CONTEMPORARY TECHNIQUES FOR THE CLARINET A Selective, Sequential Approach Through Prerequisite Studies and Contemporary Etudes BY FRANK J. DOLAKCONTEMPORARY TECHNIQUES FOR THE CLARINET A Selective, Sequential Approach Through Prerequisite Studies and Contemporary Etudes BY FRANK J. DOLAKNOTATION ACCIDENTALS: The contemporary practice of an accidental only affecting that note which it precedes is implicit throughout this study. Occasionally, courtesy accidentals are employed for reasons of voice leading and as reminders for the performer. No microtonal notations are used. Only a vertical arrow either attached to a standard accidental or standing alone is used to indicate both microtonal pitches and quarter tones. FINGERINGS: One of the newer aspects of this study would be the consistent use of clarinet fingerings to designate harmonics, multiphonies, microtones, and various timbres. The system employed in this study is ¢ modification of that used by Rehfeldt. All of the keys are named for the pitches they produce in the lowes register. There are two exceptions, however. The first would be the upper E/B key of the lower joint. Thi: key is named B for the pitch produced by the addition of the register key. The second exception would be tht left and right Eb/ Bb keys which are always notated as Bb. HARMONICS: The prerequisite studies that treat harmonics follow the notation used by Sigurd Rascher in his "Dail! Embouchure Drills.” The small, filled-in, stemless note heads placed below the whole notes represent th basis of fingering for that given harmonic. The upper whole note refers to the pitch. No microtona inflections were notated in these prerequisite studies. ARTICULATIONS: All of the harmonic studies appear with the long phrase placed over them. A broken curve is also use to connect the first two notes of each study. Harmonic Study Phrasing is a short-hand method of notating the preference for a complet unarticulated phrase which can, however, be broken at any point or points for realization of the harmon by tonguing. This short-hand method of notation is used in the prerequisite studies only. It was felt th using the long curve together with broken lines presented an overly-notated score. When this composer fe that the preference was for a long phrase but understood that some of the harmonics had to be rearticulat: by certain performers, the long phrase in conjunction with the broken éurve was used in the contempora etudes. Etude No. 4 employs two articulations that will be new to most individuals-~-a "Reverse Envelope Attack and Decay.” This is accomplished by starting the pitch with a soft breath attack, immediately addi a crescendo and making an abrupt stop of the sound with the tongue. The symbol is an “adequate grap representation” of the effect. Etude No. 4 uses what is called by Bruno Bartolozzi “the smorzato’ soun which is produced by momentarily pulling the jaw away from the reed. The tongue is not used at all int type of articulatioin; the effect is instead produced by means of embouchure pressure alo PROPORTIONAL NOTATION: Modern proportional notation is such that “horizontal space equals time.” An articulated passage intervening space between note heads is defined as silence. A phrased passage with intervening spac defined as being filled with sound. FRANK J. DOLAK, Composer Copyright © 1980 by STUDIO P/R, 224 S. Lebanon St., Lebanon, IN 46052 ‘All Rights Reserved International Copyright Secured’ Printed in U.S.A, ‘Sole Distributorship: STUDIO PR, Ine.Lip Bends st tens tan Te ie 2 2a fone ( Ullb4 : Harmonics ees ewe FEF2 —a aaa ) ) 2) ) @ ine 2a THe‘Sooiee! 2Harmonic Arpeggios & Scales.3 Jove = as “ as ke aa ( . : ol — wy pas Dyads greleeo gorieeo FH a qoeieee bi greloeo geelooo geeieee geetooo greieeo geese,' Quarter Tones sieeo "S geeieoe a a ews os a qrowes gegen ex000 " g00!000 3 $oot000bathe Botr! 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FOUR-PART CHORALES for TWO CLARINETISTSFOUR-PART CHORALES or TWO CLARINETISTS “Ac J=60 ord. ord, fe itd te SB Ya S te dit to sid id 7 Se a ae 7 TPP iP Fa rae $ a : ste je be |Suhe le |44ie [2 [eo eee i i z E wu ; “Fo E ties g wee 325 ord. 