M I KKO R A A S A KK A

Exploring the ClarinetA guide to clarinet technique and Finnish clarinet music

© Mikko Raasakka & Fennica Gehrman OyMusic examples are © Fennica Gehrman Oy, unless otherwise indicated

Translation: Jaakko MäntyjärviLayout: Pirkko HuttunenPhotos: Anne RaasakkaMusic examples: Jani KyllönenCD producer: Mikko Murtoniemi

ISBN 978-952-5489-09-5ISMN 979-0-55011-005-2

Painopaikka ?????

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Foreword

Of the woodwind instruments in the standard symphony orchestra, the clarinet is the youngest, but in contempo-rary music it is perhaps the most frequently used thanks to its diversity and !exibility. Finnish composers have demonstrated a particularly keen interest in its expres-sive potential. "is book grew out of the experiences that I myself, as a clarinettist, have had in working with Finnish composers over the past two decades.

"is book, then, is an introduction to the history, structure and properties of the clarinet and an explo-ration of its technical potential. I have drawn on recent examples of music by composers born or living in Fin-land for examples to illustrate particular styles or tech-niques. Most of the music examples featured in the book are also included as sound clips on the enclosed CD.

My target group includes clarinettists wishing to learn more about their instrument and composers inter-ested in writing for it. No previous knowledge of playing the clarinet or of the theory of contemporary music is required; anyone interested in the instrument or in con-temporary music, whether amateur or professional, will #nd the text accessible.

"ere are #ve chapters in the book, preceded by a preface surveying the history of Finnish clarinet music. "e #rst chapter details the history of the clarinet and of clarinet music and the structure and acoustic proper-ties of the clarinet. It also presents the members of the clarinet family apart from the bass clarinet, which merits a separate chapter. "e second chapter is about the basic technique of clarinet playing: breathing, #ngering, artic-ulation, embouchure and dynamic potential. I also dis-cuss 20th-century techniques that did not produce new

sounds as such – circular breathing and double-tonguing. Clarinettists sometimes use these techniques even when playing older music. "e third and fourth chapters de-scribe techniques required for producing sounds beyond the sphere of the Classical and Romantic styles. "ese have mainly emerged in the latter half of the 20th centu-ry. "e third chapter details monophonic and percussive new techniques such as glides, frullato and slap tongue, and the fourth chapter is dedicated to multiphonics.

"e clarinet family includes many instrument in dif-ferent sizes and tunings. "e properties and techniques discussed in chapters 1 to 4 only apply to the most com-mon of these, the modern Boehm clarinet in B !at. "e #$h chapter, which features the bass clarinet and be-yond, is an introduction to the world of low clarinets. "e bass clarinet is such a di%erent instrument from the B !at clarinet that it would require a book unto itself, and I hope to have the opportunity to write that book one day.

"is book is based on the thesis incorporated in my doctorate at the Sibelius Academy, published in Finnish in 2005 under the title Aapelin uudet soitteet [‘Aapeli’s new tunes’, a reference to a character in a Finnish 19th-century novel who played the clarinet], being an expand-ed, updated, partly rewritten English-language version of the same. "e preface, the bass clarinet chapter, most of the music examples and the CD are completely new in this version.

Although I have aimed to describe clarinet tech-niques in as much detail as possible, I would like to stress that any composers wishing to employ unusual clarinet sounds in their music would do well to collabo-

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rate with a clarinettist. Not even the best of manuals can match the ideas and the energy that emerge from direct interaction between composer and performer. Copying new techniques from a book may result in music that simply sounds bad or is unreasonably di&cult to play. "is book does not seek to o%er ready-made answers or simple truths. What I hope is that it will encourage and inspire an exploration of the potential of the instru-ment.

Pitches are given according to the practice usual in English, and octaves are designated with a number, the lowest C on the piano being C0 and ‘middle C’ being C4.1 "e music examples are in B !at unless otherwise speci#ed; in other words, they sound a major second lower than written. "ere is a #ngering chart inside the back cover to make it easier to interpret the #ngerings given in the book.

"e writing of this book was made possible by a grant from the Finnish Cultural Foundation, and its translation was aided by a grant from the Foundation for the Promotion of Finnish Music (LUSES).

"e process of completing Exploring the Clarinet has been long and complicated, and the #nished product is actually a collaboration between several highly quali-#ed professionals. Once I had #nished the manuscript in Finnish, it was translated into English by Jaakko Mänty-järvi and then reviewed for content by Greg Barrett, As-sociate Professor of Clarinet at Northern Illinois Uni-versity. Finally, with their continued assistance, I went

over the #nal English text to ensure that it was equiva-lent with the original. I received invaluable help for the section on the acoustic properties of the clarinet (1.4) from Jussi Virolainen M.Sc.(Tech.), himself a clarinet-tist. "e music examples were created by Jani Kyllönen, and the layout was designed by graphic designer Pirkko Huttunen, with input from Jani and myself. "e photos in the book were taken by my dear wife, Anne Raasakka MA, and the music example CD was produced by sound designer Mikko Murtoniemi. To all of the above I wish to express my heartfelt thanks.

I would like to extend my thanks to the following for supplying valuable information and feedback and for providing support during the writing of this book: the Finnish Music Information Centre (FIMIC), Fen-nica Gehrman music publishers, teachers and fellow students at the DocMus unit at the Sibelius Academy, and the numerous experts whom I have consulted on Finnish music, the clarinet, instrument building, com-position, writing, physiology, acoustics and languages. "anks are also due to my family for their patience and love. And I would also like to thank Finnish composers for the music they have written; without it, this book would not exist.

Helsinki, 1 December 2009

Mikko Raasakka

1 The ‘scientific pitch notation’ recommended by the Acoustical Society of American in 1939.

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Foreword 3

Contents 5

PREFACE: Finnish clarinet music 7

1 INTRODUCTION TO THE CLARINET 16

1.1 History of the clarinet 16 1.1.1 Evolution 1.1.2 Classical and Romantic clarinet music 17 1.1.3 Clarinet music in the 20th century 18

1.2 Structure of the clarinet 20 1.2.1 Parts of the clarinet 20 1.2.2 Keywork 22

1.3 Clarinet family 24 1.3.1 Members of the clarinet family 24 1.3.2 High clarinets 25 1.3.3 Clarinets in C, Bb and A 26 1.3.4 Basset horn and alto clarinet 27 1.3.5 One musician, many instruments 27

1.4 Acoustic properties 28 1.4.1 Overtone series 28 1.4.2 Overblowing 28

1.5 Registers and range 30 1.5.1 Registers of the clarinet 30 1.5.2 Low register and throat tones 30 1.5.3 Middle register 31 1.5.4 High register 31 1.5.5 Range 32

2 BASIC TECHNIQUE 33 2.1 Breathing technique and embouchure 33 2.1.1 Diaphragm 33 2.1.2 Support 33 2.1.3 Metaphors as aids in breathing technique 34 2.1.4 Support as a broader concept 34 2.1.5 Circular breathing 35 2.1.6 Embouchure and the mouth cavity 36

2.2 Articulation 37 2.2.1 Tonguing, attack and articulation 37 2.2.2 Basic articulations 37 2.2.3 Double-tonguing 38 2.2.4 Dal niente and al niente 40

2.3 Other dimensions of technique 41 2.3.1 Dynamic potential of the clarinet 41 2.3.2 Auxiliary #ngerings 41 2.3.3 Fingering technique: rapid #gures 41 2.3.4 Vibrato 43

3 NEW TECHNIQUES 45

3.1 Microtones 45 3.1.1 Using and notating microtones 45 3.1.2 Intervals based on the overtone series 46 3.1.3 Quarter-tones 48 3.1.4 Other uses for microtones 49 3.2 Pitch alteration 50 3.2.1 Embouchure and pitch alteration 50 3.2.2 Glissando 50 3.2.3 Portamento 52 3.2.4 Pitch bend 53 3.2.5 Overtone glissando 55

Contents

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3.3 Changes in tonal colour 56 3.3.1 Bell up! 56 3.3.2 Frullato 56 3.3.3 Colla voce (vocal sounds) I: duets between instrument and voice 56 3.3.4 Colla voce (vocal sounds) II: colour e%ects 58 3.3.5 Colour #ngerings I: harmonics 59 3.3.6 Colour #ngerings II: key vibrato and bisbigliando 60 3.3.7 Smorzato 62 3.3.8 Chain trills 63

3.4 Percussion e%ects and noise 63 3.4.1 Slap tongue 63 3.4.2 Breath and air sounds 65 3.4.3 Teeth on reed 65 3.4.4 Tone-hole sounds and key sounds 66 3.4.5 Disassembling the clarinet 67 3.4.6 Mutes 68 3.4.7 Non-vocal human sounds 69

4 MULTIPHONICS 71

4.1 A million multiphonics 71

4.2 Broken tones 72 4.2.1 Broken low tones 72 4.2.2 Multiphonic glissando 74 4.2.3 Broken middle-register tones 75 4.2.4 Broken high tones 76 4.2.5 From normal tone to broken tone 76

4.3 Multiphonics proper 78 4.3.1 Structure of multiphonics 78 4.3.2 Rich multiphonics 80

4.3.3 So$ and bright dyads 81 4.3.4 Aggressive multiphonics 82 4.3.5 Multiphonic #gures 82 4.3.6 "e hymns of Carpe diem! 84

4.4 Multiphonic notation 85

5 BASS CLARINET 87

5.1 Emancipation of the bass clarinet 87 5.2 Mechanism 88 5.3 Range and registers 89 5.4 History 89 5.5 Notation 90 5.6 "e lowest of the low 91

List of #gures 92Bibliography 95

APPENDICES 96 Appendix 1: Harmonics 96Appendix 2: Fingering chart for quarter-tones 97 Appendix 3: Multiphonics: broken tones 102Appendix 4: Multiphonics proper 105Appendix 5: CD track list 110Appendix 6: List of Finnish clarinet music 112Appendix 7: Keywork schematic (back !ap)

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PREFACE: Finnish clarinet music

Today (2009) a lot of solo music for clarinet has been written and is being written in Finland, and is increas-ingly being performed abroad. "e Clarinet Concertos of composers such as Kimmo Hakola, Magnus Lind-berg, Jukka Tiensuu, Einojuhani Rautavaara and Kalevi Aho have found their way to orchestral programmes all around the world. However, the history of Finnish clari-net music is amazingly brief. Of all the concerto-like works for clarinet ever written in Finland, three quar-ters date from the last 20 years. Only a few solo clarinet works are known from the #rst half of the 20th century, and it was not until the 1970s that Finnish composers began to develop an interest in the potential of the in-strument.

"e most active promoter of Finnish clarinet music is Kari Kriikku, who has even been dubbed the great-est single source of inspiration for Finnish contempo-rary music. Ever since his début recital in 1984, he has gone from strength to strength, creating an internation-ally distinguished career with a repertoire in which new Finnish compositions written for him play a major part. Over the past two decades, other Finnish clarinettists have reached international standards too. Contempo-rary music is no longer a cause for fear and loathing, and premieres of new music do not rely on just a handful of hardy pioneers. Finnish composers today have the op-

portunity to work with several clarinettists who are both pro#cient and interested in contemporary music.

From Crusell to the 20th centuryFinnish-born Bernhard Henrik Crusell (1775–1838) played solo clarinet with the Court Capell in Stockholm for four decades. He wrote one opera, three Clarinet Concertos, three Clarinet Quartets and a number of mi-nor wind works (including Air suèdois varié for clarinet and piano or orchestra). Crusell was a consummate pro-fessional, and his compositions are gratifying to play and a joy to listen to. He made inventive use of the technical and expressive potential of the clarinet; the echo e%ects in the second movement of his Concerto in F minor are a case in point. "ese were, in fact, the ‘new techniques’ of his day. Nothing similar had been heard before, even in the concertos of his best-known contemporaries, We-ber and Spohr.

A$er Crusell, a century passed before the clarinet was used as a solo instrument by a Finnish composer again.1 "e composer in question was Aarre Merikanto (1893–1958), and the piece was his Concerto for violin, clarinet, horn and string sextet (1924). "is piece won a prize in a competition organized by the Schott publish-ing house, and accordingly it is usually known as the

1 The only known 19th-century chamber music work with clarinet composed in Finland is the unfinished Sextet for flute, clarinet and string quartet, written by August Engelberg (1817–1850) in Turku. Toivo Kuula (1883–1918) wrote a miniature Andante and Allegro for clarinet, violin, viola and piano in the early years of the 20th century. In 1890–92, Jean Sibelius wrote sketches for an octet or a septet for flute, clarinet and string quintet. This work was never completed, and its thematic material ended up in the orchestral work En Saga. In 2003, Gregory Barrett recreated a version of En Saga for the original septet scoring.

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Schott Concerto. "e clarinet part in this piece is idiom-atic and challenging. It makes use of frullato, which was a very novel e%ect for its time. For the next signi#cant Finnish work for clarinet, we must jump forward to 1954 and the !ree Fantasies for clarinet and piano by Erik Bergman (1911–2006). "is austere yet compelling piece is also one of the #rst dodecaphonic pieces to be written in Finland. Both Merikanto’s and Bergman’s works were premiered abroad, as Finland’s few professional clarinet-tists were orchestral musicians whose solo repertoire was solidly traditional.

Folk in!uences and free-tonality "e prominent role of the clarinet in the Finnish folk music tradition is re!ected in Finnish concert music for the clarinet. Leevi Madetoja (1887–1947), a major early 20th-century symphonic composer, wrote Vanhoja kansantansseja (Old Folk Dances, 1929) for clarinet and piano. "ese are two folk dances transferred to a con-cert music context and could best be described as salon music.

"e folk in!uence is also apparent in the output of Tauno Marttinen (1912–2008), one of the most proli#c Finnish composers ever. He wrote more than a dozen works for clarinet and bass clarinet. "e #rst of these, Delta (1962) for clarinet and piano, is from his dodeca-phonic period. His later clarinet works, from the 1970s and 1980s, could be described as free-tonal and musi-cianly. Perhaps the most satisfying of them is the robust clarinet concerto Hirvenhiihto (!e Elk Skiers, 1974).2 Rhapsodic in form and only just over ten minutes long, it is a joyous frolic for the clarinet with occasional pastoral interludes. Marttinen himself regarded the work as a sort of musical self-portrait.

Pehr Henrik Nordgren (1944–2008) was a signi#-cant symphonic composer. His early Concerto for clari-net, folk instruments and small orchestra (1970) is the #rst full-length clarinet concerto written in Finland. It embodies a conscious juxtaposition of elements from folk music on the one hand and contemporary concert music on the other. It is a unique work which deserves to be better known; a$er its premiere it has only been performed once.

Ahti Karjalainen (1907–86) was a versatile musi-cian and composer who also drew on folk music in his two concertos for clarinet. Pelimannikonsertto (Fiddler Concerto, 1974) is a series of inventive variations on Finnish folk tunes for violin, clarinet, strings and tim-pani. Even more fascinating is his Concerto for clarinet and strings (1984), an Expressionist work whose virtu-oso clarinet part contains two solo cadenzas, the latter culminating in a two-octave glissando.

Pekka Kostiainen (1944– ), better known as a choral composer and choir conductor, wrote Sonata for clarinet and piano in 1978. Reminiscent of Proko#ev, it is one of the #nest Finnish clarinet works that is within the reach of student clarinettists too. Kostiainen has also written a Divertimento (1984) for two clarinets and bassoon or bass clarinet and a folk dance rendition entitled Kol-moispolska (Triple polska, 1979) for clarinet and string quartet.

Harri Wessman (1949– ) is a composer whose style has been described as Neo-Romantic and lyrical. He has written a lot of pedagogical music, tailored for young musicians. Some of Wessman’s more extensive works, such as the Concertino for clarinet and strings (2000) and the Serenade for clarinet and string quartet (2002), are also performable by students.

2 The name refers to an ancient Finnish method of hunting elk. In the spring when the surface of the snow has thawed and then frozen again, an elk’s hooves break through the icy surface while the hunters on skis can glide on top of the ice.

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From avant-garde to ethnoAustrian-born Herman Rechberger (1947– ) is a true Renaissance man in Finnish music. He started out as an avant-garde composer and acquainted himself with elec-tronic music in the 1970s. "rough his travels around the world, he has assimilated in!uences from musical cultures beyond Europe. He has studied Arabian and African musical cultures both as a researcher and as a performing artist.

Rechberger’s most frequently performed clarinet work is KV622 II bis (1978) for clarinet and tape. "e title is derived from the Köchel catalogue number of Mozart’s Clarinet Concerto. Its programme is that of a dream had by a clarinettist who has spent the day des-perately practicing the Mozart. "e tape part contains fu-turistic computer sounds and allusions to Mozart, while the clarinet part is a smorgasbord of novel techniques. "e twisted, dreamlike mood of the piece is perpetuated with multiphonics, frullato, key clicking and playing the mouthpiece alone. Another piece from Rechberger’s experimental period is Scene am… (1981), written for Due Boemi di Praga. Sirba (1982) for four clarinets and electronics and All’ongharese (1983) for bass clarinet and marimba combine Modernist elements with folk music in!uences from eastern Europe.

"e ethnic input is at its most conspicuous in the clarinet concerto Alovlar (2001). Having familiarized himself with Azerbaidzhani music on location, Rech-berger proceeded to use classical Azerbaidzhani scales and other authentic features in Alovlar, scored for clari-net, strings, solo string quartet and frame drum. Al-though the clarinet is the leading solo instrument, the other solo parts are prominent too. "e opening of the

second movement (of three) is dominated by a viola solo imitating the local kemancha spike #ddle. "e rhythmic third movement is underpinned by the frame drum. In the clarinet part, the composer expresses the wish that the clarinettist use Oriental-flavoured playing tech-niques, some of which are notated precisely. "e solo cadenza is le$ completely for the soloist to improvise.

Rechberger’s most recent ‘clarinet work’ is Liru (2006) for two instruments of Finnish origin, the liru3 and kantele.4 Based on music from western Africa, Liru5 was commissioned by the Finnish Literature Society for a festival on the theme of multiculturalism in today’s Finland.

Father "gures of new musicModernism planted its stake in Finnish clarinet music in January 1970 when the extensive solo work Discantus II by Paavo Heininen (1938– ) was premiered by clarinet-tist Martin Fagerlund at his début recital. "is was the #rst Finnish work to make use of new playing techniques for the instrument. In the late 1960s, woodwind mul-tiphonics was cutting-edge stu%, and Heininen’s three solo works titled Discantus (for alto !ute, clarinet and saxophone) explored the polyphonic potential of the in-struments. In Discantus II, the challenge lies both in the multiphonics and in the more traditional virtuoso writ-ing in the score. However, the work is not so much an experiment in tonal colour; instead, it is largely melodic. "e multiphonics, aggressive and so$ in turn, balance the melodic progression. A later clarinet piece by Hei-ninen, Short I (1990), can be performed as a duet with cello or as a clarinet solo. Here, too, Heininen makes use of multiphonics, but mostly so$ diads instead of the

3 The liru is a folk clarinet from eastern Karelia. To date, it has been featured in three concert works.4 The kantele is a zither-like instrument whose ancient version plays an important role in the Finnish national epic, the Kalevala. The modern 36-string

concert kantele has a tuning mechanism similar to that of the modern concert harp. A considerable amount of concert music has been written for the kantele, and it is possible to major in the instrument at the Sibelius Academy.

5 The word liru also means ‘snake’ in an Aboriginal language.

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multi-pitch sound pillars of Discantus II. Gymel (1998) for bass clarinet and tape is the composer’s adaptation of an earlier work for bassoon. "e tape part only contains various sounds of water.

Paavo Heininen has had a considerable in!uence on subsequent generations of composers, both as a model and as Professor of Composition at the Sibelius Acad-emy, a post he held for a considerable period of time. Many of Finland’s best-known composers such as Mag-nus Lindberg, Kaija Saariaho and Jukka Tiensuu are for-mer pupils of Heininen.

Erik Bergman was one of the composers to import dodecaphony to Finland in the 1950s (cf. the !ree Fan-tasies mentioned above). "roughout his long life and ca-reer, he remained in the forefront of Modernism, setting an example for his younger colleagues. His duo Karanssi (1990) for clarinet and cello is a collection of the most imaginative new playing techniques. In that same year, the third major Finnish Modernist Usko Meriläinen (1930–2004) wrote the miniature masterpiece Unes for the same two instruments.6

Pluralists"e music of Einojuhani Rautavaara (1928– ) has at-tained great popularity since the 1990s, especially in the USA. His recent output, including the Clarinet Concerto (2002), could be described as sonorous, free-tonal and Neo-Romantic. "e solo part of the concerto was written in close collaboration with Richard Stoltzman, the clari-nettist who premiered the work. "e solo cadenza is le$ partly for the performer to write (not to improvise, as in some other contemporary concertos). Rautavaara’s bal-anced, terse Sonetto (1969) for clarinet and piano dates from his dodecaphonic period.

Kalevi Aho (1949– ) is Finland’s best-known sym-phonic composer a$er Sibelius. Most of his thirteen symphonies (to date) have been premiered by the Sin-fonia Lahti under Osmo Vänskä. Vänskä, coincidentally, began his career as a clarinettist, and he played the clari-net in the premiere of Aho’s Clarinet Quintet in 1998.7 Aho has also written a concerto for practically every in-strument in the symphony orchestra. He took an interest in the multiphonic properties of the clarinet when writ-ing his Clarinet Concerto in 2005. "e solo part in the #nal movement consists almost wholly of multiphonics, which makes the music anxious and dream-like. Some of the multiphonics in this work are extremely di&cult to execute. As a whole, Aho’s concerto is a ‘heavyweight’ among Finnish clarinet concertos. "e solo part is al-most inhuman in its demands, and the orchestration is rich. "e concerto was premiered by Swedish star clari-nettist Martin Fröst with Osmo Vänskä and the BBC Symphony Orchestra in 2006.

Mikko Heiniö (1949– ) has written a trio for clari-net, cello and piano entitled Treno della notte (2000), a homage to Federico Fellini and his #lm !e City of Women. Heiniö’s trio moves through a fragile noctur-nal mood, virtuoso electricity, hot Latin rhythms and soaring melodic arcs. "e clarinettist is required to play the bass clarinet as well as the clarinet in B !at, which enriches the range of sounds in the piece. Heiniö does not require the clarinettist to improvise or to use new techniques, but its virtuoso writing is so demanding that the clarinet part rivals that of many concertos.

6 Kari Kriikku and cellist Anssi Karttunen commissioned a dozen duos for clarinet and cello from Finnish composers at this time; their subsequent recording of the works, A Due, was released by Ondine Records (ODE 1102-2).

7 Osmo Vänskä is currently Chief Conductor of the Minnesota Orchestra.

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Tiensuu’s gamesJukka Tiensuu (1948– ) is a composer, pianist, harpsi-chordist and the co-founder of two Finnish contempo-rary music festivals, "e Time of Music in Viitasaari and Musica nova Helsinki. Tiensuu’s output as a composer has shi$ed from the complicated and even brutal avant-garde of the 1970s to a lighter idiom featuring character-istic rhythms and witty humour.

Many of Tiensuu’s works resemble games. Plus (1992) can be performed as a trio for clarinet, cello and accordion (Plus IV) or as a duo for any two of these (Plus I–III). "e performers begin the piece by playing the same material, imitating one another according to the ‘rules of the game’ given in the score. In Tiensuu’s trio Beat (1995) for clarinet, cello and piano, the clarinettist is required to tune the instrument a quarter-tone !at in the middle of the piece. "e bass clarinet solo Asteletsa (1999), “for walking bass clarinettist”, is a palindrome both in its title and in its choreography, and the mu-sic itself is a palindrome too. In Vento (1995) for large clarinet choir, some of the performers enter and exit the stage while playing.

Tiensuu’s #rst clarinet concerto, Puro, premiered in 1989, is a classic of Finnish contemporary music. Writ-ten in a single movement, it grows from the overtone se-ries of a single low note into a wild, Oriental-ish dance. A$er an improvised solo cadenza, the music expends its energy in a #nal outburst before fading away. "e title has a double meaning: puro means ‘pure’ in Italian and ‘brook’ in Finnish. Both are easy to associate with the limpid, !owing texture of the work. "e fact that ‘brook’ translates into German as Bach is probably only a nod to the great maestro.

Tiensuu’s second clarinet concerto, Missa (2007),8 is in seven movements, with titles in Latin corresponding

to the parts of the Mass. Missa is more positive in ap-pearance than Puro; the solo clarinet part is lyrical and melodic, punctuated by !urries of staccato notes. Instead of a single solo cadenza, Missa has several brief impro-vised cadenzas meshed with the orchestral texture.

Jukka Tiensuu knows the clarinet. He makes full use of its expressive potential without ever writing anything that is impossibly di&cult or uncomfortable to play.

Ears open!In 1977, a group of young composition students at the Sibelius Academy, sharing a strict Modernist ideology and aesthetic, founded a society named Korvat auki! (Ears open!) to promote contemporary music. "is was a quite exceptional cluster of talent: all of its founding members (Jukka Tiensuu, Jouni Kaipainen, Magnus Lindberg, Esa-Pekka Salonen, Eero Hämeenniemi, Kaija Saariaho, Olli Kortekangas, Tapani Länsiö) went on to create distinguished careers as composers.

Eero Hämeenniemi (1951– ) wrote a Clarinet So-nata (1984) which is #rmly rooted in the Modernist tra-dition and is one of the most important Finnish works for clarinet and piano. Hämeenniemi’s recent output has been in!uenced by his interest in the music and philoso-phy of India. His bass clarinet concerto !e snake in the rope (2000) features four improvised solo cadenzas in which the orchestra and the conductor can join in.

Jouni Kaipainen (1956– ) has described his work Piping Down the Valleys Wild (1984) for bass clarinet and piano, dedicated to Harry Spaarnay: “It is a vir-tuoso piece, at times playful and jocular and at others anguished and resembling a tightrope walk.” Kaipainen’s overwhelmingly energetic clarinet concerto Carpe Diem! (1990) is a homage to Debussy, as it contains several ref-

8 Here, too, the title can be construed as a multi-lingual pun. In Swedish, the verb missa means ‘to miss’ or ‘to get lost’, and it also resembles the Finnish word missä (‘where?’).

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erences to Debussy’s Rhapsody. "e dazzling virtuoso solo part contains, among other things, a thirty-measure chorale in multiphonics.Magnus Lindberg (1958– ), Finland’s perhaps best-known contemporary composer, wrote a piece for the curious combination of clarinet and two bass drums named Ablauf (1983). "is provocatively explores the wildest of new techniques available for clarinet and bass clarinet (such as singing into the instrument, slap tongue and aggressive multiphonics). Lindberg’s most frequently performed clarinet work is probably Steamboat Bill Ju-nior (1990) for clarinet and cello, inspired by the Buster Keaton #lm of that name. Steamboat also exists in a ver-sion for clarinet, cello and eight-part chamber ensemble, entitled Duo Concertante (1992). Lindberg’s Clarinet Quintet dates from 1992 and the #ve-minute Away for clarinet and chamber orchestra from 1994. In 2002, he completed his colourful and Debussy-esque Clarinet Concerto, a mature masterpiece. Lindberg’s output for clarinet is signi#cant, and it also gets performed fre-quently.

Kaija Saariaho (1952– ) is one of Finland’s inter-nationally best-known composers. Her duo Oi Kuu (O moon, 1990) magically blends the shape-shi$ing multi-phonics of the bass clarinet and the sul ponticello tones and harmonics of the cello.

Celebrated conductor Esa-Pekka Salonen (1958– ), began his musical career as a composer. His youthful Nachtlieder (1978) for clarinet and piano is modelled on the Vier Stücke of Alban Berg. It is particularly popular with clarinet students. In 1982, he wrote Meeting for the intriguing pairing of clarinet and harpsichord.

Olli Koskelin (1955– ) has written a solo clarinet work entitled Exalté (1985), where the clarinettist is like a shaman whose quiet mantras gradually escalate into a furiously babbling speaking in tongues. His writing here is reminiscent of Donatoni. His more lyrical Clarinet

Concerto (1995) has been unjustly forgotten. Koskelin was not a founding member of the Korvat auki! group, but his age and musical outlook match those of the above-mentioned composers.

Foreign in!uencesKimmo Hakola (1956– ) has written several works for clarinet; his solo clarinet pieces loco (1995) and Dia-mond Street (1999), his Quintet for clarinet and string quartet (1997) and his Clarinet Concerto (2001) all seem to have been written under the auspices of the same in-spiration and share similar thematic material. "eir most striking feature is the marriage of modern concert music and in!uences from eastern European musical cultures. Klezmer and the folk music of the Balkans seem to be readily identi#able, yet these works contain no genuine ethnic music at all — it is all derived from the com-poser’s imagination and associations. “I just went with the !ow and made up my own hora and sirba as I went along,” the composer has said. Hakola’s music also gives the clarinettist an excellent vehicle for improvising with glissandos, frullato, singing into the instrument and oth-er colourings rarely heard in classical clarinet music.

Hakola’s Capriole (1991) for bass clarinet and cello di%ers from the above-mentioned works in its idiom, even though it too features certain ethnic in!uences. It is one of the most uproarious Finnish clarinet works, where rapid scale passages and wild multiphonic out-bursts are interrupted periodically by a quasi-Mongolian folk tune played in unison.

Juhani Nuorvala (1961– ) uses elements of urban popular music, especially techno, in his music. "is is apparent in his Clarinet Concerto (1998) and particu-larly in the Concertino (2001) for clarinet and tape de-rived from it. "e solo part in the Clarinet Concerto is exceptionally demanding, not just in terms of rapidity

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but in its use of high notes; the solo clarinet ascends to E7. Nuorvala has a penchant for non-equal-tempered tuning systems based on naturally pure intervals. "ese work particularly well in Kolme impromptua (!ree im-promptus, 1995) for clarinet and kantele, where Nuorvala also makes use of quotes from sources as widely removed as You really got me by the Kinks (1964) and a Finnish folk song.

Kai Nieminen (1953– ) has also accumulated a considerable output of works for clarinet. His earliest works in this genre, Syyssonetti (Autumn sonnet, 1981) for clarinet and piano and Talvisonetti (Winter sonnet, 1985) for clarinet and cello, explore the relationship be-tween sound and silence and the so$ multiphonics of the clarinet. Nieminen’s most recent clarinet work is the concerto “!rough Shadows I Can Hear Ancient Voices” (2002). One of the principal motifs in the concerto is the Baroque ‘weeping motif ’, a sequence of four descend-ing chords. "e clarinet plays this too, in multiphonics. Another Baroque allusion is the colouring of long tones using key vibrato. "e multiphonics and colour e%ects were worked out in collaboration with the clarinettist who premiered the piece. Like many others, Nieminen invites the performer to improvise the cadenza.

Kirmo Lintinen (1967– ), a master of orchestral colour who began his career as a jazz musician, wrote the musicianly Duo Concertante for clarinet, double bass and orchestra in 2002. Being partial to Baroque music, he cast the #nal movement as a handsome chaconne. Lintinen’s most recent clarinet work is the sprightly Rie-ha (2009) for clarinet and piano.

Timo Hietala (1960– ) also has his musical roots deep in jazz. He is particularly interested in the bass clarinet, and his writing for the instrument is fascinat-ing and idiomatic. Two last lamantines (1998) for two bass clarinets is particularly impressive.

#e heirs of Modernism Harri Vuori (1956– ) is a leading Modernist composer of the ‘middle’ generation. He wrote a concerto for bass clarinet and orchestra in 2001. His Galdr (2000) for bass clarinet and horn was inspired by ancient Germanic spells. "e intensive and colourful Harmaa Pöllö (Grey Owl, 2005) for clarinet and !ute makes skilful use of new playing techniques.

"e compositional aesthetic of Hannu Pohjannoro (1963– ) mirrors that of Webern. His works are usually relatively short and carefully considered in every detail. Pohjannoro likes to use new techniques, but his music is completely devoid of all external posturing. One of his #nest works is saari rannaton (an island, shoreless, 1994) for bass clarinet and tape. "e composer, who likes to give his works poetic titles, describes this as “a collage whose elements include the juxtaposition of the live per-former and the tape, and also that of the bass clarinet sounds on the tape mixed together with the sounds of wood, sand, metal, glass, and so on... the tape is a land-scape where the performer wanders, hence the title”.

Pohjannoro’s only concertante work to date, hämäränpyörre (twilight whirl, 1999) for clarinet and strings, is a challenge to perform because it is written in quarter-tones throughout. "e microtones are based on the overtone series of low bass notes, which the com-poser uses like scales. "e bass line and the solo clarinet form the framework of the piece, around which the rest of the orchestra is entwined. "e result is both bright and veiled. In 2005, Pohjannoro wrote katajan laulu (song of the juniper) for liru and kantele, being the #rst composer to bring the archaic herdsman’s clarinet called the liru into the realm of concert music.

Lotta Wennäkoski (1970– ), a composer who like Pohjannoro favours a lyrical idiom, has written sever-al works for bass clarinet virtuoso Heikki Nikula. "e most extensive of these to date is Sade Avaa (Rain opens,

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1999) for bass clarinet and chamber orchestra, making much use of the quieter e%ects that can be produced on the solo instrument, such as breath and air sounds and so$ multiphonics.

Veli-Matti Puumala (1965– ), who is now Profes-sor of Composition at the Sibelius Academy, writes in a #ercer and more extrovert idiom. His Kaarre I and Kaarre II (1989-93) are duos for clarinet and dancer. Basfortel for bass clarinet, piano and live electronics expands the sound of the bass clarinet by electronic means.

Serbian-born composer Jovanka Trbojevic (1963– ) collaborated with Heikki Nikula in writing Le fantôme du vent (1998) for bass clarinet and tape. "e tape mate-rial consists of the sounds made by ice when it is skated on. "ese ‘ice sounds’ communicate with the multiphon-ics of the bass clarinet.

Born in the 1970sAntti Auvinen (1974– ) trained as a composer in the Netherlands. His music is energetic and dense, with a heavy emphasis on o$en complex rhythms. Auvinen is exceptionally well versed in contemporary techniques on the clarinet as a result of his collaboration with several clarinettists. His #ne solo clarinet piece Eliangelis (2005) builds its musical material from a wide range of new sounds and their combinations: breath and air sounds, singing into the instrument, various multiphonics and sounds occupying the grey area between tone and noise. Februa (2007) for clarinet and orchestra, named a$er a wild ancient Roman fertility rite, is not a concerto in the traditional sense, even if its virtuoso solo part is quite a challenge. It could be described as a play where the clarinet is the protagonist, using all the means at his dis-posal (percussive slap tongue, aggressive multiphonics, shouting into the instrument) to maintain his position

among the orgy of sound in which the orchestra wallows. Instead of a solo cadenza, there is a long and static trill sequence which must be executed with circular breath-ing. Auvinen’s most recent clarinet work, Karkija (2007) for bass clarinet and marimba, makes unabashed use of the entire expressive range of the modern bass clarinet.

"e earliest clarinet work by Uljas Pulkkis (1975– ) is the strong, aggressive tonal colour study Music for Clarinet and Double Bass (1999), where the sound of both the clarinet and the double bass is processed elec-tronically. His clarinet concerto Tales of Joy, of Passion, of Love (2005) is, as the title indicates, (Neo-)Romantic in style. Its #nal movement incorporates an optional solo for a baritone singer to a poem by "omas Moore. "e second movement has an interesting innovation: the two clarinettists in the orchestra leave their seats and come forward to play a ‘soloist trio’ with the solo clarinettist.

