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"Augmenting Clarinet Technique" is this writer's attempt at introducing students of the clarinet to some of the more common new music practices. The new practices included in this sequential study explore the techniques of microtones, quarter tones, timbre changes, proportional notations, harmonics, timbre trills, portamento drills, dyads, vibrato, smorzato, reverse envelope and decay, timeline score readings, three-note multiphonics, four-note multiphonics, multiphonic trills, kinematic multiphonics, simultaneous humming and playing techniques, and demanding altissimo register studies, as well as the technique of combining an acoustic instrument, in this case the clarinet, with the electronic tape medium.This study's purpose is to expound some of the more common demands of the new music. In order to be approachable, this study is highly selective and takes the form of ten originally composed etudes, their prerequisite studies, and one trio.These techniques present problems which often need detailed performance instructions. Although many new-music compositions do in fact contain performing instructions, it seems that an appropriate sequence of their study would assure exposure to most of these new challenges. Other studies have indicated that the introduction of these new techniques can be simplified by exposure through a learning sequence based on increasing difficulty. This concept is utilized to assure a sequence of study that will at least familiarize the clarinetist with these directives and ultimately will give him a mastery of those selected and presented in these etudes.The prerequisite studies are designed to serve a four-fold purpose: 1) to develop embouchure control and resiliency, 2) to acquire facility in manipulating the oral cavity, 3) to acclimate the ears, and 4) to serve as a solid foundation for the ten etudes which follow them. Since it is the opinion of this writer that a new technique must be mastered out of context before it can be incorporated into a whole composition, these prerequisite studies function merely as an introduction to and a drill on each new performance technique. This is accomplished by exploring the realms of lip bends, harmonics, quarter tones, two-note multiphonics (dyads), and the use of the altissimo register, all presented out of context of a normal frame of music.After these prerequisite studies are sufficiently mastered, the student is then able to incorporate each of these techniques into an etude composed for that purpose. There are ten contemporary etudes in all. Each one deals with the problem of musically incorporating at least one specific new technique into a short but whole composition.Vapors, etude No. 10, is the culmination of the study. This etude is intended to stand on its own in the performance medium as a complete composition; therefore, almost all of the new techniques presented earlier were musically incorporated into this composition. Vapors can be performed alone or preferably with electronics in the form of tape reiteration controlled by the performing clarinetist by the use of a foot pedal or switch."Augmenting Clarinet Technique" is in no way intended to turn a novice clarinetist into a prodigy of new music techniques. It merely serves the purpose of exposing the student to some of the most commonly used new techniques found in the contemporary literature. / School of Music

The problem with which this investigation is concerned is that of facial muscle activity in forming and maintaining the soprano clarinet embouchure. The purposes of the study are to collect and analyze data in the following areas: 1. Activity of the following muscles during performance on the clarinet: (1) upper orbicularis oris, (2) lower orbicularis oris, (3) upper half of the buccinator, and (4) lower half of the buccinator. Muscular activity is read as electronic potential and is presented on recordings through the use of electromyography. 2. Possible effects which the electromyographic apparatus might impose upon performance. Tape recordings weremade of the subjects' performing prescribed tasks both before and during electromyographic analysis. The possible effects of the electromyographic analysis upon performance were then tested by comparing these two recordings.

Valentin Roeser’s Essai d’instruction à l’usage de ceux qui composent pour la clarinette et le cor is the earliest treatise on instrumentation and the first theoretical study of the clarinet. Comparisons are drawn with other eighteenth-century instructional materials, e.g. Francoeur’s Diapason général, La Borde’s Essai sur la musique, and Vanderhagen’s Méthode nouvelle et raisonnée pour la clarinette. A history of the chalumeau and two-keyed clarinet is presented, along with a biographical sketch of Roeser and an English translation of the first section of the Essai. Appendices include a checklist of Roeser’s writings and a list of eighteenth-century music using the chalumeau.

Note:

This dissertation presents the clarinet pedagogy of Robert Marcellus through reorganizing, documenting, and consolidating the archival recordings of summer master classes held at Northwestern University from 1977-1990. Pedagogical discussions and exercises are examined on topics such as wind, articulation, hand and finger position, and phrasing. Marcellus' interpretation and comments are discussed, along with musical examples from Cyrille Rose's 40 Studies for Clarinet, numbers 13, 21 and 32. This dissertation contains Marcellus' repertoire list and a sequence of study. Through this examination and consolidation of Marcellus' own words, this dissertation serves as a unique resource for those clarinetists interested in learning about this distinguished pedagogue.

While unaccompanied music encompasses an ever increasing portion of clarinet literature, it comprises a comparatively small percentage of music performed. However, study of unaccompanied repertoire provides a valuable pedagogical bridge between etudes and accompanied music that is abundant with opportunity to address larger universal musical concepts, rather than repertoire-specific solutions. This dissertation demonstrates the application of concept-based pedagogy to selected unaccompanied clarinet repertoire of five different ability levels. Using principals of concept-based pedagogy, each work is broken down to its component technical and expressive parts in order to address larger musical concepts. Three to five exercises addressing each work's technical and expressive challenges are provided and explained.

The idea of reducing popular and musically satisfying operatic or orchestral works to smaller instrumental forces is not uncommon, but the idea of reducing large scores for the exclusive use of orchestral excerpt pedagogy is. Although there are a multitude of excellent resources detailing how select excerpts from both the clarinet and bass clarinet orchestral repertoire should be performed, no resources for clarinetists or bass clarinetists provide a piano reduction of orchestral scores. Through piano reduction of orchestral scores, bass clarinetists have access to a resource that simulates the experience of playing in an orchestra. Bass clarinetists using a piano reduction will learn the pitch tendencies of the instrument. Consequently, the performer will discover ways to study excerpts in-tune with other instruments that will not compromise for the shortcomings of the bass clarinet. Use of piano transcriptions will also aid with recognition of important moving lines, harmonic textures and rhythmic ostinatos that might otherwise be overlooked by score study and listening alone. Finally, many of the excerpt transcriptions provided are taken from several bars before the primary bass clarinet excerpt, unlike many excerpt books currently available. This provides bass clarinets a more contextual view of an excerpt by facilitating the need to count rests correctly and play solo entrances in the correct style and affect presented by the preceding orchestral material.

Method books are a major means by which musicians study techniques and performance practices of the past. In addition to being practical tools for learning one's craft, these books serve as a historical reference into the minds of famous performers and teachers. Today's use of nineteenth century method books ensures the instructional lineages of famous clarinetists are carried forward. However, clarinet researchers and historians would be remiss if they did not also record and preserve the distinctive methods of the twentieth century's most effective performers and teachers. Elsa Ludewig-Verdehr is one such clarinetist who has established herself as a substantial twentieth century figure through (1) her performance record, (2) her students' performance and teaching record, and (3) her involvement in the international clarinet community. Review of current literature indicates four articles, five biographic dictionary entries, and one dissertation observation and interview about Dr. Verdehr's methods exist. These sources honor her, provide biographical information, and reference the tenets of her teaching philosophy; however, they do not discuss her detailed methodology or specific pedagogical exercises. Therefore, this text seeks to answer questions about Dr. Verdehr's teaching philosophy and clarinet method in order to record and preserve her life's work. This text provides transcription of over 150 handwritten exercises with primary source commentary. Interview explanations from Dr. Verdehr are combined with analysis of over thirty pages of handwritten material to assemble the first publication of The Verdehr Method: A Suggested Approach and Guide to Studying the Clarinet – Exercises for the Development of Tone, Technique, and Tonguing.