![]() ![]() ![]() The multiple sounds are ordered according to the right hand fingerings which ascend in chromatic or microtonal intervals. In other words, the left hand fingering remains constant within a group (in most cases). Multiple sounds have been placed in groups (labeled by letter, beginning with those with the lowest fundamental) a common denominator within each group is an identical register/vent hole. The author wishes to reinforce the following advice: BE SURE TO CONSULT AN E-FLAT CLARINETIST ABOUT FEASIBLE CONTEXTS FOR PARTICULAR MULTIPLE SOUNDS. Of course, every conceivable context for a particular multiple sound has not been discussed. This study employs acoustical relationships as the first order of organization, and briefly describes characteristics of each multiple sound (see explanation of notation, below). derived from the same left hand vent hole). Many previous studies have organized multiple sounds according to verbal descriptions of categories of production and/or tone color, regardless of acoustical relationships (i.e. (while it is true that a multiple sound may be derived from any possible fingering for a single tone, of which there are theoretically thousands, this study omits those that require more than slight deviations in traditional finger expectations and embouchure). They demand only slight deviations from normal finger expectations and embouchure. All of the multiple sounds presented are playable on any traditional professional mouthpiece/reed set-up. ![]() The author has striven to organize the material according to acoustic principles of the E-flat clarinet and basic principles of E-flat clarinet technique. The following chart (Table #12) has been compiled from numerous musical compositions, and experiments of the author it has been checked for accuracy by other players. Michael RichardsĬhart of Multiple Sounds for E-flat Clarinet The Clarinet of the 21st Century - VII/7 Eb Multiphonic Chart The Clarinet of the Twenty-First Century - E. ![]()
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