Of the composers of the younger generation, Se-bastian Fagerlund (1972– ) is particularly fond of the clarinet as a solo instrument. He excels at interesting virtuoso clarinet writing which is gratifying to perform. Fagerlund’ concerto (2006) and other clarinet works have been frequently performed by the brilliant Christ-o%er Sundqvist, who plays principal clarinet with the Finnish Radio Symphony Orchestra. Pasi Lyytikäinen (1975– ) has written a piece named Uni (Dream, 2000) for clarinet and piano, using clarinet glissandos to paint a dreamy mood. In the four-movement Sanoitta (With-out words, 2006) for clarinet in E !at and piano, he em-ploys microtones on the clarinet.

Sampo Haapamäki (1979– ) currently writes in a style that could be described as an energetic brand of Modernism fearing no challenges. He attracted attention with the premiere of his bass clarinet concerto Kirjo in 2006. "e work is 40 minutes long and makes full use of the extensive range and virtuoso potential of the solo instrument.

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Perttu Haapanen (1972– ) is both a composer and artistic director of the Time of Music festival in central Finland. His solo clarinet work Amygdala (2008/2009) is a fantastic exploration of the extremes of expression and nuance on the instrument. "e work consists of seven contrasting movements and makes much use of quar-ter-tones, multiphonics and various vocal e%ects that at times almost cross the threshold into speech.

A chapter unto themselves in Finnish clarinet mu-sic is formed by the works commissioned by the Finn-ish Clarinet Society for the Finnish Clarinet Ensemble.

"ere are a dozen such works to date, and a list of these is included in this book. "e most extensive of them, calling for the largest number of performers, is Vento (1995) by Jukka Tiensuu. "e Finnish Clarinet Ensemble is a clarinet choir consisting of professionals, students and amateurs, founded in 1983. Its lineup has varied be-tween 20 and 50 members over the years, but its instru-mentation includes all the common kinds of clarinet of various sizes, from the clarinet in Eb down to the contra-bass clarinet.

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1.1 History of the clarinet

1.1.1 Evolution"e history of the clarinet begins with a modi#cation made in the early 18th century to an instrument called the chalumeau (pl. chalumeaux). "is was a cylindri-cal reed instrument with a so$ tone, developed from the recorder in the late 17th century. "e modi#cation, probably invented at the workshop of master instru-ment maker Johann Christoph Denner (1655–1707) in Nuremberg, involved drilling an extra hole in the instru-ment and #tting it with a mechanism to open and close it. "is mechanism is known as a key (cf. section 1.2.2), and Denner’s invention came to be known as the speaker key or register key.1 "is new key made overblowing de-cisively easier (overblowing is discussed in more detail in section 1.4.2), extending the compass of the chalumeau from just over an octave to almost three octaves. "e new instrument was dubbed the clarinetto, the diminu-tive of clarino, an Italian word for ‘trumpet’. In the early 18th century, music was written for both the clarinet and the chalumeau, and the instruments were even used in parallel in the same works. "e earliest clarinets had sat-isfactory intonation in practice only on the overblown tones, i.e. in the middle and upper registers. "e tone was bright and piercing, and the chalumeau was thus still required for so$er playing. "e chalumeau became obsolete by the middle of the 18th century as the worst problems in the low register of the clarinet were solved and its practical compass thus extended.

Technical progress in the early days of the clarinet is o$en measured by the number of keys. "e Baroque clarinet used in the early and mid-18th century only had one or two keys. "e Classical clarinet (c. 1760–1830) normally had #ve keys, but in the 19th century keys were added and the positioning of the #nger holes was altered as the music being performed became technical-ly more demanding. "e Classical clarinet was usually made of boxwood, but other materials were tried too. "e Classical clarinet could play chromatic passages, but the sound of the tones was uneven. "e reed was tied to the mouthpiece with string, and the mouthpiece was upside down compared to the modern instrument, i.e. the reed rested against the upper lip.

"e mouthpiece of the clarinet was rotated into its present position, reed against the lower lip, in the early 19th century. "e Finnish-born Swedish clarinet vir-tuoso Bernhard Henrik Crusell (1770–1838) apparently used the old technique, but by 1824 Estonian-German clarinet virtuoso Iwan Müller (1786–1856) advocated placing the reed on the underside in his method book entitled Clarinet School. "e new technique was intro-duced in teaching at the Paris Conservatoire in 1831. "en came the greatest innovation in the history of the clarinet: French clarinettist Hyacinthe Klosé collabo-rated with instrument maker Louis Auguste Bu%et in designing a new type of clarinet in the late 1830s. Pre-

1 INTRODUCTION TO THE CLARINET

1 No other woodwind instruments had a register key at the time. The Baroque oboe, for example, has no register key; overblowing (cf. section 1.3.3) requires an alteration in air pressure.

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sented in Paris in 1839 for the #rst time, it was dubbed the Boehm clarinet, because it was inspired by the new type of !ute recently developed by "eobald Böhm.

"e Boehm clarinet proved an eminently success-ful design. By the beginning of the 20th century it had displaced all its rivals. Over the decades, several small changes have been made to the shape of the bore and the materials of the Boehm clarinet, but its #nger holes and key mechanism are still essentially the same as in the prototype. "e only variant of the Boehm clarinet to at-tain wider popularity is the ‘Full Boehm’ clarinet, which incorporates certain improvements making #nger tech-nique easier and has its range extended downwards to (written) Eb3. "e Full Boehm clarinet was most popu-lar in Italy and Bohemia in the 20th century, but today it is rare.2 "e heaviness and complexity of its mechanism compared to the ordinary Boehm clarinet is considered a disadvantage.

The Boehm clarinet is today used practically all over the world except in Germany and Austria, where the German clarinet or Oehler-system clarinet is used in-stead. "is model is based on a construction developed by Iwan Müller in 1812. "e modern German clarinet was perfected by clarinettist and instrument maker Au-gust Oehler in the early 20th century.

1.1.2 Classical and Romantic clarinet musicAntonio Vivaldi (1678–1741), Georg Philip Telemann (1681–1767) and Jan Dismas Zelenka (1679–1745) were among the #rst composers to use clarinets and

chalumeaux in their orchestral works from the 1710s onwards.3 "e #rst known solo works for clarinet were written by Johann Melchior Molter (1696–1765). He wrote six concertos for the high clarinet in D in the 1740s. "ey are illustrative of the music written for the early two-key clarinet: the clarinet part primarily in-habits the middle and high registers, and the writing is declamatory and trumpet-like. In the 1750s, Johann Stamitz (1717–57) wrote a concerto which as far as we know is the #rst solo work ever written for the clarinet in Bb.4 His son Karl Stamitz (1745–1801) wrote concer-tos for the clarinettists of the Mannheim Orchestra, and by that time the practical compass of the instrument had extended to include the low register.

Anton Stadler (1753–1812) was the principal source of inspiration for the clarinet works of Wolfgang Ama-deus Mozart (1756–1791). Stadler was not only the fore-most clarinet virtuoso of the day but also an enthusi-astic instrument developer whose innovations include the basset clarinet (see section 1.3.3.). Mozart’s Clarinet Trio (Trio in Eb major for clarinet, viola and piano KV 498, 1786), Clarinet Quintet (Quintet in A major for clarinet and string quartet KV 581, 1789) and above all the Clarinet Concerto in A major KV622 (1791) remain cornerstones in the Classical clarinet repertoire.5 "ey are idiomatically superior to any other clarinet works of the day due to his use of di%erent types of articulation, of texture (virtuoso and melodic) and of register. Mozart was the #rst to write entire melodies in the lowest regis-ter of the clarinet.

"e late 18th and early 19th century are considered a golden age for solo wind music. For example, there

2 The music examples in Bartolozzi’s book New sounds for Woodwind are designed for the Full Boehm clarinet, and some are unplayable on the normal Boehm clarinet because they use the low Eb key.

3 Zelenka’s Requiem (1711) has prominent solo passages for the chalumeau. The first known use of the clarinet is in Vivaldi’s oratorio Juditha Triumphans (1716).

4 The concertos of both Molter and Johann Stamitz are vivacious music, and interest in them has increased recently with the release of a number of recordings.

5 According to Mozart biographer Wolfgang Hilderheimer, “no composer before Mozart or after him has attained nearly the same level of achievement in the area of the wind concerto”.

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were far more solo recitals given by wind soloists than by string soloists in Vienna during that period. A lot of mu-sic for the clarinet was written at that time. Works that have survived the test of time include above all the Clar-inet Concertos of Carl Maria von Weber (1786–1826), Ludwig Spohr (1784–1859) and the aforementioned Bernhard Henrik Crusell. Weber’s Concertos were writ-ten for Heinrich Bärmann (1784–1847), who is con-sidered the founder of the German clarinet school and who also wrote a considerable amount of clarinet mu-sic himself. Spohr was a German composer whose four Clarinet Concertos require exceptionally virtuosic play-ing and the command of a compass higher than normal. Both of these were skills for which Simon Hermstedt (1778–1846), the clarinettist who premiered the Con-certos, was celebrated. Of the well-known composers of the early 19th century, Schubert and Mendelssohn used the clarinet with great insight in their chamber music. "e Fantasiestücke by Robert Schumann (1810-56) are somewhat less idiomatically written for the clarinet but wonderful music nonetheless.

In the late 19th century, by contrast, very little solo wind music or chamber music with prominent wind parts was written. "e high Romantic period favoured the piano, the violin and the cello both in chamber mu-sic and as solo instruments. Johannes Brahms (1833–97) ended this silence with four magni#cent chamber music works written in the 1890s: the Clarinet Trio in A minor op. 114 (1891), the Clarinet Quintet in B minor op. 115 and the two Sonatas for Clarinet and Piano op. 120 nos. 1 and 2 (1894). "ese were inspired by Richard Müh-lfeldt (1856–1907), who played clarinet with the Meinin-gen court orchestra (see also section 2.3.4 Vibrato).

1.1.3 Clarinet music in the 20th centuryIn 1910, Claude Debussy (1862'1918) wrote Première Rhapsodie for clarinet and piano, making use of the quiet tones of the clarinet even in the high register.6 He wrote this piece not for any speci#c clarinettist but as a com-petition piece for the Paris Conservatoire. A number of other small-scale but signi#cant works were written in the early 20th century: Vier Stücke for clarinet and piano (1913) by Alban Berg (1885'1835), featuring the #rst frullato in the history of solo clarinet music (see section 3.3.2); !ree Pieces for solo clarinet (1919) by Igor Strav-insky (1882'1971); and the brief Sonatina (1922) by Ar-thur Honegger (1892'1955), notable for its use of glis-sando (section 3.2.2). Contrasts for clarinet, violin and piano (1938-40) was written by Béla Bartók (1881'1945) to a commission from jazz clarinettist Benny Goodman. One of the milestones of 20th-century chamber music is Quatuor pour la "n du temps by Olivier Messiaen (1908'1992), premiered in a German prisoner of war camp in 1941. It is scored for clarinet and piano trio, the combination having been dictated by the instruments which the composer’s fellow prisoners played. "e most signi#cant concertos written in the inter-war period, in my opinion, are the Concerto (1928) by Carl Nielsen (1865'1931) and Kammerkonzert (1930–36) by Karl Amadeus Hartmann (1905'1963). "e former remains in the core repertoire, while the latter was almost com-pletely forgotten until recently.7

From the late 1940s, two parallel and disparate trends can be identi#ed in clarinet music. "e #rst of these involves music anchored in traditional tonal-ity and not employing new, experimental techniques, such as the Clarinet Concerto (1947) of Aaron Cop-land (1900'1990) and the Sonata for clarinet and piano

6 Debussy later adapted the piece for clarinet and orchestra.7 Hartmann’s Kammerkonzert was not recorded until the turn of the millennium. Its first performance in Finland took place in 2005.

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(1962) by Francis Poulenc (1899'1963). The second consists of compositions for clarinet in which sounds produced with new techniques were used to expand the range of musical expression. "ese included inter-vals narrower than a semitone, various types of vibrato, breath and air sounds, new articulations and multiphon-ics (i.e. sounding more than one pitch at once). One of the #rst to make use of these new sounds was Italian composer Giacinto Scelsi (1905-88).

To illustrate how di%erent the works of two com-posers working in the same environment at the same time can be, we may consider two French clarinet works from 1968. The Clarinet Concerto of Jean Françaix (1912'1997) is traditional in form and unabashedly entertaining in its virtuoso writing, while Domaines by Pierre Boulez (1925') is a strictly Serialist work where new techniques for producing sounds are elevated into a parameter in their own right alongside pitch, dura-tion, articulation and dynamics.8 And Domaines is not even the most extreme of technical experiments. "e extensive solo clarinet work Dal Niente (1970) by Helmut Lachenmann (1935'), for example, consists al-most exclusively of various breath and air sounds and sounds produced by hitting the #ngerholes and clicking the keys. Domaines, however, employs a wide range of new techniques and is the most important Serialist work written for the clarinet.

In 1967, Bruno Bartolozzi published his book New Sounds for Woodwind, an important milestone in the history of contemporary wind music. "is was the #rst systematic attempt to survey new woodwind playing techniques. Bartolozzi’s book was for a long time a com-poser’s #rst port of call when writing for the clarinet, but today it is no longer recommendable as a principal source, because many of the techniques it describes seem

unidiomatic. Also, there are numerous errors in the mu-sic examples related to the clarinet, only some of which were corrected in the second edition published in 1982. It is because of the transposition errors in Bartolozzi’s book that many clarinet compositions written a$er its publication (a case in point being Discantus II by Paavo Heininen) contain discrepancies between the #ngering and the notation of clarinet multiphonics.

Multiphonics were a cornucopia for the expansion of the sonorities of woodwind instruments in the late 20th century. Probably the #rst clarinet multiphonics in the history of Western concert music appeared in the Piano Concerto (1957–58) by John Cage, where the clarinettist is called on to produce what are clearly multiphonics of some kind, though they are referred to as ‘undertones’. "e earliest work to contain speci#cally detailed multi-phonics for clarinet is Five Pieces for Flute and Clarinet (1961) by William O. Smith (1926–),9 an American com-poser and clarinettist who began his career in jazz. He became interested in multiphonics a$er hearing Severino Gazzelloni play them on the !ute. Smith’s solo clarinet work Variants (1963) has an informative foreword with instructions on how to use the composer’s innovative techniques, including multiphonics.

Peter Maxwell Davies (1934–) extended the range of the instrument upwards in his works for clarinet, such as the solo work !e Seven Brightnesses (1975) (cf. sec-tion 1.5.5 Compass). Maxwell Davies wrote his clarinet works of the 1960s and 1970s in close collaboration with British clarinettist Alan Hacker. "e solo clarinet piece Clair (1980) by Franco Donatoni (1927–2000) contains no new techniques beyond frullato and glissando, but it severely taxes the performer’s technical capabilities by requiring extreme dynamics and explosive virtuoso per-formance. Sequenza IX a (also from 1980) by Luciano

8 Domaines is ‘modern’ in terms of its form too. The score consists of twelve separate sheets (cahiers) which each have six ‘boxes’. The performer is to execute the contents of these boxes according to the composer’s instructions but in any order he or she chooses. Boulez has adapted the work for clarinet and chamber orchestra, with the soloist alternating with instrument groups. The solo clarinet part is the same in both versions.

9 Concert Music for Solo Clarinet by John Eaton, which also contains multiphonics, is also from 1961.

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Berio (1925–2003) is only moderately demanding com-pared to Clair, but it does contain quiet multiphonics that are di&cult to execute.

"e clarinet works written by Karlheinz Stockhausen (1928–2007) for his wife Suzanne Stephens are a chapter unto themselves. Stephens is an American-born clarinet virtuoso who in the mid-1970s dedicated herself to per-forming the music of Stockhausen. Stockhausen’s output for solo clarinet includes Amour (1974–76), In Freund-scha# (1977) and the almost 60-minute Harlekin (1975), from which the movement Der Kleine Harlekin is o$en

1.2 Structure of the clarinet

1.2.1 Parts of the clarinet Clarinets are usually made of the dark and heavy wood of the grenadilla tree (Dalbergia melanoxylon). "e Bb clarinet is about 66 cm (26 in) long. "e parts of the instrument are the mouthpiece, tuning barrel, upper and lower joint, and bell. "ese are shown in Figure 2. "ey #t together with tenon-and-socket connections sealed with cork. "e term bore refers to the space inside the clarinet when assembled, especially when discussing the shape of this space, as in ‘cylindrical bore’.

"e reed (Figure 2a) attached to the mouthpiece vi-brates when the instrument is played (see section 1.4.2 Sound of the clarinet). Reeds are made from the cane plant Arundo donax, which is cultivated for this purpose primarily in the south of France. Clarinettists usually buy their reeds ready-made, but many #nish their reeds themselves. "e choosing, #nishing and breaking in of reeds constitutes an art in itself, discussion of which is beyond the scope of this book.

performed separately. In this piece, the clarinettist not only plays music but dances too. The choreographic instructions and dance steps are notated in the score. Stockhausen’s hope was that this piece would inspire the emergence of a new and more diverse generation of mu-sicians.

Contemporary Finnish clarinet music is discussed in the introductory chapter, but the most recent clarinet music written internationally is too broad a topic for this book.

"e mouthpiece (Figure 2b; Figures 3a-b) is usu-ally made of hard rubber.10 "ere are also crystal mouth-pieces made of glass. Figure 3a shows the details of the mouthpiece. "e reed is attached to the !at part, known as the table, covering the window. "e narrow sides of the table !anking the window are the rails, and the in-side of the mouthpiece is the chamber."e curving part of the table is called the facing. When played, the reed vibrates against the tip opening, momentarily closing the normally open space between the reed and the mouth-piece tip. "e reed is attached to the mouthpiece with a ligature (Figure 2c), which may be made of metal, plastic or synthetic leather. "e ligature has its own e%ect on the sound and playing properties of the instrument.

Mouthpieces are made in innumerable designs to-day. Every mouthpiece is unique. "e tiniest details in a mouthpiece a%ect the colour, intonation and playing properties of the instrument. "e size and shape of the

10 This kind of rubber is sometimes called “ebonite” according to a brand name.

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Figure 1 The clarinet.

Figure 3a The flat portion of the mouthpiece is the table. The reed is attached to the table, covering the window shown above in the top part of the mouthpiece. The narrow sides of the table are the rails, and the inside of the mouthpiece is the chamber.Figure 2 Parts of the clarinet: a) reed b) mouthpiece c) ligature

d) mouthpiece cap e) tuning barrel f) upper joint g) lower joint h) bell.

tip opening are particularly important. "e role of the mouthpiece-reed combination in playing the clarinet is equivalent to that of the bow in playing a string instru-ment.

"e tuning barrel (Figure 2e) links the mouthpiece to the body of the clarinet. "e tuning of the instrument can be adjusted by extending the connection between the tuning barrel and the upper joint. Most clarinettists

have tuning barrels of di%erent lengths to match di%er-ent tunings.

"e body of the clarinet consists of the upper and lower joints (Figure 2f–g). "e body has the tone holes and keywork of the instrument. "e clarinet has 23 tone holes, seven of which are opened and closed with the #ngers (and hence known as "nger holes). "e #ngers of the le$ hand, except for the little #nger, cover the #nger

Figure 3b The portion of the mouthpiece which curves slightly towards the tip is the facing. Between the facing and the reed is the tip opening, which is where the reed vibrates when played.

a b

c

d

e

f g

h

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holes in the upper joint, and the #ngers of the right hand except for the thumb and little #nger cover the #nger holes in the lower joint. "e tone holes which are not covered with the #ngers are opened and closed using the keywork. Figures 5 and 6 show the position of the clari-nettist’s #ngers when all tone holes are closed.

"e bell (Figure 2h) at the lower end of the body a%ects the intonation of the lowest notes and, to some extent, the response and tonal colour of the instrument.

1.2.2 Keywork"e keywork is made of silver-plated nickel alloy and is shown in Figure 1. "e purpose of the keywork is to fa-cilitate the opening and closing of the tone holes which the #ngers cannot reach. It enables the playing of chro-matic notes without resorting to complicated #ngerings. "e keywork consists of the keys themselves and of rods and posts on which the keys are mounted. "ere are two kinds of keys: ordinary and ring keys.11 "e key consists of a cup to which a pad is attached, a sha# and touch-piece, or on a ring key a ring. "e pad attached to the cup is made either of cork or felt covered with a thin membrane. "e function of the pad is to seal the tone hole.12 Each key has one of two default positions: tone hole open or tone hole closed. When the touchpiece or

ring is depressed with a #nger, the cup of the key ei-ther closes or opens the tone hole. When the #nger is li$ed, the spring attached to the key returns the key to its default position. Figure 4a shows the le$-hand G# key separated from the upper joint.

"e ring key was the single most important innova-tion in the Boehm clarinet (see section 1.1.1 Evolution). "e ring key enabled the #nger holes to be placed where they made sense ergonomically. When a #nger closes a #nger hole, the ring around the hole is also depressed, activating a rod on the other end of which is a key that closes a tone hole, improving the intonation of the note. (Only one of the #nger holes has no ring.) Figure 1 shows #ve of the six rings on the clarinet. "e sixth ring is on the side facing the clarinettist’s body, around the #nger hole for the le$ thumb. Figure 4b shows a ring key (with three rings) separated from the lower joint.

Behind the lower joint is the thumb rest. "e right thumb supports the instrument using the thumb rest as shown in Figure 6. "e le$ thumb has a #nger hole of its own, and it is also used to open and close the speaker key. Figure 5 shows the position of the clarinettist’s #n-gers from the front, and Figure 6 shows the same from the back, also showing the location of the speaker key and the thumb rest.

11 The clarinet is an open-key instrument, meaning that there are no pads between the fingers and the finger holes as in the closed-key bass clarinet and saxophone.

12 The pad is of course intended to imitate the fingertip, which is the ideal seal for a tone hole. The membrane covering the pad is made of real or syn-thetic leather. Product development is ongoing, and at least silicone and Gore-Tex have been tested in key pads with some success.

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Figure 6 Position of the clarinettist’s hands, back view. The speaker key operated by the left thumb is at the top and the thumb rest at the bottom.

Figure 4a Left hand G# key separated from the upper joint.

Figure 4b A ring key separated from the lower joint.

Figure 5 Position of the clarinettist’s hands, front view.

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PICCOLO CLARINETS (piccolo clarinet in C) (piccolo clarinet in Bb) (piccolo clarinet in A) clarinet in Ab SOPRANINO CLARINETS clarinet in G (sopranino clarinet in F) (sopranino clarinet in E) clarinet in Eb clarinet in D *

SOPRANO CLARINETS clarinet in C * (clarinet in B) clarinet in Bb basset clarinet in Bb clarinet in A basset clarinet in A *

ALTO CLARINETS (clarinette d’amour in Ab) (clarinette d’amour in G) (clarinet in G) (basset horn in G) basset horn in F * alto clarinet in Eb (basset horn in D)

BASS CLARINETS (bass clarinet in C) bass clarinet in Bb (bass clarinet in A)

SUB-BASS CLARINETS (contralto clarinet in G) (contralto clarinet in F) contralto clarinet (in Eb). Also: contrabass clarinet in Eb (contrabass clarinet in C) contrabass clarinet in Bb * (subcontralto clarinet in Eb) (subcontrabass clarinet in Bb)

* used by professionals on a limited basis

1.3 Clarinet family

1.3.1 Members of the clarinet family"e clarinet exists in more sizes and tunings than prob-ably any other instrument. Today, the clarinet family in-cludes members ranging from the tiny and shrill clarinet in Ab to the contrabass clarinet whose compass extends almost as far down as that of the piano. "e most com-mon clarinets are, in descending order of size (and range), the clarinets in Eb, C, Bb and A, the basset horn and the bass clarinet. "e clarinettist’s basic tools are the clarinet in Bb and its companion the clarinet in A, but most professional players are called upon to play other sizes of clarinet too.

"e clarinet is a transposing instrument: the tone it produces is di%erent from the tone written. "e name of the instrument indicates what note it plays for the written note C (i.e. with the #ngering of C). Playing a C major scale on the clarinet in Bb will produce a Bb major scale, i.e. the instrument sounds a major second lower than written; the clarinet in Eb, on the other hand, sounds a minor third higher than written.

"is begs the question of why so many di%erent sizes and tunings are required. Why can there not be just one size and tuning of clarinet? Part of the reason for this lies in the early history of the instrument. In the 18th century, instruments were made in several di%erent tun-ings for playing in di%erent keys, because it was di&-cult to stray far from C major on the early instruments whose keywork was limited to a couple of keys. Once the keywork was developed far enough to render the wide variety of variants unnecessary, the Bb clarinet became established as the standard instrument because of the op-timum combination of so$ness and brilliance in its tone. "e A clarinet survived as the obvious companion to the Bb clarinet for playing in sharp key signatures, and the

Figure 7 Members of the clarinet family. The instruments in common use are in bold, those rarely used are in italic, and those which are extremely rare are in (parentheses).

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Figure 8. Ranges of the most common members of the clarinet family, first as written and then as sounding. It is impossible to give definite upper limits (cf. section 1.5.5). The upper limits given here are ‘minimums’ which a professional clarinettist is expected to be able to produce. The notes in parentheses are the (minimum) upper limits called for in contemporary solo clarinet works.

Eb clarinet survived principally because of its strikingly di%erent tone.

Figure 7 lists as comprehensively as possible all the di%erent sizes of clarinet known to the history of Western concert music. "ose listed in bold are instruments which can be considered to be in common use today. "ose listed in italic are still used but rare. "ose listed in (parentheses) are curiosities. "e descriptions ‘piccolo’, ‘so-pranino’ and ‘soprano’ are included only to organize the list; they are not usually used, although the Eb clarinet is sometimes called the piccolo clarinet (see section 1.3.2). "e ranges of the most common types of clari-net are given in Figure 8; the upper limits of their ranges are discussed separately in the section discussing each instrument.

1.3.2 High clarinets"e tiny clarinet in Ab used to be common in wind bands in southern Europe, and even clarinets in C, a ninth higher than the clarinet in Bb, have been built. "e clari-net in Eb, a fourth higher than the clarinet in Bb, is by far the most common of the high clarinets, followed by the clarinet in D, which is considerably rarer but used as a parallel instrument in large orchestras. "e clarinets in Eb and D are sometimes referred to as ‘small clarinets’ (clarinetto piccolo, petite clarinette, kleine Klarinette). "e earliest known appearance of the clarinet in Eb in a symphony orchestra was in the Symphonie fantastique (1830) of Hector Berlioz, where it plays a substantial role in the concluding movement Songe d’une nuit de Sab-bat. "e best-known solo written for the clarinet in D

(though usually played on the clarinet in Eb) is the gal-lows scene in the tone poem Till Eulenspiegel (1895) by Richard Strauss.

"e signi#cance of the clarinet in Eb is not that it can ‘go higher’ than the clarinet in Bb but that it has a

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more piercing and penetrating tone. "e actual range of the clarinet in Eb is not all that much higher than that of the clarinet in Bb; the practical upper limit is around written A6 or Bb6 (sounding C7 or C#7). "e clarinet in Eb is above all a member of the large symphony orches-tra; very little solo or chamber music has been written for it. "e earliest solo work for clarinet in Eb is probably Tre Pezzi (1954) by Giacinto Scelsi. Finnish composer Ilkka Kuusisto has written a folk-style suite for clarinet in Eb and piano titled Kissalan Aapelin soitteita (Folk tunes played by Aapeli of Kissala, 1996), and Sanoitta (Without words, 2007) by Pasi Lyytikäinen is also writ-ten for this combination..

1.3.3 Clarinets in C, Bb and A"e clarinet in C is the only non-transposing member of the clarinet family. It was in common use until the mid-19th century. Beethoven and Schubert, among oth-ers, scored for it in their orchestral works. In the 20th century it generally fell into disuse, and it became com-mon practice to play its parts on the clarinet in Bb.13 However, the clarinet in C has a tone all its own, di%er-ent from both the clarinet in Bb and the clarinet in Eb. It has seen something of a revival recently, and new solo and chamber music has been written for it. Finnish com-poser Kimmo Hakola wrote a Clarinet Quintet (1997) for this instrument. "e clarinet in C usually uses the same mouthpiece as the clarinets in Bb and A.

"e clarinet in Bb is the instrument which we mean when we refer simply to ‘the clarinet’. "e clarinet in A is its parallel model, and it is played using the same

mouthpiece. Practically every professional clarinettist owns one of each. "e clarinet in A was much in use particularly in the Classical and Romantic periods, in orchestral, chamber and solo works alike: the clarinet in Bb was used for keys with !ats and the clarinet in A for keys with sharps. In the early 20th century, as tonality was displaced, the clarinet in A fell into disuse, though it was not completely abandoned. Writing for the clari-net in A instead of the clarinet in Bb is not just a ques-tion of key. "e sound of the clarinet in A is considered so$er and broader than that of the clarinet in Bb, and some contemporary composers continue to score for it for this reason. For example, Strathclyde Concerto no. 4 (1990) by Peter Maxwell Davies speci#es a clarinet in A. "e Clarinet Quintet (1998) of Kalevi Aho employs both a clarinet in A and a clarinet in Bb. "e clarinet in A is slightly easier to play in the highest register than the clarinet in Bb, meaning that the practical upper limit of the range of the clarinet in A is about one semitone higher than that of the clarinet in Bb when played by the same clarinettist.

"e basset clarinet (clarinetto di bassetto) is a vari-ant of the clarinet in Bb or A where the body is length-ened to extend the range down a major third. "is is a curiosity that would have survived only in scholarly footnotes had not Mozart written his Clarinet Concerto and Quintet for clarinet and strings speci#cally for the basset clarinet in A. It is on the strength of this that bas-set clarinets in A have been manufactured again in re-cent years. New works have been written for the instru-ment too, for instance Concertino for basset clarinet and tape (2001) by Finnish composer Juhani Nuorvala.

13 We may note that Berlioz, in his treatise on orchestration (1834), considers it important that clarinet parts be played on the instruments for which they were written (Berlioz 2001), including of course the clarinet in C. In Germany and Austria, the clarinet in C survived well into the Romantic period, with both Gustav Mahler and Richard Strauss scoring for the instrument in their orchestral works (Lawson 1995, 42).

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1.3.4 Basset horn and alto clarinet"e basset clarinet must not be confused with the basset horn (corno di bassetto), which is a kind of alto clarinet in F.14 "e #rst basset horns were made around 1770. Mozart was very fond of the instrument and wrote sig-ni#cant parts for it in his Requiem and Gran Partita, and a solo obligato in his last opera La clemenza di Tito (Vi-tellia’s aria ‘Non più di #ori’). Composers such as Felix Mendelssohn15 and Richard Strauss also used the bas-set horn in chamber and orchestral works. "e basset horn was originally di%erent in sound from the clarinet, having a narrower and more nasal tone due to its di%er-ent bore. "e basset horns made today have a broader and warmer tone which blends more easily with other clarinets. Indeed, the modern basset horn very closely resembles the alto clarinet in Eb, whose use is limited mainly to wind bands. "e lowest written note of the basset horn is C3 (sounding F2), while the lowest writ-ten note of the alto clarinet is Eb3 (sounding G2). Some contemporary composers such as Karlheinz Stockhaus-en have written solo music for basset horn, but Finnish composers have so far only used it in clarinet ensem-bles.

"e bass clarinet in Bb and other lower-pitched clarinets will be discussed in a separate chapter (Chap-ter 5, Bass clarinet).

1.3.5 One musician, many instrumentsA clarinettist is commonly required to play both the clarinet in Bb and the clarinet in A, but sometimes even more instruments are called for. Today, very few pro-

fessional clarinettists spend their entire careers playing only these two; most specialize in one or more addition-al instruments, the most commonly required of which is the bass clarinet, followed by the clarinet in Eb. "e basset horn and contrabass clarinet, while not unheard of, are considerably rarer. In a full-sized symphony or-chestra, one of the four clarinettists will specialize in the bass clarinet and another in the clarinet in Eb.

Sometimes one musician is called on to play on several di%erent clarinets in the same work. "e most common case is for a clarinettist to switch to the bass clarinet or clarinet in Eb. An extreme example is Mahl-er’s First Symphony, where one of the four clarinettists is required to play not only the clarinets in A, Bb and C but also the bass clarinet and the clarinet in Eb. In contemporary music (from the 1950s onwards) it has become commonplace to write for several types of clari-net in chamber music, the most common combination being the clarinet in Bb and the bass clarinet. In Finnish music, this combination may be found in Ablauf (1983) by Magnus Lindberg, Karanssi (1990) by Erik Bergman and Treno della Notte (2000) by Mikko Heiniö.

Changing instruments in mid-stream naturally makes a performance more challenging for the clarinet-tist. Di%erently sized instruments require di%erent em-bouchures and blowing techniques. In terms of intona-tion, an unused instrument tends to be !at compared with one which has already been warmed up. (Of course, the latter also applies to switching from the clarinet in Bb to the clarinet in A or vice versa.) Many clarinet-tists warm up their instrument by breathing soundlessly through it before starting to play.

14 The word ‘basset’ (from the Italian bassetto) is a diminutive of the word ‘bass’, i.e. the basset horn is a ‘little bass horn’ (Webster 1984, 174). The term ‘basset clarinet’ was not introduced until the late 20th century; in Mozart’s day, the instrument was known as the ‘bass clarinet’. The basset horn and basset clarinet share the property of their written range extending down to C3 instead of E3 (Shackleton 1984, 172–173).

15 Mendelssohn’s Zwei Konzertstücke for clarinet, basset horn and piano or orchestra are the best-known solo works for basset horn.

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16 The hertz is the unit of frequency defined in the International System of Units (SI). 17 The weakness of the even-numbered partials is due to the fact that the clarinet is a stopped cylindrical pipe. Other woodwind (flute, oboe, bassoon and

saxophone) can overblow to both odd-numbered and even-numbered partials; the flute is an open pipe, and all the others are stopped conical pipes.

1.4 Acoustic properties

1.4.1 Overtone seriesSound consists of !uctuations of pressure, or vibrations, that progress through air or some other medium. If the vibrations are regular, we perceive a pitch. A sound with a de#nite pitch is called a tone. Pitch frequency is mea-sured in hertz (Hz)16,meaning the number of vibrations per second. "e pitch A4 is produced by a vibration with a frequency of about 440 Hz. Intervals between pitches are measured in cents (c), de#ned as 1/100 of an equal-tempered semitone. For example a pure major third is 14 cents !atter than an equal-tempered major third.

Sound production in acoustical instruments is based on generation and control of resonance. "e lowest reso-nant frequency is called the fundamental and the higher ones are called overtones. Together these are the partials of the sound. "e frequencies of the overtone series pro-duced by wind instruments such as the clarinet are in an integer ratio to one another and can be found using the ordinal number for each partial. ("us overtones can be called harmonics and overtone series a harmonic series.) Example: If the fundamental is A3, with a frequency of 220 Hz, the second partial is found at 440 Hz (2 x 220), the third at 660 Hz, the fourth at 880 Hz, the #$h at 1100 Hz, and so on. "e harmonic [overtone] series sounds pure and clear, generating no beating. (In the case of plugged or struck string instruments such as the piano, the frequency ratios between partials are very close but not exact integers.) Figure 9 shows the #rst nine partials of the overtone series whose fundamental is A3.

"e blend of the fundamental and the partials in an overtone series is known as the spectrum of the tone.

"e spectrum is what determines the colour of the tone, what it sounds like to us. In the spectrum of tones on the clarinet, the even-numbered partials are substantial-ly weaker, particularly in the low register17. "is property determines the sound of the clarinet and governs how it overblows, which is discussed in the following section.

