Search Guide

Search Instructions
+Keyword used for AND matching
-Keyword used for negative matching
*Keyword used for wildcard matching
"This Keyword" used for phrase matching
Tips
If you only match one result, you will be taken directly to your search results
You can search the forums, or music sections, or switch between results at will
YC will remember your latest search type choice
Titles of music submissions and forum posts pop up directly as you type, but only as suggestions
Pressing "tab" autocompletes a phrase. Tab/Enter will most likely take you to the result directly
Suggestions
Type the name of a member to find all music or post submission results by that member
View results in the autocomplete instead, and make your choice. Then click the result, and press enter
Use the search to discover topics with few posts or reviews. Bring life back to a post or music submission

music
forum

View New Content

Javascript Disabled Detected

You currently have javascript disabled. Several functions may not work. Please re-enable javascript to access full functionality.

Clarinet Glissandos Chart.

Started by SYS65, Feb 03 2012 03:13 PM

Please log in to reply

7 replies to this topic

#1
SYS65

Posted 03 February 2012 - 03:13 PM

The Keeper of the Legacy

Moderators
3,050 posts

Favorite Composers:Mahler, R.Strauss, Prokofiev, Shostakovich, Scriabin, Stravinsky, Orff, Gorecki, Honegger, Hindemith, Debussy, Ravel, Holst, Khachaturian, Respighi, Sibelius, Grieg, Poulenc, Bartok,
My Compositional Styles:20th Century Orchestration, Electronic, others.
Notation Software/Sequencers:Sibelius, Cubase, FL Studio,
Instruments Played:Piano, S.A.T. Saxes, E.Bass, Organ, Clarinet, Violin,

Hello,
someone asked for this years ago, (I was newbie here) I said I could do one but our "woodwinds expert" Mr.McConaughey (Flint) said "nah, wrrrr, because grrrrrrr, and wrrrrr also grrrrr...." and he was Mod then, so I didn't say a word.

I did one, just I'm not a Pro clarinetist, so I'd like you all who play clarinet watch this and tell me if you consider I should change something, the point here is to give a clear idea of which glissandos can be possible (for people don't play clarinet) because some people listens a glissando and say "oh you see, is possible" and write another one is NOT possible

I'm not sure about the highest glisses.

Glissandos are possible because Clarinet is a half whole half keys mechanism instrument, notes are determinated by keys make not gliss possible.

Posted Image

how does it look to you ?

Daniel Muñoz Alférez - Official YC Mahlerian

The Warrior of the Iron Mountains Op.12,

Enigma de la Rosa Op.19,

Night and Revelation Op.24,

Waltz of the Alley Op.25,

Maseuayotl Op.31,

Echoes of the Tropic Op.33,

Lament for Strings Op.35,

Survivor Op.36,

When Time Writes Op.39,New

Back to top

#2
Austenite

Posted 03 February 2012 - 04:37 PM

Seasoned Composer

Reviewers
886 posts

Favorite Composers:Tchaikovsky, Mahler, Shostakovich, Puccini, Beethoven, Chopin, Borodin, Elgar, J. Williams, Glass
My Compositional Styles:Mostly Romantic
Notation Software/Sequencers:Making the transition to Finale 2011
Instruments Played:None

I've long been curious about the way to achieve this effect in a clarinet, esp. since listening to the beginning of Gershwin's Rhapsody in Blue. As usual, your help is very welcome - though I'm not sure whether I'll actually use it.

"Let the composers say what they really want to say, not what anyone thinks they should be saying". Leonard Bernstein.

Works available on this site:

El Cadejos, Op. 38 NEW! - tone poem. April 2013.
Christmas at Newtown NEW! - in memory of the school shooting victims, December 2012

Piano Sonata No. 4 in E minor, Op. 25 (Northanger Sonata) - Most Outstanding Composition, YC Awards 2012 (first movement also in orchestral version).

Emma Overture, Op. 31 - Top Orchestral Composition, YC Awards 2012.
Adriana Suite, Op. 27: first two movements, Adriana's Waltz, fourth and fifth movements - Top Incidental Composition, YC Awards 2012.

String Serenade, Op. 11 - Top Chamber Composition, YC Awards 2012

Jabberwocky, Op. 28 No. 1 - Top Vocal/Choral Composition, YC Awards 2012.

