Clarinet multiphonics are the simultaneous sounding of two or more pitches on a single clarinet produced by specialized fingerings, precise embouchure and controlled air pressure. Quick start: 1) establish steady long tones and even airflow, 2) try a known multiphonic fingering (partial hole coverage or alternate keys), 3) adjust embouchure and airstream until two pitches stabilize.

What are clarinet multiphonics?

Clarinet multiphonics are fingerings and playing techniques that make a single clarinet produce two or more pitches at the same time. They rely on unstable or competing resonances in the bore so that the reed splits into multiple vibration modes. For players, multiphonics feel like a controlled “crack” that is repeated and shaped on purpose.

Unlike standard notes, which lock into one clear resonance, multiphonics sit on the edge between registers or between neighboring partials. The result can be a dyad, a cluster, or a complex noise-rich sound. Many contemporary composers use them for color, harmonic tension, and expressive effects that go beyond traditional clarinet tone.

Most clarinet multiphonics are highly instrument specific. A fingering that gives a clean minor third on one clarinet might produce a different interval or fail entirely on another. That is why players often maintain personal fingering lists and adapt published charts to their own instruments and mouthpiece setups.

How multiphonics work – basic acoustics and instrument anatomy

To control clarinet multiphonics, it helps to understand how the instrument normally works. The reed acts as a pressure-controlled valve, chopping the airstream and exciting resonances inside the cylindrical bore. In standard playing, the system selects one strong resonance peak, which determines the pitch you hear.

On a clarinet, the register key and tone holes change the effective length of the air column and shift which resonance peak dominates. The famous register break between written A4 and B4 occurs because the clarinet jumps from one set of resonances to another. Multiphonics exploit this instability by encouraging more than one resonance to speak at once.

Alternate fingerings, cross fingerings, and partially covered holes create complex impedance curves with several competing peaks of similar strength. When the reed receives enough energy and the embouchure is flexible, it can lock into two vibration patterns at the same time. Each pattern corresponds to a different resonance peak, so you hear two pitches.

Instrument anatomy matters. The cylindrical bore, undercut tone holes, and the shape of the mouthpiece and barrel all influence which multiphonics are possible. Slight differences in tone hole placement between brands or models shift resonance frequencies, which explains why published multiphonic charts rarely match every clarinet exactly.

Inside the player, the oral cavity and tongue position act as an extra resonator. By raising or lowering the tongue, you change the effective acoustic length of the vocal tract. This can favor one resonance peak over another, or help both peaks remain active. Skilled multiphonic players use this voicing control as much as the fingers.

Historical development and notable repertoire (early-mid 1900s; Messiaen, Stravinsky, Berio) – Martin Freres in historical context only

Clarinet multiphonics emerged gradually in the early 20th century as players and composers pushed beyond traditional technique. Before that, accidental “cracks” across the register break were mostly avoided. Experimenters began to catalog those unstable sounds and turn them into repeatable fingerings and musical gestures.

Igor Stravinsky and Olivier Messiaen wrote for clarinet at a time when extended techniques were gaining attention. While their early works rarely notate multiphonics explicitly, their coloristic writing and interest in timbral contrast laid groundwork for later exploration. Clarinetists influenced by these composers started to test the limits of the instrument in new ways.

Luciano Berio played a central role in bringing multiphonics into mainstream contemporary clarinet repertoire. In works such as “Sequenza IXa” for clarinet, he notated complex multiphonic passages, glissandi, and rapid switches between single tones and multiphonics. These scores forced players to systematize fingerings and share solutions through articles, workshops, and personal charts.

Throughout the mid 1900s, clarinetists documented fingerings in journals, conservatory theses, and private notebooks. Some of these early lists were created on historical instruments, including French clarinets from workshops like Martin Freres. Differences in bore design and keywork on those instruments explain why older fingering charts often need adaptation for modern clarinets.

Today, multiphonics appear in solo, chamber, and orchestral works by composers across Europe, North America, and Asia. Conservatories often include them in contemporary music seminars, and professional players maintain personal archives of fingerings tailored to their own clarinets, reeds, and mouthpieces.