1.4.2 Overblowing"e clarinet produces a sound when the tip of the reed attached to the mouthpiece and the air inside the in-strument vibrate together. "e air vibrating inside the body is called the air column. "e pitch of the tone is determined by the length of the air column and how it vibrates. "e length of the air column is governed by opening and closing tone holes (changing #ngerings), and its manner of vibration is governed by overblowing. Overblowing simply means changing the way in which the player blows into the instrument, without (in prin-ciple) changing the #ngering, making another partial in the overtone series sound instead of the fundamental. "e partial thus becomes, in e%ect, a new fundamental, generating its own overtone series.

On the clarinet, overblowing is limited in practical terms to the odd-numbered partials. Also, from the #$h partial upward the partials obtained by overblowing are slightly !atter than those in the natural overtone series (Figure 10). "is is because the clarinet is not an acousti-cally ideal instrument, as its cylindrical shape is slightly distorted.

"e notes shown in Figure 10 are played with the #ngering for A3. In practical terms, overblowing without changing the #ngering is very di&cult, and the speaker key is almost always used to help (see Figure 6). When

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Figure 9. The first nine partials in the natural overtone series of A3. Odd-numbered partials are indicated with white noteheads, even-numbered partials with black noteheads.

18 As a result, some clarinettists are not even aware that they are overblowing.

Figure 10. 1st, 3rd, 5th, 7th and 9th partials in the overtone series for A3 played with the fingering for A3. The symbol in front of C6 is a quarter-sharp, and the symbol in front of B6 is a quarter-flat. These partials are flatter than those in the natural overtone series.

Figure 11. (Commonest) fingerings for notes based on the overtone series on A3. The register key (R) is always used to make overblowing easier. Also, the left index finger tone hole is opened for C# and G, and the left ring finger tone hole for B. For G and B, the intonation is further corrected using the right-hand G# key.

overblowing, the clarinettist depresses the speaker key with the le$ thumb, opening the tiny register hole at the top of the body. Notes overblown without using the reg-ister hole are called harmonics (see section 3.3.5 and the table in Appendix 1).

Overblowing of the higher partials is made easier, and their intonation corrected, by opening other tone holes besides the register hole. "us, despite the over-blowing, each individual note on the clarinet has its own #ngering (or several alternative #ngerings, cf. section 1.4.6 High register).18 Figure 11 shows the notes over-blown from A3, with corrected #ngerings.

Because the overtone series is always present, the tone of any instrument can be thought of as a pillar of sounds where only one (the fundamental) can be per-ceived. On the clarinet, individual and multiple upper partials can be made simultaneously audible using di%er-ent blowing techniques and alternative #ngerings. Such sounds are called multiphonics and will be discussed in more detail in Chapter 4.

For more information on the acoustic properties of the clarinet, visit the website of the University of New South Wales: http://www.phys.unsw.edu.au/music/clarinet or read Arthur H. Benade. Fundamentals of Musical Acous-tics. Second Revised Edition. Dover 1990.

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1.5. Registers and range1.5.1 Registers of the clarinet"e range of the clarinet is divided into three registers. "e low register consists of fundamentals. "e middle register consists of third partials of the fundamentals, and the high register is based on the odd-numbered partials of the fundamentals beyond the third. Figure 12 shows how these are distributed. "e term register shi# refers to the transition between two adjacent diatonic or chromatic tones belonging to di%erent registers.

1.5.2 Low register and throat tones"e low register (E3 to Bb4) matches the range of the chalumeau, the historical predecessor of the clarinet. It is therefore frequently referred to as the chalumeau reg-ister. "e highest tones in this register (G4 to Bb4) are known as throat tones. Some sources (including Adler: !e Study of Orchestration) recognize the throat tones as a register in their own right. In the present study, they are considered to belong to the low register.

When the clarinettist covers all the tone holes and blows into the instrument, the resulting sound is the

Figure 12. Registers. The highest notes in the low register, G4 to Bb4, are known as throat tones. The tones in parentheses (B4 and C5) can be played using trill keys. The middle register is based on the 3rd partials of the fundamentals in the low register. The tones in parentheses can be produced by overblowing the throat tones. The high register is based on the 5th, 7th and 9th partials of the fundamentals. The tones based on the overtone series on A3, featured in Figure 11, are shown here in minims (half notes).

High register(9th partial)

High register(7th partial)

High register(5th partial)

Middle register(3th partial)

Low register(Fundamentals)

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lowest possible tone, (written) E3. Moving up chromati-cally, the tone holes are uncovered in turn until G4, at which point no #nger holes are covered and no keys are depressed; this is the open tone of the instrument. "e throat tones can be produced by using the G# and A keys operated by the le$ index #nger and the Bb key operated with the thumb, which is the same as the speaker key. "e clarinet has two trill keys to facilitate trills at register boundaries, the Bb trill key and the C trill key, operated with the side of the right index #nger or, in exceptional cases, the right thumb. "e trill keys also enable an ex-tension of the low register to B4 and C5, shown in pa-rentheses in Figure 12. "e trill keys enable the playing of sequential trills (cf. section 3.3.8).

"e sound of the clarinet in the low register is so$ and blends easily with other instruments. Because the lowest even-numbered partials are not audible, it has a certain hollowness to it. "e most striking property of the clarinet’s low register is its capacity for so$ and extremely quiet speaking. For example, in the clarinet solo which opens Sibelius’s First Symphony, the clarinet subsides down to the threshold of hearing preceding the orchestral entrance.

For the clarinettist, the major challenge in the low register is that the volume of the tone a%ects its intona-tion. "e pitch tends to go sharp when playing so$ly and !at when playing loudly. "e throat tones, particularly Bb4, are more unstable in sound and intonation than the rest of the low register. Auxiliary #ngerings are o$en used to increase resonance and correct the intonation (cf. section 2.3.2 Auxiliary #ngerings).

It is possible (though not easy) to play the Eb3 which lies below the proper range of the instrument, by #nger-ing E3 and changing the playing technique to !atten the pitch (see Appendix 2, Fingering table for quarter-tones). "e Full Boehm clarinet, which is rarely used today (see section 1.1.1 Evolution), extends down to Eb3.

1.5.3 Middle register "e middle register, clarinet register or clarino register extends from B4 to C6. "e name ‘clarino register’ dates back to the early stages of the instrument. In the ear-ly 18th century, when instrument makers had not yet solved the intonation problems of the low register, the instrument was almost exclusively used in the middle register (cf. 1.1.1 Evolution). Even today, the middle register is the most frequently used register of the in-strument. In this register, the clarinet has a bright and projecting yet !exible sound. A celebrated example of the use of the clarinet’s middle register is the opening of the slow movement in Mozart’s Clarinet Concerto.

"e theoretical upper limit of the middle register is C6, but the tones C#6 to F#6, given in parentheses in Figure 12, can be produced by overblowing the throat tones mentioned above, including those produced using the trill keys. "e tones thus produced are thinner in sound and more unstable in intonation than the same tones played with high-register fingering. However, they can be used in playing trills or glissandos spanning the two registers (cf. sections 3.2.2 Glissando and 3.3.8 Chain trills).

1.5.4 High registerIn Figure 12, the tones of the high register, from C#6 to C7, are grouped according to which partial above their fundamental the most commonly used #ngering is based on.

"e high register is the most di&cult to control on the clarinet in terms of #ngerings, embouchure and ar-ticulation alike, yet it also has the widest dynamic scale in the hands of a skilled clarinettist. Loud tones in the high register are sharp and piercing, clearly audible even over an orchestral tutti. So$ tones, by contrast, are trans-

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lucent and !ute-like. "e higher the tone, the more dif-#cult it is to play so$ly, but it should be possible to play so$ly reasonably well up to G6.

In the low and middle registers, there is as a rule only one #ngering or possibly two for each tone (except for auxiliary #ngerings, see section 2.3.2). In the high register, on the other hand, there are several alternative #ngerings for each tone. "is is because each tone can be found in the overtone series of several fundamentals (see Appendix 2). Also, there is almost in#nite variation available in the #ngerings of many high notes. Naturally there are certain standard basic #ngerings, but ultimately every clarinettist develops his or her own favourite #n-gerings for each piece of music, suitable for his or her instrument, embouchure and #ngering technique. "ere are di%erences of intonation and colour between alterna-tive #ngerings. Some are better for so$ sounds, others are better for loud sounds. Some are better for rapid #g-ures, others are better for long tones.

Until the 20th century, the high register was as a rule used only for culminations. Mozart’s Clarinet Concerto hits G6 once, and Mozart never wrote anything higher for the clarinet; nor did Brahms, a hundred years later. G6 was Crusell’s upper limit as well. Ludwig Spohr’s Clarinet Concertos nos. 1 and 2 (1809–10) ascend to C7, but high notes were a speciality of clarinet virtuoso Jo-han Simon Hermstedt, who inspired these works. Claude Debussy wrote lucid, soaring melodies in the high regis-ter in his Rhapsodie (1909).

1.5.5 Range"e lower extremity of the clarinet’s range is determined by the length of the instrument (cf. 1.5.2 Low register and throat tones), but it is impossible to de#ne the up-per limit unambiguously. How high a clarinettist can go depends on embouchure, mouthpiece and reed, the properties of which can vary greatly. Generally, profes-sional clarinettists can be expected to produce written C7, which can be regarded as a practical upper limit for the clarinet in Bb in orchestral and chamber music.19 In-termediate-level students and amateur musicians should not be expected to go beyond written G6 or A6.

"is is not to say that the clarinet cannot produce tones even higher than this. Many professional clarinet-tists feel that written C#7, D7 and Eb7 are usable but that E7 and beyond are extremely di&cult to produce, thin and unstable. "e highest note written to date in Finnish clarinet music is F7, in the solo clarinet work Loco by Kimmo Hakola. Juhani Nuorvala’s Clarinet Concerto (1998) ascends to written E7. Extremely high tones, as high as written C8, can be achieved by pressing the lower teeth against the reed instead of the lower lip (see 3.4.3 Teeth embouchure).

"e ranges of all the commonly used types of clari-net are given in Figure 8.

19 The range of the clarinet in Eb is narrower, see section 1.3.2.

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2 BASIC TECHNIQUEBasic clarinet technique consists of breathing technique, the control of breathing while playing; embouchure, the functioning of the lips and other muscles around the mouth; articulation, principally the action of the tongue in starting and stopping sounds; and #ngering technique. All these interact with one another while playing.

2.1 Breathing technique and embouchure

2.1.1 DiaphragmBreathing technique is the foundation of playing the clarinet. It is also its broadest and most complicated component. "is section discusses the function of the diaphragm, the concept of support, circular breathing and embouchure.

"e most important muscle for breathing technique is the diaphragm, a dome-shaped musculo#brous septum which separates the thoracic from the abdominal cavity. Discussions on breathing technique o$en ignore an im-portant feature of the diaphragm: it has no propriocep-tive nerve endings and is thus not, properly speaking, a voluntary muscle. It is comparable to the heart muscle in the sense that both are too important to be le$ to be handled by voluntary action. Breathing must go on and the heart must continue pumping blood even when we are asleep or unconscious. "e diaphragm can only be controlled indirectly through the abdominal and inter-costal muscles around it.

When we inhale, the diaphragm contracts and de-scends, making the lungs expand downwards. At the

same time, the thoracic cavity expands sideways and forwards. When we exhale, the diaphragm relaxes, and the abdominal muscles push air out of the lungs while the intercostals muscles pull the ribs inward. In normal breathing, inhaling is active and exhaling is passive.

In singing or in playing a wind instrument, breath-ing is more active and more comprehensive than nor-mally. "e muscles of the thorax, abdomen, back and neck surrounding the respiratory system participate more actively. "e greatest di%erence, however, is in ex-haling. When singing or playing a wind instrument, the muscles around the waist, particularly the abdominal muscles, gently but actively resist the relaxation of the diaphragm, thereby controlling the amount of air ex-pelled and the !ow of air used to produce sound.

2.1.2 Support"e control of the relaxation of the diaphragm described above is what is usually referred to as support. Good sup-port equals controlling the diaphragm as e&ciently as possible while maintaining a !exible and relaxed stance in the body. Without proper support, the air needed to produce sound either cannot be retained in the lungs (the diaphragm does not contract enough) or is expelled too quickly and without control (the diaphragm relaxes too quickly). "e strength of support is in inverse pro-portion to the volume of air required to produce a par-ticular sound; or, to simplify, support is the opposite of blowing.

"e di%erent registers of the clarinet require di%er-ent kinds of support: the higher the tone, the stronger the support (i.e. the more e&cient the resistance to the

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relaxing of the diaphragm) has to be. Playing tones in the high register requires very little air, but without ef-fective support it is impossible to control them. "e low register requires a lot of air but not a lot of support. Ac-cordingly, beginning students usually only play in the low register.1 Good support enables the playing of longer phrases with a single breath.

Changes in support alter the sound of the clarinet. Quiet sounds require more control of support than loud sounds. In principle, the #rmer the sound required, the stronger the support must be. A tone played without support is ‘breathy’ because it requires a lot of air to produce. Of course, both #rm and breathy sounds are required, because a musician must be able to produce as wide a range of colours as possible.

2.1.3 Metaphors as aids in breathing technique"e concepts involved in breathing technique are ab-stract and di&cult to discuss, partly because of the in-voluntary nature of the diaphragm. Metaphors are of-ten employed to illustrate breathing technique and the functioning of the diaphragm. "e diaphragm can be thought of for instance as a (coiled) spring underneath the lungs, regulated by the abdominal muscles. When the abdominal muscles tense up the spring, the lungs are expanded to their maximum. When playing the in-strument, the spring is gradually relaxed to expel the re-quired air from the lungs. "is description may help you think of the diaphragm as something separate from the actual muscles activated in breathing yet something that can be controlled.

Antony Pay, in his article !e Mechanics of Playing the Clarinet (Pay 1995, 108–109), compares the action of the abdominal muscles and the diaphragm to the biceps and triceps muscle in the upper arm. When we !ex our

biceps, we know that our triceps also !exes, even if we are not physically aware of this. "e same opposition ap-plies to the abdominal muscles and the diaphragm. If our airways are open and we hold our breath, our abdominal muscles are actually doing the holding. "is (and only this) tells us that the diaphragm too is contracted.

Pay describes this balance as “abdomen-diaphragm opposition”, the diaphragm resisting the abdominal mus-cles to a varying degree. If a clarinet player wants to play a diminuendo, this requires no conscious reduction in pressure in the abdominal muscles. "e e%ort of the ab-dominal muscles remains constant, but the relaxation of the diaphragm slows down, reducing the out!ow of air. When the diaphragm tenses up, the diminuendo ends in silence. A crescendo is the opposite: again, the e%ort of the abdominal muscles remains constant, but the re-laxation of the diaphragm speeds up. "e player has no other sensation of this happening except by hearing that the tone is growing louder or so$er. As the abdomen-dia-phragm opposition controls the dynamics of the playing, all changes in dynamics can be executed without con-scious e%ort, using support. Pay suggests that in di&cult places “[you] support, and then ask your diaphragm to help!”

2.1.4 Support as a broader conceptOf course, support is not only related to singing or playing wind instruments. Almost all Oriental philoso-phies share the notion of a centre in the lower abdomen through which a person can control his or her breath-ing and thereby the balance of his or her personality. "e energy generated through control of this centre is vari-ously described as the ‘force of life’ or the ‘universal force’. In yoga, it is called by the Sanskrit word praana, and in Japan it is known as ki. "ere are several methods for developing and controlling this force, such as judo, ka-

1 Some clarinet teachers have recently begun to question this practice. If a beginner only plays in the low register for a long time, it may become more difficult for him or her to learn to use support. Tones in the middle register are more difficult to get to speak but they require paying attention to sup-port from the start.

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rate and aikido in Japan, tai chi in China and yoga in India. What all these have in common is the notion that without breathing control one cannot develop or control one’s life force.

One perspective on support can be found in Ashtan-ga yoga, which many musicians today practice. "e pur-pose of breathing control in yoga is to control the mind through breathing, for instance by visualizing the !ow of energy through energy channels in the body. In Ashtanga yoga, deep breathing is known as ujjay$ breathing, which is controlled through three bandhas (the word translates as ‘lock’ or ‘seal’), meaning the contracting of muscles in a speci#c part of the body. "e strongest and most important of the bandhas is the Uddiy%na bandha in the lower abdomen.2 Its purpose is to support the lower abdomen and to lay the foundation for the functioning of the diaphragm and other respiratory muscles. When executed correctly, uddiy%na bandha is a subtle muscle control which renders the lower abdomen so$ and im-mobile (John Scott: Ashtanga Yoga, p. 22). "is is a good illustration of support and as such is relevant in clarinet playing too.

2.1.5 Circular breathingCircular breathing is a technique which enables play-ing the instrument while inhaling at the same time. "e air inhaled, while blowing, is stored in the cheeks and pharynx. Circular breathing makes it possible to play extensive phrases without pausing. "e technique is an-cient and used in a variety of cultures around the world. It is essential in playing the didgeridoo, the traditional instrument of the aboriginals of Australia. But it is not only the province of music; circular breathing is also a one of the tricks of the trade of glassblowers. Clarinet-tists in the sphere of Western concert music began using circular breathing in the 1960s, and today a substantial

2 Uddiy%na literally means ‘upward flying’.

percentage of professional clarinettists are capable of us-ing it at least to some extent.

Circular breathing is essentially simple. Clarinettist Roger Heaton gives an excellent three-step exercise in his article ‘"e Contemporary Clarinet’ (in Colin Law-son (ed.): !e Cambridge Companion to the Clarinet, p. 181):

1. Fill your cheeks full of air; stop o% the throat with the root of the tongue; push the air out slowly with the cheek muscles making a rude ‘raspberry’ noise!

2. Fill your cheeks as before; stop o% the throat; hold the air in your cheeks and breathe in and out nor-mally through the nose.

3. Fill your cheeks as before and breathe in through the nose slowly while simultaneously pushing the air slowly out of your cheeks in the raspberry noise.

Once you have mastered the principle, the traditional exercise for controlling the expelling of air during circu-lar breathing is to take a straw and blow into a bowl of water. When the bubbling is even, the air !ow is even. Of course, it is best to start practicing with the instru-ment as soon as possible.

Circular breathing should be as unobtrusive as pos-sible. Many wind players pro#cient with this technique know how to store the required extra air in the back of the mouth cavity instead of the cheeks so that their cheeks do not bulge out while playing and their control of the sound is disrupted as little as possible.

Circular breathing is the simplest to do in trill-like patterns in the low register, as in the trill sequence in Puro by Tiensuu (Figure 52). In a texture like this, slight variations in the sound cannot be perceived. "e high-er the tones to be played, the more di&cult it is to use circular breathing. However, there are clarinettists who can circular breathe almost imperceptibly on a long tone above C6. Combining circular breathing and tonguing is

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a problem, although a light, portato-type articulation is sometimes possible.

Circular breathing makes life easier for the clarinet-tist even in traditional repertoire, but there are contem-porary works where it is essential. Karlheinz Stockhaus-en has even indicated in the score of his clarinet works where it should be used (for example in Der Kleine Har-lekin, 1975).

2.1.6 Embouchure and the mouth cavityEmbouchure is the control mechanism between the air !ow from the musician’s lungs and the air column vi-brating inside the instrument. "e sound of the clarinet stems from the energy of breathing. Support and embou-chure form an antagonist pair which controls the quality of the sound. Figures 13 and 14 illustrate a clarinettist’s embouchure.

A clarinettist’s embouchure enables the air !ow from the lungs to make the reed attached to the mouthpiece vibrate, and is also used to control this vibration. Only the upper and lower lip and the upper teeth come into direct contact with the mouthpiece and reed.3 However, all the muscles of the lower part of the face contribute to the embouchure.

"e embouchure is described thus: the lower lip is gently tensed to cover the lower teeth so that the teeth are just under the middle of the visible red portion of the lower lip. "e mouthpiece rests on the lower lip so that 1 cm to 2 cm (0.5 in to 1 in) of the reed attached to the mouthpiece is in the mouth. "e upper surface of the mouthpiece rests against the upper teeth, and the upper lip seals the mouth. When playing, the clarinettist adjusts this basic embouchure by altering tension in the lips and adjusting the position of the chin slightly. Embouchure is changed depending on the register, sound, dynam-

ics and #ne-tuning of intonation required. Changes in embouchure are o$en tiny and unconsciously made. A substantial part of learning to play the clarinet involves learning to make the embouchure changes required in playing without thinking about them.

In the very highest tones, it may be necessary to re-tract some of the lower lip from between the teeth and the mouthpiece. Roger Heaton refers to this as short lip (Heaton 1995, 175).

When a professional clarinettist talks about embou-chure, he or she understands it (consciously or uncon-sciously) to include the function of the tongue in adjust-ing the position of the mouth cavity. "is is an important but o$en neglected component of embouchure. "e tip of the tongue is normally close to the tip of the mouth-piece while playing, and its middle is near the roof of the mouth. Moving the middle and back of the tongue af-fects the shape of the mouth considerably; indeed, play-ing glissandos in the middle and high registers depends on it. When the base of the tongue is lowered, the pitch of the tone goes !at. "is a%ects the pitch much more than altering the tension of the lips. In playing multi-phonics (Chapter 4), changing the shape of the mouth cavity is of crucial importance.

Figure 13 Embouchure, front view.

3 The clarinet was originally played like the oboe, with the upper lip held between the upper teeth and the mouthpiece. This double lip embouchure was replaced by the current practice during the 20th century.

Figure 14 Embouchure, side view.

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2.2 Articulation

2.2.1 Tonguing, a$ack and articulationTonguing refers to the action of the tongue, usually the touching of the tip of the tongue to the tip of the reed, in initiating a tone. "e tongue is only rarely used to stop a tone, for instance in an extremely dry staccato. Attack is the sound produced by tonguing at the beginning of a tone (or, in the absence of tonguing, the quality of the beginning of the tone in general). Tonguing involves taking the tongue out of contact with the reed, releas-ing the air !ow, which makes the reed vibrate and the instrument speak. To be pedantically precise, tonguing does not start the tone; it ends the stopping of the tone. "e strength of the attack depends on how the tone was stopped before it was allowed to start. If the tongue was pressed hard against the reed, the attack is hard, but if the tongue touched the reed lightly, the attack is so$.

Tonguing comes under the broader concept of ar-ticulation. In phonetics, articulation is de#ned as the functioning of the vocal organs of a person to produce the sounds and combinations of same in the language he or she is speaking. Of course, the verb articulate can also describe how things connect with one another. Applied to music, we might think of articulation as the way in which tones connect. If a speaker articulates clearly, the sounds and words are clear to the listener even if their content were not understood. In performing music, an instrumentalist articulating clearly presents a clear pic-ture of how the tones connect to one another and makes the shape of the music understandable to the listener.

In a clarinettist’s articulation, the tongue is the prin-cipal but not the only element. To be sure, tones are usually separated with the tongue, but articulation also involves tiny changes in volume, or microdynamics, to bring out the relationship between tones. "e shaping of phrases requires changes in dynamics, which is executed

by regulating air pressure through support. "e dividing line between dynamics and microdynamics on the one hand and microdynamics and articulation on the other is not sharply de#ned.

2.2.2 Basic articulations"ere are two traditional attacks in clarinet playing: the hard and concrete ‘t’ attack (as if pronouncing the sound ‘t’) and the so$ ‘d’ attack (as if pronouncing the sound ‘d’). "ere is a third, new type of attack called the slap tongue, which is discussed in section 3.4.1. A clarinet tone can also speak without an attack, starting smoothly from silence. "is is known as dal niente and is dis-cussed in section 2.2.4.

Figure 15 shows the basic articulations on the clar-inet: a) legato, where only the #rst note of the legato group is tongued; b) detaché, where the tones are blown as with legato but separated with ‘t’ or ‘d’ attacks, as if saying tuu or for consecutive notes tuutuutuu; c) por-tato, where the tones are given a so$ ‘d’ attack and in-dividual tones are not even but, for example, spherical or wedge-shaped (there are countless possible nuances within portato); staccato can be played either d) by in-terrupting the air !ow using support a$er each individ-ual staccato tone (imagine saying tu, or for consecutive notes tu tu tu), which requires active control of support to interrupt the air !ow, and the tongue only touches the reed at the attack; or e) by keeping support steady and stopping the staccato tone with the tongue (imagine say-ing tut, or for consecutive notes tuttuttut), i.e. the tongue stops the reed for most of the time and only frees it to vibrate for the duration of the short staccato tone.4

Staccato is not di%erentiated in the score; the per-former must choose the appropriate technique either in-tuitively or by conscious consideration. "e choice may be made on musical or technical grounds. "e #rst type of staccato sounds so$er and lighter, while the second

4 The vowel ‘u’ in these articulation syllables should be read as in Latin, i.e. equivalent in quality to the vowel in the English word ‘too’.

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sounds tighter and more mechanical. Staccatissimo, meaning an extremely short staccato, can only be played using the latter technique. However, once the rate of re-peated staccato tones is high enough (more than about three tones per second), no distinction can be made be-tween the two staccato techniques.

"e following examples illustrate the use of the two types of staccato. Figure 16 shows the opening of the sev-enth movement (Ite) in Missa, the second clarinet con-

a)

b)

c)

d)

e) Figure 15 Basic articulations: a) legato, b) detaché, c) portato, d) light staccato, with tongue attack and stopped using support, and e) ‘tight’ staccato, where support is constant and the tongue only releases the reed for the duration of the short tone.

5 The motto for this movement is a quote from a poem by Fernando Pessoa: “Blind, Science is working the useless ground. / Mad, Faith is living the dream of its cult.” (transl. J. Griffin)

6 The maximum single-tonguing speed is a highly individual feature. Some performers seem to have a natural aptitude for rapid tonguing. Tonguing speed also seems to be much harder to improve through practice than any other technical property. Thank heaven for double-tonguing!

certo of Jukka Tiensuu, completed in 2007. "ese light staccato tones are articulated using support.

"e staccato #gures in the opening of the #nale of the Clarinet Concerto of Kai Nieminen, shown in Figure 17, by contrast, are intended to sound nervous and ag-gressive.5 Here, each tone is stopped with the tongue.

2.2.3 Double-tonguingRapid tonguing (more than 8 to 10 times per second) is impossible to perform using the normal tonguing.6 Such cases call for double-tonguing, a technique employed for rapid articulations, where the air !ow is interrupted alternately with the tip of the tongue (as if pronounc-ing the sound ‘t’) and the base of the tongue (as if pro-nouncing the sound ‘k’). "ere is also a variant of this for groups of three notes, using a pattern with two ar-ticulations at the tip and two at the base of the tongue (‘t-t-k’ or ‘t-k-t’) and known as triple-tonguing.7 Ordinary tonguing as opposed to double-tonguing is referred to as single-tonguing.

Even in traditional repertoire, there are passages where single-tonguing would require either superhuman

Figure 16 (CD track 1) Light staccato in the opening of the movement Ite in Missa by Jukka Tiensuu (mm. 1-7). All musical examples in this book are in Bb unless otherwise noted, i.e. they sound a whole tone lower than written.

© Composer. Printed by permission.

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Figure 17 (CD track 2) The opening of the fourth movement of the Clarinet Concerto of Kai Nieminen (mm. 1–11) is a good example of tight, almost aggressive staccato, where the tongue only allows the reed to vibrate for extremely brief periods. Double-tonguing (section 2.2.3) is required in m. 10.

7 The word triple here only refers to the grouping of the articulations, as the technique itself is exactly the same as in double-tonguing.

articulation speeds or the tacit introduction of slurs. Fig-ure 18 is from Introduction and Allegro (1907) for harp, !ute, clarinet and string quartet by Maurice Ravel.

A clarinettist performing contemporary music fre-quently comes up against textures where double-tongu-ing is essential. Figure 19 is from Magnus Lindberg’s Clarinet Concerto (2002). "e rapid triplets in m. 10 in Figure 17 (Nieminen) also require double-tonguing,

Figure 18 Extract from the clarinet part towards the end of the introduction in Maurice Ravel’s Introduction and Allegro. Playing these quick repetitions requires double-tonguing. This example is in A. (Edition Leduc, Paris)

and many performers would need to employ it for the demisemiquavers (32nd notes) in Figure 16.

Double-tonguing is not yet included in the basic train-ing of clarinettists, unlike that of !autists and trumpet players, for instance. However, many performers today are comfortable with it, and it is gaining in ground. "is is not to say that double-tonguing is a new phenomenon

Figure 19 (CD track 3) Double-tonguing is frequently essential in the Clarinet Concerto of Magnus Lindberg. This example shows mm. 236–239.

© Copyright 2002 by Boosey & Hawkes Music Publishers Ltd. Reproduced by permission of Boosey & Hawkes Music Publishers Ltd.

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in playing the clarinet. Back in the early 19th century, clarinet virtuoso Iwan Müller was reputed to be capable of “insuperable double-tonguing”. Double-tonguing is the easiest to execute in the low register and becomes the harder the higher the tone is. C6 may be considered the practical upper limit for double-tonguing.

Rapid tonguing in the high register, as in m. 472 in Figure 20, is always a challenge. "is example is also from Lindberg’s Clarinet Concerto. Some clarinettists navigate passages like this by interrupting the air !ow every now and again with the larynx instead of the tongue, for ex-ample once for every four tongued notes, as if coughing lightly (this could be described as tu-u tu tu or tu-utu). In some cases, light tonguing can be performed by mov-ing the tongue from side to side. And, of course, it is also possible to introduce slurs to tie tones together in

places where even the perceptive listener is not likely to notice.

2.2.4 Dal niente and al niente"ere is an idiomatic clarinet technique known as dal niente (literally ‘from nothing’), meaning beginning a tone without an attack, as if emerging from silence. In contemporary music, dal niente is notated (when it is no-tated instead of being le$ to the performer’s discretion) with a crescendo hairpin starting from a small circle, or zero. Its opposite is al niente (‘to nothing’), notated with a diminuendo hairpin ending in a small circle. In the #rst four measures of the Clarinet Sonata (1983–84) of Eero Hämeenniemi, every phrase is notated as begin-ning from and ending to nothing (Figure 21).

Figure 20 (CD track 4) Magnus Lindberg: Clarinet Concerto, mm. 471–475. Some of the rapid repetitions in this work (as here in m. 472) are for most clarinettists too high to be played with double-tonguing. One possibility is to interrupt the air flow with the larynx instead of the tongue, as if coughing lightly. The ‘glissando’ in m. 471 is a quasi-chromatic scale on harmonics (see section 3.3.5).

Figure 21 (CD track 5) Notation of dal niente and al niente in mm. 1–4 of the first movement of Eero Hämeenniemi’s Clarinet Sonata.

© Copyright 2002 by Boosey & Hawkes Music Publishers Ltd. Reproduced by permission of Boosey & Hawkes Music Publishers Ltd.

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2.3 Other dimensions of technique 2.3.1 Dynamic potential of the clarinet"e clarinet is considered to have a wider dynamic range than any other orchestral woodwind instrument. "is is compounded by the di%erences in sound between the instrument’s registers: the low register is so$ and the high register is bright, even piercing (cf. section 1.4 Reg-isters). Many composers have drawn on the clarinet’s capability of producing extremely quiet tones. Hector Berlioz referred to these as ‘sunset tones’ or ‘echoes of echoes’ in his treatise on orchestration.8 Franco Dona-toni opened the second movement of his solo clarinet work Clair (1980) with rapid #gures in the low register, marked pppp and with the additional indication al limite dell’udibilità (at the threshold of audibility). As an ex-ample of the other extreme, we might mention the forte fortissimo C7 in Cahier D of Domaines (1968) by Pierre Boulez. It is relatively easy to play the clarinet very so$ly in the low register and very loudly in the high register, but it is a test of the clarinettist’s command of his or her instrument to be able to produce the entire dynamic scale in all the registers. Of course, the dynamic range of any individual instrument depends on the properties of its body and mouthpiece, and also the aesthetic prefer-ences of the clarinettist.

"e greatest challenge in association with control-ling the dynamic range of the clarinet is intonation. When volume is decreased, the tone tends to go sharp, and contrariwise: the louder the tone, the !atter the pitch tends to be.9 "is phenomenon is more marked in the low register than in the middle or high register, where it is relatively easy to control. Intonation is corrected primarily by altering embouchure. If this is not enough,

auxiliary #ngerings can be used. When playing what are known as ‘subtones’, the reed can be partly damped with the tongue, which !attens the pitch somewhat while producing a more veiled sound. (Partial damping can also be used when playing microtones in the very low-est register. See the #ngering table for quarter-tones in Appendix 2.)

"e term subtone is used to refer to the extreme-ly quiet tones of the clarinet, in most cases the ‘dead’ or ‘stopped’ pianissimos of the low register, of which Gustav Mahler for instance made e%ective use in his symphonies.

2.3.2 Auxiliary "ngerings Auxiliary #ngerings involve opening (or closing) one or more sound holes in addition to the normal #ngering in order to correct the intonation of the tone. "ey can also be used simply to alter the colour of the tone, i.e. to make it darker, so$er or brighter. "e key vibrato and bisbigliando techniques (section 3.3.6) are largely based on auxiliary #ngerings. Figure 22 shows a #ngering table for certain useful auxiliary #ngerings, but this is only a sample; there are actually hundreds of di%erent possible auxiliary #ngerings.

2.3.3 Fingering technique: rapid "gures"e clarinet is considered an instrument on which it is easy to play technically demanding virtuoso material. "e technical pro#ciency of clarinettists has increased so hugely in the past few decades that works which were considered unplayable when they were written, such as the Clarinet Concerto (1968) of Jean Françaix,10 are today included in the standard repertoire for advanced students. "e following examples are intended to clarify

8 son crepusculaire, l’echo de l’echo.9 The flute behaves in exactly the opposite way: a louder tone makes the pitch go sharp.10 In 1976, Jack Brymer wrote about this work that it could perhaps be performed in the future when the instrument is further developed or the human

hand has evolved further, but that at the present time its runs are impossible for almost anyone (Brymer 1976). The future was nearer than he thought. In 1986, I heard my teacher Christian Peignier demonstrate the most difficult of these passages for his students, quite fluently and elegantly.

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what kind of writing is particularly idiomatic for the clarinet.

Figures 23 and 24 show two versions of mm. 11–12 in Duo in a Sonata Form for clarinet and piano (2002) by Lauri Kilpiö. Figure 23, which is the original, is di&cult to execute in a natural-sounding way, because it jumps back and forth between the high and middle registers. "is is not so much an issue of #ngering technique as of embouchure-#ngering coordination and the di%erences in colour between the registers. In wide leaps from one register to another, particularly downwards, legato is in-evitably not possible to execute as smoothly as in scale-

like passages. "is particular passage is not impossible to play, but neither is it idiomatic for the clarinet.

Having heard performances of the Duo, and hav-ing talked to clarinettists who had performed it, the composer rewrote certain passages to make them more ‘clarinet-like’. Figure 24 shows the same passage in the revised version of the Duo. "e texture is just as dense and features the same pitches as the original but is di%er-ent in shape, progressing in narrower intervals and more coherent phrases. "e embouchure changes required are minimal, and keeping the sound steady is easier. It is still a di&cult passage, but now it is more idiomatic.

Figure 22. Examples of auxiliary fingerings which can be used to change the intonation or colour of a tone. The basic fingerings are boxed, and the changes for the auxiliary fingerings are shown outside the box. Code: minus sign (-) = slightly flatter than normal fingering; plus sign (+) = slightly sharper than normal fingering; S (soft) = softer or more veiled in sound than normal fingering; B (bright) = brighter or more resonant in sound than normal fingering. If there is no comment, the auxiliary fingering simply produces a tone that is of a ‘different colour’ compared to the normal fingering.

