[ES] En la actualidad, los intérpretes de la familia de viento madera, exceptuando a los flautistas, no suelen hacer uso de la técnica del doble y triple picado. Este hecho ha sido tratado en diversas ocasiones justificando su desuso con distintas creencias. En el clarinete se considera que esta técnica no puede ser ejecutada con comodidad por el hecho de tener una parte de la boquilla introducida en la boca (a diferencia de flautistas y trompetistas), lo que entorpece su ejecución. Por otro lado, suele ser considerada innecesaria por la inexistencia de repertorio donde aplicarla. Finalmente, otros músicos coinciden en catalogarla como una técnica demasiado compleja para estar al alcance de cualquier clarinetista, reservándola para instrumentistas con un alto dominio técnico, sobre todo en el registro sobreagudo. Sin embargo, cada vez son más los intérpretes de este instrumento que encuentran dificultades en la articulación de fragmentos picados a gran velocidad y advierten la necesidad de ejecutarla. Por ello, en ocasiones se ven obligados a introducir ligaduras o a realizar cambios de acentuación en dichos pasajes para solventar esta dificultad. De este modo, en este trabajo se han recopilado un total de 111 fragmentos de obras de diferentes agrupaciones en las que el uso de la técnica del doble y triple picado facilitaría al clarinetista la interpretación a las velocidades señaladas. Con el fin de conocer la visión acerca de la técnica desde distintos ámbitos musicales, se han realizado tres encuestas a clarinetistas, directores de grandes agrupaciones y a compositores. Se han obtenido 56 respuestas donde queda reflejada la necesidad de adoptar la técnica en un gran número de los directores encuestados. Además, muchos de los clarinetistas han mostrado su interés por aprender la técnica linguo-gutural. Estos señalaron las dificultades que entrañaba el que no se exigiese su aprendizaje durante los estudios en el conservatorio y la falta de literatura sobre cómo dominarla. Finalmente, se ha realizado una puesta en práctica de la técnica en once participantes de la región de Murcia. A todos ellos se les han proporcionado 94 ejercicios de doble y triple picado durante un periodo de 38 semanas (desde 23 septiembre de 2019 hasta el 6 de julio de 2020). Se ha llevado a cabo un seguimiento transecuencial a los participantes consistente en la grabación de 6 ejercicios comunes con una periodicidad aproximada de entre 2 y 3 meses. Se evalúa primeramente la evolución en la calidad de la técnica y, una vez obtenida, el incremento de la velocidad de la misma. Para ello se utilizaron las Tecnologías de la Información y la Comunicación (TIC), en concreto Sonic Visualiser conjuntamente con ZyMi. Los resultados demuestran que, incluso los clarinetistas con un menor nivel técnico del instrumento, pudieron ejecutar la técnica con un buen estudio de la misma. Además, muchos de ellos consiguieron superar sus velocidades de picado simple gracias a la técnica linguo-gutural y mejoraron aspectos relacionados con la sonoridad, el flujo del aire y la posición interna de la boca. Para obtener estos resultados la implementación de las TIC fue fundamental / [CA] A hores d'ara, els intèrprets de la família de vent fusta, llevat dels flautistes, no solen fer ús de la técnica del doble i triple picat. Aquest fet ha estat tractat diverses vegades amb la justificació del seu desús amb diferents creences. Al clarinet es considera que aquesta técnica no pot ser executada amb comoditat pel fet de tindre una part del filtre introduït a la boca (en contraposició a flautistes i trompetistes), cosa que entorpeix la seua execució. D'altra banda, sol ser considerada innecessària per la inexistència de repertori on aplicar-la. Finalment, altres músics coincideixen a catalogar-la com una tècnica massa complexa per a estar a l'abast de qualsevol clarinetista, reservant-la per a instrumentistes amb un alt domini tècnic, sobretot en el registre sobreagut. No obstant això, cada vegada són més els intèrprets d'aquest instrument que troben dificultats en l'articulació de fragments picats a gran velocitat i adverteixen la necessitat d'executar-la. Per consegüent, a vegades es veuen obligats a introduir lligadures o a fer canvis d'accentuació en aquests passatges per tal de solucionar aquesta dificultat. D'aquesta manera, en aquest treball s'han recopilat un total de 111 fragments d'obres de diferents agrupacions en les quals l'ús de la tècnica del doble i triple picat facilitaria al clarinetista la interpretació a les velocitats assenyalades. Amb la finalitat de conéixer la visió sobre la tècnica des de diferents àmbits musicals, s'han realitzat tres enquestes a clarinetistas, directors de grans agrupacions i a compositors. S'han obtingut 56 respostes on queda reflectida la necessitat d'adoptar la tècnica en un gran nombre dels directors enquestats. A més, molts dels clarinetistas han mostrat el seu interés per aprendre la tècnica linguogutural. Aquests van assenyalar les dificultats que comportava el que no s'exigira el seu aprenentatge durant els estudis en el conservatori i la falta de literatura sobre com dominar-la. Finalment, s'ha posat en pràctica la tècnica en onze participants de la regió de Múrcia. A tots se'ls han proporcionat 94 exercicis de doble i triple picat durant un període de 38 setmanes (des de 23 setembre de 2019 fins al 6 de juliol de 2020). S'ha dut a terme un seguiment seqüencial als participants que va consistir en l'enregistrament de 6 exercicis comuns amb una periodicitat aproximada d'entre 2 i 3 mesos. S'avalua primerament l'evolució en la qualitat de la tècnica i, una vegada obtinguda, l'increment de la velocitat d'aquesta. Per això es van utilitzar les Tecnologies de la Informació i la Comunicació (TIC), concretament Sonic Visualiser conjuntament amb ZyMi. Els resultats demostren que, fins i tot els clarinetistas amb un menor nivell tècnic de l'instrument, van poder executar la tècnica amb un bon estudi d'aquesta. A més a més, molts d'ells van aconseguir superar les seues velocitats de picat simple gràcies a la tècnica linguogutural i van millorar aspectes relacionats amb la sonoritat, el flux de l'aire i la posició interna de la boca. Per a obtindre aquests resultats la implementació de les TIC va ser fonamental. / [EN] At present, players of woodwind family, except flutists, don't usually use the technique of double and triple tonguing. This fact has been treated on several occasions justifying its disuse with different beliefs. On clarinet it is considered that this technique cannot be executed comfortably due to the fact that part of the mouthpiece is inserted in the mouth (unlike flutists and trumpeters), which hinders its execution. On the other hand, it is usually considered unnecessary due to the lack of a repertoire where to apply it. Finally, other musicians agree in classifying it as too complex a technique to be played by any clarinetist, reserving it for instrumentalists with a high technical mastery, especially in the upper register. However, more and more players of this instrument find difficulties in the articulation of tonguing fragments at high speed and warn of the need to execute it. Therefore, sometimes they are forced to introduce slurs or make accentuation changes in these passages to solve this difficulty. In this way, in this work a total of 111 fragments of works from different groups have been compiled in which the use of the double and triple tonguing technique would make it easier for the clarinetist to interpret at the indicated speeds. In order to know the vision about the technique from different musical fields, three surveys have been carried out with clarinettists, directors of large groups and composers. 56 answers have been obtained where the need to adopt the technique is reflected in a large number of the directors surveyed. In addition, many of the clarinettists have shown an interest in learning the linguo-guttural technique. They pointed out the difficulties involved in the fact that its learning wasn't required during studies at the conservatory and the lack of literature on how to master it. Finally, an implementation of the technique has been carried out in eleven participants from Murcia. All of them have been provided with 94 double and triple dive exercises during a period of 38 weeks (from September 23, 2019 to July 6, 2020). A transsequential follow-up has been carried out on the participants, consisting of the recording of 6 common exercises with an approximate periodicity of between 2 and 3 months. The evolution in the quality of the technique is first evaluated and, once obtained, the increase in its speed. For this, it were used the Information and Communication Technologies (ICT), specifically Sonic Visualiser together with ZyMi. The results show that, even the clarinettists with a lower technical level of the instrument, were able to execute the technique with a good study of it. In addition, many of them managed to exceed their simple tonguing speeds thanks to the linguo-guttural technique and improved aspects related to sound, air flow and the internal position of the mouth. To obtain these results, the implementation of ICT was fundamental. / Marín Conesa, I. (2022). Aplicación del doble y triple picado al clarinete. Estudio longitudinal prospectivo sobre los resultados del aprendizaje de la técnica en clarinetistas [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/191461

