Extended clarinet techniques commonly used in contemporary classical music include multiphonics (two or more notes at once), flutter-tonguing (fast tongue roll for a growling texture), circular breathing (continuous sound without breaks), glissandi (smooth pitch slides), slap-tongue (percussive pops), quarter tones (micro-intervals between semitones), and key clicks (unvoiced rhythmic tapping of keys).
Historical evolution: from early 18th-century invention to contemporary roles
Clarinet in contemporary classical music grows from three centuries of evolution. The instrument emerged in the early 18th century from the chalumeau, then expanded through classical and romantic orchestras, later entering jazz, film, and avant-garde concert music. Understanding this path helps players and composers place modern techniques and repertoire in a clear stylistic lineage.
The clarinet was developed around 1700, often credited to Johann Christoph Denner in Nuremberg. Early instruments had only a few keys and a limited range, but the bright, penetrating timbre quickly attracted composers like Mozart and Stamitz. By the late 18th century, the clarinet had become a regular member of the orchestra, prized for both lyrical and agile passages.
During the 19th century, makers expanded keywork and improved intonation, enabling the virtuosic roles heard in Weber, Brahms, and later Richard Strauss. These romantic works emphasized legato, wide dynamic range, and expressive cantabile lines. They also established the clarinet as a solo concerto instrument, a tradition that contemporary classical composers still build upon.
In the early 20th century, the clarinet gained a new identity in jazz. Performers like Benny Goodman and Artie Shaw pushed technical limits with fast articulation, extreme dynamics, and improvisation. Their sound influenced classical composers, who began to write more rhythmically driven, jazz-inflected works, blurring boundaries between concert and popular styles.
By the mid-20th century, contemporary classical music embraced extended techniques, microtones, and new sound worlds. Composers such as Gyorgy Ligeti, Luciano Berio, and Pierre Boulez explored multiphonics, key clicks, and extreme registers. The clarinet, with its flexible bore and responsive reed, became a laboratory for new colors and textures in chamber, orchestral, and solo settings.
Today, the clarinet occupies multiple roles at once: orchestral mainstay, new-music soloist, improvising partner, and sound-design tool in multimedia works. Contemporary classical composers like John Adams, Kaija Saariaho, Ingrid Stolzel, and Caroline Shaw write parts that demand traditional control and advanced extended techniques, expecting players to move fluently between both worlds.
The clarinet in jazz, film scores, and crossover genres
Contemporary classical clarinet playing is deeply shaped by jazz, film, and crossover styles. Many modern scores reference swing phrasing, klezmer inflections, and cinematic textures. Players who understand these influences can interpret hybrid works more convincingly and communicate stylistic nuance to conductors, ensembles, and audiences.
Jazz clarinetists like Benny Goodman and Artie Shaw popularized the instrument worldwide through big band music and small-group improvisation. Their bright tone, flexible pitch bends, and virtuosic runs inform contemporary classical works that call for swing rhythms, glissandi, and quasi-improvised cadenzas. Composers often notate these influences with jazz articulations and off-beat accents.
Film composers use clarinet for character themes, suspense textures, and atmospheric color. John Williams writes lyrical solos and agile woodwind passages that have become iconic, while Hans Zimmer often blends clarinet with electronics and extended techniques for hybrid soundscapes. Contemporary concert works sometimes quote or emulate these cinematic gestures.
Crossover projects mix classical structure with jazz harmony, world music ornamentation, or popular grooves. Clarinetists might encounter scores that ask for klezmer-style bends, Balkan ornaments, or jazz scoops alongside traditional orchestral passages. A flexible embouchure and familiarity with non-classical vibrato styles help meet these demands.
Many contemporary clarinet concertos and chamber pieces include sections that sound like film cues or jazz improvisations. Composers may specify a style reference, such as “quasi-klezmer” or “like a smoky jazz club,” without detailed notation. In these cases, listening to recordings from those traditions is important to capture the intended character.
For conservatory students and professionals, listening lists should include both historical jazz recordings and modern film scores. Studying the phrasing of Benny Goodman, the coloristic writing of John Williams, and the hybrid textures of Hans Zimmer equips players to interpret contemporary classical works that sit between genres.
