Tools

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001 ocm04935537;

005 20141212021809.0;

008 790507r19791974miuag b 000 0 eng d;

035 a| (Sirsi) o04935537;

035 a| (OCoLC)4935537;

040 a| EREc| EREd| UtOrBLW;

049 a| EREM;

090 a| MT339.C37b| E9;

100 1 a| Caravan, Ronald L.=| ^A153872;

245 10 a| Extensions of technique for clarinet and saxophone /c| by Ronald L. Caravan.;

260 c| 1974.;

300 a| xvii, 275 leaves :b| illustrations, music;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

500 a| Vita.;

500 a| Abstract.;

500 a| Contains two compositions by the author: "Three pieces for clarinet" and "Three pieces for saxophone.";

502 b| D.M.A.c| Eastman School of Music of the University of Rochesterd| 1974;

504 a| Includes bibliographical references (leaves 263-265).;

505 0 a| Preface -- Multiple sonorities. Introduction ; Use of the voice (Preliminary exercises) ; Use of conventional fingerings with distorted tone production (Preliminary exercises) ; Use of special fingerings (On performance and pedagogy ; General multiphonic use ; Preliminary exercises ; On linking single tones and multiple sonorities ; Preliminary exercises ; On multiphonic trills ; Preliminary exercises ; On beats and rolling tones ; On pitch variation in multiple sonorities ; Multiphonic fingerings for clarinet ; Multiphonic fingerings for saxophone ; Multiphonic etudes for clarinet ; Multiphonic etudes for saxophone) -- Acoustical properties of multiple sonorities. Tube-length factors ; Spectrum analysis ; Oscilloscope readings -- Quarter tones. Quarter-tone fingerings for clarinet ; Quarter-tone fingerings for saxophone ; Quarter-tone etudes for clarinet ; Quarter-tone etudes for saxophone -- Timbre variation. Use of special fingerings (Application to conventional literature ; Timbre variation as a compositional raw material ; Timbre trills ; Clarinet fingerings for altering timbre ; Saxophone fingerings for altering timbre ; Etudes on timbre variation for clarinet ; Etudes on timbre variation for saxophone) -- Other extensions of technique. Vibration manipulation ; Glissando and portamento ; Variation in articulation (Flutter tongue ; Smorzato ; Reverse envelope of attack and delay ; Subtone ; Glissando attack and release) ; Percussive effects (Key clicks ; Key pops (key slaps) ; Hand pops ; Tapping on body of instrument) ; Air sounds ; Vocal sounds ; Mouthpiece alone ; Lip buzz -- Summary and conclusions -- Appendix A. Selected list of extensions of clarinet and saxophone techniques ; Appendix B. Selected list of compositions for clarinet and saxophone involving unconventional techniques ; Appendix C. On acoustical research ; Appendix D. Key to fingering charts ; Appendix E. Guide to finger usage on clarinet and saxophone ; Three pieces for clarinet ; Three pieces for saxophone.;