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"e virtuoso capacity of the clarinet and of clarinet-tists is not easy to defeat. In my opinion, the most im-pressive and idiomatic rapid passages are those which make use of the extensive compass of the instrument and progress in a linear fashion, as in Figure 39, which shows an excerpt from Carpe Diem by Jouni Kaipai nen.

2.3.4 Vibrato"ere are few things on which clarinettists disagree as widely as vibrato. Most clarinettists involved in concert

Figure 24 (CD track 6) Revised version of mm. 11–12 in Lauri Kilpiö’s Duo in a Sonata Form, showing coherent phrasing and narrow intervals in a virtuoso passage spanning the high and middle registers.

Figure 23 A virtuoso passage moving back and forth between the high and middle registers in mm. 11–12 of Lauri Kilpiö’s Duo in a Sonata Form, original version.

music normally use no vibrato at all or very little, al-most imperceptibly. Some consider that vibrato on the clarinet is exclusively the province of jazz. However, many distinguished British and American clarinettists of the late 20th century such as Gervase de Peyer, Jack Brymer, Richard Stoltzman and Charles Neidich used or still use an elegantly employed vibrato as an essential component in their performance. "ere was a school of clarinet playing favouring heavy vibrato in Bohemia (Czechoslovakia/Czech Republic) in the 20th century. In France, vibrato is used very sparingly or not at all. In

© Uusinta Publishing Company. Printed by permission.

© Uusinta Publishing Company. Printed by permission.

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Germany, almost all clarinettists traditionally play with a ‘straight tone’ (i.e. without vibrato), without even ‘warm-ing up’ the sound at the high points of phrases as French clarinettists sometimes do.

A notable historical exception to the German aes-thetic of the ‘straight tone’ was Richard Mühlfeld, the fa-vourite clarinettist of Johannes Brahms. Contemporary accounts describe his clarinet sound as large and warm, and he is reported to have used a wide vibrato. It was Mühlfeld’s playing which inspired Brahms to write four chamber music works featuring the clarinet in 1891–94 which have remained in the core Romantic chamber mu-sic repertoire (see 1.1.2 Classical and Romantic clarinet music).11

"ere are di%erent types of vibrato such as ‘diaphrag-matic’ vibrato, lip vibrato and the ‘jaw vibrato’ o$en used in jazz. Concert clarinettists usually use combinations of these as required.

In an ideal case, the clarinettist does not need to produce vibrato separately but can simply feel the air vibrating in his or her body with no extra e%ort, mov-ing the muscles involved in producing the sound (rather like the wind moves the limbs of a tree instead of vice versa). "en the listener perceives the vibrato as part of the sound rather than as an optional extra.

A clarinettist performing contemporary music cannot avoid vibrato; it has insinuated itself into con-cert music through jazz and ethnic traditions (such as klezmer). Composers sometimes specify vibrato in the score as a special e%ect, using a wavy line and/or ver-bal instruction. Herman Rechberger’s clarinet concerto Alovlar contains several instances of both the wavy line and the notation vibrato espressivo (see Figure 40 in sec-tion 3.2.4). In Tiensuu’s Missa (2007), the composer in-structs the performer to use a rapid yet not too wide vibrato to support the musical expression of the melody. Figure 25 is from the movement Kyrie.

11 Mühlfeld’s predilection for vibrato may be explained by the fact that he was originally a violinist and did not switch to the clarinet until relatively late in his career.

Figure 25 (CD track 7). In mm. 16–22 of the movement Kyrie in Jukka Tiensuu’s Missa, the low-register melody is coloured with a rapid vibrato.

© Composer. Printed by permission.

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Figure 26. One system for notating microtones, showing the fifteen variants of A4 from flattest to sharpest. The abbreviation c here stands for cents, i.e. 1/100ths of a semitone.1. 3/4 flat (about 140–160c) notated with a double-headed flat. 2. 1/4 flat (about 40–60c) notated with an inverted flat.3. 1/4 sharp notated with a sharp with only one vertical stroke.4. 3/4 sharp notated with a sharp with three vertical strokes.

3 NEW TECHNIQUES

3.1 Microtones3.1.1 Using and notating microtones

1 By definition, slight deviations from 12-TET to ensure optimum intonation in tonal music are not considered microtones. The clarinet, like other wind and string instruments, is not played in equal temperament. In orchestral and chamber music, intonation often involves a series of compromises between 12-TET and naturally pure intervals.

2 Jukka Tiensuu, for example, does not use 3/4-tone notation in his clarinet music.

A microtone is any tone which deviates from convention-al 12-tone equal temperament (12-TET).1 In the works studied, three basic reasons for the use of microtones can be identi#ed. 1) "e composition employs natural intervals based on the overtone series, with the result that some tones deviate considerably from 12-TET. 2) "e composition or a part thereof employs 24-tone equal temperament instead of 12-TET, i.e. the octave is divided into 24 equal parts. 3) "e composition employs individual tones deviating from 12-TET or glides related

5. A sharp or flat which is less than 1/4 (about 20-40c) is notated using an upward- or downward-pointing arrow before the note, possibly connected to the sharp, flat or natural.

6. Very small alterations (less than 20c) can be notated using arrows above or below the note. These serve more as reminders of intonation corrections than actual microtone notation (as in Figure 30, Nuorvala).

to individual tones with a colouring e%ect. "ese are dis-cussed in section 3.2.4 Pitch bend.

Figure 26 shows a clear and to some extent estab-lished notation for microtones. We should note that 3/4 steps are di&cult for performers to read and can (and should) almost always be replaced by their enhar-monic 1/4 step equivalents.2 In the text of this book, 1/4 sharps and !ats are notated using plus and minus signs, respectively, after the note names. Example: Ab–, A-, A+, A#+.

1. 5. 5. 2. 5. 6. 6. 5. 3. 5. 5. 4.

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Figure 27 (CD track 8). The first 20 partials in the overtone series on E.

Figure 28 (CD track 9). In the beginning (mm. 1–12) of Jukka Tiensuu’s Puro, the solo clarinet only plays notes from the overtone series on E (except for the 1/4 flat E6 in mm. 2, 5 and 6).

3.1.2 Intervals based on the overtone series

"e opening of Puro by Jukka Tiensuu plays on the over-tone series of a single low note. "e #rst 24 measures are built on the partials of the overtone series of E2 (mostly the odd-numbered partials). Figure 27 shows the over-tone series of E and Figure 28 shows mm. 1–12 of the solo clarinet part from Puro. (For purposes of compari-son, both examples are in Bb; the actual sound produced in the opening of Puro is thus based on D).

"e solo clarinet begins the work by itself, and the orchestra joins in one section at a time until a pillar of sound built on the fundamental is achieved. In Figure 28, the solo clarinet slides from the 16th partial (E6) to the 17th (F6), touches on the 20th (Ab6) and then creeps down the odd-numbered partials to the 3rd par-tial (B3).

Tiensuu appears to construct an overtone series on a single note at the opening of Puro.3 A di%erent ap-proach is taken by Juhani Nuorvala in Kolme impromp-tua ("ree impromptus, 1995) for clarinet and kantele.4

3 It is scarcely an accident that Tiensuu focuses on the odd-numbered partials, as these are dominant in the spectrum of the clarinet’s sound.4 Kantele is a zither-like instrument. See Preface; page 9.

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Figure 29 (CD track 10). Pentachord to which the kantele is tuned in Juhani Nuorvala’s Three impromptus. Cf. Figure 27, showing the overtone series on E.

Figure 30 (CD track 11). Clarinet microtones from the overtone series on E in Juhani Nuorvala’s Three impromptus. The example shows the first 13 measures on page 5. The clarinet in Bb and the unconventionally tuned kantele are here notated at concert pitch.

tion required to produce a natural major third. In this example, to facilitate comparison, both instruments are notated at concert pitch, in C.

In the #rst impromptu, the kantele is tuned to the pen-tachord shown in Figure 29. ("e numbers under the notes indicate the ratios between the frequencies of their vibrations.) "e tones of the pentachord come from the overtone series on E2: they are the 1st, 5th, 11th, 3rd and 7th partial, all transposed into the same octave (cf. Figure 27). Figure 30 shows an extract from the piece where the clarinet melody is based on this pentachord, the kantele accompanying with fundamentals and #$hs. An arrow before a note denotes a !attening of about 1/6 tone (producing a natural minor seventh), and an arrow below the note is a reminder of the intonation correc-

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5 Another challenge is to achieve balance with the very soft sound of the kantele.6 This applies to the soprano and sopranino clarinets in Eb, D, C, Bb and A. Alto and bass clarinets have closed keys, restricting the capability for playing

quarter-tones.

Figure 31 (CD track 12). Quarter-tones in the high register from Hannu Pohjannoro’s hämäränpyörre, mm. 42–46.

For the clarinettist, the greatest challenge in this work is adapting to the unusual tuning of the kantele,5 Precise intonation is extremely important here! Several tones re-quire the clarinettist to invent new #ngerings, and more embouchure correction is needed than usual. However, these challenges are not insurmountable, and the end re-sult is obviously worth the trouble, considering that Kol-me impromptua is one of the most frequently performed Finnish clarinet works.

3.1.3 Quarter-tonesIt is possible to play a quarter-tone scale on the clari-net over almost all of its range.6 Restrictions occur only in the very lowest notes (E3 to G#3) and the middle-register notes a twel$h up from these (B4 to D#5). "e #ngerings for quarter-tones are o$en more complicated (and less well known to clarinettists!) than conventional chromatic #ngerings, and as a result quarter-tone pas-sages that are rapid, contain wide leaps or occupy the

high register can be extremely di&cult to perform. See Appendix 2 for a #ngering table for quarter-tones across the entire compass of the clarinet.

Hannu Pohjannoro’s work hämäränpyörre (twilight whirl, 1999) for clarinet and strings systematically em-ploys a quarter-tone scale throughout. "is is a substan-tial challenge for the clarinettist, requiring the learning (or inventing) and rehearsing of numerous new #nger-ings and #ngering combinations. "e opening of the work in particular (Figure 31) may look intimidating, with rapid quarter-tone #gures in the high register. It is all playable, however, at least using the simpli#ed alter-natives provided by the composer. However, for most of the duration of the work the texture is more lyrical (and easier for the performer), as Figure 32 shows.

"e underlying structure in hämäränpyörre is the overtone series, but it is not present as overtly as with Tiensuu or Nuorvala. Pohjannoro employs the high par-tials of very low tones, ‘rounded’ to the nearest quarter-tone.

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Figure 32 (CD track 13). Melodic quarter-tone passage from Hannu Pohjannoro’s hämäränpyörre, mm. 83–94.

Figure 33. Beat by Jukka Tiensuu, mm. 85–90. During the pause in mm. 87–89, the clarinettist flattens the pitch of the instrument by extending its connections.

3.1.4 Other uses for microtonesAs noted in section 1.2.1 Parts of the clarinet, the overall tuning of the instrument can be !attened by extending the connection between the tuning barrel and the up-per joint. If all the connections are extended as much as possible, this will !atten the overall tuning by about a quarter-tone. However, doing this will not !atten the tuning evenly throughout the range, because the exten-sion has a considerably greater impact on the intonation of the throat tones than of anything else. If the instru-ment is altered in this way, the performer is required

either to employ extreme changes in embouchure while playing or to tolerate slightly awkward intonation – or in practice a combination of both. "is extension is speci-#ed for instance by Jukka Tiensuu in Beat for clarinet, cello and piano (1997). "e title of the piece may be un-derstood to allude to the interference, or ‘beat’ caused by the di%erence in tuning between the ‘!at’ clarinet and the normally tuned cello and piano. Figure 33 shows mm. 85–90 in this work. A$er extending the tube of the clarinet in Bb, the written notes sound as E– (quarter-!at E) and C+ (quarter-sharp C), which form a crisp dissonance against the C and E of the piano.

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3.2 Pitch alteration

"is sub-chapter covers techniques which involve al-tering the pitch of a tone while playing: glissando, por-tamento and pitch bend. "ese are common devices in jazz and in musical cultures of eastern Europe and the Caucasus (e.g. klezmer). "e Classical and Romantic concert music tradition makes no use of pitch alteration for the clarinet at all. Notated pitch alterations began to appear in concert music in the 1920s, mainly through the in!uence of jazz. "e brief glissandos in the Sonatina (1922) of Arthur Honegger are one of the earliest exam-ples. From the 1950s onwards, slides or glissando-type e%ects have migrated to works that have nothing to do with jazz, such as Kya for clarinet and chamber ensemble (1959) by Giacinto Scelsi.

3.2.1 Embouchure and pitch alteration"e !exibility of the clarinet in pitch alteration is due largely to the fact that it is possible to alter pitch quite dramatically in the middle and high registers simply by changing embouchure. To simplify a bit, the higher the note, the more it can be bent. Figure 34a-e shows an indicative ‘embouchure table’ showing how much a tone can be bent without changing #ngering, although we should note that individual di%erences between clari-nettists can be great. From around G6 upwards, pitch alteration with embouchure becomes di&cult because the partials of the overtone series are close together, and the sound easily cracks to a lower partial. ("is, however, is the source of the overtone glissando, see section 3.2.5). Tones can be sharpened with embouchure only to a very limited extent, approximately 1/8 of a tone.

Figure 34 a–d. An indicative table of how much a tone can be bent with embouchure alone.

7 Some sources such as Rehfeldt call a smooth transition a portamento and a stepwise transition a glissando. The definitions used here are those used in recent literature (e.g. Lawson 1995) and established in professional usage.

8 The widely used orchestration guide by Samuel Adler claimed as late as in the 2002 edition that on the clarinet only ascending glissandos can be played.

a) In the low register, how much a tone can be bent with embouchure is the greater the higher the tone is, from about a quarter-tone to about a minor third. The scope of bending is here shown as a small note next to the principal note.

b) The tones B4, C5 and C#5 can only be bent by about a quarter-tone with embouchure.

c) From D5 to F#6, how much a tone can be bent increases from a semitone to as much as a seventh. The scope of bending is here shown as a small note next to the principal note.

d) From G6 up, bending more than a semitone is the more difficult the higher the tone is.

Embouchure alteration involves changing both the tension in the lips and the shape of the mouth cavity (see section 2.1.6).

3.2.2 Glissando A smooth transition from one pitch to another is called a glissando.7 Glissando is notated with a straight, solid line linking the two notes. On the clarinet, both ascend-ing and descending glissandos can be played.8 Ascend-ing glissandos are easier, except for brief embouchure

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Figure 35 (CD track 14). Glissando from D5 to Gb6 in Puro by Jukka Tiensuu, mm. 44–46. This glissando is executed by gradually sliding the fingers to uncover the finger-holes while changing the shape of the mouth cavity. With F#6 (or Gb6), both trill keys, the speaker key and the A key are open in addition to the finger-holes.

Figure 36 (CD track 15). Mm. 78–83 from Puro by Jukka Tiensuu. A melody beginning in the high register ends with a glissando from E5 to F#6. Executed as above. (CD track begins from the end of bar 78.)

glissandos in the middle and high registers (cf. the em-bouchure table in Figure 34). "e clarinet glissando is executed by combining embouchure bending with slid-ing the #ngers across the #nger-holes. Sliding the #ngers is possible because the clarinet has ring keys (see section 1.2 Structure of the clarinet). Alto, bass and contrabass clarinets have closed keys and therefore a more limited capacity for playing glissandos.

"e best range for playing a long glissando is be-tween D5 and F#6, as in Figures 35 and 36 from Puro by Jukka Tiensuu. "ese are executed by sliding the #ngers

Figure 37 (CD track 16). A glissando sequence from Puro by Jukka Tiensuu, mm. 228–234. The final glissando can be executed by changing from the middle to the high register by changing fingering on D6. The glissando can then be continued in the high register up to B6. The first fingering given is for B5-; the following two bracketed fingerings are both for D6, and the last fingering is for B6. Note that the last fingering is the same as that for F#6 in Figures 35 and 36, but they occupy different registers and are blown differently.

to gradually uncover the #nger-holes. "is glissando is based (from C6 upwards) on the overblowing of the tones in the middle register and played with the trill keys, and it can be played both so$ly (as in Figure 36) or loudly (Figure 35), and both ascending and descending. A long glissando terminating on F#6 can also be found at the end of Carpe Diem by Jouni Kaipainen.

Figure 37 is also from Puro. "e #nal glissando in this section is written up to “the highest possible note”. My #ngering suggestions are given: the upper register change is bridged and the glissando extended to B6 by

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changing registers on a tone that can be played in both middle and high registers, in this case D6. "is glissando can only be played loudly. A similar glissando termi-nating on C7 can be found in the #rst movement of the Clarinet Concerto (2005) of Kalevi Aho, m. 149.

"e most di&cult range for playing a glissando is the transition from the low to the middle register. A glis-sando can be played up to C5 by using the trill keys, as in Figure 52, mm. 166–167. It is in principle possible to play a slow ascending glissando across this register shi$ (i.e. beyond C5) by changing #ngering on the C, but a descending glissando across C5 is impossible to execute smoothly.

Figure 38 is from Februa (2007) for clarinet and orchestra by Antti Auvinen. Here, glissandos and pitch bends (section 3.2.4) are combined with a rhythm ex-ecuted with strong breath impulses with no tongue ar-ticulation.

"e most famous clarinet glissando of them all is no doubt the one spanning two and a half octaves at the opening of Rhapsody in Blue (1924) by George Gershwin. Originally, Gershwin simply wrote a diatonic scale run with no indication of a glissando. Playing this ascend-ing scale as a glissando was by all accounts introduced

Figure 38 (CD track 17). In mm. 67–77 of Februa by Antti Auvinen, glissandos (mm. 70–76) and pitch bends (mm. 67–69) are combined with a rhythm executed with strong breath impulses during the glissando.

as a joke by jazz clarinettist Ross Gorman. Joke or not, this soon became the only acceptable way of playing that celebrated solo, and as such a nightmare for many clari-nettists with a strictly classical training.9

3.2.3 Portamento Portamento is a stepwise transition somewhere between a scale passage and a glissando. Opera singers are very familiar with portamento e.g. in the transition from a sustained tone on the upper dominant to the #nal in a concluding cadence in a bel canto aria. On the clarinet, portamento is executed by combining chromatic scales, glissando and wide vibrato, as the case may be. A nice portamento can also be produced by playing a rapid mi-crotone scale. Tiensuu makes use of portamento in Puro (Figure 28, mm. 10–11 in section 3.1.2 Intervals based on the overtone series). "ere is no single established notation for portamento, but the curved line shown in Figure 28 is one illustrative option.

Jouni Kaipainen’s clarinet concerto Carpe Diem! op. 38 (1990) has a recurring portamento motif (or, to be precise, a 12-step microtone scale spanning a minor third), executed by depressing the two highest trill keys

9 Georges Grisez, who played principal clarinet with the Baltimore Symphony Orchestra, died onstage during a concert in 1946 after having played the opening of Rhapsody in Blue.

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with the right thumb and playing a chromatic scale in the middle register as written in the score. Playing this portamento requires supporting the clarinet with a neck strap or against the knee instead of with the right thumb, just as in playing chain trills (see section 3.3.8). Figure 39 is from the #rst movement of the concerto; the motif occurs three times here. "e brief melody in mm. 12–13 (Largo cantabile) is a conscious allusion and homage to the Rhapsody for clarinet and orchestra by Claude De-bussy.

Figure 39 (CD track 18). Jouni Kaipainen’s clarinet concerto Carpe Diem!, first movement, mm. 9–16. The portamento played using trill keys (instructions on how to execute it are on the upper staff) is in mm. 9, 10 and 15.

3.2.4 Pitch bend Pitch bend is a brief and subtle alteration in pitch, mostly spanning a semitone or less. It is usually associated with a single principal tone, unlike the glissando, which is a transition from one tone to another.

Herman Rechberger makes much use of pitch bend (both sharpening and !attening) in his clarinet concerto Alovlar (2001) to colour long tones. Figure 40 shows mm. 35–41 in the first movement of Alovlar. In this

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Figure 40 (CD track 19). Pitch bends during a tone (mm. 35 and 39) and at the beginning of a tone (mm. 39 and 41) in the first movement of Alovlar by Herman Rechberger. In mm. 36 and 40, the composer also calls for vibrato (see section 2.4.4).

Figure 41 (CD track 20). Pitch bends down to Eb3 in Februa by Antti Auvinen, mm. 78–83.

Figure 42 (CD track 21). Overtone glissandos in the clarinet part of the opera Aleksis Kivi by Einojuhani Rautavaara, Act III, mm. 126–135.

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work, pitch bends usually occur within the duration of a tone, as in m. 35 (minim / half note Gb) and m. 39 (minim / half note C#). "e bend is notated here using an arrow attached to an accidental and graphically with a line showing its direction. In the performance instruc-tions in the score, Rechberger writes that the pitch bends should not exceed a quarter-tone. He also recommends the use of microtone #ngerings when executing the pitch bend with embouchure is not possible.10 "e latter refers in practice to sharpening pitch bends, as !attening pitch bends almost without exception can be executed with embouchure.

Rechberger reports that when he was in Azerbaid-zhan, he met a clarinettist who had an extra tone hole bored into his clarinet with which he was able to play the most fantastic pitch bends. "is experience provided the #rst impulse for Rechberger’s concerto.

Figure 41 is from Februa by Antti Auvinen. In mm. 77–81, the pitch bends extend down to Eb3, beyond the proper range of the instrument. "ese are executed by partly stopping the reed with the tongue (see Appendix 2, Fingering table for quarter-tones). When a pitch bend to Eb3 is combined with frullato, the frullato must be executed with the base of the tongue instead of the tip (notated as &t. (throat) in m. 79–81). "e rhythm writ-ten here is executed using powerful breath impulses. Cf. section 3.3.2 Frullato.

10 From the performance instructions for Alovlar: “The pitch bends (or fluctuations) should be applied on the indicated sustained notes and they should never exceed the interval value of (-step. Where pitch bend with embouchure is not possible, microtonal fingerings should be used and linked to the main notes by legato.”

11 The opera is scored for clarinet, bass clarinet, percussion, synthesizer and strings. The clarinet has many prominent solos.

Jukka Tiensuu uses pitch bends in the middle and high registers in both his clarinet concertos. See e.g. Fig-ure 28, the opening of Puro, mm. 2–3 and 5–6.

3.2.5 Overtone glissando"e overtone glissando is a rarely used scale-like descend-ing transition along the overtone series from the highest tones on the instrument, beyond G6. It is played using the #ngering of the original tone and embouchure only. An overtone glissando is always more or less aggressive in its sound, and it is to its best advantage in loud dy-namics. Figure 42 is from the clarinet part in the opera Aleksis Kivi by Einojuhani Rautavaara.11 Rautavaara has only written gliss. in the score, but a proper smooth glis-sando is not possible so high in the range. "e example is from a passage where a crowd scene disintegrates into chaos.

Overtone glissandos could be understood to include multiphonic glissandos, which are discussed in section 4.2.2.

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3.3 Changes in tonal colour (See also 2.2.4 Dal niente and Al niente, and 2.3.1 Dy-namic potential of the clarinet [‘subtones’])

3.3.1 Bell up!Bell up (German Schalltrichter auf or Schalltrichter in die höhe, French pavillon en l’air, Italian campana in aria) is an instruction requiring the clarinettist to raise the instrument so that the bell points not downwards as normally but straight forward or preferably somewhat upwards. "is has relatively little impact on the volume of the instrument, but the sound is transmitted more di-rectly in the space and becomes sharper and less culti-vated. "e ‘father’ of this technique was Gustav Mahler, whose symphonies frequently feature this instruction for clarinet. Raising the bell changes the position of the mouthpiece in the mouth and makes the sound more di&cult to control, and because of this some clarinettists are uncomfortable with the e%ect.

My experience is that raising the bell both intensi-#es the sound and acts as a powerful visual gesture. In contemporary Finnish music, Herman Rechberger at least calls for this in the second movement of Alovlar, the instruction being simply en air. Alovlar contains an-other exceptional means for changing the sound of the instrument too: at times, the clarinettist is called upon to play with his or her back to the audience. "is is the diametrical opposite of raising the bell, as the sound be-comes more veiled and seems to come from an indeter-minate direction.

3.3.2 FrullatoFrullato or &utter tongue, abbreviated &t or Flz, is the oldest ‘new’ technique for clarinet in concert music. In frullato, the air !ow creating the sound of the instru-

ment is made to !utter using the tongue (hence the name), producing a rapid tremolo. It could be described as a burr or a buzz. Frullato is today a basic skill for pro-fessional clarinettists. "e #rst clarinet frullatos in the orchestral literature can be found in the tone poem Don Quixote (1897) by Richard Strauss. Alban Berg makes much use of frullato in Vier Stücke für Klarinette und Klavier (1919), in both extremely loud (%f) and extreme-ly so$ (ppp) dynamics. In Finnish music, the clarinet frullato made its brief one-measure début in the Schott Concerto (1924) of Aarre Merikanto.

"ere are two ways of executing frullato: the more common, ‘tongue frullato’ or ‘dental !uttertonguing’, in-volves rolling the tip of the tongue against the alveolar ridge, as in the ‘rolled r’ sound. "is requires a lot of extra pressure, and the pitch easily goes !at and has to be compensated for by tightening the lips. In the high register (beyond C6), this technique is very di&cult.

"e less common way, ‘uvular !uttertonguing’, in-volves rolling the back of the tongue, as in the ‘French r’ sound. "is is easier to control at various levels of dy-namics and in di%erent registers, and it is even possible to combine tongue articulation with it. Uvular !utter-tonguing also does not tend to !atten pitch like dental !uttertonguing, and it sounds so$er and nicer. In the high register, it may even be imperceptible, and there-fore perhaps not what the composer intended. However, whether the clarinettist uses one or the other is a ques-tion of preference. Both techniques are usable if properly practiced.

Frullato has an alienating e%ect. "e instrument remains recognizable, and so does the pitch, but there is something strange about the sound. Many compos-ers use frullato at culminating moments to add an extra edge to the so$ sound of the clarinet. Frullato can be notated using traditional tremolo notation, as in Figure 43 from Nachtlieder (1978) by Esa-Pekka Salonen, or us-ing a letter Z superimposed on the stem of the note, as

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in Figure 50. Usually there is a clarifying verbal instruc-tion.

In the high register, where frullato proper is o$en problematic, a similar e%ect can be produced by sing-ing into the instrument (see the following section). "is, however, is only an emergency solution, as frullato and singing into the instrument are two very di%erent tech-niques. Combining frullato and glissando is only pos-sible in the low register.

3.3.3 Colla voce (vocal sounds) I Duets between instrument and voiceColla voce or con voce means singing or shouting into the instrument while playing it normally. "is can be

Figure 43 (CD track 22). Esa-Pekka Salonen: Nachtlieder for clarinet and piano. Frullato (Flz.) in mm. 17–20 of movement III.

executed anywhere in the clarinet’s range, although the potential of the voice is of course limited by the prop-erties of the clarinettist’s vocal capabilities, such as vo-cal range. "e voice must be quite strong in order to be audible over the clarinet. "ere are two types of colla voce technique: 1) ‘duets’ between instrument and voice, where the focus is on the harmonies the two produce; and 2) vocal e%ects, where the focus is on their com-bined colour e%ect. In the latter, the composer o$en does not specify the pitch of the tone to be sung.

In the movement ‘Agnus Dei’ of Jukka Tiensuu’s concerto Missa there is a brief chorale-like duet be-tween instrument and voice (Figure 44), written so that it can be balanced quite well, as the voice is (at least for most male voices) in a comfortable register and moves in small intervals. "is is one of the #ve solo cadenzas

Figure 44 (CD track 23). Mm. 53–62 in the movement ‘Agnus Dei’ in Jukka Tiensuu’s concerto Missa. There is a chorale-like duet between instrument and voice in mm. 58–62.

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in the concerto, each of which leaves some scope for im-provisation to the soloist. According to the composer’s instructions, this cadenza can be expanded through im-provisation and/or by repeating mm. 59–60.

3.3.4 Colla voce (vocal sounds) II Colour e%ectsWhen the clarinettist sings a pitch a semitone away from the tone being played, an audible and rapid beating re-

Figure 45 (CD track 24). In Ablauf by Magnus Lindberg, the clarinettist sings glissandi beginning on a unison with the tone played and ending up a semitone away, generating a strong beating. Opening of the Andante molto section.

sults. Figure 45 is from Ablauf (1983) for clarinet and two bass drums by Magnus Lindberg. In mm. 3 and 4, the clarinettist sings semitone glissandos which begin in unison with the played tone. "e beating, which is rein-forced by the crescendo, becomes audible as the pitches diverge.

"is vocal sound is related to the growl, a jazz term referring to singing, growling or roaring while playing an instrument, typically employed in some styles of jazz and rock, to break the sound of the instrument and make

Figure 46 (CD track 25). Colla voce effects in Februa by Antti Auvinen. The black beam in mm. 268–273 shows the relative dynamics of the voice, and the growl notation in m. 272 indicates an even stronger voice effect than previously.

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it stronger and edgier. In concert music, this is always a very powerful gesture; note that not all singing into an instrument is growling. Growling is almost always notat-ed verbally, and its actual pitch is le$ for the performer to decide intuitively, as in Figure 46 mm. 272–273.

In Februa by Antti Auvinen, the clarinettist is called on to add a stronger e%ect to the fortissimo section in the high register (Figure 46) by singing or screaming into the instrument. "e beam below the sta% shows the relative dynamics of the voice. In mm. 272–273, there is the added notation growl, meaning an even stronger e%ect, a sort of concluding bark. In mm. 273–274, the voice gradually subsides and the clarinettist returns to normal playing.

In the Clarinet Concerto of Sebastian Fagerlund, premiered in 2006, there are several kinds of vocal ef-fects. Figure 47 is from the opening of the fourth move-ment. In the #rst four measures (and in similar sequenc-es later), the clarinettist is required to sing a #$h higher than the repeated accented F# tones. "e result is, as Christo%er Sundqvist, the clarinettist who premiered the work described it, an ‘electric guitar sound’. In mm.

8–9, the clarinet sound is ‘distorted’ by singing into the instrument. "is gesture is similar to that in Figure 46 but somewhat subtler because it is written in a lower register. "e natural solution would be to sing about one octave below the instrument’s tone. "e black wedges in mm. 5–7 do not refer to the voice; instead, they denote the splitting of the low F# gradually into multiphonics (see section 4.2.5 From normal tone to broken tone).

Colla voce e%ects can be employed even when they are not speci#cally written into the score in cases where the music has jazz, rock or ethnic in!uences (as in Ha-kola’s Clarinet Concerto or Rechberger’s Alovlar).

Sometimes colla voce is used to replace frullato or multiphonics in the high register, but this is always an emergency solution, as all three are separate and di%er-ent techniques.

3.3.5 Colour "ngerings I Harmonics12

Fingering changes or alterations made for the purpose of changing the tonal colour of a single tone are known

Figure 47 (CD track 26). Colla voce effects in the opening of the fourth movement of Sebastian Fagerlund’s Clarinet Concerto, mm. 1–11. In mm. 1–4, the clarinettist sings a fifth higher than the repeated accented F# tones. In mm. 8–9, the clarinet sound is ‘distorted’ (dist.) by singing into the instrument.

12 The term harmonic has not been firmly established in the context of clarinet technique.

© Edition Peters. Reprint with permission of C.F. Peters / Henry Litoff ’s Music Publishers Frankfurt/M., Leipzig, London, New York

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as colour "ngerings. Such alternative #ngerings may be found for virtually every tone in the range except for the very lowest ones. "e tonal colour shi$s meant here o$en involve subtle changes in pitch, usually less than a quarter-tone. "ese tiny pitch changes are o$en used in the high register where the tonal colour di%erences between #ngerings are o$en imperceptible.

Colour #ngerings can be played in two ways: em-ploying harmonics overblown from the low or middle register (see Appendix 1), or employing auxiliary "nger-ings (see section 2.3.2) modi#ed from normal #ngerings. Harmonics (many of which deviate from equal tempera-ment!) can be found from G5 upwards. "ere is a table of some auxiliary #ngerings in section 2.3, and a table of harmonics is given in Appendix 1.

"e #nal note in the solo clarinet part in Missa by Jukka Tiensuu is an extremely quiet B5 (Figure 48). "e composer has notated it as a harmonic, enabling a much so$er tone than with normal #ngering. ("e best solu-tion is the #ngering for D5.)

In mm. 35–37 of Eliangelis by Antti Auvinen, the D6 is played alternately with normal #ngering and as a harmonic on F3 (Figure 71 in section 4.2.5 From nor-mal tone to broken tone). A harmonic can be notated either with a small circle over the note (Figure 48) or a diamond-shaped notehead (Figure 71). "e tone to be #ngered can be given as a small notehead in parentheses under the principal note (Figure 71).

Figure 20 (from Lindberg’s Clarinet Concerto) shows a portamento-like scale on harmonics from G5 to G6.

3.3.6 Colour "ngerings II Key vibrato and bisbigliando Key vibrato and bisbigliando both refer to alternating dif-ferently coloured #ngerings for the same tone. Key vibra-to is, as the term indicates, a kind of vibrato executed us-ing keys or #nger-holes (i.e. auxiliary #ngerings) instead of changing embouchure or air pressure. "e alternation of two ‘colours’ here is free and !owing, not mechanical. Other kinds of alteration between di%erently coloured #ngerings are o$en called bisbigliando.

Key vibrato is a new technique only in the sense that it is not part of the Romantic performance tradition. In the Baroque era, however, !autists used key vibrato or #nger-hole vibrato as a matter of course, and for some it was the only proper way of executing vibrato.

Figure 49 is from the conclusion of the #rst move-ment of the Clarinet Concerto of Kai Nieminen, where key vibrato is used to colour a hymn-like melody. "e example shows my suggested #ngering. "e note names given refer to the keys with which the key vibrato can be executed.

Key vibrato is usually notated using the same wavy line as for a trill. It is usually a good idea to include a verbal instruction so that the wavy line is not in fact mis-taken for a trill. Paavo Heininen employs key vibrato on some individual tones in Discantus II, although he refers to it as a pedal key e'ect, following Bartolozzi.

Bisbigliando is Italian for ‘whispering’. Its original meaning in music referred to the rapid alternation of

Figure 48 (CD track 27). The concluding B5 in Tiensuu’s Missa is played as a harmonic.

© Composer. Printed by permission.

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Figure 49 (CD track 28). In mm. 140–153 of the first movement of Kai Nieminen’s Clarinet Concerto, the hymn-like melody is coloured using key vibrato. The note names under the staff refer to the keys with which the key vibrato can be executed.

two strings on the harp enharmonically tuned to the same pitch (e.g. E and Fb). Today, it is also used to refer to similar e%ects on woodwind instruments. Figure 50 is from the #$h movement of the Clarinet Concerto of Kalevi Aho, with bisbigliando in m. 74 and mm. 80–83. Bisbigliando can be executed using auxiliary #ngerings or harmonics.

Bisbigliando can be either trill-like (as in m. 74) or wave-like (as in the alternation of F and E# in mm. 80-

83). In both cases, the rhythm of #ngering alternation is given.

Bisbigliando is usually notated as a slurred repetition (Figure 50, m. 74) or as an alternation of enharmonically identical notes (Figure 50, mm. 80–83). Figure 31 m. 43, from hämäränpyörre by Pohjannoro, also employs bis-bigliando. Pierre Boulez uses the e%ect in his solo clari-net work Domaines (1968), notating it using alternating plus and minus signs above the notes, indicating that

Figure 50 (CD track 29). The fifth movement of Kalevi Aho’s Clarinet Concerto has bisbigliando in m. 74 and mm. 80–83.