Key contemporary composers and landmark works for clarinet
Clarinet in contemporary classical music is defined by landmark works that combine traditional lyricism with extended techniques. These pieces shape audition lists, recital programs, and teaching curricula. Knowing their demands and historical context helps players and composers plan realistic technical goals and stylistic approaches.
Aaron Copland's Clarinet Concerto (1948) is a pivotal bridge between classical and jazz-influenced writing. Commissioned by Benny Goodman, it features long lyrical lines, flexible rhythm, and jazz-inflected syncopations. While it uses few extended techniques, its phrasing and style anticipate later hybrid works by John Adams and others.
John Adams' “Gnarly Buttons” (1996) is a central contemporary concerto. It blends minimalist patterns, folk references, and quirky rhythmic displacements. The clarinet part requires extreme dynamic control, rapid articulation, and stylistic shifts between groove-based sections and fragile, sustained textures. It is a core work for players exploring late 20th-century American styles.
Gyorgy Ligeti's “Chamber Concerto” (1970) includes demanding clarinet writing that explores microtones, rapid register shifts, and complex ensemble textures. The part often functions as a coloristic voice within dense clusters, requiring precise rhythm and confident altissimo. Ligeti's writing influenced later composers who treat the clarinet as a source of spectral color.
Kaija Saariaho has written several important works featuring clarinet, including “D'OM LE VRAI SENS” for clarinet and orchestra. Her writing often uses multiphonics, quarter tones, and subtle timbral changes. The clarinetist must control color and dynamics at very soft levels, matching electronic or orchestral textures with great precision.
Caroline Shaw and Ingrid Stolzel represent a generation of composers who integrate extended techniques into accessible, often lyrical frameworks. Their chamber works for clarinet may include key clicks, air sounds, and gentle multiphonics, but always in service of clear musical shapes. These pieces are excellent entry points for players new to contemporary techniques.
Other important names include Luciano Berio, whose “Sequenza IXa” is a solo tour de force of multiphonics and rapid registral leaps, and Elliott Carter, whose chamber works demand precise rhythm and coloristic control. Studying these pieces gives players a broad view of how the clarinet functions in late 20th-century and early 21st-century repertoire.
Core extended techniques in contemporary clarinet performance
Extended techniques are central to clarinet in contemporary classical music. They expand the instrument's sound palette beyond traditional tone and articulation. For advanced students and professionals, mastering these skills is not optional; they are standard expectations in auditions, commissions, and ensemble work across Europe, North America, and beyond.
Multiphonics allow the clarinetist to produce two or more pitches simultaneously. They rely on specific fingerings, voicing adjustments, and carefully balanced air pressure. The resulting sounds range from rough, cluster-like textures to surprisingly stable intervals. Composers like Berio, Saariaho, and Carter use multiphonics for harmonic color and expressive tension.
Flutter-tonguing creates a rapid, rolled articulation that sounds like a growl or tremolo. Players can use a tongue roll (similar to rolled “r” in some languages) or a uvular roll in the throat. This technique is effective at soft dynamics for subtle shimmer and at loud dynamics for aggressive, almost brass-like effects.
Circular breathing enables continuous sound without audible breaths. The player stores air in the cheeks, uses cheek muscles to push air through the instrument while inhaling quickly through the nose, then resumes normal blowing. It is important for long drones, extended multiphonic passages, and minimalist textures that require unbroken lines.
Glissandi are smooth slides between pitches. On clarinet, they combine finger sliding, half-holing, and controlled embouchure adjustments. The famous opening glissando in Gershwin's “Rhapsody in Blue” is an early example, but contemporary classical works often require precise, measured glissandi across wide intervals and multiple registers.
Slap-tongue produces a percussive pop at the start of a note or as a standalone effect. The tongue creates suction on the reed, then releases it quickly so the reed snaps against the mouthpiece. This technique can be voiced (with pitch) or unvoiced (pure percussive sound) and is common in solo and chamber works.
