon.co.uk/Legere-Bass-...
Vandoren Hygro Reed case: www.amazon.co.uk/Vandoren-Hyg...
Connect with me on social media:
/ heather_roche
/ heather_roche
Links to Further Information:
Clarinet Acoustics: newt.phys.unsw.edu.au/jw/clar...
Clarinet Articulation: heatherroche.net/2014/04/04/o...
Key Clicks: heatherroche.net/2018/07/23/b...
Multiphonics - just go to www.heatherroche.net and look at the TOC for all the multiphonics links!
Alternatively, check out this playlist of multiphonic-related videos by Scott McLaughlin: • Garden of Forking Paths
Glissandi: heatherroche.net/2014/02/18/o...
Microtones: heatherroche.net/2014/08/30/t...
www.jasonalder.com/fingeringch...
Using the Voice: heatherroche.net/2014/05/27/o...
0:00 Introduction / How the Clarinet Works
2:27 Ranges of Clarinets
5:40 Articulations (Slap/Flutter/etc)
15:50 Introduction to Multiphonics
28:59 Glissandi
35:00 Microtonality
42:00 Using the Voice
Links to Music:
Johan Svensson, Amperian Loops Part III
• Johan Svensson: ampèr...
Carola Bauckholt, Klarinettentrio
• Carola Bauckholt: Klar...
Sara Glojnaric, Sugarcoating #2
• Sara Glojnarić - sugar...
Salvatore Sciarrino, Let Me Die Before I Wake
• Salvatore Sciarrino - ...
Liza Lim, Sonorous Body
• Video
Georgia Koumara, Walk in and Find your Supper!
• Georgia Koumará - Walk...
Scott McLaughlin, Nano
• Video
Georges Aperghis, 280 Mesures
• Aperghis: 280 mesures ... - เพลง
Your website has been a guiding light for composers for so many years. Thank you for all you do and congrats in advance to reaching 1k subs here!
Thank you! I can't really believe it - thanks for being one of them and for the support here. Happy composing! ♥️
@@hroche83 absolutely, thank you again!
This video is a gold mine. Just in time as I am composing for an ensemble that has two clarinets. Thank you so much for all your videos and blog posts, I wish we had similar resources for other instruments (looking at you, oboe...)
That’s lovely to read - glad it’s useful :)
Hi Heather Roche - I’m a composer and have found your videos really informative!
I recently composed a solo work for clarinet implementing some of the tips and techniques which I’d love to share the score for (of course no pressure at all to perform!)
Hi Joshua, you can find my e-mail address in the description - happy to take a look! (although quite busy for the next 10 days or so so might take me awhile to respond)
Hi! Thank you so much for the video.
I’m wondering if there are pitches that are better for a greater variety of color fingerings. Ideally, I’m hoping for a few options going from very subtle (or almost no change in pitch) to something fairly present (quarter tone-ish or larger). I would care about having some sort of gradation, not the specific micro-intervals. And in a case like this, is it still possible to use a notation similar to Baca’s MYRKR or would you need specific fingerings?
Hi Adrian, I don't need specific fingerings. It's a bit hard to explain without showing you on the clarinet, but if you look at a clarinet fingering chart, you see there are six vertical holes that basically make up the core of any chart? The more of those that are closed from the top down, the fewer options there are for colour fingerings. So, for example: if I'm playing from a low E to a low G, not so many options. If I'm playing from a B (middle of staff) to a D, same deal (the 12th above that, so same fingering w register key). Otherwise there are always a few options, but they increase the fewer of these core fingers that are down. Hope that helps a bit?
@@hroche83 Thank you. Yes, that is super helpful! I’ll keep an eye on the fingerings and maybe focus on pitches that are played mostly with the left hand.
Hello! Thank you for the video!
I have a couple of questions about the under blown multiphonics that you mention at 7:55.
Is it the high pitch that I must notate?
Do you have any kind of control on the lower pitch?
How would I notate it?
Would writing "under blown flutter tongue" on the top of the score, notating the higher pitch, be a good solution?
Thank you very much for your time and merry Christmas!!
Hi Valentin! It's generally most important to notate the high pitch (but useful if you notate both, since there are occasionally multiple options for the high note in the altissimo register) - if you check out this blog post - heatherroche.net/2019/11/05/underblown-bb-clarinet-multiphonics/ - that might help (there's a separate one for bass clarinet if you're going for the bass!) -- are you one of the Goldsmiths composers? If so, see you in the new year :)