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the repeated notes should be slightly sharper or !atter in turn.

3.3.7 SmorzatoSmorzato or smorzando is a powerful, impulsive vibrato which changes both pitch and dynamics. It can be re-garded as an articulation, particularly if the rhythm of the impulses is notated. "e impulses are executed by moving the jaw down and up in the required rhythm

Figure 51 (CD track 30). Mm. 25–29 in the first movement of Discantus II by Paavo Heininen: transition from normal tongued repetition to smorzato on a single tone in m. 28. (CD track begins from bar 27.)

while playing, thus creating rapid changes in air pres-sure. Figure 51 is from the #rst movement of the solo clarinet work Discantus II (1969) by Paavo Heininen. In m. 28, the sforzato (strong accent) is followed by a tran-sition during the diminuendo from tongue repetition to smorzato on the B#.

Smorzato is at its best in dynamics lower than mez-zoforte, because at louder dynamics an increase in air pressure is likely to stop the tone altogether.

Figure 52 (CD track 31). Chain trills sequence in Puro by Jukka Tiensuu, mm. 165–180. The right thumb is removed from the thumb rest during the F#4–C5 glissando in m. 166. The glissando is executed by pressing the two top trill keys with the thumb. In m. 167, the normal fingering for C5 is restored, and the C5 / C5+ trill in m. 168 is executed using the two top trill keys with the thumb. The trill is continued in the same way as the melody tones change, uninterrupted except for m. 179 for a total of 23 measures. Figure 52 shows only the beginning of the sequence.

© Composer. Printed by permission.

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3.3.8 Chain trillsIn Puro by Jukka Tiensuu, there is a twenty-measure sequence where a melody with a distinctly Balkan !a-vour is coloured using an unbroken trill (Figure 52). "is may be called a chain trill or chain tremolo. "e trill here is executed by opening and closing the top two trill keys (Bb and C trill keys) simultaneously with the right thumb. "e same two trill keys are used no matter what main melody note is #ngered. "e trilled notes, given as small noteheads in the score, are the pitches gener-ated by the combination of the melody note #ngerings and the trill keys. "e caption gives instructions in more detail. "is sequence is considerably easier to play if the performer knows how to do circular breathing (section 2.1.5). Figure 52 also shows a trill key glissando, which was mentioned above in section 3.2.2.

Because playing these chain trills requires remov-ing the right thumb from the thumb rest, the instrument must be supported in some other way, for example us-ing a neck strap. I myself feel that a neck strap restricts movement, and instead I prefer to use a low stool on which to raise one leg and then support the bell of the instrument on my knee.

3.4. Percussion e%ects and noise 3.4.1 Slap tongueSlap tongue is a strong, percussive articulation. It can ap-pear on its own as an instantaneous e%ect almost without pitch or as an attack. It is executed similarly to a tongue click against the roof of the mouth. First, the entire part of the reed which is inside the mouth is covered with the !at of the tongue, and then the tongue is rapidly withdrawn, creating a momentary vacuum in the front of the mouth which produces the characteristic click of the slap tongue.

Slap tongue is mainly usable in the low register, and it is the most e%ective on the bass clarinet. One of its most innovative users is French clarinetist Louis Sclavis, who uses slap tongue on the bass clarinet as a rhythmic element in his compositions and improvisations, creat-ing the e%ect of accompanying himself with slap tongue rhythmic patterns.

Slap tongue has not been used much in Finnish mu-sic. In Februa by Antti Auvinen (Figure 53), there is a dialogue between solo clarinet slap tongue notes and pizzicatos in the lower strings. Figure 57 (Bergman: Karanssi) also has slap tongue in m. 3.

"ere are other e%ects similar to the slap tongue proper. "e most powerful of these is the open slap, where a low-register note is playd using slap tongue but removing the lips from the mouthpiece at the same time. "e result is a brief, multiphonic squawk. "is can be made even more aggressive by shouting sharply into the instrument at the same time (pah! or tah!), as in Figure 54, the opening of Februa by Antti Auvinen.

Open slap can be used in fairly so$ dynamics too, as in Figure 81, from Unes by Usko Meriläinen (#nal note in the example, marked slap MF). A rarely used but in quiet dynamics very gratifying slap tongue e%ect is

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Figure 53 (CD track 32). Slap tongue in Februa by Antti Auvinen, mm. 55–65.

the ‘blowpipe e%ect’, similar to a so$ string pizzicato. In this, the clarinettist blows strongly and rapidly (without playing a tone or singing) through the instrument and then stops the air!ow by sealing the reed quickly with the tongue, as if voicelessly saying ht! "e e%ect is short, quiet and has pitch, and it works in both the low and the lower middle register (Figure 55).

Figure 54 (CD track 33). Aggressive open slap effects in mm. 2, 3 and 5 of Februa by Antti Auvinen.

Figure 55 (CD track 34). Soft slap tongue effect, which I have dubbed the ‘blowpipe effect’.

Slap tongue is usually notated by giving the #ngered note but replacing the notehead with a cross (Figures 54 and 57). In the case of a normal tone with a slap-tongue attack, a cross or plus sign is notated above or below the note (Figure 53). O$en there is a verbal instruction too, which is recommendable given the diversity of notations used and the variety of sounds available.

© Composer. Printed by permission.

© Composer. Printed by permission.

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3.4.2 Breath and air sounds "e notation senza tono, senza voce, air sounds or sou(e calls for sharply and strongly pronouncing the sound ‘s’ or ‘h’ through the instrument. "is produces a hiss of indeterminate pitch, although some indication of the #ngered tone can usually be perceived. "e clarinettist can control through embouchure how strong this indica-tion of pitch among the hiss is. Because the hiss does not resonate like the normal clarinet tone, senza tono tones are necessarily so$, even though they require a great deal of air pressure. Breath and air sounds are usually notated using an open diamond-shaped notehead, as in Figures 56 and 71.

Figure 56 shows the ending of the solo clarinet work Exalté (1985) by Olli Koskelin, where a long note chang-es into senza tono through a diminuendo. Paradoxically, although notated as a diminuendo, this actually requires an increase in air pressure to make the hiss audible. "e tone disappearing into the hiss might be analogous to a #gure disappearing into fog.

In Eliangelis by Antti Auvinen (Figure 71 in section 4.2.5), there are rapid scales played on hissing alone. Such scales work best if they are written in the low reg-ister only (as in Figure 71), for the simple reason that ‘middle register hiss’ sounds much the same as ‘low reg-ister hiss’. If, for example, the scale in m. 34 in Figure 71 were to continue beyond the C5 played with trill keys, there would be an interruption at the register change, and it would sound like the same scale beginning again from the lower end.

"e greatest variety of hisses can probably found in the clarinet works of Helmut Lachenmann (1935–). His solo clarinet work Dal Niente (1970) contains a num-ber of senza tono e%ects, including pronouncing vari-ous consonant sounds (‘f ’, ‘sh’, ‘h’) and blowing into the mouthpiece without touching it. Dal Niente is a highly e%ective piece which lies largely on the threshold of hearing, requiring absolute silence in its surroundings. For this reason, many of the techniques used in it are useless for ensemble writing.

3.4.3 Teeth on reedIt is possible to play tones beyond the upper end of the normal range of the clarinet by using an embouchure variation known as teeth on reed. As the term indicates, this involves placing the lower teeth lightly on the reed instead of the lower lip. "is can extend the range up as far as written C8 (sounding Bb7). "ese ‘teeth tones’ are thin, and their pitch is extremely di&cult to control. "is is not to say that they are unusable, but very few clari-nettists have mastered them so far. Magnus Lindberg has written extremely high notes of determined pitch (up to B7, in mm. 550–556 of his Clarinet Concerto).

Mostly, notes to be played with teeth on reed are notated using a triangular, upward-pointing notehead usually reserved for notating the highest possible note (of indeterminate pitch). A verbal instruction is always necessary to specify teeth on reed, as a triangular note-head with no explanation is likely to be interpreted as meaning any extremely high note.

Figure 56 (CD track 35). Olli Koskelin’s Exalté ends in a hiss, following which the clarinettist whispers a brief rhythmic figure.

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Figure 57 shows the opening of the third movement of Erik Bergman’s clarinet-cello duo Karanssi (1990), where there are two kinds of teeth on reed e%ects. "e #rst occurs in m. 2, where the instruction whistle tones refers to a very slow and very quiet glissando played with the teeth on the reed, sliding the teeth lightly along the length of the reed. "e second such e%ect occurs in mm. 8 and 10, where there is a brief, loud teeth on reed note as high as possible combined in m. 10 with a short glissando. Of course, a teeth on reed tone can be played without glissando too.

In the Clarinet Concerto of Kimmo Hakola, third movement, mm. 194–201, the solo clarinettist is required

to improvise birds, and in m. 202 there is a solo of birds. "is is an excellent opportunity for using teeth on reed, as the sounds thus produced can be made to sound like the chirping of little birds.

3.4.4 Tone-hole sounds and key sounds Some works for clarinet employ sounds that are produced with the #ngers alone, without blowing. "ere are in principle two types of such sounds: 1) sounds produced by clicking the keywork, or key sounds, and 2) sounds produced by slapping the #ngers forcefully onto the #n-ger-holes, or tone-hole sounds. Both are so quiet that they

Figure 57 (CD track 36). Opening of the third movement in Karanssi by Erik Bergman. Teeth on reed notes in mm. 2, 8 and 10. (CD track begins from bar 2.)

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are only properly audible if they are electronically ampli-#ed or if there is no other sound at all in the piece at the same time. "e acoustics of the venue have a decisive impact on the audibility of noises like this. Herman Re-chberger’s KV622 II bis (1978) for clarinet and tape ends in a ‘silent cadenza’ played with tone-hole sounds and key sounds (Figure 58). Here, Rechberger uses graphic notation for indicating unusual techniques.

In order for a tone-hole sound to produce the same pitch as playing the instrument with that #ngering, the mouthpiece must be completely sealed with the tongue. If the clarinet is open at both ends, the pitch produced by slapping a #nger-hole is about a minor seventh higher.

3.4.5 Disassembling the clarinet"e practice of taking apart the clarinet on stage and playing the individual sections was employed in avant-garde compositions in the 1960s and 1970s but is almost completely unheard of today. "is does have a certain performance-art value to it, though. "e most common of these e%ects is playing the mouthpiece only, which pro-duces a shrill and whistlelike tone and is easy to use for glissandos.13 Figure 58 shows the end of KV622 II bis by Rechberger, #rst with ‘normal’ playing on mouthpiece only (notated with a black wedge), then frullato on the mouthpiece, then teeth on reed on mouthpiece only (black wedge with arrows above and below), and #nally teeth on reed frullato on mouthpiece only.

Figure 58 (CD track 37). Herman Rechberger: KV622 II bis (1978) for clarinet and tape. At the end of the piece, the clarinettist plays on the mouthpiece alone for about 14 seconds. After the tape finishes, there is a ‘silent cadenza’ played on tone-hole sounds and key sounds only.

13 By changing embouchure, the mouthpiece of a clarinet in Bb alone can yield a range of up to an octave, and this can be extended even further by closing and opening the other end with the hand.

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"e Piano Concerto (1957–59) of John Cage is prob-ably the earliest work where a clarinettist was required to play using trumpet embouchure without mouthpiece. "is rarely used technique yields about an octave and a half of humorous raspberries of slightly indeterminate pitch (Figure 59a). Trumpet embouchure can also be used to play the tuning barrel alone, resulting in a so$, whimpering sound (Figure 59b).

"e mouthpiece can be a&xed to the lower joint of the clarinet, omitting the tuning barrel and the upper joint. "is half-clarinet can produce curious scales which deviate from equal temperament. Figure 60 shows the result of playing a diatonic and a chromatic scale on a half-clarinet.

Figure 59 (CD track 38). a) Trumpet embouchure without mouthpiece yields about an octave and a half of humorous raspberries.b) Trumpet embouchure on the tuning barrel alone produces a soft, whimpering sound.

a) b)

3.4.6 MutesUnlike strings and brass, the clarinet and other wood-wind instruments do not employ mutes in the sense of physical objects attached to the instrument. "is is because anything placed in the bell of the instrument would only a%ect the lowermost notes. In order to af-fect the entire range of the clarinet, a mute would have to be something that would somehow a%ect all the tone holes at once. In the low register, a mute e%ect can be produced by stopping the reed partly with the tongue (see ‘subtones’ in section 2.3.1).

Hector Berlioz proposed an interesting solution to the problem of muting the clarinet nearly two centu-ries ago: in his monodrama Lélio (1831), the composer

Figure 60 (CD track 39). The result of playing scales on the ‘half-clarinet’, first with the fingering of a diatonic scale and then the chromatic scale.

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instructs the clarinettist to cover the entire instrument with a leather sack for a particular solo, “remplissant l’o)ce de la sourdine” (‘acting as a mute’).14

In some clarinet compositions, mutes are used for other purposes than muting. If a cork is inserted in the bell of the clarinet (or the egress of air through the bell is completely blocked in some other way) and if all the tone holes except the register hole are sealed (this is the #ngering for B4), the result is a fairly pure though some-what stu%y Db major added sixth chord (Figure 61).

3.4.7 Non-vocal human soundsIn some compositions, the clarinettist is required to speak, whisper, shout or utter meaningless strings of consonants, with or without the instrument. "ese ef-fects o$en form part of guided improvisation or musical theatrics, which has more to do with performance skills or general musicianship than with clarinet technique speci#cally.

Ablauf by Magnus Lindberg ingeniously combines such theatrics with a change of instrument (Figure 62). At the point marked Senza misura, the clarinettist plays an extensive, free and dense ascending scale passage in-terrupted by yelps and underpinned by a crescendo on the bass drums. "is culminates in an extremely strong

14 Berlioz writes of the muted clarinet solo in his treatise on orchestration: “Ce triste murmure et la sonorité à demi effacée de ce solo... ont toujours vive-ment impressioné les auditeurs” (‘This sad murmuring and half-suppressed sound... have always made a profound impression on audiences.’ Berlioz 2004.)

Figure 61 (CD track 40). Blocking the bell enables the clarinettist to play a Db major added sixth chord using the fingering for B4.

and extremely high tone, a$er which the clarinettist is required to perform a ‘solo cadenza’ without an instru-ment. "is consists of rapid, so$ consonant sounds and brief shouts, all notated with relative pitches. During this nonsense solo, the clarinettist has time to switch from clarinet to bass clarinet for the Fluente section.

"e third movement of Karanssi by Erik Bergman opens with a guided improvisation (Figure 57), where the clarinettist is called on to invent various quiet non-vocal human sounds.

Only the imagination is the limit in combining in-strumental sounds with the human voice for theatrical purposes. An example is Voix Instrumentalisée (1973) for bass clarinet by Slovenian-French composer Vinko Globokar. "e mouthpiece is not used at all; instead, the bass clarinettist is required to sing, speak, make sounds and blow into his instrument according to precise in-structions in the score.

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Figure 62. In Ablauf by Magnus Lindberg, there is a solo consisting of various consonant sounds uttered by the clarinettist, during which he or she exchanges the normal clarinet for the bass clarinet.

Copyright © 1990 Edition Wilhelm Hansen Helsinki Oy. All rights reserved. International Copyright Secured. Printed by permission.

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4 MULTIPHONICS

4.1. A million multiphonics When a clarinettist produces two or more pitches si-multaneously just by playing the instrument, the result is known as a multiphonic (French multiphonique, Ger-man Mehrklang). "ere are two types of multiphonics, which I will here refer to as broken tones and multiphon-ics proper. Broken tones (section 4.2) are played with the #ngerings for normal, monophonic tones. Multiphonics proper (section 4.3), which are much more common, have special #ngerings. Multiphonics are notated either by indicating the most clearly audible pitches or by add-ing the letter M to the stem of the note. For a discussion of notation practices, see section 4.4.

Regardless of #ngerings, embouchure and air pres-sure control are of vital importance in producing mul-tiphonics. A single fingering can often yield several di%erent multiphonics. A #ngering can be thought of as producing a spectrum of tones where some can be emphasized, others some eliminated and some altered in pitch, simply by changing the sound production tech-nique.

It has been calculated that theoretically there are 373,248 di%erent #ngerings on the clarinet.1 All of these, as far as we know, can be used to produce both individu-al tones and multiphonics.2 If we estimate each #ngering to yield three di%erent multiphonics on average, the total would be well over one million! And even though only some of these are actually usable (some are too di&cult to produce, some are nondescript noise, and some are similar to each other), there are still thousands of musi-cally interesting multiphonics.

Multiphonics are result of interaction between sev-eral simultaneous air column resonances. When the in-strument is played normally, the resonance is based on one air column length producing harmonic overtone series which can be percieved as a single tone. In multi-phonics, by contrast, the column of air vibrating inside the clarinet is brought into an unstable state where reso-nances of two (or more) di%erent air column lengths ap-pear simultaneously. "e spectrum of the multiphonic sound is a combination of the two harmonic overtone se-ries and interaction components between the individual overtones. Typically, several partials can be perceived at once. Because of their harmonic instability, multiphonics are usually slower to speak, more di&cult to control and dynamically less !exible than normal tones. Also, there is great variation between di%erent multiphonics regarding these parameters.

"ere are innumerable variations in tonal colour among multiphonics. In broken tones, the tonal colour depends largely on the fundamental. "is will be dis-cussed in more detail in section 4.2. As for multiphonics proper, I am going to make an attempt at some kind of classi#cation according to tonal colour (sonorous, so$, shrill, aggressive), but it is impossible to compile an ex-haustive list of multiphonic tonal colours, because em-bouchure and air pressure (never mind individual di%er-ences in playing technique between players) play such a great role.

Fingering tables for multiphonics are given in Ap-pendices 3 (broken tones) and 4 (multiphonics proper).

1 Rehfeldt 1992, 42.2 Bartolozzi, in New sounds for woodwind, makes a distinction between fingerings which can only used for monophonic playing (monovalent) and

fingerings suitable for both monophonic and multiphonic playing (polyvalent). According to Bartolozzi, the clarinet would appear to be the only woodwind instrument on which all fingerings are polyvalent (Bartolozzi 1982, 46).

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4.2. Broken tones4.2.1 Broken low tonesBroken tones in the low register, or broken low tones, involve bringing out upper partials of the tone #ngered by changing the playing technique. "e tones most fre-quently used for this are the lowest notes on the instru-ment – written E3, F3, F#3 and G3. "ese generate a thick, richly dissonant column of sound on top of the fundamental. Broken low tones are commonly used in loud dynamics, but they can be played relatively so$ly too.

Broken tones can be produced on any tone in the low register. "e higher the tone, the more di&cult the broken tones are to control, and the more di&cult it is to play them loudly. Above C4, quiet dyads (multiphonics with two pitches) can be produced.

Broken low tones are usually notated by writing the letter M above the fundamental note (Figure 63) or by writing the fundamental note, the highest sounding note and the letter M between them (Figure 64). It is o$en di&cult to perceive individual pitches between the fun-damental and the highest sounding tone in broken low tones.

Broken low tones in fortissimo are perhaps the most aggressive sound a clarinet can make. For the #rst ten measures in Ablauf (1983) by Magnus Lindberg, the clar-

inet plays its three lowest broken tones extremely loudly, underpinned by the thumps of the two bass drums. Fig-ure 63 shows the #rst #ve measures of Ablauf.

"e lower the fundamental, the more simultaneous pitches it can generate and the more di%erent multiphon-ics can be produced with its #ngering. Jouni Kaipainen makes much use of broken low tones on E3 in his clari-net concerto Carpe Diem! In mm. 85–92 of the second movement (Figure 64), the solo clarinet is le$ repeating two di%erent multiphonics on E3 following a fortissimo section. "e highest audible pitches in these multiphon-ics are D#6 and A6, respectively.

In Figure 65, also from the second movement of Carpe Diem!, the solo clarinet plays broken tones up and down the overtone series on E3 in a quick rhythm. "e pitch of the column of tones is indicated in relative terms. "e writing indicates that six or seven di%erent multiphonics with the same #ngering are required to produce the e%ect, which is not altogether impossible.

In Charisma (1971) for clarinet and cello, Iannis Xe-nakis requires the clarinettist to play multiphonics over E3 in four di%erent ‘regions’, meaning di%erent kinds of multiphonic with the same #ngering.

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Figure 63 (CD track 41). First five measures of the clarinet part in Ablauf by Magnus Lindberg. The clarinet plays aggressive broken lower tones. The bass drum beats fall on the downbeat of mm. 2, 3 and 4.

Figure 64 (CD track 42). Jouni Kaipainen: Carpe Diem! second movement, mm 85-92. In mm. 87–92, the clarinet repeats two broken low tones on E3. Note that the multiphonics in mm. 85–86 are not broken tones.

Figure 65 (CD track 43). Different broken tones on E3 in mm. 263–266 of the second movement of Carpe Diem! by Jouni Kaipainen. The score indicates rhythm, articulation and the relative pitches of the multiphonics.

Copyright © 1996 Edition Wilhelm Hansen Helsinki Oy. All rights reserved. International Copyright Secured. Printed by permission.

Copyright © 1996 Edition Wilhelm Hansen Helsinki Oy. All rights reserved. International Copyright Secured. Printed by permission.

Copyright © 1990 Edition Wilhelm Hansen Helsinki Oy. All rights reserved. International Copyright Secured. Printed by permission.

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Figure 67 (CD track 45). Antti Auvinen’s solo clarinet work Eliangelis, mm. 49–51. In m. 50 there is a multiphonic glissando which continues as a monophonic glissando. (The example also contains a sung tone, as referred to in section 3.3.4. In m. 49, a sung tone diverges from the played tone by a major second, resulting in a strong beat. Both parts are notated in Bb.)

Figure 66 (CD track 44). The soloist and the clarinets in the orchestra play multiphonic glissandos up and down in Puro by Jukka Tiensuu, mm. 220–224.

4.2.2 Multiphonic glissandoIn broken low tones, the clarinettist can not only ‘pick out’ individual partials by changing embouchure but also execute a smooth multiphonic glissando. In this, some of the audible pitches move smoothly and in clusters while the fundamental remains steady. A multiphonic glissan-do is executed by changing embouchure, without chang-ing the #ngering. As with other broken tones, this works best on the lowest tones. An ascending multiphonic glis-sando is executed by changing embouchure thus: play a broken tone with the tongue in the position for the

vowel [o], jaw lowered and lips relaxed. Slide the tongue slowly to the position for the vowel [i] while tensing the lips. "is sequence is reversed for a descending glissan-do, of course.

"e multiphonic glissando is a frequently used and conspicuous gesture which seems to prompt strong as-sociations in listeners, such as the Australian Aboriginal didgeridoo or the sound of an elephant.3

In Jukka Tiensuu’s Puro, just before the solo caden-za the solo clarinet and the two clarinets in the orches-

3 In the trio Hojas de nubes (2005) for clarinet, cello and accordion, Perttu Haapanen has given the indication elephant for a multiphonic glissando.

© Composer. Printed by permission.

© Composer. Printed by permission.

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Figure 68 (CD track 46). Two-part hymn-like sequence from the last movement of the Clarinet Concerto of Kalevi Aho. The upper tone remains stable, while the tremolo on the lower tone is produced using the speaker key.

tra play a broken E3. A$er the orchestral strings play a rhythmic #gure on a harmony built on the overtone series of the same note, all three clarinets begin to play multiphonic glissandos up and down in turn (Figure 66).

Figure 67 is from Eliangelis by Antti Auvinen. In m. 50 there is a multiphonic glissando which continues until the top pitch is Eb6; then the glissando continues monophonically up to F#6. ("e example also contains a sung tone, as referred to in section 3.3.4. In m. 49, the lower tone is sung, it is not a multiphonic.)

"e multiphonic glissando is notated using a broken line as in Figures 66 and 69 or a growing column as in Figure 67.

4.2.3 Broken middle-register tones Multiphonics can be produced through breaking down from tones in the middle register by reducing support. "e #ngered tone becomes the highest pitch in the mul-tiphonic. Broken middle-register tones are always dyads (i.e. they have two perceived pitches). "ey are playable between E5 and C6, and only with so$ dynamics. "e most common way of using these is to combine them with a trill played using the speaker key. "en the fun-damental (the #ngered tone) remains the same, but a tremolo appears on the lower tone. (To be entirely pre-cise, this is a tremolo between a broken low tone and a broken middle-register tone.)

Figure 68 shows a misty, hymn-like two-part trem-olo sequence from the #nal movement of the Clarinet Concerto of Kalevi Aho, consisting of broken middle-register tones.

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Figure 70 (CD track 48). Antti Auvinen: Eliangelis. Mm. 46–47 have a broken high tone with trill, first on the lower tone (slow trill on the speaker key), then on the upper tone (normal fast trill).

Figure 69 (CD track 47). M. 8 in the cadenza written by Jukka Tiensuu for his concerto Puro. A multiphonic glissando is followed by four broken high tones.

4.2.4 Broken high tones Broken tones can also be played in the high register by reducing support. "ese broken high tones can be played on any note between C#6 and G#6. "ey work best at relatively soft dynamics, from piano to mezzoforte. Figure 69 shows m. 8 from the solo cadenza written by Tiensuu for his concerto Puro.4 Here, a multiphonic glis-sando is followed by four broken high tones. "ey are indicated with the letter M (for ‘multiphonic’) under the fundament. Broken high tones can be notated precisely if required, because the individual pitches can be dis-cerned (see Appendix 3, Broken tones).

In Figure 70 (Eliangelis), we #nd #rst in m. 46 a bro-ken E6 with a speaker-key trill. "e upper tone remains steady as in Figure 68. In m. 47, a trill is added on the top note, so that two trills, a fast one upper and a slower one, sound at the same time.

Broken high tones can also be found in Figure 50 mm. 75–79, from the last movement of the Clarinet Concerto of Kalevi Aho. Here, the broken high tones may be too quiet when played with orchestra. Singing over a normally played high tone can generate a similar sound but with a greater volume.

4.2.5 From normal tone to broken tone When normal clarinet playing technique is shi$ed grad-ually towards multiphonics, the tonal colour becomes sharper, and the upper partials become perceptible. "is is comparable to sul ponticello on a stringed instrument.

Auvinen’s Eliangelis spans the border between nor-mal sound and multiphonics. Figure 71 shows a 18-mea-sure excerpt from near the opening of the piece. In mm. 22–23, the sound of the F3 is changed over the crescen-do from ‘dry’ to richer without quite turning it into a multiphonic. In mm. 28–29, the E3 is broken into a full multiphonic through a crescendo and trill. ("is is not a multiphonic glissando but simply a shi$ in technique: the harmonic structure of the multiphonic remains sta-ble. A similar e%ect may be found in Fagerlund’s Clari-net Concerto; see Figure 47, mm. 5–7.) In m. 37, the D6 played as a harmonic on F3 is gradually, using embou-chure, turned into a multiphonic extending from F3 to D6 and then back to the D6. In m. 39, the dyad F#/C# sounds more like an added colour on the F# than a mul-tiphonic.

4 Although Tiensuu wrote a cadenza for Puro, he prefers the soloist to improvise one.

© Composer. Printed by permission.

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Figure 71 (CD track 49). Antti Auvinen: Eliangelis. In mm. 22-23, the sound of the F3 is enriched without turning it into a multiphonic. In mm. 28–29, the E3 is gradually turned into a proper multiphonic. In m. 37, the D6 is gradually, using embouchure, turned into a multiphonic and then back into the D6. This example also contains breath and air sounds (section 3.4.2) in mm. 22, 23, 29 and 34, harmonics (section 3.3.5) in mm. 35–37, a pitch bend (section 3.2.4) in m. 33 and a proper multiphonic (section 4.3) in m. 39.

© Composer. Printed by permission.

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4.3 Multiphonics proper4.3.1 Structure of multiphonics Broken tones could be described as ‘blown-out overtone series’, but the structure of multiphonics proper is not considered to have a lot to do with overtones. However, most of the #ngerings for multiphonics are in fact varia-tions on the #ngerings of tones in the low register. "e purpose of this chapter is to discuss how changes in #n-gering a%ect the structure of multiphonics and whether the multiphonics produced with the changed #ngering have anything in common with the original tone whose #ngering was changed. "e basic #ngering discussed

here is A3, as in the discussion of acoustic principles in chapter 1.4. Figure 72a shows a broken tone on A3, and Figures 72b–g show multiphonics proper developed from the #ngering for A3.

For simplicity’s sake, this Figure only features one multiphonic for each #ngering, that which is the easiest to produce with that #ngering.

Figure 72 would seem to indicate that at least the multiphonics based on the #ngering of A3 are somehow based on the overtone series on A3. "e #ngering vari-ants in 72c-g open up tone holes in the middle of the air column, which changes the fundamental to another tone in the low register. "e upper partials, however, change so little that the multiphonics are still clearly identi#able

Figure 72 (CD track 50).Figure 72a. Broken A3. The sound is harsh and unstable because of the dissonant upper partials.Figure 72b. The E key is added to the basic fingering, sealing the lowest tone hole on the instrument. This affects the pitch of the fundamental hardly at all, but it flattens the third partial (E5) by about a quarter-tone while sharpening the fifth and seventh partials by about the same amount. Because the third partial is the softest, multiphonic 72b can sound almost like a pure major chord or seventh chord, depending on the playing technique. The sound remains harsh, however.Figure 72c. The Eb key is added to the basic fingering. This raises the fundamental by a fourth from A3 to D4 and E5 by a third; C+6 remains almost identical, but F#6 sharpens by about a quarter-tone. The result is a softly dissonant and dynamically flexible multiphonic which speaks easily.

Figure 72d. The C# key is added to the basic fingering, producing a multiphonic which is similar to 72c but brighter and does not speak as easily.Figure 72e. The Bb trill key and the F key are added to the basic fingering. This raises the fundamental to F#4. The E5 remains the same, and the other pitches are rendered inaudible.Figure 72f. The speaker key is added to the fingering of 72e. This sharpens the fundamental by three quarter-tones but does not affect the pitch of the E5.The multiphonics in Figures 72e and 72f are soft dyads which can only be played softly. They require more air pressure than normal to speak.Figure 72g. Four changes to the basic fingering. This raises the fundemantal to F#4, while the third partial remains steady at C#6 and the other pitches are rendered inaudible. The result is a clear and pure dyad at the twelfth.

a) b) c) d) e) f) g)

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as being based on A3 even though the fundamental is no longer A3.

"e diversity and complexity of the world of mul-tiphonics proper derives from the fact that every extra tone hole opened or closed has a slightly di%erent e%ect on each of the partials. Generally, opening or closing tone holes in the lower joint has a greater impact on the higher partials (as in Figure 72b), while a similar action in the upper joint has a greater impact on the fundamen-tal (as in Figures 72c–d). However, the actual impact of these changes on the vibration of the air column are so complex that it is impossible to know how they will af-fect the pitches of the partials except by experimenta-tion.

Figure 73 shows mm. 50–55 of the #$h movement of the Clarinet Concerto of Kalevi Aho. "e extra tone hole added to the basic #ngering remains the same while the #ngering changes. "e #rst multiphonic in this example (mm. 50–51) is the same as in Figure 72c. "e multi-

phonics in m. 52 are executed by playing a descending chromatic scale while holding the Eb key depressed, as Aho’s illustrative #ngering diagram shows. "e example also shows the same #ngerings using conventional nota-tion.

Figure 73 seems to reinforce the notion that multi-phonics always preserve some sort of relationship to the overtone series of the fundamental on whose #ngering they are based, even if the air column has been ‘disrupt-ed’ so that the fundamental itself seems to have changed. In the multiphonics in Figure 73, the top tone is always a pitch near the #$h partial of the tone to which the basic #ngering corresponds.

In Figure 73, the #ngering alterations take place on the right-hand side, i.e. in the lower joint. Consis-tently with the theory I outlined above, the top tone of the multiphonic changes more during the descending sequence than the bottom tone (a perfect fourth and a semitone, respectively).

Figure 73 (CD track 51). Chromatically descending multiphonics in mm. 50–55 of the fifth movement of the Clarinet Concerto of Kalevi Aho. These are executed by using the basic fingerings but keeping the Eb key depressed throughout. The example shows the fingerings in the original notation in the score and in conventional notation. For m. 53, I have provided an alternative fingering (broken C#4) for the C#4/G#5 multiphonic, because with the original fingering it is difficult to get to speak, and it is hard to play a crescendo on it.

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Figure 74. Four rich multiphonics from Beat for clarinet, cello and piano by Jukka Tiensuu. Clarinet part, mm. 7–16. The second and third multiphonics have two alternative fingerings: the original and my own proposal.

Figure 75 (CD track 52). Middle section from the second movement of Discantus II by Paavo Heininen. The multiphonics are notated according to Bartolozzi’s book. The corrected notation and updated fingerings are given after the extract. In the fingering for the first multiphonics trill, the boxed B with a natural sign refers to a trill played on the B natural key with the right hand.

4.3.2 Rich multiphonics "e majority of the usable multiphonics proper could be described as rich multiphonics. "ey have a wide dynamic range and a relatively rich sound, though they may not be beautiful in the traditional sense. Such multiphonics have 3 to 5 readily perceptible independent pitches, each of which can be ‘isolated’ from the multiphonic just by changing embouchure, not the #ngering. "ese multi-

phonics also speak fairly easily. Figures 72c and 72d in section 4.3.1 are sonorous and easily controllable rich multiphonics. "ere are some 30 measures of multiphon-ics like this in the early part of Beat (1995) for clarinet, cello and piano by Jukka Tiensuu. Figure 74 shows the #rst ten measures of this section. It is highly user-friend-ly to write multiphonics as long tones with hairpins!

1) 2) 3)

4) 5)

1) 2) 3) 4) 5)

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Figure 76 (CD track 53). Soft dyads at the opening of the slow movement of the solo clarinet work Short I by Paavo Heininen. The composer has given no fingerings; these are my suggested fingerings.

Figure 77 (CD track 54). In mm. 99–103 of the final movement of the Clarinet Concerto of Kalevi Aho there are first bright and then soft dyads.

5 Because one of the pitches of a multiphonic is always in the low register, both of the pitches in soft dyads are close to the lower register break.

In Discantus II by Paavo Heininen, the most ef-fective moment for me is in the middle of the second movement, where the aggressive drive of the fast move-ment collapses through a !urried multiphonic trill into an almost inaudible shimmer in the low register. At times, the music stops to marvel at the strange beauty of quiet multiphonics (Figure 75). Heininen consulted Bar-tolozzi’s New sounds for Woodwind, where the #ngerings and notation of multiphonics do not always correspond. In Figure 75, I have corrected the notation and updated the #ngerings.

4.3.3 So& and bright dyads Many clarinet multiphonics have two clear and percepti-ble pitches. So# dyads is the term we might give to mul-tiphonics where there are only two audible pitches, no

more than an octave apart.5 "ey are so$ in sound, and most of them can only be played so$ly, as one of the two pitches disappears if volume is added. Many so$ dyads are a challenge to perform, but because of their fascinat-ing sound they are used quite a lot.

Figure 76 is from a solo clarinet piece by Paavo Hei-ninen entitled Short I (1990). "e melody that opens the Molto tranquillo movement is partly in two parts, using so$ dyads.