Quarter tones and other microtones divide the semitone into smaller intervals. Clarinetists achieve them through special fingerings, half-holing, and subtle embouchure adjustments. Composers like Ligeti and Saariaho use microtones to blur harmony and create spectral textures. Accurate microtonal intonation requires slow practice with a tuner and careful listening.
Key clicks are unvoiced percussive sounds created by tapping keys while minimizing air flow. Players can combine key clicks with whispered air or voiced pitches for layered effects. Contemporary scores often notate key clicks with special noteheads and specify dynamics, rhythmic patterns, and which keys to emphasize.
Practical workshop notes and practice exercises (including circular breathing)
Effective practice turns extended techniques from special effects into reliable musical tools. For clarinet in contemporary classical music, this means structured exercises, clear diagnostic steps, and measurable goals. Treat each technique like a new embouchure or register: isolate, stabilize, then integrate into repertoire and improvisation.
Multiphonics basic exercise: Start with one published fingering chart from a trusted source. Choose 3 multiphonics that speak easily in the middle register. Sustain each for 4 counts at mezzo forte, focusing on stable air and relaxed throat. Repeat daily, gradually adding softer dynamics and longer durations.
Multiphonics control drill: Once a multiphonic speaks reliably, practice gently shifting voicing to emphasize one pitch, then the other. Use slow crescendos and decrescendos. Record yourself to check stability. This control is important for pieces that treat multiphonics as harmonic fields rather than raw noise.
Flutter-tongue exercise: Practice the tongue or uvular roll on air alone, away from the instrument, for 1 to 2 minutes. Then add the clarinet on a comfortable middle-register note. Start at soft dynamics, where control is hardest. Aim for 10-second sustained flutters, then apply to scales and arpeggios.
Circular breathing step 1: Practice cheek storage without the clarinet. Fill your cheeks with air, then gently squeeze the cheeks to blow air out through pursed lips while inhaling quickly through the nose. Alternate for 5 to 10 seconds, focusing on smooth transitions and relaxed throat.
Circular breathing step 2: Use a straw in a glass of water. Maintain a steady stream of bubbles using cheek pressure while inhaling through the nose. This visual feedback shows if the airflow is continuous. Aim for 15 to 20 seconds of uninterrupted bubbles before moving to the clarinet.
Circular breathing step 3: On the clarinet, choose a comfortable low or middle note. Play a long tone, then briefly switch to cheek air while inhaling through the nose, then resume normal blowing. At first, accept small bumps in sound. Gradually smooth the transition. Work up to 30 to 60 seconds of continuous tone.
Glissando and pitch bend drill: On throat tones and clarion notes, practice slow bends of a semitone using embouchure and voicing, then add finger half-holing where needed. Use a tuner to track the slide. Once comfortable, connect two notes with a controlled glissando over 1 to 2 beats.
Slap-tongue starter: Without blowing, place the tongue flat against the reed, create light suction, then pull the tongue away quickly to make a pop. Once the dry pop is clear, add a short burst of air to voice the pitch. Practice short rhythmic patterns on a single note, then across a simple scale.
Set weekly goals, such as 10 clean multiphonics in one session or a 30-second circular-breathed drone. Document progress in a practice journal. This data-driven approach keeps extended technique work focused and prevents frustration when progress feels slow.
Instrument anatomy and equipment considerations for modern techniques
Clarinet in contemporary classical music pushes the instrument's design to its limits. Understanding anatomy and equipment helps players choose setups that respond well to multiphonics, microtones, and extreme dynamics. Small changes in mouthpiece, reed, and key regulation can dramatically affect stability and color in extended techniques.
The mouthpiece is the primary interface between player and instrument. A slightly more open tip and medium-long facing often support flexible pitch bends and altissimo response, but may make soft multiphonics harder to control. A more closed tip can stabilize soft dynamics and delicate multiphonics, at the cost of some projection and flexibility.
