The Unrealized Potential of the Alto Clarinet

113 Pages·2016·8.17 MB·English

by  Inhyung Hwang

University of Miami
Scholarly Repository
Open Access Dissertations Electronic Theses and Dissertations
2016-04-04
The Unrealized Potential of the Alto Clarinet:
Introducing the Unique Aspects of Alto Clarinet to
Contemporary Composers
Inhyung Hwang
University of Miami, [email protected]
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Hwang, Inhyung, "The Unrealized Potential of the Alto Clarinet: Introducing the Unique Aspects of Alto Clarinet to Contemporary
Composers" (2016).Open Access Dissertations. 1606.
https://scholarlyrepository.miami.edu/oa_dissertations/1606
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UNIVERSITY OF MIAMI

THE UNREALIZED POTENTIAL OF THE ALTO CLARINET:
INTRODUCING THE UNIQUE ASPECTS OF ALTO CLARINET TO
CONTEMPORARY COMPOSERS

By
Annabelle Inhyung Hwang

A DOCTORAL ESSAY

Submitted to the Faculty
of the University of Miami
in partial fulfillment of the requirements for
the degree of Doctor of Musical Arts

Coral Gables, Florida
May 2016
Ⓒ2016
Annabelle Inhyung Hwang
All Rights Reserved
UNIVERSITY OF MIAMI

A doctoral essay submitted in partial fulfillment of
the requirements for the degree of
Doctor of Musical Arts

THE UNREALIZED POTENTIAL OF THE ALTO CLARINET:
INTRODUCING THE UNIQUE ASPECTS OF ALTO CLARINET TO
CONTEMPORARY COMPOSERS

Annabelle Inhyung Hwang

Approved:

____________________ ____________________
Margaret Donaghue Flavin, D.M.A. Nancy C. Zavac, M.M. and M.S.
Associate Professor and Program Music Librarian, Marta and Austin
Director, Woodwinds Weeks Music Library

____________________ ____________________
Thomas M. Sleeper, M.M. Guillermo Prado, Ph.D.
Professor of Instrumental Performance Dean of the Graduate School

____________________
Gabriel Beavers, M.M.
Associate Professor of Bassoon
HWANG, ANNABELLE INHYUNG (D.M.A., Instrumental Performance)
The Unrealized Potential of the Alto (May 2016)
Clarinet: Introducing the Unique Aspects
of Alto Clarinet to Contemporary
Composers

Abstract of a doctoral essay at the University of Miami.
Doctoral essay supervised by Dr. Margaret Donaghue Flavin.
No. of pages in text. (97)

The purpose of this study is to identify the diverse possibilities of the E-flat Alto
clarinet and introduce them to composers. The first three chapters solidify the need for
the study, review the current literature, and present detailed methodology of the study.
Chapter four introduces composers to the sound of the Alto clarinet by demonstrating
recordings of original musical examples. These examples are played on the Bass and B-
flat clarinet, which composers are usually more familiar with, and contrasted with the
Alto clarinet. Chapter five provides tables of selected classical music compositions in
which the Alto clarinet plays an important role. Attached URLs link to sound, video, or
score samples. Chapter six introduces not only the general extended clarinet techniques
which can be applied to the Alto clarinet effectively, but also brand new fingering charts
for specific multiphonic notes on this instrument. Sound recordings with demonstration
of each technique are provided. The last chapter introduces Jazz and contemporary
musicians improvising on the Alto clarinet. Brazilian composer, Rodrigo Bussad applied
this study to his music Promesse a l'obscurité. The complete score and recording of this
new work are attached to this essay.
ACKNOWLEDGEMENT

I dedicate this doctoral paper to my loving parents, Dooyun Hwang and Seungok Kim,
who have always supported my musical education and well-being.

저의 음악 교육과 행복을 위해 끊임없이 응원해 주신 사랑하는 부모님,
황두연님과 김승옥님께 이 박사 논문을 바칩니다.

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TABLE OF CONTENTS
Page
LIST OF EXAMPLES…………………………………………………………………...vii
LIST OF RECORDING TRACKS……………………………………………………..viii
LIST OF TABLES………………………………………………………………………..xi
LIST OF FINGERING CHARTS………………………………………………………xiii
Chapter
1. INTRODUCTION…………………………………………………………………….1
Justification for Study…..…………………………………………………………2
Purpose of the Study………..……………………………………………………..3
Research Questions……………..…………………………………………………4
2. LITERATURE REVIEW…………………………………………………………5
3. METHODOLOGY………………………………………………………………10
Overview……..…………………………………………………………………..10
Research Question One: Acoustically, how does an Alto clarinet sound
compared to a B-flat and Bass clarinet?................................................................11
Research Question Two: How have previous composers used the Alto clarinet
in their work?.........................................................................................................11
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Research Question Three: Which extended techniques are possible on the Alto
clarinet and how do they sound?............................................................................12
Rehearch Question Four: Outside of classical music, where has the Alto
clarinet been used successfully?............................................................................13
Task one: sound recordings of extended techniques..............................................13
Task two: the composition of new work………………………………………....13
4. SOUND OF THE ALTO CLARINET…………………………………………..14
Overview……..…………………………………………………………………..14
5. EXISTING MUSIC FOR ALTO CLARINET…………………………………..19
Overview………..………………………………………………………………..19
6. EXTENDED TECHNIQUE ON THE ALTO CLARINET……………………..34
Overview……..…………………………………………………………………..34
Multiphonics…..................................................................................................... 35
Multiphonic Fingering Chart….............................................................................35
Multiphonic Tremolo…………..………………………………………………...44
Slap Tongue……………..……………………………………………………….45
Flutter Tongue………………..…………………………………………………..46
Glissando and Portamento……………..………………………………………...46
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Finger Slapping……………………..……………………………………………47
Play and Hum/Growl………………..…………………………………………...48
Mouth Piece and Neck……………..…………………………………………….48
Teeth on the Reed…………………..……………………………………………49
Air Sound…………………………..…………………………………………….49
Key Click……………………………..………………………………………….50
7. ALTO CLARINET OUTSIDE OF CLASSICAL MUSIC……………………..51
Overview…………………………………..……………………………………..51
Gianluigi Torovesi……………………..………………………………………...51
Michel Thieke…………………………..………………………………………..53
John Davis Parran……………………..…………………………………………54
Hamieet Bluiett……………………..……………………………………………56
Vinny Golia……………………………..………………………………………..57
8. CONCLUSION………………………………………………………………….59
BIBLIOGRAPHY……………………………………………………………………….60
APPENDIX A Promesse a l'obscurité by Rodrigo Bussad……………………………...73
APPENDIX B……………………………………………………………………………97
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LIST OF EXAMPLES
Example Page
4.1. E-Major Scale in Three Octaves…………………………………………15
4.2. F-Major Third in Two Octaves…………………………………………..15
4.3. Hommage to Eugène Bozza……………………………………………...16
4.4. Hommage to Robert Schumann………………………………………….17
4.5. Hommage to Carl Stamitz………………………………………………..18
6.1. Multiphonics Type 1……………………………………………………..36
6.2. Multiphonics Type 2……………………………………………………..38
6.3. Multiphonics Type 3……………………………………………………..40
6.4. Multiphonics Type 4……………………………………………………..41
6.5. Multiphonics Type 5……………………………………………………..43
6.6. Multiphonics Type 6……………………………………………………..44
6.7. Multiphonic Tremolo…………………………………………………….45
6.8. Finger Slapping…………………………………………………………..48

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