520 3 a| "The tonal resources of woodwind instruments have been greatly expanded in recent years. Among the numerous unconventional techniques called for in contemporary music are multiple sonorities (production of more than one tone simultaneously), quarter tones, timbre variation, glissando, portamento, vibrato manipulation, non-traditional methods of attack and release, percussive effects, vocal sounds, and air sounds. Once the peculiarities of a few experimenters and jazz musicians, many unconventional sounds have, in recent years, become accepted as viable material for contemporary serious composition. This study deals with these sounds as they pertain to the clarinet and the saxophone. It is primarily intended to serve as a source for the composer, the performer, and the teacher. The major emphasis is on multiple sonorities receiving the most attention. A chapter is devoted to each of these three techniques. Compositional, pedagogical, and acoustical aspects of these sounds are covered and fingering charts, exercises, and etudes are provided. A separate chapter is given to acoustical properties of multiple sonorities. Numerous unconventional techniques which do not involve special fingerings are covered in another chapter. Throughout this study, passages from clarinet and saxophone literature are quoted providing examples of how new sounds have been used in composition. A selected list of contemporary music for clarinet and saxophone involving relevant techniques is provided as an appendix. Two sets of three pieces, one set for clarinet and one set for saxophone, composed by the author are presented at the end of the study. In the course of preparing this dissertation, the author's fingering charts were studied by numerous colleagues and students. The only performance difficulties observed were in respect to the production of multiple sonorities. It is evident that a high degree of flexibility with the tone production processes (e.g., embouchure, tongue position, breath pressure) is needed in order for a performer to play successfully multiphonics. The author's experience in exposing some of his own students to a systematic approach to the study of multiple sonorities has shown that the flexibility required for this sort of production is not difficult to develop. In the interest of providing as practical and dependable a source as possible for clarinet and saxophone multiphonics, the fingering charts are limited to those sounds which have been observed to be relatively easy for performers to produce. Regarding acoustical properties of multiple sounds, the limited research carried out for this project points toward the idea that two separate tube-length segments are resonating simultaneously when a multiphonic is produced. The multiphonic fingering generally involves one open hole which serves as a vent hole for one tube length and the effective termination of the pipe for another length. This opening is referred to as the 'register-terminator' opening. Cursory studies indicate that the size and placement of the register-terminator opening are significant. The acoustical investigations included limited spectrum analysis and oscilloscope readings of multiple sounds. In addition to the partials which make up the sounds, the composite wave forms and periodic amplitude modulation are observed."--Leaves x-xii.;

533 3| Joyner-a| Photocopy of typescript.b| Ann Arbor : University Microfilms International,d| 1979.e| 21 cm.;

650 0 a| Clarinetv| Methods.=| ^A650889;

650 0 a| Clarinetx| Instruction and study.=| ^A36417;

650 0 a| Saxophonex| Instruction and study.=| ^A36900;

650 0 a| Musicx| Acoustics and physics.=| ^A16688;

650 0 a| Clarinet musicv| Scores.=| ^A64385;

650 0 a| Saxophone musicv| Scores.=| ^A109424;

919 a| BOOK;

596 a| 3;

998 a| 160113;

999 a| MT339.C37 E9 1979w| LCc| 1i| 30372017747897d| 7/22/2025e| 3/4/2025f| 10/15/2025g| 7l| MCSm| JMUSICn| 12r| Ys| Yt| MCSSBKu| 6/6/1986x| BOOKz| MCIRCo| .STAFF. enhanced 7/27/25 -jjam/jjab;

Extensions of technique for clarinet and saxophone / by Ronald L. Caravan.

Author/creator	Caravan, Ronald L.
Format	Book
Publication Info	1974.
Description	xvii, 275 leaves : illustrations, music
Subjects	Clarinet--Methods. Clarinet--Instruction and study. Saxophone--Instruction and study. Music--Acoustics and physics. Clarinet music--Scores. Saxophone music--Scores.

