CHAPTER 6 - Bass Clarinet

Other Resources

Many other sounds can be produced on the bass clarinet through extended techniques that defy categorization with the single or multiple sounds that have been described in the last two chapters, even though they may maintain a number of similar qualities. These have been divided into sounds of definite pitch (glissandi/portamenti), sounds of indefinite or approximate pitch (half-pitched percussive sounds, vocalizing - gradations of singing and speaking - through the bass clarinet, air sounds) and specific techniques (i.e. flutter tonguing) which may be applied to sounds of one or both categories (or, in addition, conventional bass clarinet tones, sounds from Chapters I and II, etc.). The reader is referred to The Clarinet of the Twenty-First Century for a discussion of specific techniques - they are all applicable to the bass clarinet.

The descriptions and musical examples on the following pages are not meant to imply that these are the only possibilities. Rather, it is hoped that these may serve as provocations to composers and bass clarinetists who may discover and create new musical ideas, and, in so doing, expand and refine the instrumental techniques required to realize these ideas. The palette of potentially expressive sounds on the bass clarinet is virtually limitless.

Sounds of Definite Pitch

Glissando/Portamento

Caravan does offer some good suggestions for learning portamento production. Since downward tone bends are the most difficult, these should be practiced first; mastering the required technique (tongue and throat position control) for this skill is applicable to all other (including ascending) portamenti. Eventually, a series of downward tone bends can be linked to form a longer portamento. After one has practiced series of downward tone bends, the next logical step is to practice ascending bends, followed by series of ascending bends. Short ascending bends are especially idiomatic in the clarion and altissimo registers of the bass clarinet where the third finger of the right hand is employed. Takayuki Rai employs some in Sparkel for bass clarinet and computer tape.

Example #2 (click music for mp3)

Spectrograms of these small portamenti show a rich palette of partials that is weakened slightly during the middle of the portamento.

Longer ascending portamenti can be initiated and/or aided by this finger – an example of an especially easy portamento follows:

Example #3 (click music for mp3)

The spectrogram below indicates a slightly weaker band of partials once the portamento is initiated.

Descending portamenti in the altissimo register are also idiomatic. Takayuki Rai writes the following small portamenti:

Example #4 (click music for mp3)

The spectra of each of these pitches above contains a strong fundamental and partials from the 3rd and above, with some 2nd partial energy present. At the end of each portamento, the presence and strength of all of the partials increases.

Ab-------------- G-------------Gb-------------F-------------- Bb--------------- D

G#--------------------- A------------------------- F#