Thesis(MMus.) -- Stellenbosch University, 1989. / ENGLISH ABSTRACT: In the past, clarinet students and lecturers experienced problems in obtaining works of South African composers. They also did not always know how to ascertain what is in existence. Practical experience is obviously the ideal way for a clarinet student to get to know composers and their styles. Therefore, it is desirable that a literature study of South African composers be at their disposal. The main purpose of this thesis is thus to acquaint clarinettists with all the available works composed in South Africa for clarinet which up to the present have been inaccessible. The purpose of this thesis is not to make a critical style analysis of the works. This thesis is a presentation of works which have been unknown up to the present, and could therefore be viewed as an annotated catalogue. The discussion of the works has been structured in such a way that the intending student will be guided to a better insight in the works. Ample use has been made of examples to highlight those factors pertaining to the performance and tuition of these compositions. Before discussing each work, a short biography of each composer is given to date and identify the composer. At the end of each discussion, reference is made to the suitability for performance and/or examination of each composition. Finally, a summary (Chapter 3) indicates which works are best suited for examination purposes, and which ones better suited for concert programmes. / AFRIKAANSE OPSOMMING: Klarinetstudente en -dosente het in die verlede gesukkel om beskikbare werke wat in Suid-Afrika geskryf is te vind. Hulle het ook nie geweet hoe om vas te stel wat wel beskikbaar is nie. Praktiese ervaring is uiteraard die ideale manier waarop enige klarinetstudent komponiste en hulle stylkenmerke kan leer ken. Daarom is dit wenslik dat n literatuurstudie van Suid-Afrikaanse komponiste tot hulle bekikking is. Die belangrikste doelwit van hierdie tesis is dus om die meeste beskikbare werke wat in Suid-Afrika vir die klarinet gekomponeer is en tot dusver vir baie klarinettiste ontoeganklik was, bekend te stel. Die tesis se doel is nie om stylkritiese-analise van die werke te doen nie. Dit is eerder n bekendstelling van werke wat tot dusver onbekend was en kan as 'n geannoteerde katalogus beskou word. Die bespreking van die werke is so saamgestel dat die voornemende student gelei word tot groter insig daarin. Daar is van heelwat voorbeelde gebruik gemaak om die faktore wat op die voordrag en onderrig van die werke betrekking het, uit te lig. Voor die bespreking van elke werk word n kort biografie van elke komponis gegee om die komponis in n tydperk te plaas en te identifiseer. Na elke bespreking word daar verwys na die geskiktheid van die betrokke komposisie(s) ten opsigte van konsertuivoering en/of eksamens. Ten slotte is daar n opsomming wat aandui watter werke die geskikste vir eksamendoeleindes is en watter eerder geskik is vir konsertprogram.