Core components: embouchure, air support, voicing and fingerings

Reliable clarinet multiphonics depend on four core components working together: embouchure, air support, voicing, and fingerings. If any one of these is weak or inconsistent, the multiphonic will collapse into a single pitch or fail to speak at all. Treat each component as a separate skill to train.

Embouchure must be stable yet flexible. Too much pressure clamps the reed and kills the secondary pitch. Too little pressure lets the sound spread into uncontrolled noise. Aim for your normal focused embouchure, then slightly relax the lower lip and jaw until the sound feels more flexible without losing core.

Air support is the engine that drives multiphonics. The reed needs enough energy to sustain two vibration modes at once. Use a strong, fast airstream supported from the diaphragm, but avoid sudden pressure spikes. Think of blowing “through” the instrument rather than “at” the reed, and keep the airflow as steady as possible.

Voicing refers to tongue position and the shape of the oral cavity. For many multiphonics, a slightly higher tongue position than normal clarinet playing helps the upper pitch speak. Syllables like “ee” or “ih” raise the tongue, while “ah” or “oh” lower it. Small changes in voicing can flip the balance between the two pitches.

Fingerings create the acoustic conditions for multiphonics. Common strategies include partially covering tone holes, using cross fingerings, or pressing extra keys that would normally be open. Each fingering creates a unique pattern of open and closed holes, which shapes the resonance peaks and determines which intervals are possible.

Because fingerings are so instrument specific, treat published charts as starting points, not fixed recipes. Keep a notebook or digital file where you record which fingerings work on your clarinet, which voicing they require, and how they sound at different dynamics. Over time, this becomes your personal multiphonic library.

Practical fingerings and chart examples (how to read and adapt fingering charts)

Most clarinet multiphonic fingering charts use standard fingering diagrams with extra symbols. Solid circles show closed tone holes, open circles show open holes, and half-shaded circles or diagonal slashes indicate partially covered holes. Additional keys, like side keys or trill keys, are often marked with small letters or separate symbols.

When you read a chart, pay attention to three things: the written pitch or pitches, the fingering diagram, and any comments about voicing or air. Many charts list approximate sounding intervals or note that a fingering may produce several related multiphonics depending on embouchure and air pressure.

Here is a generic example: a chart might list a multiphonic labeled “written G4 + B5” with a fingering close to low G plus the register key, and a note “partial LH index hole”. This tells you to finger low G, add the register key, and cover the left hand index tone hole about half way with the pad of the finger instead of the tip.

To adapt such a fingering to your clarinet, start by copying it exactly. If you only get one pitch, slowly roll the finger that partially covers the hole to adjust the opening size. If the multiphonic is close but unstable, experiment with slightly venting an extra key, such as a side key, to fine tune the resonance balance.

Some charts also include dynamic markings. A fingering that works at forte may not work at piano, and vice versa. Make a note in your own chart if a multiphonic only speaks at certain dynamics or requires a crescendo to emerge. This information is important when you apply multiphonics to actual repertoire.

If you encounter a published fingering that fails completely on your instrument, do not discard it immediately. Try small systematic changes: open or close one extra key, adjust partial hole coverage, or slightly change voicing. Often a near neighbor fingering will produce a similar interval that is more stable on your setup.

Step-by-step practice plan & workshop notes (include long tones, partial hole technique, progressive exercises)

Learning clarinet multiphonics works best with a structured plan. The goal is to move from solid basic tone and air control to stable, repeatable multiphonics you can use in real music. The steps below outline a progressive approach suitable for individual practice or studio workshops.

Foundation: long tones and air control

Begin with long tones on comfortable notes in the low and middle registers, such as written G3, A3, and B3. Hold each note for 12 to 16 counts at mezzo forte and mezzo piano. Focus on perfectly steady pitch, volume, and tone color. This stability is the platform that will later support multiphonics.

