Please consider this intonation problem when matching the clarinet multiphonics with other instruments. Otherwise, the pitches are very much fixed and it’s difficult to adjust the intonation. If a dyad can be bent in this way, I’ve written ‘bendable’ in the notes section of the chart. And then only the top pitch can be bend downwards. * Little bends are sometimes possible, and I’ve marked in the chart when that’s the case. If your clarinetist is not an experienced new music player (but can flutter), then this might help, rather than hinder them!
* Adding flutter tongue often stabilises the multiphonic. Multiphonics, especially these ones, are also difficult, very difficult, to produce if the clarinetist can not hear herself, so please do be careful with these. Be very careful if using these in an ensemble context. With most of them, as soon as I push the dynamic too far, only the top pitch will come out. * The dynamic range of these multiphonics is very limited and always very quiet. Composers, please read through this information carefully, even when I start to give advise to performers on how to play them, because the information given there can help you to use the effect. I’ll present a few examples and a good fingering chart of the dyads I’ve managed to find. Another problem is that they are for the most part quite difficult to play, though they can all be practised and learned. Philip Rehfeldt’s book, which is still our standard resource for writing for clarinet, only lists five or six of these effects, whereas dozens are possible. Part of the problem is a lack of resources.
I’ve given a few workshops in Denmark in the last few months, and on playing these I mostly saw expressions of surprise. This is one of the most beautiful multiphonic effects we have at our disposal, and despite having come across them in many pieces, I’ve been surprised that they aren’t better known.
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