Benjamin David (Benny) Goodman known for his unique style of jazz clarinet performance and the acclaimed "King of Swing" began studying and performing standard clarinet repertoire after becoming firmly established as a jazz musician. Goodman's thirst for new works and desire to become a recognized concert artist led to a series of commissions from noted composers of the twentieth century. The works created as a result of these commissions have received varied acceptance, yet are important contributions to clarinet repertoire. Some of the works included in this study have been described in other studies, yet no other study exists which summarizes the history, nature and import of non-jazz works commissioned by Goodman. This study is divided into four chapters. Chapter one summarizes Goodman's early musical training and the establishment of his jazz career; chapter two summarizes Goodman's study and performance of standard clarinet repertoire; and chapter three includes a description of each commissioned work in terms of history and musical style. Reviews, especially of premiere performances, are noted and summarized. The concluding chapter includes evaluative comments by recognized clarinetists about these works, documentation of recent rentals of their accompaniments, and a survey of current recordings available for each work. Works included in the study are: Contrasts for Violin, Clarinet, and Piano by Bela Bartok; Concerto for Clarinet and String Orchestra by Aaron Copland; Concerto for Clarinet and Orchestra by Paul Hindemith; Concerto for Clarinet and Orchestra by Darius Milhaud; and Derivations for Clarinet and Band by Morton Gould. An unpremiered Concerto for Clarinet, Cello, and Orchestra by Allen Shawn is described. Letters written by composers Bela Bartok, Paul Hindemith, Morton Gould, Darius Milhaud, and Allen Shawn concerning their commissioned works were collected and are summarized. These letters along with the reviews of premiere performances, statements by noted clarinetists, and data concerning recent performances and recordings of works commissioned by Goodman form a new perspective of their history, nature and significance.