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Nally ates - 0000 i. E Le] gedene x : Ig” B geomee Sp gromns31 cieoe ie é. ,. ines : Us P 3 & SII] gastro yeoice ppoieee 3 & g g eoiees z ae ke greieog s see at goolseo POEs agsto09 -2 geotsoo soleeo # ae Boe goose goolseo ea use goose UD abe a rs = 7 gefboe 01800 geo1soo a wt : geolsoo a8 geo fl 8 secie00 i : Sy geoieeo : geoleso 4 é 33 8 i32 ae 2 te ve ‘ 7 + ia = 7 ecu ig tle ded ‘se | 1 tle ate gt a eee mp tn Fe 3 i eae erred eeedd eer reece is fe ah Llewtete de ie 4 : > f oF tr F }oR} 3 ¢ ao FF : Freely, ~~ >, {2% ia can —— eae OS re ecco 7 fe oe oe 3 wd wiat’2 geeiece qeeees qroeeo geoleoo * geoieeo ve qrolene = geoieee groves gees & groleee wi grolene, Freely = Tafe j= SPAS Prenvee 2. cresc. molto to . 4a sets ee33 ~molto-=-----2-7= o> crescendo--------- decresc. ieee y gelione a gonees sleee 3 : a goseeo eee sroieeg econ : : reg gebiene qooves groeee E 3 a geciece amon, W ges, sioon Pea a a g90|000 ie 7 gecleee geome gee z“ -g- Clarinet in Bo ase a 4ge AF Voice in Bb = + 3 zi Z oe &Clarinet Voice oe be te prea ee eer Te y 7S36 Clarinet VoiceClarinet Voice oh38 -E- Clarinet Voice (a)Clarinet Voice (agee a sniono af geo geeio%o oes, & ares 3 aeeieeo nereroeo geoteee is °° phew : wenn Gt ce cH?Gt c+ estes megneioeo Get gevieno, ee so oaths genes 7 oO agree aesieeo ce al adore,Bes me Joos ao ‘ 3 5 3S seers, ; as a a = 5 gies : a seen aie 7 & ae & phn 3 as10 4B VAPORS for Clarinet in A and Tape Reiteration TAPE REITERATION MICROPHONE FOOT PEDAL LE, pez > "Line" Input/Outputs4=60 | VAPORS for CLARINET AND TAPE REITERATION % Shhhhh & ———————— = gt ogcr Gt eg og @ niente rg mp one nd rel te ue Z 41 ; ee ba Shhhh e- =F —= z te escjeed™ 2 Sensecd la uw —a 4 + ——— or bo 7 +r aa cone’,| =o 5° to 19" on the ELE Aaa shytims, vibrato, following sound object: accellerando and cresc. decresc. molto 7 e0oiee8' mf cresc. molto decrese. a niente P al LA ord. : . 4 cones” S| 8 ‘b i “Maintain indicated fingering.to. al et z 2 2 deerese, a niente ra ta Te goelooo ao \ Shhh —== € 40 P sempre greioeecoeio08” petite oe SSS ad decresc------- 4 Pe a Fee Fes 5 Bite el U1 M41 2 fe lar ye fe te tom 2 je je ep, im tee be ts = 7 = factual pete neue ‘imp sempre Penn ee es % Roce R od oe 8 3 a8 uf ' 8 3 8 3 LF ord. = “Fe Fe Z ar ie P sempre 08h eoeioed eooeed, 3F subito eeciee8” 5 Oe ; aed. , dn te te te # EOE ————— eT a 3 2 7 = sir! ws sis PTs ran a fe Wecreic. moto Pfs —=—mp sempre f fa re eta 3 td td 3 in al j-= o> are = = 4 == pe we # i: it decrese, molto Pete 3 Scr eS4 = Foompre a, R ey 3 ‘i : 3 fe 8 hs 8 vibe M1 a nev. trary # = Bee ~~ Shhhn o mp P PP a niente, —= He? oe ee 3 3 Pee ete ; pee F subitowhe fe te ear te te = J Psempre i Scr 4 Sgar Secs Sgr 8 3 3 3 fe me : mg 1 is t Shhhh SS] R 3,St Shhhh: —= * ‘= = sl GBI|lID severe rs = i geaseo groeeo an|||h —geotco ty bE geoseo 4 le grileee {stl ng Hee play three times ord, oe = 41 a. + vf ig te id geeeee oi aebPrions govieoo. govwes4 a aan cresc, molto Shhhh # Foubto * == Shhhh Let reiteration fade out, ad ib. a niente Bore Subito ff sempre =EPIGON e for Prepared Tape and Clarinet PERFORMANCE INSTRUCTIONS: A recorder equipped with "Simul-sync" le required. Prepare the tape {in the following sequence: 1, First, xecord TAPE on the left channel at a speed of seven and ‘one-half inches per second (7 1/2 IPS). 2, Next, record TAPE again, this time on the right channel, but at the slower speed of three’ and three-quarters inches per second (8 3/4 1PS), TAPE must be played through twice in order to fill up the tape. ‘The resulting recording should produce a canon in which the right side is playing the same material as the left side, but twice as fast and an octave higher. de02 Clarinet Left Channel Right ChannelEPIGONE i TAPE7 EPIGONE CLARINET % 3 es * « - 3 fos i 4 1 4 A i Abs $ : :ee STUDIO P/R, Inc. 224 S. Lebanon St., Lebanon, IN 46052 Printed in USA. B-100 $5.95