Reed strength and cut strongly influence extended techniques. Softer reeds speak easily for slap-tongue and key clicks but may destabilize multiphonics and high-register microtones. Slightly harder reeds provide core to multiphonics and circular-breathed drones, though they demand stronger embouchure and air support. Many professionals rotate between 2.5 and 3.5 strengths depending on repertoire.
The ligature affects response and articulation clarity. A balanced ligature that holds the reed evenly encourages consistent multiphonic response and clean flutter-tongue attacks. Over-tightening can choke the reed, making soft dynamics and subtle color changes difficult. Under-tightening reduces control for slap-tongue and fast articulation.
The barrel and bore shape influence intonation and resistance. A slightly shorter barrel can brighten pitch and increase resistance, helpful for high-register clarity in microtonal passages. Some contemporary specialists use barrels with adjustable length to fine-tune pitch for specific works or ensembles, especially when playing with fixed electronics.
Tone holes and keywork design affect key clicks and quarter tones. Keys with heavy padding or extra felt produce softer, less distinct clicks. Some players ask technicians to adjust or slightly harden certain pads to enhance percussive effects, while keeping main sealing and intonation stable for traditional playing.
Bore and tone hole layout also shape multiphonic possibilities. Different clarinet models produce different multiphonic fingerings and stability. Players should build their personal multiphonic chart on their own instrument, rather than relying only on generic fingering lists. Small leaks or misaligned keys can completely prevent certain multiphonics from speaking.
For bass clarinet and auxiliary instruments, similar principles apply. Mouthpiece and reed choices must balance projection, low-register stability, and altissimo flexibility. Many contemporary works for bass clarinet demand extreme dynamics, key slaps, and vocalizations, so a strong, responsive setup is important.
Maintenance steps and routine care for contemporary performance demands
Extended techniques place unusual stress on the clarinet. Slap-tongue, key clicks, and heavy air use can accelerate wear on pads, corks, and mechanisms. Regular maintenance keeps the instrument responsive and prevents technical problems from interfering with contemporary classical performance and recording work.
After every session, swab the bore thoroughly to remove moisture from extended circular breathing and long drones. Run a clean, lint-free swab through each joint separately. Wipe the outside of the instrument with a soft cloth to remove condensation and fingerprints, especially around tone holes and keywork.
Apply cork grease sparingly to tenon corks whenever assembly feels tight or dry. Over-greasing attracts dirt, which can compress corks and affect joint alignment. Smooth assembly is important for consistent key regulation, which in turn affects multiphonic stability and microtonal intonation.
Inspect pads weekly for discoloration, swelling, or sticking, especially on keys used heavily for key clicks and slap effects. Use cigarette paper or pad cleaning paper to gently remove moisture and residue. Avoid powders that can migrate into tone holes and affect response.
Oil key mechanisms lightly every few months, focusing on pivot screws and hinge rods. Use a small amount of high-quality key oil applied with a needle oiler. Wipe away excess to prevent dust buildup. Quiet, smooth key action is critical for fast contemporary passages and precise rhythmic key clicks.
Rotate reeds daily and store them in a ventilated reed case. Extended techniques, especially slap-tongue and multiphonics, stress the reed tip and heart. A 4 to 8 reed rotation reduces warping and breakage. Inspect reeds for chips or cracks that can cause squeaks or unstable multiphonics.
For gigging players, schedule a professional checkup at least quarterly. Ask the technician to examine pad height, spring tension, and key regulation with contemporary techniques in mind. Slightly higher pad heights may improve projection and key clicks, while even spring tension ensures consistent response across complex passages.
During intense rehearsal periods for contemporary works, keep a small emergency kit: pad cleaning paper, cork grease, a screwdriver for emergency spring adjustments, and spare reeds. Quick on-site fixes can save rehearsals, but significant issues like leaks or cracked tenons should go directly to a qualified technician.
Troubleshooting common technical problems (multiphonics instability, squeaks, weak key clicks)
Contemporary clarinet techniques introduce specific technical problems. Systematic troubleshooting helps players quickly identify whether the cause is embouchure, air support, fingerings, or instrument condition. Clear symptom-to-solution thinking saves practice time and reduces frustration in rehearsals with composers and ensembles.