Contents	Preface -- Multiple sonorities. Introduction ; Use of the voice (Preliminary exercises) ; Use of conventional fingerings with distorted tone production (Preliminary exercises) ; Use of special fingerings (On performance and pedagogy ; General multiphonic use ; Preliminary exercises ; On linking single tones and multiple sonorities ; Preliminary exercises ; On multiphonic trills ; Preliminary exercises ; On beats and rolling tones ; On pitch variation in multiple sonorities ; Multiphonic fingerings for clarinet ; Multiphonic fingerings for saxophone ; Multiphonic etudes for clarinet ; Multiphonic etudes for saxophone) -- Acoustical properties of multiple sonorities. Tube-length factors ; Spectrum analysis ; Oscilloscope readings -- Quarter tones. Quarter-tone fingerings for clarinet ; Quarter-tone fingerings for saxophone ; Quarter-tone etudes for clarinet ; Quarter-tone etudes for saxophone -- Timbre variation. Use of special fingerings (Application to conventional literature ; Timbre variation as a compositional raw material ; Timbre trills ; Clarinet fingerings for altering timbre ; Saxophone fingerings for altering timbre ; Etudes on timbre variation for clarinet ; Etudes on timbre variation for saxophone) -- Other extensions of technique. Vibration manipulation ; Glissando and portamento ; Variation in articulation (Flutter tongue ; Smorzato ; Reverse envelope of attack and delay ; Subtone ; Glissando attack and release) ; Percussive effects (Key clicks ; Key pops (key slaps) ; Hand pops ; Tapping on body of instrument) ; Air sounds ; Vocal sounds ; Mouthpiece alone ; Lip buzz -- Summary and conclusions -- Appendix A. Selected list of extensions of clarinet and saxophone techniques ; Appendix B. Selected list of compositions for clarinet and saxophone involving unconventional techniques ; Appendix C. On acoustical research ; Appendix D. Key to fingering charts ; Appendix E. Guide to finger usage on clarinet and saxophone ; Three pieces for clarinet ; Three pieces for saxophone.
Summary	"The tonal resources of woodwind instruments have been greatly expanded in recent years. Among the numerous unconventional techniques called for in contemporary music are multiple sonorities (production of more than one tone simultaneously), quarter tones, timbre variation, glissando, portamento, vibrato manipulation, non-traditional methods of attack and release, percussive effects, vocal sounds, and air sounds. Once the peculiarities of a few experimenters and jazz musicians, many unconventional sounds have, in recent years, become accepted as viable material for contemporary serious composition. This study deals with these sounds as they pertain to the clarinet and the saxophone. It is primarily intended to serve as a source for the composer, the performer, and the teacher. The major emphasis is on multiple sonorities receiving the most attention. A chapter is devoted to each of these three techniques. Compositional, pedagogical, and acoustical aspects of these sounds are covered and fingering charts, exercises, and etudes are provided. A separate chapter is given to acoustical properties of multiple sonorities. Numerous unconventional techniques which do not involve special fingerings are covered in another chapter. Throughout this study, passages from clarinet and saxophone literature are quoted providing examples of how new sounds have been used in composition. A selected list of contemporary music for clarinet and saxophone involving relevant techniques is provided as an appendix. Two sets of three pieces, one set for clarinet and one set for saxophone, composed by the author are presented at the end of the study. In the course of preparing this dissertation, the author's fingering charts were studied by numerous colleagues and students. The only performance difficulties observed were in respect to the production of multiple sonorities. It is evident that a high degree of flexibility with the tone production processes (e.g., embouchure, tongue position, breath pressure) is needed in order for a performer to play successfully multiphonics. The author's experience in exposing some of his own students to a systematic approach to the study of multiple sonorities has shown that the flexibility required for this sort of production is not difficult to develop. In the interest of providing as practical and dependable a source as possible for clarinet and saxophone multiphonics, the fingering charts are limited to those sounds which have been observed to be relatively easy for performers to produce. Regarding acoustical properties of multiple sounds, the limited research carried out for this project points toward the idea that two separate tube-length segments are resonating simultaneously when a multiphonic is produced. The multiphonic fingering generally involves one open hole which serves as a vent hole for one tube length and the effective termination of the pipe for another length. This opening is referred to as the 'register-terminator' opening. Cursory studies indicate that the size and placement of the register-terminator opening are significant. The acoustical investigations included limited spectrum analysis and oscilloscope readings of multiple sounds. In addition to the partials which make up the sounds, the composite wave forms and periodic amplitude modulation are observed."--Leaves x-xii.
General note	Vita.
General note	Abstract.
General note	Contains two compositions by the author: "Three pieces for clarinet" and "Three pieces for saxophone."
Dissertation note	D.M.A. Eastman School of Music of the University of Rochester 1974
Bibliography note	Includes bibliographical references (leaves 263-265).
Reproduction note	Joyner- Photocopy of typescript. Ann Arbor : University Microfilms International, 1979. 21 cm.

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Music	Closed Stacks - Ask at Circulation Desk	MT339.C37 E9 1979	✔ Available	Place Hold

Extensions of technique for clarinet and saxophone / by Ronald L. Caravan.

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