This study presents a detailed history of the clarinet from its ancient origins to 1820. It is divided into three parts: 1) origins, 2) the baroque clarinet, and 3) the classical clarinet. In the first part the ancestor of the modern instrument is traces to the memet of Ancient Egypt (2700 B.C.), and evidence is reviewed for the existence of a wind instrument having a single reed during the sixteenth century. Three chapters are then devoted to the Mock Trumpet and the seventeenth- and eighteenth-century chalumeau. The baroque clarinet is discussed in the second part. This part consists of four chapters concerning design and construction, playing techniques, music, and use by amateurs and professionals. The last part is devoted to the classical clarinet. It consists of three chapters concerning design and construction, playing techniques, and music.

The present study makes available a modern performing edition of an eighteenth-centyry clarinet concerto. Written by the Mannheim oboist and composer Ludwig August Lebrun, the Concerto in B-flat for solo clarinet and orchestra has existed solely as a set of manuscript parts for over 200 years. The following chapters present biographical information on Ludwig August Lebrun as an oboist and composer of the late eighteenth century, the historical background of Lebrun's Concerto in B-flat. a thematic and harmonic analysis of the concerto's three movements, and a summary of the procedures followed in preparing the present edition of orchestral parts and piano reduction. Contemporaneous sources which provided pertinent performance practice information in the areas of articulation and ornamentation are also discussed. A copy of the piano reduction and orchestral performing parts are included in the appendices.

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abstract: As clarinet students progress in their studies, there comes a point at which many are assigned to perform contemporary repertoire that is either overplayed due to accessibility and use in pedagogy, or includes difficult extended techniques like microtones, multiphonics, and more. This project identifies a “gap” in unaccompanied clarinet repertoire and seeks to expand this repertoire by outlining a program of study featuring five newly commissioned unaccompanied clarinet solos through which students can learn both traditional and untraditional techniques. Each of the first four works focus on one aspect of clarinet technique—musicality, the altissimo register, microtones, and multiphonics, respectively—and the final work is a culmination of all these techniques. Included in this document is biographical information for each composer, program notes, a brief description, and a performance guide for each piece. Additionally, each work was recorded by the author and included with this document. / Dissertation/Thesis / Performer: Olivia Meadows, Composer: Zachary Bush / Performer: Olivia Meadows, Composer: Josh Gottry / Performer: Olivia Meadows, Composer: Kurt Mehlenbacher / Performer: Olivia Meadows, Composer: Spencer Brand / Performer: Olivia Meadows, Composer: Eric P. Mandat / Doctoral Dissertation Music 2019

This recital features three members of the woodwind family: clarinet, flute, and bassoon. The primary focus of this recital is on the clarinet repertoire. The music ranges across the eras, from Baroque to 20th Century, and is written by composers from North America and Europe. Along with the wide range of compositional styles, the music presents the virtuosity and range of the woodwind family. Brahms��� Sonata for Clarinet and Piano, No. 1 demonstrates a very classical approach to the clarinet after he was inspired by clarinetist Richard M��hlfeld. Harvey���s Three Etudes on Themes of Gershwin focuses more on a jazz and theatrically inspired side of the clarinet. Copland���s Clarinet Concerto, composed for Benny Goodman, incorporates classical, jazz, and North and South American elements. All of these works exemplify the woodwind family and their capabilities. / Mary Pappert School of Music / Music Performance / MM; / Recital;

This creative project is a composition in three movements for woodwind quintet (piccolo replacing flute in the second movement). The work is a serial composition based on the following all-combinatorial row: C, E, E-flat, D-flat, F, D, F-sharp, G, B-flat, A, B, 4-sharp. The first movement is in ternary form, its B section is a palindrome consisting of new versions of the material occurring in the first A section. The second A section is a varied, rather than exact, estatement of the first part. The second movement is a five part canon with each instrument being assigned its own octave. The third movement is a rondeau. The shape and length of its parts was determined by a systematic application of the F1 bonacci series to every formal element. The duration of the Quintet is approximately 20 minutes. / School of Music

Thesis (D.M.A.)--University of Oklahoma, 1993. / Includes bibliographical references (leaves 296-306).