Problem: Unstable multiphonics
Likely causes include reed mismatch, inconsistent air support, or incorrect voicing. First, test a slightly harder or softer reed to see if response improves. Then practice sustaining the multiphonic at mezzo forte with a steady, supported airstream. Experiment with small tongue and throat position changes to find the most stable resonance.
Problem: Certain multiphonics do not speak at all
This can indicate minor leaks or misregulated keys. Check that all fingers fully cover tone holes and that rings close completely. Test the instrument with a leak light or have a technician inspect pads and tenons. Even a small leak can prevent specific multiphonics from speaking reliably.
Problem: Frequent squeaks in extended passages
Possible causes include warped reeds, embouchure collapse at soft dynamics, or sticky pads. Replace the reed and test long tones across registers. If squeaks persist, inspect pads for sticking, especially on throat and upper joint keys. Persistent issues may require pad replacement or key height adjustment by a technician.
Problem: Weak or inaudible key clicks
Soft padding, excessive felt, or overly light finger motion can reduce click volume. Practice exaggerated, but relaxed, finger lifts and drops to create clear percussive sounds. Ask a technician about slightly firming specific pads used for key clicks, while maintaining good sealing for normal playing.
Problem: Circular breathing interruptions
Common causes are insufficient cheek air, tense throat, or noisy nasal inhalation. Return to straw-in-water exercises to rebuild smooth cheek control. Practice short cycles on the clarinet, focusing on minimizing sound bumps. Record yourself to check for audible inhalation and refine timing.
Problem: Inconsistent quarter-tone intonation
Likely issues include unstable fingerings or over-reliance on embouchure bending. Build a personal microtonal fingering chart on your instrument, checking each pitch with a tuner. Practice slow scales using those fingerings, aiming for consistent pitch deviations of 50 cents per quarter tone.
Problem: Fatigue in long extended-technique passages
Overuse of embouchure pressure and inefficient air use are typical causes. Integrate regular rest breaks into practice, and alternate extended techniques with traditional playing. Strengthen support muscles with long-tone exercises at varied dynamics, and adjust equipment if resistance feels excessive.
When problems persist after careful self-diagnosis, consult a teacher or technician. Video or audio recordings can help experts pinpoint whether the issue is primarily technical, equipment-related, or a combination of both.
Programming and performance outcomes: building a contemporary clarinet program
Clarinet in contemporary classical music offers rich programming possibilities. A well-designed recital or concert set can showcase extended techniques, historical context, and audience-friendly variety. The goal is to demonstrate artistic depth while keeping listeners engaged, whether they are specialists or general concertgoers.
A 15 to 20 minute contemporary clarinet set might include one major solo work, one chamber piece, and one shorter, accessible piece. For example, pair Berio's “Sequenza IXa” or a movement from Saariaho with a chamber work by Caroline Shaw and a lyrical piece influenced by jazz or film music, such as a movement from “Gnarly Buttons.”
Plan technique progression across the program. Start with works that use extended techniques sparingly, allowing the audience to acclimate to new sounds. Gradually introduce more complex textures like dense multiphonics, circular-breathed drones, and microtonal clusters. Balance these with clear rhythmic structures and recognizable melodic material.
For educational settings, include brief spoken introductions or program notes that explain key techniques and historical context. Mention how jazz figures like Benny Goodman and film composers like John Williams influenced the piece. Short demonstrations of multiphonics or key clicks before a work can help audiences listen with curiosity rather than confusion.
Collaborate with composers whenever possible. Work-in-progress readings and workshops allow clarinetists to suggest practical adjustments to fingerings, ranges, and technique combinations. Composers gain insight into what is idiomatic, and players develop ownership of new repertoire that reflects their strengths.
For ensembles and conductors, programming should consider balance and staging. Some extended techniques, such as soft key clicks and air sounds, may need amplification in larger halls. Coordinate with sound engineers to preserve subtle textures without overwhelming the acoustic blend of the group.