"e further apart the two pitches in a dyad are, the brighter the sound is. "e most useful of the bright dy-ads are those spanning a twel$h. Figure 77, which shows #rst bright and then so$ dyads, comes from towards the end of the #nal movement of the Clarinet Concerto of Kalevi Aho. "is is an impressive sequence but highly challenging to play because it requires extreme !exibility of embouchure. Also, in mm. 100 and 102–103 the trill keys have to be operated with the right thumb.

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4.3.4 Aggressive multiphonics Generally, broken tones using the #ngerings of the low-est notes on the instrument are the most aggressive-sounding of all multiphonics. "ere are also numerous multiphonics proper which can only be played loudly and which have a strong beat. Figure 64 (section 4.2.1) shows three strong, sharp aggressive multiphonics in mm. 85–86.

4.3.5 Multiphonic "guresSections 4.2.3 and 4.2.4 (Figures 68 and 70) contained examples of broken tones where one pitch seems to re-main stable while the other moves. Figures 78 and 79 have similar examples using multiphonics proper.

Figure 78 is from Eliangelis by Antti Auvinen. In mm. 66 and 68–70, the clarinettist plays a chromatic scale up and down across the #ve lowest notes while leaving the #nger-hole of the le$ ring #nger open. "e

result is a long D4 tone slightly !atter than the equally tempered tone, above which a quiet, quasi-chromatic scale hovers. "e moving pitch has been notated as a harmonic: the lower noteheads (E3 to Ab3) show the #ngering, and the high diamond-headed notes (A–5 to C6) show the actual pitch.

"e multiphonic tremolo in Figure 79 is also from Eliangelis. In m. 87, the low Gb is broken gradually into a multiphonic whose highest pitch is Bb5. In mm. 88–90, a tremolo is played across three multiphonics based on Gb. "e Bb5 remains stable throughout the tremolo, while the other pitches move. "e actual pitches of the multiphonics are shown on the sta%. Above the sta%, the composer has entered an instruction which is detailed in the caption of the Figure. "e term ad lib "ltering means that the clarinettist can change the structure of the multiphonic in the course of the tremolo, emphasiz-ing or masking individual pitches by varying the playing technique.

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Figure 78 (CD track 55). Antti Auvinen: Eliangelis, mm. 65–70. Playing a chromatic scale on the lowest tones while keeping the finger-hole of the left ring finger open produces a quiet scale above a stable D4.

Figure 79 (CD track 56). Antti Auvinen: Eliangelis, mm. 87–92. In mm. 88–90, there is a precisely notated multiphonic tremolo, where Bb5 remains constant. In the composer’s instructions, the circles and boxes along the stem refer to fingerings. The number 4 in a black circle means the basic fingering (Gb), the number 4 in a white circle means that the finger-hole of the left ring finger is open, and “C# key” in a white box means that the C# key is added to the basic fingering.

© Composer. Printed by permission.

© Composer. Printed by permission.

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Figure 80 (CD track 57). Multiphonic sequence in mm. 175–194 of the first movement of Carpe Diem! by Jouni Kaipainen. The fingerings are mine; they differ slightly from the original fingerings in the solo clarinet part as published by Hansen.

4.3.6 #e hymns of Carpe Diem!Perhaps the most daring use of multiphonics in Finn-ish clarinet music can be found in Carpe Diem! by Jouni Kaipainen. "e rough climaxes of its second movement, with broken low tones, were discussed in section 4.2 (Figures 64–65). In the #rst movement, the solo clarinet goes into several hymn-like passages employing mul-tiphonics proper. "e ‘chorale passage’ in Figure 80 is from mm. 175–194. It begins with so$ dyads and em-ploys twenty-#ve di%erent multiphonics within the space of just 20 measures.

Copyright © 1996 Edition Wilhelm Hansen Helsinki Oy. All rights reserved. International Copyright Secured. Printed by permission.

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4.4 Multiphonic notation Composers differ in how they notate multiphonics. Some simply specify ‘multiphonic’ (a verbal instruction or the letter M on the note stem) in the score and leave the performer to #nd a sound which is easy to execute and suitable in character. Other composers know exactly what they want to hear and work out #ngerings in col-laboration with a clarinettist. "e following is a summa-ry of six di%erent approaches to notating multiphonics.

1. "e score simply contains the indication ‘multiphonic’. Usko Meriläinen’s duo Unes (1990) for clarinet and cello contains several multiphonics; no pitch, tonal colour or #ngerings are speci#ed for any of these. Figure 81 is from m. 56, and here the multiphonics are so short in duration that there is little scope for exploring their tonal colour. What the clarinettist needs to do here is to #nd options which are simple to #nger and which speak quickly and reliably.

Meriläinen employs several notations for multiphon-ics in this work: a stem only (as in Figure 81), a stem with two noteheads at random locations, or a minim / half note with a slash through the notehead. In all cases, the letters MF are appended. "e Slap above the last note indicate the open slap e%ect (see section 3.4.1).

Figure 81. Usko Meriläinen’s duo Unes (1990) for clarinet and cello, m. 56, multiphonics are notated simply with a stem and the letters MF (for multifoni, the Finnish term for multiphonic).

2. Verbal description of the character of the multiphon-ic. "e only multiphonic in the Clarinet Quintet (1998) of Kalevi Aho is at one of the culminations. "e clari-nettist is instructed to play a “sharply dissonant multi-phonic sound”. In Karanssi (1990) for clarinet and cello by Erik Bergman, there are two #gures made up of sev-eral multiphonics, notated like keyboard clusters (Figure 82). "e rhythms and relative pitches are given, but the #ngerings and actual pitches are le$ to the performer. "e #gures are identical except for their dynamics and the verbal instructions regarding their character. At the #rst appearance, the instruction is “complex, harsh mul-tiphonics”, while at the second appearance it is “complex, so$ multiphonics”. "is example is for bass clarinet.

a)

b)

Figure 82 a and b. In Karanssi by Erik Bergman, the bass clarinettist is required to play any multiphonics he or she chooses, first harsh and then soft.

© Composer. Printed by permission.

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Figure 83. Two multiphonics from KV622 II bis (1978) for clarinet and tape by Herman Rechberger, 7’35” to 7’41”.6 The notes on the staff indicate the fingering, not the actual pitches. For instance, in the fingering for the multiphonic on the left, the note Bb3 means the finger-hole of the right index finger, C4 the left ring finger, D4 the left index finger and F4 the left thumb. G#4 is the left-hand G# key, and the number 8 above the staff means the speaker key. The encircled minus sign at the top indicates diminished air pressure. Under the staff are the same fingerings given in current fingering notation, and the pitches which are the most clearly audible in each multiphonic.

6 The numbers here refer to the running time of the tape (minutes and seconds).

3. Only the #ngering is given for the multiphonic. "is is a performance instruction rather than a description of the sound. "ere may be instructions regarding tightness of embouchure or air pressure in addition to the #nger-ing. Figure 83 shows two multiphonics from KV622 II bis (1978) for clarinet and tape by Herman Rechberger. He used a multiphonic notation convention favoured by Polish avant-garde composers of the 1960s and 1970s (e.g. Witold Szalonek), where the #ngerings are notated on the sta% using the low-register notes corresponding to the tone holes. "ere is a more detailed description of this now disused notation method in the caption. "e encircled minus sign at the top indicates diminished air pressure, while the number eight indicates the ‘octave key’ (i.e. speaker key). Under the example are my own #ngerings for each of the multiphonics.

4. Only one pitch is given for each multiphonic, either the highest or the lowest. Many of these are broken tones, in which case the multiphonic is executed using the #ngering for the note written in the score, as with Figures 63 (Lindberg) and 69 (Tiensuu). In Domaines by Pierre Boulez, ‘harmonique’ is written over some indi-vidual notes. "ese mean a multiphonic containing the given pitch.

5. Pitches are given for the multiphonic, but no #nger-ings. Here, the clarinettist may be faced with an impos-sible task, trying to #nd the #ngering that will produce this particular multiphonic, among thousands of possi-bilities. Multiphonics used in compositions are usually copied from textbooks on contemporary clarinet music (Bartolozzi, Rehfeldt) or have been worked out by the composer in collaboration with a clarinettist. In both cases, the #ngering is available and should be given in the score. O$en the performer needs to adapt the #nger-ings to suit his or her instrument and playing style, but even this is far better than having to start from scratch.

6. Fingering instructions and the most prominent pitch-es in the multiphonic are given in the score. "is is usu-ally the best option for multiphonics proper. Most of the examples in this book are notated using this option. "is approach means that the clarinettist can focus on learn-ing the music rather than #nding out #ngerings, and the composer has a better chance of the multiphonics sounding like they were supposed to.

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5 BASS CLARINET

5.1 Emancipation of the bass clarinet

"e modern bass clarinet (French clarinette basse, Ger-man Bassklarinette, Italian clarinetto basso or clarone; Figure 84) is in Bb and sounds an octave lower than the normal clarinet in Bb. Although its sound produc-tion and #ngerings are basically the same as those of the clarinet in Bb, and although the two instruments are frequently played by the same musician, the bass clari-net is a case unto itself. It is something more than just a double-sized clarinet. It di%ers from the soprano clarinet in its structure, playing properties and range.

As recently as a few decades ago, the bass clarinet could be regarded as a technically clumsy instrument with a middle register that is fuzzy and speaks slowly and with a non-existent high register. "ese misconcep-tions, which unfortunately are still repeated in certain standard textbooks (e.g. Adler: !e Study of Orchestra-tion, pp. 212–214), arise partly from the fact that it was commonly a side instrument for an orchestral clarinet-tist; few were thoroughly familiar with how to play it. Another reason was the instruments themselves. It was not until recently that instrument makers managed to solve satisfactorily the problems of speaking and intona-tion that used to plague the bass clarinet.

Over the past 50 years, the role of the bass clarinet has gradually changed, and composers have increasing-ly learned to exploit its huge potential. Today, the bass clarinet is a solo instrument in its own right, and a lot of solo and chamber music is written for it. Many pro-#cient musicians have specialized exclusively in playing the bass clarinet.

Figure 84. The bass clarinet.

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Figure 85. The neck and double register key of the bass clarinet.

Figure 86. The bell and peg of the bass clarinet.

Figure 87. Position of the fingers (seen from the front) on the keywork of the bass clarinet.

Figure 88. The thumb support (above the thumb) and three thumb keys (below the thumb) of the bass clarinet.

1 On the other hand, the large size of the instrument is also an advantage. It is easier to construct various improvement mechanisms on a larger instrument. Also, since the instrument is in any case supported by a neck strap or a floor peg, any added weight caused by extra mechanisms is not an issue.

2 The placement of keys varies slightly between instrument makers. In some models, the thumb keys are C, C# and Eb. In some older models, the thumb only has two keys, C2 and C#2.

5.2 Mechanism "e body of the bass clarinet is made of grena-dilla wood and is straight and consists of two joints, just like that of the clarinet in Bb. In-stead of a tuning barrel, the bass clarinet has a curved metal tube known as the neck (see Fig-ure 85), which connects the mouthpiece to the body. "e bell is curved upward and is also of silver-coloured metal. "e instrument rests on an adjustable !oor peg and is usually played seated. If the clarinettist stands, the instrument is supported by a neck strap, shoulder harness or extra-long peg (see Figure 84).

"e bass clarinet employs the same #ngering system developed by Bu%et and Klosé (Boehm clarinet, see section 1.1.1 Evolution) as the clari-net in Bb. However, the size of the instrument presented an extra challenge for instrument makers.1 Because the tone holes must be both larger and further apart than on the clarinet in Bb, they are out of reach of the #ngers: the #n-gers play keys which then close the respective tone holes. In other words, the bass clarinet is a closed-key instrument while the clarinet in Bb is a ring-key instrument. (Figure 87 shows the po-sition of the clarinettist’s #ngers on the keywork of the bass clarinet.) "is limits the availability of certain e%ects such as glissandos and micro-tones on the bass clarinet. Also, the full-length bass clarinet whose range extends down to C2, has three keys for the right thumb to open and close the tone holes for the lowest three notes (C2, C#2 and D2).2 Figure 88 shows the thumb keys of the full-length bass clarinet.

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Perhaps the most important structural di%erence in the bass clarinet compared with the clarinet in Bb is the register hole. As observed in the context of the clari-net in Bb, the speaker key operated with the le$ thumb has two functions: playing Bb4 and being kept open in the middle and high registers to facilitate overblowing. However, a key with such a function would not work satisfactorily on the bass clarinet. "is issue was solved by providing the instrument with two speaker keys. "e #rst opens a larger hole lower down on the instrument (at the top of the body, see Figure 85). "is is the Bb key and the speaker key for the lowest tones in the middle register, from B4 to Eb5. "e second opens a smaller hole further up the instrument (on the neck, see Figure 85) and is the speaker key for all tones higher than Eb5. Modern instruments have an automatic double speaker key: the le$ thumb only has one key, and depressing it opens the appropriate register hole depending on what tone is being #ngered.3

5.3 Range and registersWhereas the lowest note of the clarinet in Bb has been E3 throughout its history, the range of the bass clari-net has varied from one decade and century to the next. Over the past twenty years or so, written C3 (sounding Bb1, a whole tone below the lowest string on the cello) has become the standard lowest note. All professional orchestras and practically all clarinettists specializing in the bass clarinet have instruments that extend down to C3. However, the shorter model, whose lowest tone is written Eb3 (sounding Db2), is also still manufactured and is used mainly by wind bands, students and some jazz players too.

"e most characteristic and most frequently used register of the bass clarinet is the low register. Here the instrument also has a broad dynamic scale. A celebrat-

3 In other words: when the clarinettist plays Eb5, the lower register hole opens, and when he or she plays E5, the upper register hole opens.

ed example of the extremely quiet dynamics of the low register of the bass clarinet is the four-note #gure fol-lowing the clarinet solo in the #rst movement of Tchaik-ovsky’s Sixth Symphony (m. 160). Originally written for bassoon, it is today usually played on the bass clarinet, which is better capable than the bassoon of delivering the pppppp dynamic required by the composer.

"e middle register of the bass clarinet is so$ in tone and perhaps a bit more neutral than the low register. "e high register is bright and !exible in the hands of a pro-#cient clarinettist. It is impossible to give an absolute upper limit to the range of the instrument, but in any case relatively speaking it extends higher than that of the clarinet in Bb. For example, Piping Down the Valleys Wild by Jouni Kaipainen ascends to written F#7 (sound-ing E6), and Capriole by Kimmo Hakola goes one step further to written G7 (sounding F6). "ere are #ngering tables going all the way up to written C8 (Bok & Wendel 1989, pp. 16–21). However, we should note that tones as high as this only appear in the most recent solo works. Orchestral parts rarely go beyond G6 (sounding F5). A table of the ranges of all types of clarinet can be found in section 1.3 (Figure 8).

5.4 History"e documented history of the bass clarinet begins in 1772, when an advertisement in the l’Avant-Coureur newspaper in France promoted an instrument known as the basse-tube, invented by a M. Gilles Lot. "is early bass clarinet was reported to have a range of three and a half octaves. In the late 18th and early 19th centuries, several bass clarinet models were constructed; they were most commonly used as a replacement for the bassoon in wind bands. "e most important person in the de-velopment of the instrument was Adolphe Sax, the in-ventor of the saxophone. "e bass clarinet design which

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he presented in 1838 had larger tone holes which were acoustically correctly placed and a second register hole (see section 5.2).

One of the #rst composers to use the bass clarinet in orchestral music was Saverio Mercadante (1795–1870), in his opera Emma d’Antiochia (1834). Another and bet-ter known early example is in the opera Les Huguenots (1836) by Giacomo Meyerbeer, where the instrument has a prominent solo in Act V. "e instrument soon became an important feature in opera orchestras, and Wagner consolidated its position. Outside opera, Liszt was one of the #rst composers to realize the potential of the in-strument, for instance in the solo in the tone poem Tasso (1849). A particularly touching bass clarinet solo can be found in the ‘Agnus Dei’ of Dvo)ák’s Requiem (1890). In the tone poem Don Quixote (1899) by Richard Strauss, the bass clarinet is a key soloist, depicting Sancho Panza together with the baritone horn. "e instrument also plays an important part in the works of the great early 20th-century symphonists Mahler and Shostakovich.

Only a handful of solo works were written for bass clarinet prior to the 1960s. "e most signi#cant of these was the Sonata for bass clarinet and piano (1928) by Swiss composer Othmar Schoeck (1886–1957). "e cred-it for the ‘soloist emancipation’ of the bass clarinet might go to Bohemian clarinettist Josef Horák (1931–2005), who in March 1955 gave what was, as far as is known, the #rst bass clarinet recital ever. In 1963, Horák and pianist Emma Kovarnová founded the duo Due Boemi di Praga, which over a career of 40 years premiered some 400 new works, including ...scene am (1981) by Herman Rech-berger. Another important #gure in the history of the instrument is Dutch clarinettist Harry Spaarnay (1944–), whose performances have inspired many leading 20th-century composers such as Luciano Berio, Franco Do-natoni, Morton Feldman, Brian Ferneyhough, Maurizio Kagel, Iannis Xenakis, Isang Yun and Jouni Kaipainen, to

write for the bass clarinet. Most of today’s bass clarinet soloists have at some point studied with Spaarnay.

5.5 Notation"ere are di%erent ways of notating music for bass clari-net. "e system most commonly in use today is known as the French system; in this, only the treble clef is used, and the instrument sounds a major ninth lower than written. Because a clarinettist may be required to play several di%erent sizes of instrument in the same work (see section 1.3.5 One musician, many instruments), this is the most practical approach, as the note written in the same way is always #ngered in the same way whatever the instrument. Clarinettists themselves usually favour the French system.

In the German system (used by Wagner and Si-belius, among others), the music is written using both treble and bass clefs, though mostly the bass. Here, the instrument sounds a major second lower than written. Some confusion is caused by the hybrid system used by some composers, where music is written transposing a major second in the bass clef (German) but transposing a major ninth in the treble clef (French). "e bene#t of the German system is avoiding the need for numerous ledger lines under the sta%.

As noted above, the modern bass clarinet is in Bb. Instruments in A and C have been built, but they are extremely rare. Late Romantic composers such as Wag-ner and Mahler did write parts for bass clarinet in A, but these are today without exception played on the bass clarinet in Bb.

91

5.6 #e lowest of the low"e lowest instrument in the clarinet family which is regularly made and which is of any musical signi#cance is the contrabass clarinet in Bb. Music for it is almost always written in the treble clef, and it sounds an octave lower than the bass clarinet, two octaves lower than the clarinet in Bb.

"e lowest tone on the modern contrabass clarinet is written C3 (sounding Bb0, a semitone higher than the lowest note on the piano). It is at its best in the low reg-ister, where it has a rich and sonorous sound and an im-pressive dynamic range.ja "e upper limit of the range is even more di&cult to determine for the contrabass clarinet than for other members of the clarinet family. Up until the turn of the millennium, the upper register of the instrument was rarely used, but this is now chang-ing thanks to the availability of better instruments and the e%orts of adventurous clarinettists and composers. For example, in the solo work Maverick I (2008) by Ger-man composer Benjamin Schweitzer, the range required of the contrabass clarinet is a full #ve octaves, from writ-ten C3 to C8.

"e #rst known contrabass clarinet was made by a French goldsmith named Dumas de Sommières in 1808. "is was known as the contre-basse guerrière or ‘war contrabass’.4 During the 19th century, many instrument makers (including Adolphe Sax) designed contrabass clarinets, but none of them proved very successful. It was not until 1889 that a design produced by the instrument makers Fontaine-Besson of Paris attained wider popular-ity. In Britain, it came to be known as the pedal clarinet, and it found use in military bands.

Most of the contrabass clarinets in use today (in-cluding the only instrument in Finland) are of the type developed by the Leblanc instrument factory in France in

the 1930s. "ese are made completely of metal, and their body is folded over so that the instrument resembles an enormous paper clip. From the late 1970s onwards, there have also been instruments on the market which have a straight body like the bass clarinet, made of rosewood.

"e contrabass clarinet entered the symphony or-chestra in the opera Fervaal by Vincent d’Indy (1897). Two years later, it appeared in the opera Kate and the Devil by Antonin Dvo)ák. In the 20th century, compos-ers such as Schönberg,5 Stravinsky, Messiaen, Ligeti and Henze have written for it. It has become somewhat more popular in recent decades, for example in #lm music. "e contrabass clarinet made its #rst appearances in Finnish music in Action-Situation-Signi"cation (1982) and Kra# (1983–85) by Magnus Lindberg. In Kra# the clarinettist in the solo ensemble plays a number of instruments in-cluding the contrabass clarinet. It is also scored for in Floof (1990) for soprano and chamber ensemble by Esa-Pekka Salonen and the Clarinet Quintet (2000) of Jouni Kaipainen. It is naturally included in all Finnish works for clarinet choir (see Appendix 4).

"e contra-alto clarinet, or contrabass clarinet in Eb6 sounds an octave lower than the alto clarinet. Its lowest tone is written Eb3 (sounding Gb1, a whole tone higher than the lowest string on the double bass). It mostly #nds use in clarinet choirs and large wind bands, particularly on the American continent. "is instrument deserves more attention than it gets, because its sonority is almost as rich as that of the contrabass clarinet, but it is tech-nically much more agile to play (not to speak of being easier to transport and handle due to its smaller size).

"e octocontrabass clarinet in Bb, of which there is re-putedly only one in the entire world, sounds an octave lower than the contrabass clarinet, its lowest tone being Bb–1.

4 Dumas de Sommières also made bass clarinets (basse guerrière). 5 Schönberg scored for contrabass clarinet in A in his Fünf Orchesterstücke op. 16 (1909). Such an instrument has never existed, so the part is always

played on an instrument in Bb.6 In Italian, the alto clarinet is clarinetto contralto and the contra-alto clarinet is clarinetto contrabbasso in Mib. .

92

1 INTRODUCTION TO THE CLARINET1.2 The structure of the clarinet

1. The clarinet. 2. Parts of the clarinet. 3. 3a The mouthpiece. 3b The tip of the mouthpiece and reed. 4. 4a The G# key; 4b One of the ring keys. 5. Position of the clarinettist’s hands, front view. 6. Position of the clarinettist’s hands, back view.

1.3 Clarinet family 7. Members of the clarinet family. 8. Ranges of the most common members of the clarinet family.

1.4 Acoustic properties 9. Natural overtone series of A3. 10. Overblown overtones of A3. 11. Fingerings for notes based on the overtone series of A3.

1.5 Registers and range 12. Registers.

2 BASIC TECHNIQUE2.1. Breathing technique and embouchure

13. Embouchure, front view. 14. Embouchure, side view.

2.2 Articulation 15. Basic articulations. 16. (CD track 1) Jukka Tiensuu: Clarinet Concerto Missa (2007), movement 7, Ite, mm. 1–7. © Composer. Printed by permission. 17. (CD track 2) Kai Nieminen: Clarinet Concerto Through shadows I can hear ancient voices (2002), movement IV, mm. 1–11. 18. Maurice Ravel: Introduction and allegro (1907). Extract from the clarinet part of the Introduction (Clarinet in A). 19. (CD track 3) Magnus Lindberg: Clarinet Concerto (2002), mm. 236–239. © Copyright 2002 by Boosey & Hawkes Music Publishers Ltd. Reproduced by permission of Boosey & Hawkes Music Publishers Ltd.

20. (CD track 4) Lindberg: Clarinet Concerto, mm. 471–475. © Copyright 2002 by Boosey & Hawkes Music Publishers Ltd. Reproduced by permission of Boosey & Hawkes Music Publishers Ltd. 21. (CD track 5) Eero Hämeenniemi: Sonata for clarinet and piano (1984), movement I, mm. 1–4.

2.3 Other dimensions of technique 22. Table of auxiliary fingerings. 23. Lauri Kilpiö: Duo in a Sonata Form (2000), mm. 11–12, 1st version. © Uusinta Publishing Company. Printed by permision. 24. (CD track 6) Kilpiö: Duo, mm. 11–12, new version. © Uusinta Publishing Company. Printed by permision.

25. (CD track 7) Tiensuu: Missa, mm. 16–22. © Composer. Printed by permission.

3 NEW TECHNIQUES3.1 Microtones

26. One system for notating microtones. 27. (CD track 8) Overtone series on E. (NB: Written in Bb; the sounding overtone series on the recording is on D.) 28. (CD track 9) Jukka Tiensuu: Clarinet Concerto Puro (1989), mm. 1–12. © Composer. Printed by permission. 29. (CD track 10) Pentachord to which the kantele is tuned in Juhani Nuorvala’s Kolme impromptua © Composer. Printed by permission. (NB: Concert pitch). 30. (CD track 11) Juhani Nuorvala: Kolme impromptua (1995) for clarinet and kantele, movement I, Lento cantabile section, mm. 1–13. © Composer. Printed by permission. (NB: Concert pitch). 31. (CD track 12) Hannu Pohjannoro: hämäränpyörre (1999) for clarinet and strings, mm. 42–46. © Composer. Printed by permission. (NB: All examples from here on notated in Bb). 32. (CD track 13) Pohjannoro: hämäränpyörre, mm. 83–94. © Composer. Printed by permission. 33. Jukka Tiensuu: Beat (1995) for clarinet, cello and piano, mm. 85–90. © Composer. Printed by permission.

3.2 Pitch alterations 34. Embouchure table.

List of Figures"e music examples are © Fennica Gehrman, unless otherwise indicated.

93

3.2.2 Glissando 35. (CD track 14) Tiensuu: Puro, mm. 44–46. © Composer. 36. (CD track 15)Tiensuu: Puro, mm. 78–83. © Composer. Printed by permission. 37. (CD track 16) Tiensuu: Puro, mm. 228–234. © Composer. Printed by permission. 38. (CD track 17) Antti Auvinen: Februa (2007) for clarinet and orchestra, mm. 67–77. © Composer. Printed by permission.

3.2.3 Portamento 39. (CD track 18) Jouni Kaipainen: Clarinet Concerto Carpe Diem! (1990), movement I, mm. 9–16. Copyright © 1996 Edition Wilhelm Hansen Helsinki Oy. All rights reserved. International Copyright Secured. Printed by permission.

3.2.4 Pitch bend 40. (CD track 19) Herman Rechberger: Clarinet Concerto Alovlar (2001), movement I, mm. 35–41. 41. (CD track 20) Auvinen: Februa, mm. 78–83. © Composer. Printed by permission.

3.2.5 Overtone glissando 42. (CD track 21) Einojuhani Rautavaara: Opera Aleksis Kivi (1996), extract from the clarinet part.

3.3.2 Frullato 43. (CD track 22) Esa-Pekka Salonen: Nachtlieder (1978) for clarinet and piano, movement III, mm. 17–21.

3.3.3 Colla voce I 44. (CD track 23) Tiensuu: Missa, movement 6 (Agnus Dei), mm. 53–62. © Composer. Printed by permission.

3.3.4 Colla voce II 45. (CD track 24) Magnus Lindberg: Ablauf (1983) for clarinet and two bass drums. Andante molto section, first 5 measures. Copyright © 1990 Edition Wilhelm Hansen Helsinki Oy. All rights reserved. International Copyright Secured. Printed by permission. 46. (CD track 25) Auvinen: Februa, mm. 267–274. © Composer. Printed by permission. 47. (CD track 26) Sebastian Fagerlund: Clarinet Concerto (2006), movement IV, mm. 1–12. © Edition Peters. Reprint with permission of C.F. Peters / Henry Litoff ’s Music Publishers Frankfurt/M., Leipzig, London, New York

3.3.5 Colour fingerings I: Harmonics 48. (CD track 27) Tiensuu: Missa, movement 7 (Ite), mm. 25-30. © Composer. Printed by permission.

3.3.6 Colour fingerings II: Key vibrato and bisbigliando 49. (CD track 28) Nieminen: Clarinet Concerto, movement I, mm. 140–153. 50. (CD track 29) Kalevi Aho: Clarinet Concerto (2006), movement V (Epilogo), mm. 70–83.

3.3.7 Smorzato 51. (CD track 30) Paavo Heininen: Discantus II (1969) or solo clarinet, movement I; Lento, mm. 25–29.

3.3.8 Chain trill 52. (CD track 31) Tiensuu: Puro, mm. 165–180. © Composer. Printed by permission.

3.4.1 Slap tongue 53. (CD track 32) Auvinen: Februa, mm. 55–65. © Composer. Printed by permission. 54. (CD track 33)Auvinen: Februa, mm. 1–5. © Composer. Printed by permission. 55. (CD track 34) Soft slap tongue.

3.4.2 Breath and air sounds 56. (CD track 35) Olli Koskelin: Exalté (1995) for solo clarinet. Ending.

3.4.3 Teeth on reed 57. (CD track 36)Erik Bergman: Karanssi (1990) for clarinet and cello. Opening of movement III.

3.4.4 Tone-hole sounds and key sounds 58. (CD track 37) Herman Rechberger: KV622 II bis (1978) for clarinet and tape. Ending.

3.4.5 Disassembling the clarinet 59. (CD track 38) Trumpet embouchure a) without mouthpiece, b) with tuning barrel only. 60. (CD track 39) Two scales on a “half-clarinet”.

3.4.6 Mutes 61. (CD track 40) Playing a muted clarinet.

3.4.7 Non-vocal human sounds 62. Lindberg: Ablauf. Senza misura – fluente. Copyright © 1990 Edition Wilhelm Hansen Helsinki Oy. All rights reserved. International Copyright Secured. Printed by permission. FAKSIMILE

94

4 MULTIPHONICS4.2.1 Broken tones

63. (CD track 41) Lindberg: Ablauf, mm. 1–5. Copyright © 1990 Edition Wilhelm Hansen Helsinki Oy. All rights reserved. International Copyright Secured. Printed by permission. 64. (CD track 42) Kaipainen: Carpe Diem! movement II, mm. 85–92. Copyright © 1996 Edition Wilhelm Hansen Helsinki Oy. All rights reserved. International Copyright Secured. Printed by permission. 65. (CD track 43) Kaipainen: Carpe Diem! movement II, mm. 263–266. Copyright © 1996 Edition Wilhelm Hansen Helsinki Oy. All rights reserved. International Copyright Secured. Printed by permission.

4.2.2 Multiphonic glissando 66. (CD track 44) Tiensuu: Puro, mm. 220–224. © Composer. Printed by permission. 67. (CD track 45) Antti Auvinen: Eliangelis (2005) for solo clarinet, mm. 49-51. © Composer. Printed by permission.

4.2.3 Broken middle-register tones 68. (CD track 46) Aho: Clarinet Concerto, movement V, mm. 90–98.

4.2.4 Broken high tones 69. (CD track 47) Tiensuu: Puro. Measure 8 in the solo cadenza. © Composer. 70. (CD track 48) Auvinen: Eliangelis, mm. 46–48. © Composer. Printed by permission.

4.2.5 From normal tone to broken tone 71. (CD track 49) Auvinen: Eliangelis, mm. 21–39. © Composer. Printed by permission.

4.3.1 Structure of multiphonics 72. (CD track 50) Seven different multiphonics based on A. 73. (CD track 51) Aho: Clarinet Concerto, movement V, mm. 50–55.

4.3.2 Rich multiphonics 74. Jukka Tiensuu: Beat (1997) for clarinet, cello and piano, mm. 7–16. © Composer. 75. (CD track 52) Heininen: Discantus II, movement 2, middle section.

4.3.3 Soft and bright dyads 76. (CD track 53) Heininen: Short I (1990) for solo clarinet, movement 2, mm. 1–3. 77. (CD track 54) Aho: Clarinet Concerto, movement V, mm. 99-103.

4.3.5 Multiphonic figures 78. (CD track 55) Auvinen: Eliangelis, mm. 65–70. © Composer. Printed by permission. 79. (CD track 56) Auvinen: Eliangelis, mm. 87–92. © Composer. Printed by permission.

4.3.6 The hymns of Carpe Diem! 80. (CD track 57) Kaipainen: Carpe Diem! movement I, mm. 175–194. Copyright © 1996 Edition Wilhelm Hansen Helsinki Oy. All rights reserved. International Copyright Secured. Printed by permission. (The music examples for CD tracks 58 to 81 are in Appendices 1–4.)

4.4 Multiphonic notation 81. Usko Meriläinen: Unes (1990) for clarinet and cello, m. 56. © Composer. Printed by permission. 82. Bergman: Karanssi, movement II, mm. 24 ja 30. 83. Rechberger: KV622 II bis, at 7’35’’

5 BASS CLARINET 84. Bass clarinet (photo). 85. The neck and double register key of the bass clarinet (photo). 86. The bell and peg of the bass clarinet (photo). 87. Position of the fingers on the keywork of the bass clarinet (photo). 88. The thumb support and three thumb keys of the bass clarinet (photo).

95

BibliographyAdler, Samuel. 2002 [1982]. The study of orchestration. New York: W.W. Norton & Company.Baines, Anthony. 1991. Woodwind Instruments and Their History. New York: Dover Publications. Bartolozzi, Bruno. 1982 [1967]. New Sounds for Woodwind. London: Oxford University Press. Benade, Arthur H. 1990 [1976]. Fundamentals of Musical Acoustics. New York: Oxford University Press.Bok, Henri. 2006. ‘The Bass Clarinet’. In The Versatile Clarinet (ed. Roger Heaton). New York: Routledge/Taylor & Francis GroupBok, Henri and Wendel, Eugen. 1989. Nouvelles Techniques de la Clarinette Basse / New Techniques for the Bass Clarinet. Paris: Editions Salabert.Brymer, Jack. 1976. Clarinet. Yehudi Menuhin Music Guides. New York: Schirmer Books.Burke, Kelly. 1995. Clarinet Warm-Ups. Medfield: Dorn Publications.Dahlström, Fabian. 1995. Suomen musiikin historia 1: Ruotsin vallan ajasta romantiikkaan. Porvoo: WSOY.Heaton, Roger. 1995. ‘The contemporary clarinet’. In The Cambridge Companion to the Clarinet (ed. Colin Lawson). Cambridge: Cambridge University Press.Heiniö, Mikko. 1995. Suomen musiikin historia 4: Aikamme musiikki. Porvoo: WSOY.Hildesheimer, Wolfgang. 1984. Mozart. Finnish translation by Seppo and Päivi Heikinheimo. Keuruu: Otava.Klemola, Timo. 1996. Karate-do. Budon filosofiaa. Helsinki: Otava.Lawson, Colin. 1995. ‘Single reeds before 1750’. In The Cambridge Companion to the Clarinet (ed. Colin Lawson). Cambridge: Cambridge University Press.

Marttinen, Tauno. 1976. Article in Miten sävellykseni ovat syntyneet (ed. Erkki Salmenhaara). Helsinki: Otava.Nienstedt, Walter et al. 1989. Fysiologian ja anatomian perusteet. Porvoo: WSOY. Pay, Antony. 1995. ‘The Mechanics of Playing the clarinet’. In The Cambridge Companion to the Clarinet (ed. Colin Lawson). Cambridge: Cambridge University Press.Payne, Tim. 2006. ‘The Contrabass Clarinets’ in The Versatile Clarinet (ed. Roger Heaton). New York: Routledge/Taylor & Francis GroupPorter, Maurice. 1984. ‘Embouchure’. In The New Grove Dictionary of Musical Instruments (ed. Stanley Sadie). New York: Macmillan Press Limited.Rehfeldt, Phillip. 1992 [1977]. New Directions for Clarinet. Berkeley and Los Angeles: University of California Press.Rendall, F. Geoffrey. 1963 [1954]. The Clarinet. London: Ernst Benn Limited.Shackleton Nicholas. 1984. ‘Clarinet’. In The New Grove Dictionary of Musical Instruments (ed. Stanley Sadie). New York: Macmillan Press Limited.Scott, John. 2000. Astangajooga. Finnish translation by Eija Tervonen. Helsinki: Otava.Tschaikov, Basil. 1995. ‘The high clarinets’. In The Cambridge Companion to the Clarinet (ed. Colin Lawson). Cambridge: Cambridge University Press.