Other works for piano solo: Piano Sonata No. 3 in C, Op. 23, Nocturne in G minor, Op. 18, Epigram in C (from Six Piano Pieces, Op. 3)

Other chamber works: Souvenir from Pemberley, Op. 32, Quiet Thoughts, Op. 30, Four Apologies for Cello Solo, Op. 33.

Back to top

#3
SYS65

Posted 03 February 2012 - 05:05 PM

The Keeper of the Legacy

Moderators
3,050 posts

Favorite Composers:Mahler, R.Strauss, Prokofiev, Shostakovich, Scriabin, Stravinsky, Orff, Gorecki, Honegger, Hindemith, Debussy, Ravel, Holst, Khachaturian, Respighi, Sibelius, Grieg, Poulenc, Bartok,
My Compositional Styles:20th Century Orchestration, Electronic, others.
Notation Software/Sequencers:Sibelius, Cubase, FL Studio,
Instruments Played:Piano, S.A.T. Saxes, E.Bass, Organ, Clarinet, Violin,

Well you'll think in something...
Just I forgot to mention that all so called "possible" glissandos sholud be concidered as "difficult". Clarinet is not a trombone.
For long intervales like G-B a fast gliss won't work, it won't sound linear, I'd say that a true linear gliss on G-B takes at least 3 seconds, so is not like having fun with the pitch-bend wheel.

EDIT:
a few hours after making this chart I was like thinking this was too good to be truth

so I tried to play those and I found this:

Gliss 1 G-B (not so difficult)
Gliss 2 C-Eb (Difficult to play it linear, is like smooth steps)
Gliss 3 E-F# (Difficult)
Gliss 4 D-F# (very difficult, wave easily collapses)
Gliss 5 G-Bb (Difficult)
Gliss 6 C-E (very difficult, wave easily collapses)
Higher glisses, I couldn't do it.

All glissandos are easier descendent.

I could record so you can hear, like I said, is not like trombone.

Daniel Muñoz Alférez - Official YC Mahlerian

The Warrior of the Iron Mountains Op.12,

Enigma de la Rosa Op.19,

Night and Revelation Op.24,

Waltz of the Alley Op.25,

Maseuayotl Op.31,

Echoes of the Tropic Op.33,

Lament for Strings Op.35,

Survivor Op.36,

When Time Writes Op.39,New

Back to top

#4
bomligeti

Posted 04 February 2012 - 01:57 AM

Starving Musician

Members
3 posts

Favorite Composers:Zappa
My Compositional Styles:bomligeti

I am by no means a "professional" clarinetist, but I have to respond to this post... First: a glissando "chart" for the clarinet is bogus and useless; just write the notes you would like the performer to slide to and from and they will do it. If it is over the break, they can compensate with quick chromatic and/or lip adjustments. If the performer can not do this, find a better performer. Second: your range chart is off. A Bb clarinet's lowest sounding concert pitch is a D below the E displayed above. What you have shown is the "written pitch," which doesn't change between clarinets (the actual sounding pitch does change). Third: A good performer could easily extend the range of the gliss to a high A or Bb (again with the use of the embouchure). Fourth: performing a glissando from the (4th line) D above the break to any upper note (high C - two ledger lines) is the easiest range of the clarinet within which to glissando. Fifth: Glissandos are much more difficult when descending. Finally: a glissando on the clarinet should not result solely from "half-holing"... the embouchure and tongue position should do most of the work. I hope this clears up a number of things.

Back to top

#5
SYS65

Posted 04 February 2012 - 02:34 PM

The Keeper of the Legacy

Moderators
3,050 posts

Favorite Composers:Mahler, R.Strauss, Prokofiev, Shostakovich, Scriabin, Stravinsky, Orff, Gorecki, Honegger, Hindemith, Debussy, Ravel, Holst, Khachaturian, Respighi, Sibelius, Grieg, Poulenc, Bartok,
My Compositional Styles:20th Century Orchestration, Electronic, others.
Notation Software/Sequencers:Sibelius, Cubase, FL Studio,
Instruments Played:Piano, S.A.T. Saxes, E.Bass, Organ, Clarinet, Violin,

Hey, thanks for your input.

First: a glissando "chart" for the clarinet is bogus and useless; just write the notes you would like the performer to slide to and from and they will do it. If it is over the break, they can compensate with quick chromatic and/or lip adjustments. If the performer can not do this, find a better performer.

No I don't think is that useless, Lip gliss can be done an all notes, like in Sax, but would be only -1 whole step at most.