Define clear performance outcomes when planning a season or recital cycle. Goals might include reliable production of 10 core multiphonics, a 30 to 60 second circular-breathed passage in performance, and clean flutter-tonguing across two registers. Align repertoire choices with these targets to track artistic and technical growth.
Martin Freres: historical legacy and examples from the archive
Martin Freres occupies a notable place in clarinet history, particularly in the 19th and early 20th centuries. While contemporary classical music today is often performed on modern systems, historical instruments from the Martin Freres archive reveal how earlier designs shaped tone, response, and technique long before extended methods became standard.
Archive instruments show evolving bore shapes, keywork layouts, and materials that influenced the clarinet's role in orchestras and salons. These clarinets were built for expressive romantic phrasing and agile passagework, not multiphonics or quarter tones. Yet their tonal warmth and resistance profiles inform our understanding of how players approached color and dynamics in earlier eras.
For researchers and historically informed performers, examining Martin Freres clarinets offers insight into how composers of the late 19th and early 20th centuries might have heard the instrument. The balance between chalumeau depth and clarion brightness on these instruments differs from many modern designs, suggesting alternative approaches to phrasing and articulation.
While these historical instruments are not typically used for contemporary extended techniques, they serve as valuable reference points. Comparing their response to modern clarinets highlights how changes in bore, key height, and pad materials have enabled the reliable multiphonics, slap-tongue, and microtones expected in current repertoire.
Key takeaways
- Clarinet in contemporary classical music builds on three centuries of evolution, from early orchestral roles to jazz, film, and experimental sound worlds.
- Core extended techniques include multiphonics, flutter-tonguing, circular breathing, glissandi, slap-tongue, quarter tones, and key clicks, all requiring structured, diagnostic practice.
- Equipment choices in mouthpiece, reed, ligature, and key regulation directly affect extended technique stability, especially multiphonics and microtones.
- Consistent maintenance and targeted troubleshooting keep the instrument responsive under the stresses of modern performance demands.
- Thoughtful programming can showcase contemporary capabilities while remaining accessible, with clear technical and artistic goals guiding repertoire selection.
FAQ
What is clarinet in contemporary classical music?
Clarinet in contemporary classical music refers to the instrument's role in late 20th and 21st-century concert works that use modern harmony, rhythm, and extended techniques. It includes solo, chamber, and orchestral pieces that feature multiphonics, microtones, unusual articulations, and influences from jazz, film, and world music traditions.
What are the most important extended techniques for contemporary clarinetists?
The most important extended techniques include multiphonics, flutter-tonguing, circular breathing, glissandi, slap-tongue, quarter tones, and key clicks. These techniques appear frequently in works by composers such as Berio, Saariaho, Adams, and Ligeti, and are now standard expectations for advanced students and professional clarinetists.
How do I practice and stabilize multiphonics and circular breathing?
For multiphonics, start with a few reliable fingerings, practice sustaining them at mezzo forte, then refine voicing and dynamics. For circular breathing, build a sequence: cheek storage without the instrument, straw-in-water exercises for continuous airflow, then short cycles on a single clarinet note, gradually extending duration to 30 to 60 seconds.
Which contemporary composers and works should clarinetists study first?
Good starting points include Copland's Clarinet Concerto, John Adams' “Gnarly Buttons,” Berio's “Sequenza IXa,” and chamber works by Caroline Shaw, Ingrid Stolzel, and Kaija Saariaho. These pieces cover a range of extended techniques and styles, from jazz-influenced lyricism to spectral textures and rhythmic complexity.
How should I maintain my clarinet when regularly performing extended techniques?
Swab and dry the instrument after every session, apply cork grease as needed, inspect pads weekly, and oil key mechanisms every few months. Rotate reeds to reduce wear from slap-tongue and multiphonics, and schedule professional checkups at least quarterly if you perform demanding contemporary repertoire regularly.
When should I consult a technician for issues caused by contemporary techniques?
Consult a technician if multiphonics suddenly stop speaking, if squeaks persist across multiple reeds, if key clicks are inaudible despite strong finger motion, or if you notice sticking pads and uneven response. Extended techniques can reveal small leaks or regulation problems that require professional adjustment.