Online sourcesAldrich, Simon. 1997. ‘Molter’s life and Music’. Continuo Magazine: February 1997. www.continuo.com/feb97/molter.htm. Read 10 October 2004.Barrett, Gregory. 2009. Resources for Clarinetists [online document]. DeKalb: Northern Illinois University. http://www.niu.edu/~gbarrett/resources/index.shtmlBerlioz, Hector. 2004 [1843/4]. Extraits de Grand traité d’instrumentation et d’orchestration [online document]. Site Hector Berlioz. Updated 18 July 2008. http://www.hberlioz.com/Scores/BerliozTraite.html#Clarinette. Read 1 August 2008Cohler, Jonathan. 1995. Jonathan Cohler on vibrato http://www.woodwind.org/clarinet/Study/Vibrato.html Wolfe, Joe. 2004. Introduction to Clarinet Acoustics [online document]. Updated 19 January 2004 Sydney: The University of New South Wales http://www.phys.unsw.edu.au/music/clarinet. Read 3 March 2005.

Other printed sourcesKaipainen, Jouni. 1996. Clarinet Concerto, Introduction in the score. Helsinki: Edition Wilhelm Hansen Helsinki Oy.Lachenmann, Helmut. 1974. Dal Niente for solo clarinet. Performance instructions in the score. Wiesbaden: Breitkopf & Härtel.Smith, William O. 1967. ‘Some extensions of clarinet technique’. Performance instructions for Variants for solo clarinet. London: Universal Edition.Vandoren. 2000. Vandoren reeds, mouthpieces & accessories catalogue. Unknown author. Paris: Vandoren 2000.

96 1 Some harmonics are slightly sharper when played on a middle-register basic tone than when played on a low-register basic tone due to the opening of the speaker key.

APPENDIX 1

Harmonics"e following is a table of harmonics playable using the #nger-ings of tones in the low and middle registers. Each measure of the table shows one series of harmonics. An open notehead indicates the #ngered basic tone, and black noteheads with !a-geolet marks indicate harmonics.

Because the harmonic series on low and middle tones be-longing to the same overtone series (e.g. A3 and E5) are virtu-ally identical,1 I have here entered them in the same measure. For example, the harmonics in the #rst measure (G5, C6, E-6, etc.) can be played with the #ngering of E3 or B4.

"e harmonics are odd-numbered partials in the overtone series of the basic tone. In some rare cases, even-numbered partials are available, e.g. the A6 in the #rst measure. All of the pitches are approximations. "e properties of the instrument, the mouthpiece and the reed a%ect the pitch of harmonics, as does the clarinettist’s technique/way of playing.

CD-track 58: six harmonics of E3. CD-track 59: six harmonics of A3.

97

"e following #ngering table covers the range of the clar-inet in quarter-tones, from Eb3 to Eb7. "e chart is un-usually arranged into six lines I–VI. "e low and middle registers each have a line of their own. "e high register is divided onto three lines according to which partial the tones are based on.

On each line, I have selected one #ngering per tone, except for the tones that have several ‘normal’, commonly used #ngerings. "ere are several options in places where the lines overlap. I have tried to ensure that consecutive microtones on each line are as smoothly playable as pos-sible with the given #ngerings.

"e #rst line (Eb3 to A3) is not a register in its own right but simply an alternative for how to play micro-tones in the very lowest register. "e tones between the normal semitones are played by partly stopping the reed with the tongue to !atten the pitch by a quarter-tone. To play the low Eb, it is also necessary to change the embou-chure or to place the bell between the knees or thighs. "e low Eb is an extremely di&cult tone to control, and it is fuzzy. E3 is normally the lowest written tone.

I (CD track 60) Alternative for playing microtones in the lowest register. 1) Stop the reed partly with the tongue to achieve the notated pitch.

II (CD track 61) Low register (basic tones)2) Quarter-tones played with a key half depressed are di&cult to execute, and they are o$en fuzzy and inde-terminate in pitch.3) "e double-F key on some clarinet models makes it easy to play the quarter-sharp E3 and B4.4) Require further !attening with embouchure.

III (CD track 62) Middle register5) "e trill keys must be depressed with the right thumb, which means removing the thumb from the thumb rest, and the instrument thus has to be supported in some other way. Alternatively, these tones can be played by half depressing the key.

IV (CD track 63) High register: 5th partial.6) High register notes on the 5th partial are unstable from Ab6 up.

V (CD track 64) High register: 7th partial.7) High register notes on the 7th partial are unstable from B6 up.

VI (CD track 65) High register: 9th to 15th partial.

APPENDIX 2

Fingering Chart for Quarter-Tones

98

I

II

II

I

99

II

II

III

II

III

100

III

IV

III

IV

V

101

IV

V

VI

VI

102

APPENDIX 3

Broken Tonesa) Broken low tones. "e table shows multiphonics playable with low-register #ngerings. "e fundamental tone and the highest clearly audible tone are shown. Any dynamics are given under-neath. "e multiphonics in parentheses are highly unstable.

Broken low tones are o$en more or less aggressive in sound, and it is di&cult to distinguish between their pitches. Also, the #rst multiphonic given for each fundamental tone (E3-B4, F3-C5, etc.) typically has a strong beat, which can be varied with the embouchure.

"e table is not complete, as there is probably a limitless number of broken low tones. For example, it is possible to play broken tones between F4 and Bb4, but they are scarcely ever used and have thus been omitted.CD Track 66: Eight broken tones and a multiphonic glissando on E3.CD track 67: Four broken tones on A3.

1

2

3

4

103

5

7

9

11

6

8

10

12 13

104

b) Broken middle tones. "e table shows (downward) multiphonics playable with middle-register #ngerings. "e #ngerings from B4 to Eb5 are not usable for this purpose. Broken middle tones are always dyads. "e strongest dynamic level that can be obtained is given under the sta%.CD track 68: Broken tones in the middle register (chromatic scale from E5 to C6).

c) Broken high tones. "e table shows multiphonics playable with some of the more common high-register #ngerings. "e strongest dynamic level that can be obtained is given under the sta%.CD track 69: Broken tones in the high register (chromatic scale from C#6 to Ab6).

105

E

G

E

R

E

R

E

RG

E

RG

E

RA

F

G

F

GR

F

A

F

G

B

F

G

B

R

F

B

A

F

B

AR

F

BC

A

F

G

F

B

F

GR

F

A

F

G

B

F

AR

F

BC

G

F

BC

AR

B

GR

B

R

BC

E

R

G

B

G

B

R

F

R

F

R

F

B

F

B

R

B

R R

C B B

R R

C

G

B B

R

LIITE 4PEHMEÄT PARIÄÄNET

r1

r2

r3

r4

E

G

E

R

E

R

E

RG

E

RG

E

RA

F

G

F

GR

F

A

F

G

B

F

G

B

R

F

B

A

F

B

AR

F

BC

A

F

G

F

B

F

GR

F

A

F

G

B

F

AR

F

BC

G

F

BC

AR

B

GR

B

R

BC

E

R

G

B

G

B

R

F

R

F

R

F

B

F

B

R

B

R R

C B B

R R

C

G

B B

R

LIITE 4PEHMEÄT PARIÄÄNET

r1

r2

r3

r4

E

G

E

R

E

R

E

RG

E

RG

E

RA

F

G

F

GR

F

A

F

G

B

F

G

B

R

F

B

A

F

B

AR

F

BC

A

F

G

F

B

F

GR

F

A

F

G

B

F

AR

F

BC

G

F

BC

AR

B

GR

B

R

BC

E

R

G

B

G

B

R

F

R

F

R

F

B

F

B

R

B

R R

C B B

R R

C

G

B B

R

LIITE 4PEHMEÄT PARIÄÄNET

r1

r2

r3

r4

APPENDIX 4

Multiphonics Propera) So" dyads (CD tracks 70–74)

Most so$ dyads can only be played quietly, some only extremely quietly. All dyads are more or less challenging to play, calling for an embouchure more relaxed than usual, yet precise, combined with a lot of pressure. It is o$en impossible to avoid an extra air sound.

Because so$ dyads have a fascinating sound, I have included a representative selection. "ey are grouped according to the pitch of the upper tone. It should be noted, though, that their pitches, especially that of the lower tone, are approximate.

1–6 (CD track 70) 7–14 (CD track 71)

15–22 (CD track 72)

23–29 (CD track 73) 30–40 (CD track 74)

106

b) Bright dyads (CD track 75)"is table shows eight bright dyads: six twel$hs and two octaves.

E

G

E

R

E

R

E

RG

E

RG

E

RA

F

G

F

GR

F

A

F

G

B

F

G

B

R

F

B

A

F

B

AR

F

BC

A

F

G

F

B

F

GR

F

A

F

G

B

F

AR

F

BC

G

F

BC

AR

B

GR

B

R

BC

E

R

G

B

G

B

R

F

R

F

R

F

B

F

B

R

B

R R

C B B

R R

C

G

B B

R

LIITE 4PEHMEÄT PARIÄÄNET

r1

r2

r3

r4

41

C

G

C

F

C

R

C

F

R

G( )

RG

F

C

G R

E

G GB

G G

C

E E

G

E

F

E

F

2

X

r5

r6

r7

107

I Rich multiphonics 1–9 (CD Track 76)"e #ngerings for numbers 1–5 are actually high-register #ngerings without the register key (cf. Appendix III c). "ey are relatively easy and highly useful. In numbers 6–9, the lowest pitch remains D, while the highest ascends approximately by quarter-tones and the next highest approximately by semitones as the #ngering is changed as shown in the example. "ese multiphonics are a bit more strident and a bit more di&cult to play than numbers 1–5.

c) Rich multiphonics "e #$y multiphonics in the next table are only a small sample of the thousands of possible multiphonics that I classify as ‘rich’. Instead of simply listing them, I have grouped them in ways which I hope will give some idea as to how they can be used. I have tried to include in each example (I to V) a selection of multiphonics that can be combined (i.e. they resemble one another in sound, playing technique, #nger-ings, pitch collection, etc.).

II 10–17 (CD track 77)Numbers 10a-17b demonstrate eight pairs of multiphonics (i.e. sixteen multiphonics) which resemble one another in sound (and #ngering). In each pair, the #ngering is the same, but a change in playing technique is used to pick out higher partials in the ‘column of sound’.

1–5

6–9

10–17

41

C

G

C

F

C

R

C

F

R

G( )

RG

F

C

G R

E

G GB

G G

C

E E

G

E

F

E

F

2

X

r5

r6

r7

41

C

G

C

F

C

R

C

F

R

G( )

RG

F

C

G R

E

G GB

G G

C

E E

G

E

F

E

F

2

X

r5

r6

r7

EF

EF C C

EF C

EF C

R

EF

R

C

R

C

RG

E

F F

E

F

C E

F

E

F

E E

G

E E

3

r8

r9

r10

108

IV 27–38 (CD track 79)Numbers 27–38 form six pairs of multiphonics (i.e. twelve multiphonics). Adding the register key to the #ngering raises the lowest tone by about a major second but has virtually no e%ect on the higher tones. Note that the lowest tones in each pair are the same or almost the same (F#–G#).

III 18–26 (CD track 78)In numbers 18–21, the highest tone (G–6) remains the same, while all the other pitches rise gradually. In nos. 22–26, the Eb key is the common element in the #ngering. "e lowest tone rises up by a semitone but the highest by a third. Note that numbers 18 and 22 have the same #ngering. A change in playing technique changes the multiphonic.

18–21 22–26

27–28

EF

EF C C

EF C

EF C

R

EF

R

C

R

C

RG

E

F F

E

F

C E

F

E

F

E E

G

E E

3

r8

r9

r10

EF

EF C C

EF C

EF C

R

EF

R

C

R

C

RG

E

F F

E

F

C E

F

E

F

E E

G

E E

3

r8

r9

r10

G GR

G GR

G GR

G

G

G

G

R

4

r11

r12

r13

r14

G GR

G GR

G GR

G

G

G

G

R

4

r11

r12

r13

r14

G GR

G GR

G GR

G

G

G

G

R

4

r11

r12

r13

r14

G GR

G GR

G GR

G

G

G

G

R

4

r11

r12

r13

r14G

E

G

E

R

G

G

E

G

G

E

R

F

C C

F

C

G

C C C

F F G G

C

G

C

G

C

5

r15

r16

r17

r18

G

E

G

E

R

G

G

E

G

G

E

R

F

C C

F

C

G

C C C

F F G G

C

G

C

G

C

5

r15

r16

r17

r18

29–30 31–32

33–34 35–36 37–38

109

d) Aggressive multiphonics (CD track 81) Eight examples of harsh and audibly beating aggressive multiphonics that speak relatively easily.

V 39–44 (CD track 80)Six breathy multiphonics that speak easily. "eir common denominator is the C# key. Note that the #ngering for numbers 40 and 43 is the same.

39–44

G

E

G

E

R

G

G

E

G

G

E

R

F

C C

F

C

G

C C C

F F G G

C

G

C

G

C

5

r15

r16

r17

r18

G

E

G

E

R

G

G

E

G

G

E

R

F

C C

F

C

G

C C C

F F G G

C

G

C

G

C

5

r15

r16

r17

r18

1–8

110

"e music for tracks 1 to 57 can be found in Figures 16 to 80, and the music for tracks 58 to 81 in Appendices 1 to 4.

All tracks except 8 and 10: Mikko Raasakka, clarinet. (Instrumentation: Bu%et Crampon Tosca Bb clarinet, Vandoren B40 mouthpiece, Vandoren Rue Lepic 3 * reeds.)Track 11 with Elisa Kerola, kantele (www.elisakerola.net).Tracks 8 and 10 Nord Modular synthesizer.

Engineering and mastering: Mikko Murtoniemi (www.murtosointu.com).Production: Mikko Raasakka and Mikko Murtoniemi.Track 11 is an extract from Elisa Kerola’s solo disc Kuuntele (JaseCD 0044). Used by kind permission of Jasemusiikki Oy.

Note:– For ease of listening, the pauses within

some examples have been shortened for the recording.

– Some contemporary clarinet e%ects are extremely so$, while others are extremely loud. Not even the best of recordings can fully reproduce the dynamic scale.

BASIC TECHNIQUE1. Jukka Tiensuu: Clarinet Concerto Missa

(2007), movement 7, Ite, mm. 1–7 (light staccato). 00:22

2. Kai Nieminen: Clarinet Concerto !rough shadows I can hear ancient voices (2002), movement IV, mm. 1–11 (tight staccato). 00:21

3. Magnus Lindberg: Clarinet Concerto (2002), mm. 236–239 © Boosey & Hawkes (double-tonguing). 00:17

4. Lindberg: Clarinet Concerto, mm. 471–475 © Boosey & Hawkes (rapid articulation in the high register, and portamento). 00:09

5. Eero Hämeenniemi: Sonata for clarinet and piano (1984), movement I, mm. 1–4 (dal niente and al niente). 00:32

6. Lauri Kilpiö: Duo in a Sonata Form (2000), mm. 11–12, new version. © Uusinta (#ngering technique: rapid #gures). 00:12

7. Tiensuu: Missa, mm. 16–22 (vibrato). 00:29

NEW TECHNIQUES

Microtones

8. Natural overtone series of (concert) D. 00:50

9. Jukka Tiensuu: Clarinet Concerto Puro (1989), mm. 1–12. 01:08

10. Pentachord (Concert E, G#, A+, B, D) to which the kantele is tuned in Juhani Nuorvala’s Kolme impromptua. 00:13

11. Juhani Nuorvala: Kolme impromptua (1995) for clarinet and kantele, movement I, Lento cantabile section, mm. 1–13 (microtones). 01:09

12. Hannu Pohjannoro: hämäränpyörre (1999) for clarinet and strings, mm. 42–46 (quarter-tones in the high register). 00:18

13. Pohjannoro: hämäränpyörre, mm. 83–94 (quarter-tones in the middle register). 00:35

Pitch alteration

14. Tiensuu: Puro, mm. 44–46 (rising glissando to F#6 with crescendo). 00:18

15. Tiensuu: Puro, mm. 78–83 (rising glissando to F#6 in melodic passage). 00:35

16. Tiensuu: Puro, mm. 228–234 (glissandos in various registers; glissando to B6). 00:27

17. Antti Auvinen: Februa (2007) for clarinet and orchestra, mm. 67–77 (pitch bend with accented rhythm) 00:18

18. Jouni Kaipainen: Clarinet Concerto Carpe Diem! (1990), movement I, mm. 9–16 © Hansen (portamento). 00:36

19. Herman Rechberger: Clarinet Concerto Alovlar (2001), movement I, mm. 35–41 (pitch bend and vibrato) 00:40

20. Auvinen: Februa, mm. 78–83 (pitch bend to Eb3 and frullato). 00:19

21. Einojuhani Rautavaara: Opera Aleksis Kivi (1996), extract from clarinet part (overtone glissando). 00:12

Changes in tonal colour

22. Esa-Pekka Salonen: Nachtlieder (1978) for clarinet and piano, movement III,

mm. 17–21 (frullato). 00:1223. Tiensuu: Missa, movement 6 (Agnus Dei),

mm. 53–62 (duet of singing voice and clarinet). 00:48

24. Magnus Lindberg: Ablauf (1983) for clarinet and two bass drums. First 5 measures of the Andante molto section. © Hansen (beat caused using colla voce). 00:26

25. Auvinen: Februa, mm. 267–274 (aggressive colla voce e%ects). 00:26

26. Sebastian Fagerlund: Clarinet Concerto (2006), movement IV, mm. 1–12 (various colla voce e%ects). 00:18

27. Tiensuu: Missa, movement VII (Ite), mm. 25–30 (harmonic). 00:22 28. Nieminen: Clarinet Concerto, movement I,

mm. 140–153 (key vibrato). 00:5329. Kalevi Aho: Clarinet Concerto (2006),

movement V (Epilogo), mm. 70–83 (bisbigliando, also frullato and broken tones). 00:48

30. Paavo Heininen: Discantus II (1969) for solo clarinet, movement I; Lento, mm. 27–29 (smorzato). 00:25

31. Tiensuu: Puro, mm. 165–180 (chain trill). 00:34

Appendix 5

List of CD tracks

111

Percussion e%ects and noise

32. Auvinen: Februa, mm. 55–65 (slap tongue). 00.21

33. Auvinen: Februa, mm. 1–5 (‘open slap’). 00:15

34. Example of a so$ slap tongue e%ect. 00:1035. Olli Koskelin: Exalté (1995) for solo

clarinet. Ending (breath and air sounds). 00:21

36. Erik Bergman: Karanssi (1990) for clarinet and cello, movement III, opening (teeth on reed, also quarter-tones and multiphonics). 00:44

37. Herman Rechberger: KV622 II bis (1978) for clarinet and tape. Ending (playing on the mouthpiece alone, tone-hole sounds, key sounds). 00:45

38. Examples of trumpet embouchure: a) without mouthpiece, b) tuning barrel alone. 00:2939. Two scales on a ‘half-clarinet’, with the

mouthpiece a&xed to the lower joint. 00:1340. Muted clarinet. 00:08

MULTIPHONICS

Broken tones

41. Lindberg: Ablauf, mm. 1–5. © Hansen (aggressive broken low tones). 00:30

42. Kaipainen: Carpe Diem! movement II, mm. 85–92 © Hansen (broken tones, highest audible pitch notated). 00:29

43. Kaipainen: Carpe Diem! movement II, mm. 263–266 (di%erent broken tones on E3). 00:14

44. Tiensuu: Puro, mm. 220–224 (multiphonic glissandos on three clarinets). 00:26

45. Antti Auvinen: Eliangelis (2005) for solo clarinet, mm. 49–51 (multiphonic glissando, including sung tone) 00:15

46. Aho: Clarinet Concerto, movement V, mm. 90–98 (broken middle-register tones

with speaker-key tremolo). 00:37

47. Tiensuu: Puro. Solo cadenza, m. 8 (broken high tones, also multiphonic glissando). 00:25

48. Auvinen: Eliangelis, mm. 46–48 (double trill with broken top note). 00:17

49. Auvinen: Eliangelis, mm. 21–39 (transitions from normal tone to broken tone and back, also breath and air sounds, glissando and harmonics). 01:03

Multiphonics proper

50. Seven di%erent multiphonics based on A3. 00:48

51. Aho: Clarinet Concerto, movement V, mm. 50–55 (chromatically descending multiphonics). 00:21

52. Heininen: Discantus II, movement 2, middle section (so$ rich multiphonics). 00:58

53. Heininen: Short I (1990) for solo clarinet, movement 2, mm. 1–3 (so$ dyads). 00:28

54. Aho: Clarinet Concerto, movement V, mm. 99-103 (bright and so$ dyads). 00:28

Multiphonic "gures

55. Auvinen: Eliangelis, mm. 65-68 (multiphonic #gure over a sustained tone). 00:21

56. Auvinen: Eliangelis, mm. 87–92 (so$, slow, gradually shi$ing multiphonic tremolo). 00.25

57. Kaipainen: Carpe Diem! movement I, mm. 344-377. © Hansen (multiphonic hymn sequence). 01:11

Harmonics (Appendix 1)

58. Harmonics on E3 (overtone series played with the #ngering of E3) 00:13

59. Harmonics on A3 (overtone series played with the #ngering of A3) 00:12

Quarter-tone scale (Appendix 2)

60. From Eb3 to A3 (tongue on reed). 00:21 61. From E3 to C5 (low register). 01:08 62. From B–4 to F#6 (middle register). 01:11 63. From C6 to Ab6 (high register: 5th

partial). 00:2764. From E+6 to Bb6 (high register: 7th

partial). 00:21 65. From Bb6 to Eb7 (high register: 9th to

15th partial). 00:23

Broken tones (Appendix 3)

66. Eight broken tones and a multiphonic glissando on E3. 00:58

67. Four broken tones on A3. 00:24 68. Broken tones in the middle register

(chromatic scale from E5 to C6). 00:2969. Broken tones in the high register

(chromatic scale from C#6 to Ab6). 00:28

Multiphonics proper (Appendix 4)

a) So" dyads70. So$ dyads 1–6, upper tone B. 00:4371. So$ dyads 7–14, upper tone C. 00:5872. So$ dyads 15–22, upper tone C#. 01:0073. So$ dyads 23–29, upper tone D or D#.

00:5074. So$ dyads 30–40, upper tone E, F or F#.

01:03

b) Bright dyads75. Eight bright dyads. 00:54

c) Rich multiphonics76. Rich multiphonics 1–9. 00:4777. Rich multiphonics 10a–17b. 01:18 78. Rich multiphonics 18–26. 00:3979. Rich multiphonics 27–38. 01:0080. Rich multiphonics 39–44. 00:28

d) Aggressive multiphonics 81. Eight aggressive multiphonics. 00:24

112

1 SOLO CLARINET (including works for solo clarinet and tape/electronics)

AUVINEN, ANTTIEliangelis (2005)Distributor: FIMIC

BRUK, FRIDRICH Sonata for clarinet (1991)Distributor: Fridrich Bruk

FAGERLUND, SEBASTIANFlow (1999)Distributor: FIMIC

GUSTAFSSON, KAJ!ERIKSonatine (1982)Distributor: FIMIC

HAAPANEN, PERTTUAmygdala (2008/2009)Distributor: FIMIC

HAKOLA, KIMMO Loco (1995)Publisher: Fennica Gehrman

Appendix 6

Finnish Music for Clarinet"is list of Finnish music for clarinet is drawn from the database of the Finnish Music Information Centre (FIMIC) and updated in July 2009. "e list also includes works that have not been submit-ted to FIMIC for distribution by the composers; this information comes directly from the composers. Contact information for all publishers and distributors can be found at the end of the list.

For works with solo clarinet, I have aimed to compile as comprehensive a listing as possible. In chamber music, I have in-cluded a stylistically diverse selection of music where the clarinet has a prominent or otherwise important part.

Where one player is required to play several instruments, this is indicated with a plus sign (e.g. cl+bcl). Where a work may be alternately performed on various instruments, the alternatives are separated with a slash (e.g. cl/bcl). All titles of works are in their original form as given by the composer; for titles in Finnish and

Swedish, an English translation or suggested translation is given in parentheses. All works are for Bb clarinet unless otherwise speci#ed.

1. Solo clarinet2. Clarinet and piano (or other keyboard instrument)3. Clarinet solo with orchestra/ensemble4. Works for young clarinet players5. Bass clarinet6. Selected chamber music: A duos, B trios, C quartets,

D quintets and larger ensembles7. All-clarinet ensembles8. Publishers and distributors

Diamond Street (1999)Publisher: Fennica Gehrman

HEININEN, PAAVODiscantus II (1969)Publisher: Fennica GehrmanShort I (1990) Publisher: Fennica Gehrman

HYVÄRINEN, ASKOQuatuor pour un homme seul (2004)cl in eb+cl+bcl+asaxDistributor: FIMIC

KANKAANPÄÄ, TUULIKKI Transformations (1984)Distributor: FIMIC

KERVINEN, MIKKO Phases (1984)Distributor: FIMIC

KLAMI, MARKKUTWIRL (2008)Distributor: FIMIC

KOIVULA, KARI Ability cl+bcl+asaxDistributor: FIMICEventum 1Publisher: Edition Wilhelm Hansen

KOSKELIN, OLLI Exalté (1985)Publisher: Fennica Gehrman

KURONEN, JOUNIThree Intercessions (1993)Distributor: FIMIC

KYLLÖNEN, TIMO!JUHANI Contemplation in blue (1990)Publisher: Fennica Gehrman Artemis (1999)Distributor: FIMIC

LEHTO, JUKKA!PEKKA Impromptu (1983)Distributor: FIMICLau(datu)rille (For Lauri and laudatur) (2001)Distributor: JP Lehto

Gadja smealcu (2007)clarinet and tapeDistributor: JP Lehto

LEPPÄLÄ, KIMMOHirtengedichter Distributor: FIMIC

LINDBERG, MAGNUSAblauf(See chamber music)

LINDHOLM, HERBERTSonatine (1990)Distributor: FIMIC

LINKOLA, JUKKA Tiiba daaba, oho, abaada biit (1999)Distributor: FIMIC

LÄNSIÖ, TAPANIMerry Piper (2004)Publisher: Sulasol

MARTTINEN, TAUNO Idylli (Idyll) (1984) oboe/clarinetDistributor: FIMIC

113

Illusio (Illusion) (1982)Distributor: FIMICKirinmyllyn tarinaa (The Old Mill Tells Its Tale) (1978)Publisher: Eres Edition

NUORVALA, JUHANIConcertino (2001)Basset clarinet/clarinet in A and tape(original version)Publisher: Fennnica Gehrman

POHJANNORO, HANNU Hybris (1988)Distributor: FIMIC

PORTIN, MARKO Kauzu (2002) Publisher: Uusinta

PUHAKKA, JARIFantasy (1976)Distributor: FIMIC

PUUMALA, VELI!MATTI Kaarre (Curve) (1989) (cl+bcl, dancer)Distributor: FIMICKaarre II (Curve II) (1993) (cl+bcl, live electr, dancer)Distributor: FIMIC

RAITIO, PENTTIElegia (Elegy) (1966)Publisher: Edition Wilhelm Hansen

RECHBERGER, HERMAN KV 622 II bis (1978) clarinet and tapePublisher: Fennica Gehrman

WARÉN, JAAKKOAlone (1988)Distributor: FIMIC

VILEN, ASKOInventio (1984)Distributor: FIMIC

2 CLARINET AND A KEYBOARD INSTRUMENT (piano unless otherwise indicated)

AGOPOV, VLADIMIR Sonata (1981)Distributor: FIMIC

ARMFELT, CARL Kiertäviä lauluja (Circulating songs) (1977)Distributor: FIMIC

BERGMAN, ERIK Three Fantasias (1954)Publisher: Fennica Gehrman

CRUSELL, BERNHARD HENRIK Introduction et air suedois varié (ca. 1804)Publisher: Fennica Gehrman

EEROLA, LASSE Fantasy (1982)Publisher: Modus Haarapalpakko (Branched bur-reed) (1990)Distributor: FIMICHarmio (Hoary alyssum) (1990)Distributor: FIMICHelpitähkiö (Purple-stem catstail)Distributor: FIMICHevonhierakka (Northern dock)Distributor: FIMICHuimaluste (Darnel ryegrass) (1990)Distributor: FIMIC

HALLASTE, URHO Arabesques symmetriquesDistributor: FIMIC

HANNIKAINEN, VÄINÖ Päivän pilkahduksia (Traces of daylight) (1959)Distributor: FIMIC

HAUTA!AHO, TEPPO Duo (1977)Distributor: FIMIC

HÄMEENNIEMI, EERO Sonata for clarinet and piano (1984)Publisher: Fennica Gehrman

JALAVA, LASSESonata for clarinet and piano (2007)Distributor: FIMIC

JALKANEN, PEKKA Kuikat (Loons) (1987)Publisher: Modus

JOKINEN, ERKKI Distances (1978)Distributor: FIMIC

KALLIONPÄÄ, MARIA Aspectos (2008) Distributor: FIMIC

KATILA, TIMO Two miniaturesPublisher: Musiikki-andante

KETTUNEN, JAAKKOBallade (1983)Distributor: FIMIC

KILPIÖ, LAURIDuo in a Sonata Form (2002)Publisher: Uusinta

KOHLENBERG, OLIVERHannelen ja Ollin häävalssi (Wedding walz for Hannele and Olli) (2001)Distributor: FIMIC

KOSTIAINEN, PEKKA Sonata for clarinet and piano (1977)Publisher: Fennica Gehrman

KUOSMA, KAUKOSuite for clarinet and piano (1981)Distributor: FIMIC

KUUSISTO, ILKKAKissalan Aapelin soitteita (1981)(Folk tunes from Aapeli Kissala)Suite for Eb clarinet and pianoDistibutor: Tactus

KYLLÖNEN, TIMO!JUHANI Desolazione (1987) oboe/bassoon/clarinet and organPublisher: Fennica Gehrman

LANU, TEROSummer Music (2006)Distributor: Tero Lanu

LINKOLA, JUKKA The SwanDistributor: FIMIC

LINTINEN, KIRMOBuster! (2007)Caprice for clarinet and pianoDistributor: FIMICRieha (2009) Distributor: FIMIC

LYYTIKÄINEN, PASIUni (2000)Distributor: FIMICSanoitta (Without words) (2006)Eb clarinet and pianoPublisher: Fennica Gehrman

MADETOJA, LEEVIVanhoja kansantansseja (Old folk dances) op. 64b (1929)(Polska no. 1 and Polska no. 2)Publisher: Fennica Gehrman

MARTTINEN, TAUNO Delta (1962)Publisher: Seesaw MusicHäätanhu (Square dance for wedding) (1962)Distributor: FIMICKyläläisten tanssi (Villagers’ dance) (1962)Distributor: FIMIC

NIEMINEN, KAI Syyssonetti (Autumn Sonnet) (1981)Publisher: Fennica Gehrman

NISULA, MIKKOMétamorphoses II (2006)Distributor: FIMIC

NORONTAUS, VEIKKOCanzonafor clarinet or trumpet and pianoDistributor: FIMICKehtolaulu (Lullaby) (2005)for clarinet or trumpet and pianoDistributor: FIMICSuite for clarinet and piano (1981)Distributor: FIMICScherzoso (1993)Distributor: FIMIC

114

PULKKIS, ULJAS Aria (2002) Distributor: FIMIC

PYLKKÄNEN, TAUNO Pastorale (ca. 1937)Publisher: Sulasol

RAITIO, PENTTIWaiting... (1990)Publisher: Edition Wilhelm Hansen

RANTA, SULHO La Sera (1932)Distributor: FIMIC

RAUTAVAARA, EINOJUHANI Sonetto (1969)Clarinet in A and pianoPublisher: Fennica Gehrman

RECHBERGER, HERMAN...BUFFO (1985)Publisher: Modus

SAIKKOLA, LAURIPieni sarja (Little suite) (ca. 1950)Distributor: FIMICPieni sarja “Vanhaistavaan tyyliin”(Little suite “In archaic style”) (ca. 1961)Distributor: FIMIC

SALONEN, ESA!PEKKA Nachtlieder (1978)Publisher: Fennica GehrmanMeeting (1982) for clarinet and harpsichordPublisher: Edition Wilhelm Hansen

SIHVOLA, HOLGERKaamos (Polar night)Sävelleikkiä (Playing with tones)Vikuroiva valssi (Jibbing walz) (1961)Requests: FIMIC

TIKKA, KARIYöllä (In the Night) (2002)Publisher: Modus

TUOMELA, TAPIO Pilke 1b (2005/2009) Distributor: FIMIC

VILEN, ASKOImpressionsDistributor: FIMIC

Sonata (1976)for clarinet or alto saxophone and piano Distributor: FIMIC

3 CLARINET SOLO WITH ORCHESTRA/ENSEMBLEAHO, KALEVIConcerto for clarinet and orchestra (2005)2222 3221 01 1, euph, str, cl soloPublisher: Fennica Gehrman

ALMILA, ATSO Concerto for two clarinets and wind band (1980)2121 0 222 00001 1, 2cl soloDistributor: FIMIC

AUVINEN, ANTTIFebrua (2006)2212 2210 02, pno, str, cl soloDistributor: FIMIC

BASHMAKOV, LEONID Concerto for clarinet and orchestra (1990)2202 2200 12 0, str, cl soloDistributor: FIMIC

CRUSELL, BERNHARD HENRIK Concertante for clarinet, bassoon, horn and orchestra1202 2200 10 0, str, cl solo, fag solo, cor soloDistributor: FIMICClarinet Concerto E &at Major, op. 11202 2200 10 0, str, cl soloPublisher (full version): Edition ReimersPublisher (piano reduction): Universal EditionClarinet Concerto F Minor, op. 51202 2200 10 0, str, cl soloPublisher (full version): Edition ReimersPublisher (piano reduction): Universal EditionClarinet Concerto B &at Major, op. 111202 2200 10 0, str, cl soloPublisher (full version): Edition ReimersPublisher (piano reduction): Universal Edition

Introduction et air suédois varié1202 2200 10 0, str, cl soloPublisher: Fennica Gehrman

EEROLA, LASSE Fantasy for clarinet and wind band (1986)4272 3 443 00012 3, pno, cl soloDistributor: FIMIC

ENGLUND, EINAR Concerto for clarinet and orchestra (1991)2222 4230 12 1, cel, str, cl soloDistributor: FIMIC

FAGERLUND, SEBASTIANEmanations (1998)2perc, str, cl soloPublisher: UusintaClarinet Concerto (2006)2222 2210 11, pno, str, cl soloPublisher: Edition Peters

HAKOLA, KIMMOConcerto for clarinet and orchestra (2001)2222 2221 11 1 str, cl soloPublisher: Fennica Gehrman

HAUTA!AHO, TEPPO Concertino VIII (2000)str, cl solo, db soloDistributor: FIMICDéja-vu? (1997)str, cl solo, db soloDistributor: FIMIC

IKKALA, JARIConcerto for clarinet and strings (1994)str, cl soloDistributor: Jari Ikkala

KAIPAINEN, JOUNI Carpe diem! (1990)2222 2111 02 0, pno, 11111, cl soloPublisher: Edition Wilhelm HansenNyo ze honmak kukyo to (1999)dabachi, str, cl+dbcl soloPublisher: Edition Wilhelm Hansen