Next, practice crescendo and diminuendo on the same notes without changing pitch or timbre. Aim for at least 8 counts from piano to forte and 8 counts back down. Use a tuner or drone to monitor pitch drift. Strong, even air support is important when you later ask the reed to sustain two vibration modes.

Partial hole technique without multiphonics

Before you try full multiphonics, train your fingers to control partial hole coverage. On a written A4, slowly roll the left hand index finger to uncover the tone hole by 10 to 20 percent while maintaining a stable embouchure and air. Listen for subtle color changes and small pitch bends, but avoid full register breaks.

Repeat this exercise on other notes that use the left hand index and middle fingers. The goal is to feel how tiny changes in hole opening affect the sound. This sensitivity will later help you fine tune multiphonic fingerings that depend on partial coverage for balance between pitches.

First multiphonics: simple dyads

Choose 3 to 5 beginner friendly multiphonics from a reliable chart, preferably in the low to middle register. Look for fingerings described as “stable” or “easy” that use only one partially covered hole and no extreme voicing. Limit your first attempts to these few options to avoid frustration.

For each fingering, follow a consistent routine. First, finger the base note without the extra key or partial hole and play a clear long tone. Then, add the extra key or adjust the partial hole while keeping air and embouchure steady. Let the sound “crack” and listen for the second pitch to emerge.

Stabilizing and shaping multiphonics

Once you can trigger a multiphonic, work on stability. Hold each multiphonic for 4 to 8 counts, aiming for two clearly audible pitches. Gently adjust voicing by moving the tongue between “ee” and “ah” positions until the balance between the pitches feels even. Avoid biting or sudden air changes.

Next, practice dynamic control. Try starting the multiphonic at mezzo forte and decrescendo to piano without losing either pitch. Then reverse: begin softly and crescendo. Some multiphonics only appear above a certain dynamic threshold, so document which dynamic shapes work best for each fingering.

Progressive exercises and patterns

Integrate multiphonics into short patterns. Alternate between a single note and its related multiphonic on the same fingering, for example: play written G4 as a normal tone for 2 beats, then switch to the multiphonic fingering for 2 beats. Repeat in a slow, steady rhythm to train quick transitions.

Later, connect two different multiphonics in sequence. For instance, move from a low register dyad to a middle register dyad, keeping air and embouchure consistent. This simulates the demands of contemporary repertoire, where multiphonics often appear in phrases rather than as isolated effects.

Workshop notes for teachers and ensembles

In a studio or workshop setting, start with group long tones and partial hole exercises so everyone shares the same foundation. Then assign each player one or two specific multiphonics to master and demonstrate. Hearing different instruments attempt the same fingering highlights instrument variance and encourages collaborative problem solving.

Encourage students to keep shared fingering sheets on which they note which multiphonics work on which clarinets, including comments about reed strength, mouthpiece type, and voicing. Over time, this collective chart becomes a valuable resource that reflects real world instrument diversity rather than a single idealized model.

Troubleshooting common problems (weak second pitches, unstable sound, instrument variance)

Most multiphonic problems fall into a few categories: only one pitch sounds, the second pitch is weak or unstable, the sound is noisy without clear intervals, or a fingering that worked yesterday fails today. A structured troubleshooting checklist helps you identify the real cause instead of guessing.

Start by confirming basic tone and airflow. If your single note long tones are unsteady or your air support is inconsistent, fix that first. Multiphonics magnify every small flaw in embouchure and breath control. A few minutes of focused long tones often improves multiphonic response more than repeated failed attempts.

If only one pitch sounds, experiment with voicing before changing the fingering. Raise or lower the tongue slightly and vary the syllable shape from “ee” to “ah”. Often the missing pitch appears when the vocal tract resonance aligns with its frequency. Keep air pressure steady while you adjust voicing.

For weak or unstable second pitches, check partial hole coverage. Too much coverage may favor the lower pitch, while too little may favor the upper pitch or cause a register break. Roll the finger slowly while sustaining the multiphonic and listen for a “sweet spot” where both pitches stabilize.