Second: your range chart is off. A Bb clarinet's lowest sounding concert pitch is a D below the E displayed above. What you have shown is the "written pitch," which doesn't change between clarinets (the actual sounding pitch does change).

Ops, yes, my mistake

, I'm fixing that "Written pitch"

Third: A good performer could easily extend the range of the gliss to a high A or Bb (again with the use of the embouchure).

I'd say G is the fair end, altissimo skills should not be included on ranges, is like Sax, F# is the end, I can play A but I won't write it. Bb sounds way too high, no doubt some pros can do it but I'll set G# as higher in the chart.

Fourth: performing a glissando from the (4th line) D above the break to any upper note (high C - two ledger lines) is the easiest range of the clarinet within which to glissando.

Strange, then was me on my cheap clarinet.

Fifth: Glissandos are much more difficult when descending.

again, strange, I noticed all glisses easier in descendent because was easier to control the pitch by start closing the wholes, than start opening them.

Finally: a glissando on the clarinet should not result solely from "half-holing"... the embouchure and tongue position should do most of the work. I hope this clears up a number of things.

Yes, all this is quite helpful, in order to make a good discussion about this.

Daniel Muñoz Alférez - Official YC Mahlerian

The Warrior of the Iron Mountains Op.12,

Enigma de la Rosa Op.19,

Night and Revelation Op.24,

Waltz of the Alley Op.25,

Maseuayotl Op.31,

Echoes of the Tropic Op.33,

Lament for Strings Op.35,

Survivor Op.36,

When Time Writes Op.39,New

Back to top

#6
joshtsai

Posted 13 February 2012 - 03:19 PM

Member

Old Members
22 posts

Favorite Composers:Bach, Beethoven, Copland, Debussy, Shostakovich, Stravinsky, Whitacre
Notation Software/Sequencers:Finale
Instruments Played:clarinet, piano

I agree with bomligeti on a number of things. To me this chart looks restricting; as a clarinetist, I don't see any reason why a true gliss can't be notated across any range of notes.

"This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before." - Leonard Bernstein

Subscribe to my blog at http://joshjtsai.blogspot.com for music and technology-related articles!

Back to top

#7
OpusOneTwo7

Posted 03 June 2012 - 03:22 PM

Member

Old Members
23 posts

Favorite Composers:All the greats from every era. From the 20th Century: Stravinsky, Shostakovich, Bartok, Prokofiev, Ravel, Messiaen, Shoenberg, Strauss, Bernstein.
My Compositional Styles:''my own'' (Often a hybrid of the most recent influences.)
Notation Software/Sequencers:Sibelius 6
Instruments Played:Classical Guitar

A clarinetist once told me that any gliss is possible but they're ineffective below middle C. Anything higher can be arranged with a combination of techniques.

Back to top

#8
Austenite

Posted 12 June 2012 - 04:02 PM

Seasoned Composer

Reviewers
886 posts

Favorite Composers:Tchaikovsky, Mahler, Shostakovich, Puccini, Beethoven, Chopin, Borodin, Elgar, J. Williams, Glass
My Compositional Styles:Mostly Romantic
Notation Software/Sequencers:Making the transition to Finale 2011
Instruments Played:None

In the beginning I was into the darkness and emptiness on this topic...
And after reading the thread, I'm still there :facepalm:

...

"Let the composers say what they really want to say, not what anyone thinks they should be saying". Leonard Bernstein.

Works available on this site:

El Cadejos, Op. 38 NEW! - tone poem. April 2013.
Christmas at Newtown NEW! - in memory of the school shooting victims, December 2012

Piano Sonata No. 4 in E minor, Op. 25 (Northanger Sonata) - Most Outstanding Composition, YC Awards 2012 (first movement also in orchestral version).

Emma Overture, Op. 31 - Top Orchestral Composition, YC Awards 2012.
Adriana Suite, Op. 27: first two movements, Adriana's Waltz, fourth and fifth movements - Top Incidental Composition, YC Awards 2012.

String Serenade, Op. 11 - Top Chamber Composition, YC Awards 2012

Jabberwocky, Op. 28 No. 1 - Top Vocal/Choral Composition, YC Awards 2012.

Other works for piano solo: Piano Sonata No. 3 in C, Op. 23, Nocturne in G minor, Op. 18, Epigram in C (from Six Piano Pieces, Op. 3)

Other chamber works: Souvenir from Pemberley, Op. 32, Quiet Thoughts, Op. 30, Four Apologies for Cello Solo, Op. 33.