KARJALAINEN, AHTI Concerto for clarinet and strings (1984)str, cl soloDistributor: FIMIC

Pelimannikonsertto (Fiddler’s concerto) (1974)timp, str, vln solo, cl soloDistributor: FIMIC

KLAMI, MARKKUFUME (2008)2222 2200 01, pno, strk cl soloDistributor: FIMIC

KLAMI, UUNO Concertino (1933)For oboe, clarinet, trumpet and string quintetDistributor: FIMIC

KORTEKANGAS, OLLI Konzertstückfor clarinet, cello and orchestra (1993)2111 2200 02 0, str, cl solo, vlc soloPublisher: Fennica Gehrman

KOSKELIN, OLLI Concerto for clarinet and orchestra (1995)2121 2121 02 0, pno, str, cl soloDistributor: FIMIC

KOSTIAINEN, PEKKA Contraband (1984)2trp, pno, str, fl solo, ob solo, cl soloPublisher: Sulasol

LEHTO, JUKKA!PEKKATunturihaukka (Gyrfalcon) (2006)for clarinet and wind band3151 2331 12, 3sax, euphonium, cl soloDistributor: JP Lehto

LINDBERG, MAGNUS Away (1994)perc, pno, str, cl soloPublisher: Chester MusicDuo Concertante (1992)fl, ob+ehn, mand, guit, vib, hp, vla, db, cl solo, vlc soloPublisher: Chester Music

Clarinet Concerto (2002)2332 4331 12, hp, pno+cel, str, cl soloPublisher: Boosey & Hawkes

LINDHOLM HERBERT Sirius (1992)perc, pno, str, synth, cl soloDistributor: FIMIC

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LINTINEN, KIRMOConcerto da camera (2000)String orchestra, fl solo, cl soloDistributor: FIMICDuo Concertante (2002)2212 2210 12 0, str, cl solo, db soloDistributor: FIMIC

MADETOJA, LEEVIVanhoja kansantansseja (Old folk dances) op. 64b (1929)(Polska no. 1 and Polska no. 2)str, cl soloRequests: Fennica Gehrman

MARTTINEN, TAUNO Hirvenhiihto (The Elk Skiers / On the tracks of the Winter Moose) (1974)Concerto for clarinet and orchestra 0101 1210 11 0, cel, str, cl soloDistributor: FIMIC

MERIKANTO, AARREConcerto for, clarinet, French horn, violin and string sextet (1924)‘Schott-concerto’Publisher: Fennica Gehrman

NIEMINEN, KAIThrough Shadows I Can Hear Ancient Voices (2002)Concerto for clarinet and orchestra2222 2100 11 cel, str, cl solo Publisher: Fennica Gehrman

NORDGREN, PEHR HENRIK Concerto for clarinet, folk instruments and small orchestra (1970)0003 1010 14 1, cemb, jouhikko acc, kantele str, cl soloDistributor: FIMIC

NUORVALA, JUHANI Concerto for clarinet and orchestra +1998,2212 2000 01 0, elbas, str, cl soloPublisher: Fennica Gehrman

PANULA, JORMAKiikka-Iikka (1977)str, cl soloDistributor: FIMIC

POHJANNORO, HANNU hämäränpyörre (twilight whirl) (1999)str (66442), cl soloDistributor: FIMIC

PULKKIS, ULJASTales of Joy, of Passion, of Love (2005)2222 2200 01 0, baryt ad lib, str, cl soloDistributor: FIMIC

RANTA, SULHOLa sera (1931)1101 2000 11 1, str, cl soloDistributor: FIMIC

RAUTAVAARA, EINOJUHANIConcerto for clarinet and orchestra (2001)2222 4221 12 1, str, cl soloPublisher: Fennica Gehrman

RÄISÄNEN, TOMIDuo Concertante (2004)solo clarinet+bass clarinet, solo accordion and ensembleDistributor: FIMIC

RECHBERGER, HERMANAlovlar (2001)str. orch, str. quartet, frame drum, cl soloPublisher: Fennica Gehrman

SAIKKOLA, LAURI Concertino (1968)str, cl soloDistributor: FIMIC

SALLINEN, AULISConcerto for clarinet, viola and chamber orchestra (2007)2fl, perc, str, cl solo, vla soloPublisher: Novello

SEGERSTAM, LEIF Moments of Peace II (1992)pno, 2perc, str, voc solo/tr solo/cl soloDistributor: FIMICOrchestral Diary Sheet No.11g (1981)1111 1110 01, cel, str, cl soloDistributor: FIMIC

Orchestral Diary Sheet no.14e (1983)1111 1110 12 0, pno, str, cl soloDistributor: FIMIC

SERMILÄ, JARMO La place revisitée fl+afl solo, cl+bcl solo 2perc, str, tapeDistributor: FIMIC

TIENSUU, JUKKA Missa (2007)2222 2200 11 0, str, cl soloDistributor: FIMICPuro (1989)2220 2220 02 0, str, cl solo,Distributor: FIMIC

TOIVANEN PEKKA Concerto for Clarinet and Big Band (1996)221 4 4, pno, cb, dr, cl soloDistributor: FIMIC

VIITASAARI MARKKU Hopsis (1991) 2141 4 232 00111 1, cl soloPublisher: STM

WESSMAN, HARRI Concertino for clarinet and string orchestra (2001)str, cl soloDistributor: FIMIC

YLI!SALOMÄKI, AKIClarinet Concerto (2004)str, cl soloDistributor: FIMIC

4 WORKS FOR YOUNG CLARINET PLAYERS

EEROLA, LASSE 25 etudes for clarinet Publisher: Uusinta30 etudes for clarinet Publisher: UusintaK-kokoelma (K Album)for clarinet and pianoDistributor: FIMIC

Kasvikokoelma (Herbarium)for clarinet and pianoPublisher: Fennica GehrmanN-SARJA (N Suite)for clarinet and pianoDistributor: FIMICRohtokokoelma (Medicine collection) (1991)for clarinet and pianoDistributor: FIMICMuunnelmia tutusta lastenlaulusta (1991)(Variations on a well-known children’s song)for clarinet ensemble and piano6cl, bcl, pnoDistributor: FIMICN-SARJA (N-Suite) for solo instrument and string orchestrastr, cl solo/fl solo/ob solo/asax solo/tsax solo/cor solo/tba soloDistributor: FIMIC

JALAVA, LASSE Five Easy Pieces (1998)for two clarinets and two bassoonsDistributor: Artemusa

JALAVA, LASSEFive pieces for clarinet ensemble (1985)3cl, bclDistributor: FIMIC

KILPIÖ, LAURIJäniksen retki (2003)for !ute, clarinet and pianoDistributor: FIMIC

KOPISTO, MARKKU Jr. Blues (1994)for four clarinetsDistributor: FIMIC

WESSMAN, HARRI Five Clarinet Pieces for Annika Mesimäki (1995)for clarinet and pianoPublisher: Fennica Gehrman

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5 BASS CLARINET (including bass clarinet solo, bass clarinet and piano, and concertante works. For chamber music for bass clarinet, see section 6)

FAGERLUND, SEBASTIANChants (2005)for bass clarinet and pianoDistributor: FIMIC

FAGERUDD, MARKUS Ingrepp I (Action I) (1990)for bass clarinet and pianoPublisher: Edition Wilhelm Hansen

HAAPAMÄKI, SAMPOKirjo (Spectrum) (2006)for bass clarinet and orchestra2222 2110 01 0, str, bcl soloDistributor: FIMIC

HAKOLA, KIMMOVirkku (2006)for bass clarinetPublisher: Fennica Gehrman

HIETALA, TIMO Viluinen pingviini (The freezing penguin) (1992)for bass clarinet and orchestra4434 6441 13 2, str, bcl soloDistributor: FIMICLunnin tango (Puffin’s tango) (1998)for bass clarinet and chamber orchestra1111 0000 00 0, str, bcl soloDistributor: FIMICMusta sydän yhtä punainen kuin valkoinen (Black heart as red as white)(2002)for solo bass clarinetDistributor: FIMIC

HÄMEENNIEMI, EERO The Snake in the Rope (2000)for bass clarinet and chamber orchestra1111 1100, str, bcl soloDistributor: FIMICDuaali (Dual) (1995)for bass clarinet and pianoDistributor: FIMIC

JUDIN, PETRI Rotation IV (2005)for bass clarinet and pianoDistributor: FIMIC

KAIPAINEN, JOUNI Piping down the valleys wild (1984)for bass clarinet and pianoPublisher: Edition Wilhelm Hansen

KOIVULA, KARI Meditation (1984)for bass clarinet and pianoDistributor: FIMICEventum II (1982)for bass clarinetDistributor: FIMIC

LINTINEN, KIRMO Oikku (Caprice) (1997)for bass clarinet and pianoDistributor: FIMIC

MARTTINEN, TAUNOPalava pensas (Burning Bush) (1985)for bass clarinetDistributor: FIMICMaahinen (The Gnome) (1981)for bass clarinetPublisher: Eres Edition

NIEMINEN, KAI Usvanhaltia (Mist Hobgoblin) (1991)for bass clarinetPublisher: Fennica GehrmanTanssinhaltia (Dance Hobgoblin) (1998)string orchestra/quintet, bcl soloPublisher: Fennica Gehrman

NUORVALA, JUHANIConcertino (2001/2008)bass clarinet and tape (version d)Publisher: Fennica Gehrman

POHJANNORO, HANNU saari, rannaton (an island, shoreless) (1994)for bass clarinet and tapeDistributor: FIMICsanaton (wordless) (2005)bass clarinetDistributor: FIMIC

PUUMALA, VELI!MATTI Basfortel (1993)for bass clarinet, piano and live electronicsPublisher: Fennica Gehrman

RECHBERGER, HERMAN Cranes (2007)for bass clarinet and pianoPublisher: Fennnica GehrmanSzene am... (1981)for bass clarinet+ebcl and pianoDistributor: FIMIC

RÄISÄNEN, TOMIReforged (2005)for bass clarinet and pianoDistributor: FIMIC

SEGERSTAM, LEIF Epitaph no.2d (1977)for bass clarinet and pianoDistributor: FIMIC

SUILAMO, HARRI Yell - le Cri de Merlin? (1987)for bass clarinetDistributor: FIMIC

TIENSUU, JUKKA Asteletsa (1999)for walking bass clarinetistfor bass clarinet/double bass clarinetDistributor: FIMIC

TRBOJEVIC, JOVANKA Le fantôme du vent (1999)for bass clarinet and live electronicsDistributor: FIMIC

WENNÄKOSKI, LOTTA Sade avaa (Rain opens) (1999)for bass clarinet and ensemble1101 1000 01 10111, bcl soloDistributor: FIMICSateen avaama (Opened by rain) (2000)for bass clarinetDistributor: FIMICLimn (2002)for bass clarinetDistributor: FIMICKuule II (Hear II) (2007)for bass clarinet and ensemble1111 1000 00 11111, bcl soloDistributor: FIMIC

VUORI, HARRIConcerto for bass clarinet and orchestra (2001)2222 2210 02 piano strings, bcl soloPublisher: Fennica Gehrman

6 CHAMBER MUSIC (selection, including chamber music for bass clarinet, excluding wind quintets)

6A DUOS (excluding duos for clarinet and keyboard and duos for two clarinets)

AUVINEN, ANTTIKarkija (2007)for bass clarinet and marimbaDistributor: FIMIC

BERGMAN, ERIK Karanssi (1990)(cl+bcl and cello)Publisher: Fennica Gehrman

BRUK, FRIDRICH Five Duets for clarinet and cello (1984)Distributor: FIMIC

FAGERLUND, SEBASTIANCadenza (2006)for clarinet and any low-pitched instrumentDistributor: FIMIC

HAKOLA, KIMMO Capriole (1991)for bass clarinet and celloPublisher: Fennica GehrmanFive Clips (2003)for clarinet and marimbaPublisher: Fennica Gehrman

HAUTA!AHO, TEPPODavid’s Serenade (2006)for clarinet and double bassDistributor: FIMICDuettino Claba (2006)for clarinet and double bassDistributor: FIMIC

HEININEN, PAAVO Short I (1990)for clarinet and celloPublisher: Fennica Gehrman

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HYVÄRINEN, ASKOShingle-twinkle (2005)for clarinet and violaDistributor: FIMICAfter trace (2005)for bass clarinet and marimbaDistributor: FIMIC

JOKINEN, ERKKI Pros (1991) for clarinet and celloPublisher: Edition Wilhelm Hansen

KALLIONPÄÄ, MARIASchatten II (2009)for liru (Karelian folk clarinet) and gu zhengDistributor: FIMIC

KOIVULA, KARIReeds (1985)for oboe and bass clarinetDistributor: FIMIC

KORTEKANGAS, OLLI Iscrizione (1990)for clarinet and celloPublisher: Fennica Gehrman

KÄRKKÄINEN, TOMMI Yön ääniä II (Night sounds II)for clarinet or soprano and celloPublisher: Fennica Gehrman

KYLLÖNEN, TIMO!JUHANI Desolazione (1998) for oboe/flute/clarinet and accordionDistributor: FIMIC

LEPPÄLÄ, KIMMO3 kleine Stückefor clarinet and violinPublisher: Uusinta

LINDBERG, MAGNUSSteamboat Bill Jr. (1990)for clarinet and celloPublisher: Edition Wilhelm Hansen

LÄNSIÖ, TAPANI A Due (1991)for bass clarinet and celloPublisher: Sulasol

MARTTINEN, TAUNO Duo (1971)for clarinet and percussionPublisher: Eres Edition

Duo (1983)for bass clarinet and marimbaDistributor: FIMICOctober (1983)for bass clarinet and accordionDistributor: FIMICMetamorfos (1985)for bass clarinet and marimbaDistributor: FIMIC

MERILÄINEN, USKO UNES "1990#for clarinet and celloDistributor: FIMIC

NEVANLINNA, TAPIO Foto (1987)for clarinet and accordionDistributor: FIMIC

NICOLAU, TEODORThree Miniatures for oboe and clarinet Publisher: Helin-Sons Oy

NIEMINEN, KAISyyssonettiWinter Sonnet (1985)for clarinet and celloPublisher: Fennica Gehrman

NUORVALA, JUHANI Three Impromptus for clarinet and kantele (1995)Distributor: FIMIC

POHJANNNORO, HANNUkatajan laulu (juniper’s song) (2005)for liru (Karelian folk clarinet) and kanteleDistributor: FIMIC

PULKKIS, ULJAS Music for Clarinet & Doublebass (1999)(cl+bcl, cb, live electronics)Distributor: FIMIC

PUUMALA, VELI!MATTI Caprifoglio (Èdera II) (1998)for clarinet and celloPublisher: Fennica Gehrman

RECHBERGER, HERMANGreek Dancesfor clarinet in C and kanteleDistributor: FIMIC

Moldavian Dances for clarinet in C and kanteleDistributor: FIMICLiru (2006)for liru (Karelian folk clarinet) and kantele (or clarinet in C and harp)Distributor: FIMICAll’ongharese (1983)for bass clarinet and vibraphoneDistributor: FIMIC

RÄISÄNEN, TOMIDiabolic Dialogue (2001)for clarinet and celloDistributor: FIMIC

SAARIAHO, KAIJA Oi kuu (O Moon) (1990)for bass clarinet and celloPublisher: Edition Wilhelm Hansen

SALLINEN, LAURITriptych (2009)for clarinet and kanteleDistributor: Lauri Sallinen

SEGERSTAM, LEIF Episode No.18 (1982)for clarinet and celloDistributor: FIMIC

SERMILÄ, JARMO Mechanical Partnership (1995)for bass clarinet and accordion or synthesizerPublisher: Edition Wilhelm HansenClockwork etudes (1983)for bass clarinet and marimba/vibraphoneDistributor: FIMICDanza 4B (1993)for oboe and bass clarinetPublisher: Edition Wilhelm Hansen

TIENSUU, JUKKA Plus I (1992)for clarinet and accordionDistributor: FIMICPlus II (1992)for clarinet and celloDistributor: FIMICPlus IIb (1992)for bass clarinet and celloDistributor: FIMIC

VILÉN, ASKOSuru (Sorrow) (1987)for bass clarinet and percussionDistributor: FIMIC

VUORI, HARRIGaldr (2000)for bass clarinet and hornPublisher: Fennica Gehrman Harmaa pöllö (Grey owl) (2005)for flute and clarinetDistributor: FIMIC

WENNÄKOSKI, LOTTASeven children’s songs (2008)for tenor voice and cl+bcl Distributor: FIMIC

6B TRIOS

AHMAS, HARRI Clafacofonia (1991) for clarinet, bassoon and hornDistributor: FIMICSimple stories (2006)for flute, English horn and clarinetDistributor: FIMIC

AHO, KALEVITrio for clarinet, viola and piano (2006)Publisher: Fennica Gehrman

ALMILA, ATSO Clarinet Trio (1994)for clarinet, cello and pianoDistributor: FIMICClarinet Trio No. 2 (1999)for clarinet, cello and pianoDistributor: FIMIC

BRUK, FRIDRICHTrio for clarinet, viola and cello (1996)Distributor: FIMIC

CRUSELL, BERNHARD HENRIK Pot-pourrifor clarinet, bassoon and hornDistributor: ArtEmusa

FAGERLUND, SEBASTIANBreathe (2006)for clarinet, accordion and celloDistributor: FIMIC

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HAAPAMÄKI, SAMPOABC (2006)for clarinet, accordion and celloDistributor: FIMIC

HAAPANEN, PERTTU…los hojas de nubes (2004)for clarinet, accordion and celloDistributor: FIMIC

HAUTA!AHO, TEPPO Trio (1974)cl+bcl, cb, percDistributor: FIMICClafapi trio (1995)for clarinet, bassoon (or cello) and pianoDistributor: FIMIC

HEINIÖ, MIKKO 7.2.1949 (1999)for clarinet, cello and pianoDistributor: FIMICTreno della notte (2000)(Cl+bcl, cello and piano)Publisher: Fennica Gehrman

HIETALA, TIMO Strutsi (Ostrich) (1995)for bass clarinet, two percussions and live electronicsDistributor: FIMIC

HOLMSTRÖM, CARITA Dreamsfor clarinet, cello and pianoDistributor: FIMIC7 Aspects (2002)for clarinet, horn and bassoonDistributor: FIMIC

HÄMEENNIEMI, EERO !ree Nocturnes (1996)for clarinet, cello and pianoDistributor: FIMIC

KAIPAINEN, JOUNI Trio I (1983)for clarinet, cello and pianoPublisher: Edition Wilhelm Hansen

KILPIÖ, LAURITarinaa (2007)for clarinet, accordion and celloDistributor: FIMIC

KLEMOLA, SAMIWhat where (2004)for clarinet, cello and pianoDistributor: FIMIC

KOSKELIN, OLLI Pas de trois (1991)for clarinet, accordion and celloPublisher: Fennica Gehrman

KOSKINEN, JUHA T.Brunelda’s Song (2002)for clarinet, percussion and pianoDistributor: FIMIC

KOSTIAINEN, PEKKA Divertimento (1984)for two clarinets and bassoon/bass clarinetPublisher: Sulasol

KUITUNEN, KIMMOTrio for clarinet, cello and piano (2005)Distributor: FIMIC

LINDBERG, MAGNUSAblauf (1983)(cl+bcl, 2 gran cassa)Publisher: HansenTrio (2008)for clarinet, cello and pianoPublisher: Boosey & Hawkes

LINJAMA, JOUKOKerjäläisten auringot (Beggars’ suns) (2003)for mezzo-soprano, clarinet and pianoDistributor: FIMICTrio (2003)for clarinet, horn and organDistributor: FIMIC

LINJAMA, JYRKI Hymn (1990)for clarinet, violin and accordionPublisher: Edition Wilhelm Hansen

LINTINEN, KIRMO:Canonische begegnungen (2006)Ob+ehn, cl in Eb+in Bb, pnoDistributor: FIMICTrio Concertante (2002/2009)for clarinet, double bass and pianoDistributor: FIMIC

LÓPEZ, JIMMYAllegro (1999)for two clarinets and bassoonDistributor: FIMICEl Viaje (2000)for clarinet, cello and pianoDistributor: FIMIC

LYYTIKÄINEN, PASIZephyr (2003)for clarinet, violin and pianoDistributor: FIMIC

MELARTIN, ERKKITrio (1929)for !ute, clarinet and bassoonDistributor: FIMIC

MERILÄINEN, USKODue notturni in una parte (1997)for clarinet, cello and pianoDistributor: FIMICNotturno della ottava notte (1997)for clarinet, violin and pianoPublisher: Modus

NEVANLINNA, TAPIOLasileikkaus (Glass cut) (2004)for clarinet, accordion and celloDistributor: FIMIC

PAGE, TIMKierros (2007)for viola / alto saxophone / clarinet in A, bass clarinet and pianoDistributor: FIMIC

QIN, DAPINGLecon (1989)for !ute, bass clarinet and violaDistributor: FIMIC

ROMPPANEN, ARISearchings (2006)for !ute + bass !ute, clarinet, percussion and live electronicsDistributor: FIMIC

RÄIHÄLÄ, OSMO TAPIOSpinoza’s web (1996)for clarinet, horn and violinPublisher: Uusinta

RÄISÄNEN, TOMIEuryale (2004)for clarinet, alto saxophone and pianoDistributor: FIMIC

Two Gardens (2002)for clarinet, cello and pianoDistributor: FIMIC

SALMENHAARA, ERKKI Introduction and Allegro (1985)for clarinet (or viola), cello and pianoPublisher: Modus

TALVITIE, RIIKKABit by Bit (2004)for clarinet, accordion and celloDistributor: FIMIC

TIENSUU, JUKKA Plus IV (1992)for clarinet, accordion and celloDistributor: FIMICBeat (1997)for clarinet, cello and pianoDistributor: FIMICLe Tombeau de Mozart (1990)for clarinet, violin and pianoDistributor: FIMIC

TOIVIO, LAURITrio (1990)for !ute, clarinet and bassoonPublisher: Uusinta

TRBOJEVIC, JOVANKA Rondo for Tara (2002)for clarinet, harp and double bassDistributor: FIMICSuden kehtolaulu (Wolf ’s lullaby) (1995)for clarinet, harp and double bassDistributor: FIMICSpurt 2 (2001)for clarinet, cello and accordionDistributor: FIMIC

WENNÄKOSKI, LOTTAVaie (1996)For oboe, clarinet and celloDistributor: FIMICLäike (1994)for clarinet, violin and pianoDistributor: FIMIC

WESSMAN, HARRI Trio for clarinet, cello & piano (1995)Distributor: FIMIC

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Trio for clarinet, bassoon and piano (2000)Distributor: FIMIC

6C QUARTETS

AUVINEN, ANTTIQuartet for Februa (2007)cl, pno, 2 perc

BASHMAKOV, LEONID Die Offenbarung des Johannes (1994)for clarinet, violin, cello and pianoDistributor: FIMIC

BERGMAN, ERIKMana (1991)for clarinet, violin, cello and pianoPublisher: Novello

CRUSELL, BERNHARD HENRIK Quartet in D Majorfor clarinet in A, violin, viola and cello Publisher: KneusslinQuartet in C Minorfor clarinet, violin, viola and cello Publisher: KneusslinQuartet in E Flat Majorfor clarinet, violin, viola and cello Publisher: Kneusslin

HYVÄRINEN, ASKO Broken Contours #2 (2004)for clarinet + bass clarinet, violin, viola and celloDistributor: FIMIC

JALAVA, LASSE Elo (1996)for clarinet and three kanteleDistributor: FIMIC

JALAVA, PERTTISpiraali (Spiral) (2002)for clarinet, violin, viola and celloDistributor: FIMIC

KALLIONPÄÄ, MARIAKiihdytys (2009)cl, hp, acc, vcDistributor: FIMIC

KORTEKANGAS, OLLIQuartettino (1999)for clarinet, violin, cello and pianoDistributor: FIMIC

KOSKINEN, JUHA TFourrures (2007)clarinet, violin, cello and pianoPublisher: Fennica Gehrman

KUULA, TOIVOAndante and Allegrocl, vl, vla, pnoDistributor: FIMIC

KUUSISTO, JAAKKO Play (1998)for clarinet, violin, cello and pianoDistributor: FIMIC

LINDHOLM, HERBERTMiddle-East Fantasy (2007)!, cl, vc, harpsichordDistributor: FIMIC

LINTINEN, KIRMOAbrakadabra (2002)for flute, bass clarinet, percussion and guitarDistributor: FIMIC

LIVORSI, PAOLAHaikea kuu, hai kuu (2008)for piccl+afl, cl inA+inEb, violin and kotoDistributor: FIMIC

MÄNTYJÄRVI, JAAKKOMiniatures for 4 (1999)for oboe, clarinet and two bassoonsPublisher: Sulasol

MÄNTYSAARI, LAURISmall Talk (2005)perc, cl, vl. pnoDistributor: FIMIC

NEVANLINNA, TAPIOClip (1993)for clarinet, accordion, violin and celloPublisher: SML

NORDGREN, PEHR HENRIKQuartet (2003)for clarinet, violin, cello and pianoDistributor: FIMIC

POHJANNORO, HANNUvalon jälkiä äänet (sounds, traces of light) (1997)fl, cl, vc, guitDistributor: FIMIC

PULKKIS, ULJASVigor (2000)cl, trb, vl, pnoDistributor: FIMIC

PYLKKÄNEN, TAUNO Trittico (1978)for clarinet, violin, viola and celloPublisher: Sulasol

ROUNAKARI, TUOMASAma no Gawa (2007)!, ob, cl, pnoDistributor: FIMIC

RÄISÄNEN, TOMIFollow the Circle (2003)for clarinet, violin, viola and pianoDistributor: FIMICUnder the Apple Tree (2006)for flute, alto flute, clarinet and bass clarinetDistributor: FIMIC

SERMILÄ, JARMOContours (1987)!, cl, vl, vcPublisher: Jasemusiikki

TALLGREN, JOHANQuatuor à Royamont (2000)for bass clarinet, violin, cello and pianoDistributor: FIMICCalla (2002)for bass flute, bass clarinet, cello and harpDistributor: FIMIC

VAINIO, JAN MIKAELThe Comet (2004)for clarinet, violin, cello and pianoDistributor: FIMIC

VIRTAPERKO, OLLICrystal (2008)for clarinet, violin, cello and pianoDistributor: FIMIC

6D QUINTETS AND LARGER ENSEMBLES

AHO, KALEVIQuintet for clarinet and string quartet (1998)(Bb and A clarinets)Publisher: Fennica Gehrman

AUVINEN, ANTTILifted (2007)flute, clarinet, percussion, harp and pianoDistributor: FIMIC

ERÄNKÖ, JOHANNASphere (2007)for clarinet and string quartetDistributor: FIMICKude (2003)cl, bcl, cor, vl, vcDistributor: FIMIC

FAGERLUND, SEBASTIANClarinet Quintet (2004)for clarinet and string quartet Publisher: Edition Peters

FAGERUDD, MARKUS Ingrepp III (Action III) (1996)for clarinet, violin, cello, percussion and pianoDistributor: FIMIC

HAKOLA, KIMMO Clarinet quintet (1997)for clarinet in C and string quartetPublisher: Fennica Gehrman

HEINIÖ, MIKKOCafé au lait (2006)for !ute, clarinet, violin, cello and pianoPublisher: Fennica Gehrman

HYVÄRINEN, ASKO Hydroxypropyl (1996)for clarinet and string quartetPublisher: Uusinta

KAIPAINEN, JOUNIClarinet Quintet (2000)cl+dbcl and string quartetPublisher: Edition Wilhelm Hansen

KESTI, EEROEidyllion (1992)for clarinet and string quartetDistributor: Eero Kesti

KILPIÖ, LAURIValon polkuja (Traces of light) (2005)clarinet in Bb, percussion, piano, violin and celloDistributor: FIMIC

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KLEMOLA, SAMIDivergence (2004)for clarinet, percussion, violin, cello and pianoDistributor: FIMIC

KOSKINEN, JUKKANausea (1996)for alto flute, clarinet, violin, cello and pianoDistributor: FIMIC!e 1st of July (2008)for clarinet and string quartetPublisher: Uusinta

KOSTIAINEN, PEKKA Kolmoispolska (Triple Polska) (1978)for clarinet and string quartetPublisher: Sulasol

LEINONEN, JUHAFoga (2002)for clarinet (+bcl), violin, viola, cello and pianoDistributor: FIMIC

LINDBERG, MAGNUS Quintetto dell’estate (1979)fl, cl, vl, vc, pnoPublisher: Chester MusicClarinet Quintet (1992)for clarinet and string quartetPublisher: Chester

LINKOLA, JUKKA Clarinet Quintet (1995)for clarinet and string quartetDistributor: FIMIC

LINTINEN, KIRMOMarcheairrag (2005)for !ute, clarinet, violin, cello and pianoDistributor: FIMIC

POHJANNORO, HANNUpaluu (return) (2000)for flute, clarinet, violin, cello and pianoPublisher: Uusinta

PULKKIS, ULJAS Djinni (2002)for clarinet, violin, viola, cello and pianoDistributor: FIMIC

Yksi päivä ja yksi yö (One day and one night) (2005)for clarinet, violin, viola, cello and pianoDistributor: FIMIC

SERMILÄ, JARMO Crisis (1972)for clarinet and string quartetPublisher: Edition Wilhelm Hansen

SIBELIUS, JEAN "ARR. GREGORY BARRETT#En Saga septet (1893/2003)fl, cl, 2vl, va, vc, cbPublisher: Breitkopf & Härtel

TUOMELA, TAPIOQuintet No. 2 “Pierrot” (2004)for flute, clarinet, violin, cello and pianoDistributor: FIMIC

WESSMAN, HARRISerenade for clarinet and string quartet (2002)Distributor: FIMIC

7 ALL-CLARINET ENSEMBLES (duos, trios, etc. and works for clarinet choir)

ALMILA, ATSO A Mario (1990)4cl, 2bhn, 2bcl, dbclDistributor: FIMIC

CRUSELL, BERNHARD HENRIK Grössere Duetten Six duos for two clarinetsDistributor: FIMIC

Three Progressive Clarinet Duets(1. F Major 2. D Minor 3. C Major)Publisher: Peters

EEROLA, LASSE Harmio (Hoary alyssum)4cl, bhn, bclDistributor: FIMICScenes from Northern Carelia (1990)8cl, 2acl, 2bcl, dbcl, 2bhn, dbDistributor: FIMIC

EKLUND, BJÖRN Karannut kahdeksasosa (A runaway quaver) (1987) for five clarinetsDistributor: FIMICKlarinettkvintett 2 (Clarinet quintet 2) (1990) 4 cl, bclDistributor: FIMIC

FAGERUDD, MARKUSThe Carousel (2001)4cl, bcl, dbcl, bcl soloDistributor: FIMIC

HIETALA, TIMOTwo last lamantines (1998)For two bass clarinetsDistributor: FIMIC

KARJALAINEN, KULLERVO Nitrohiirten kotikarkelo (Nitro mice home dance) (1981)for two clarinetsDistributor: FIMICNuoren miehen mieli (Young Man’s Mind) (1996)for three clarinetsDistributor: FIMIC

KOPISTO, MARKKU Aves clarinetistaefor four clarinetsPublisher: Edition ElvisInsecta clarinetistae (1995)for four clarinets and bass clarinetDistributor: FIMIC

KOSTIANEN, PEKKAValsi & Jenka (2003)6cl, 2bhn, 2bcl, dbclPublisher: Sulasol

LAURILA HEIKKI Heinäpellolla (In the hay field)for two clarinets and bass clarinetDistributor: FIMICKesäaamu rannalla (Summer morning on the shore)for two clarinets and bass clarinetDistributor: FIMICTanssit Kukkukalliolla (Dance on Kukkukallio)for two clarinets and bass clarinetDistributor: FIMIC

LINKOLA, JUKKAChalumeaux-suite (1990)4cl,acl,bhn,bcl,dbcl,db libDistributor: FIMIC

LÄNSIÖ, TAPANISonoS (1999)for two bass clarinets or bassoonsPublisher: Sulasol

POHJOLA, SEPPONya paviljongen -fanfare4cl, bclDistributor: FIMIC

RECHBERGER, HERMAN Sirba (1982)for four clarinets and tapeDistributor: FIMICNefes (2002)2ebcl, 5cl, 2bhn, 2bcl, dbclDistributor: FIMIC

SERMILÄ, JARMODouble Quartet (2007)2 Ebcl, 4 Bbcl, 2 Bcl

TALVITIE, RIIKKA Broken Lullaby (2009) for clarinet and bass clarinet Distributor: FIMIC

TIENSUU, JUKKA Vento (1995)12cl, 2bhn, 2bcl, dbclDistributor: FIMIC

VIITASAARI, JUKKAPortrait of a Searcher (2003)5cl, 2altocl, 2bcl, dbclDistributor: FIMIC

WENNÄKOSKI, LOTTAandas (2008)for two bass clarinetsDistributor: FIMIC

VÄNSKÄ, OSMOImage (1990)sopr, 3cl, bhn, bcl, dbcl, dbDistributor: FIMIC

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8 PUBLISHERS AND DISTRIBUTORSARTEMUSAarkmusa@hotmail.com

FRIDRICH BRUKPapinkatu 18 A 41FI-33200 Tampere, FinlandTel. +35803-214 4040

BOOSEY & HAWKES MUSIC PUBLISHERS LTD.promotions.uk@boosey.com www.boosey.com

CHESTER MUSICChester Music and Novello & Copromotion@musicsales.co.ukwww.chesternovello.com

EDITION ELVISwww.elvisry.#

EDITION REIMERSwww.editionreimers.se

ERES EDITIONwww.eres-musik.de

HANSENEdition Wilhelm Hansenewh@ewh.dkwww.ewh.dk

FENNICA GEHRMANPO Box 158info@fennicagehrman.fiwww.fennicagehrman.fi

FIMICinfo@fimic.fiwww.fimic.fi

HELIN & SONS’Woodwinds Kymatti.helin@woodwin.pp.fiwww.woodwinds.fi

JARI IKKALATel. +358 50-534 04 98jari.ikkala@jamk.fi

JASEMUSIIKKIEdition Wilhelm Hansenewh@ewh.dkwww.ewh.dk

EERO KESTIekesti@luukku.com

KNEUSSLINsee Edition Peters

TERO LANUTel: +358 500 686 681tero.lanu@gmail.com

JP LEHTOjiipeelehto@yahoo.comwww.musact.fi

MODUS MUSIIKKI OYinfo@modusmusiikki.fiwww.modusmusiikki.fi

MUSIIKKI!ANDANTEHirvijärventieFI-29810 Siikainen, FinlandTel. +358 40 572 6526

NOVELLOsee Chester Music

PETERS "EDITION PETERS#C.F. Peters Musikverlaginfo@edition-peters.dewww.edition-peters.de

LAURI SALLINENlauri.sallinen@siba.#

SEESAW MUSICSubito Music Corporationmail@subitomusic.comwww.subitomusic.com

SML(Association of Finnish Music Schools)sml@musicedu.#www.musicedu.#

STM(Suomen työväen musiikkiliitto)stmmusic@stmmusic.netwww.stmmusic.net

SULASOLsales@sulasol.#www.sulasol.fi

TACTUS OYwww.tactus.fi.

UNIVERSAL EDITIONvertrieb@universaledition.comwww.universaledition.com

UUSINTAUusinta Publishing companywww.uusinta.comScore distribution:Ostinato sheet music shop, Helsinki, Finlandostinato@ostinato.fiwww.ostinato.fi