If the sound is mostly noise with no clear intervals, embouchure pressure may be too low or the reed too soft. Gently increase embouchure firmness without biting and try a slightly stronger reed. Conversely, if the sound feels pinched and only the higher pitch speaks, relax the jaw and consider a slightly softer reed.

Instrument variance can be frustrating. A fingering that works on a colleague's clarinet might fail on yours because of differences in bore, tone hole placement, or pad height. In that case, treat the published fingering as a starting point and systematically test small changes, such as venting a side key or adjusting partial hole coverage.

Instrument selection, setup and maintenance tips for reliable multiphonics

Clarinet multiphonics are very sensitive to instrument setup. A clarinet that plays well in standard repertoire may still resist certain multiphonics if pads leak, keys are misregulated, or the mouthpiece and reed combination is mismatched. Regular maintenance and thoughtful equipment choices make multiphonics more reliable.

Begin with reed and mouthpiece selection. Choose a reed strength that allows a free, flexible response without collapsing under strong air support. Many players find that a medium strength reed on a balanced facing gives the best compromise between stability and flexibility for multiphonics. Avoid badly warped or chipped reeds, which destabilize the reed vibration.

Mouthpiece facing and tip opening also matter. Very closed facings can make multiphonics hard to start because the reed cannot swing freely enough to support multiple vibration modes. Extremely open facings may feel unstable or require too much air. If multiphonics feel consistently difficult, test a few different mouthpieces to see how response changes.

Check pad sealing and key regulation regularly. Even a small leak at a low joint pad or a slightly open trill key can prevent certain multiphonics from speaking. Have a qualified technician test the instrument for leaks with a light or feeler gauge, and adjust spring tensions so keys close securely without excessive force.

Routine cleaning helps too. Accumulated moisture, dust, or residue in tone holes and the bore can subtly alter resonance behavior. Swab the clarinet after each session, wipe the mouthpiece interior, and periodically clean tone holes with appropriate tools. These small steps keep the acoustic system consistent from day to day.

When testing a new clarinet for multiphonics, bring your usual mouthpiece and reeds. Try a few of your known reliable multiphonic fingerings and note how they respond. This gives you a practical sense of how that instrument's bore and keywork interact with your technique, beyond standard scale and articulation tests.

Applying multiphonics musically: notation, phrasing and ensemble use in contemporary music

Once you can produce multiphonics reliably, the next challenge is using them musically. Contemporary composers often treat multiphonics as both harmonic and timbral resources, not just special effects. Understanding common notation and musical contexts helps you interpret scores by composers like Luciano Berio and their successors.

Multiphonics are usually notated as dyads or small clusters, sometimes with diamond noteheads or special symbols. The score may include specific fingerings in a legend, or reference a standard chart. When fingerings are not provided, you must choose ones that match the written pitches as closely as possible while remaining playable.

In phrasing, multiphonics can function like sustained chords, accented color bursts, or transitional textures between single notes and noise-based sounds. Practice shaping them with dynamics, vibrato, and subtle timbral shifts. For example, you might begin with a clear dyad and gradually let one pitch dominate, mirroring harmonic tension in the ensemble.

In chamber music, balance is important. Multiphonics are rich in overtones and can easily cover softer instruments if played too loudly. Coordinate with colleagues so that your dynamic and tone color support the ensemble texture. Sometimes a barely audible multiphonic adds more interest than a full volume effect.

When improvising or experimenting, think of multiphonics as harmonic fields. Move between different fingerings whose intervals relate by step or common tones, and listen for how the composite sound interacts with piano, strings, or electronics. This exploratory work builds intuition you can bring back to notated repertoire.

Finally, document your musical discoveries. Note which multiphonics blend well with specific chords, which work as expressive climaxes, and which are better as background textures. These observations help you make quick, informed choices when learning new contemporary pieces that call for multiphonics without detailed performance notes.

Resources, archives and recommended further study (fingering archives, recordings, acoustic studies)

Serious study of clarinet multiphonics benefits from multiple types of resources: fingering archives, recordings, acoustic research, and historical scores. Combining these perspectives helps you understand not only how to produce multiphonics, but also how composers have used them and how instrument design affects their behavior.

Fingering archives compiled by clarinetists and researchers often include scanned charts, annotated diagrams, and audio examples. Look for collections that specify instrument type, mouthpiece, reed strength, and dynamic range for each fingering. This context makes it easier to adapt the fingerings to your own setup.

Recordings of works by Luciano Berio, Olivier Messiaen, and later contemporary composers provide clear models of multiphonics in musical context. Listening with a score in hand helps you connect notation to actual sound. Pay attention to how performers shape dynamics, timing, and color when moving into and out of multiphonics.

Acoustic studies published in journals or conservatory theses explain the physics behind multiphonics in more detail. Many include spectrograms showing the frequency content of specific fingerings, as well as measurements of how voicing and air pressure affect resonance peaks. These studies can guide your experimentation and troubleshooting.

Historical scores and treatises from the mid 1900s reveal how early adopters approached multiphonics. Some include hand written fingering suggestions or commentary on instrument types, including references to French clarinets of the era. Comparing these sources with modern charts highlights how instrument evolution has changed multiphonic possibilities.

For teachers, assembling a small studio library of charts, articles, and recordings creates a shared reference point for students. Encourage students to contribute their own findings, especially when they discover reliable fingerings on specific instruments. Over time, this living archive becomes a powerful tool for both performance and pedagogy.

Key takeaways

• Clarinet multiphonics arise from competing resonances created by special fingerings, flexible embouchure, and controlled air, allowing two or more pitches to sound at once.
• Reliable multiphonics require strong fundamentals: steady long tones, responsive reeds and mouthpieces, leak free instruments, and precise voicing control.
• Fingerings are highly instrument specific, so treat charts as starting points, adapt them systematically, and maintain a personal multiphonic fingering archive.
• Historical and contemporary repertoire by composers such as Luciano Berio, Igor Stravinsky, and Olivier Messiaen offers rich models for musical use of multiphonics.

FAQ

What is multiphonics?

Multiphonics are sounds in which a single wind instrument, such as a clarinet, produces two or more pitches at the same time. On clarinet, they result from special fingerings, flexible embouchure, and controlled air that allow the reed to vibrate in multiple modes, creating complex dyads or clusters instead of a single pure tone.

How do you produce multiphonics on the clarinet?

To produce clarinet multiphonics, start with a known multiphonic fingering that uses cross fingerings or partial hole coverage. Play a steady long tone, then add the special fingering while keeping air strong and embouchure slightly relaxed. Adjust tongue position and partial hole coverage until two pitches stabilize. Consistent practice and small adjustments are important.

Which fingerings work best for multiphonics and how do I adapt them to my clarinet?

Begin with multiphonic fingerings labeled as stable dyads in reliable charts, usually in the low to middle register. Test each fingering on your clarinet, then adapt by slightly changing partial hole coverage or venting an extra key if needed. Record which versions work, along with voicing and dynamic notes, to build a personal fingering list tailored to your instrument.

Why do multiphonics sound different on other clarinets?

Multiphonics vary between clarinets because of differences in bore design, tone hole placement, pad height, mouthpiece facing, and reed response. These factors shift resonance peaks, so the same fingering may produce different intervals or stability on different instruments. That is why players must adapt published charts and maintain instrument specific fingering records.

How can I troubleshoot weak or unstable multiphonics?

First, confirm steady long tones and even airflow. Then test an alternate known fingering and refine partial hole coverage. Adjust embouchure tension and tongue position to rebalance the pitches. If problems persist, try a different reed or mouthpiece, and have a technician check for leaks or key regulation issues that might disrupt resonance.

Where are multiphonics used in repertoire and which composers pioneered them?

Clarinet multiphonics appear in solo and chamber works from the mid 20th century onward, especially in contemporary and avant garde repertoire. Luciano Berio is a key figure, notably in “Sequenza IXa”. Earlier composers such as Igor Stravinsky and Olivier Messiaen helped pave the way with coloristic writing that inspired later exploration of extended techniques.