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Musical instrument sound synthesis (MISS) often utilizes a text-to-speech framework because of its similarity to speech in terms of generating sounds from symbols. Moreover, a plucked string instrument, such as electric bass guitar (EBG), shares acoustical similarities with speech. We propose an attack-sustain (AS) representation of the playing technique to take advantage of this similarity. The AS representation treats the attack segment as an unvoiced consonant and the sustain segment as a voiced vowel. In addition, we propose a MISS framework for an EBG that can control its playing techniques: (1) we constructed a EBG sound database containing a rich set of playing techniques, (2) we developed a dynamic time warping and timbre conversion to align the sounds and AS labels, (3) we extend an existing MISS framework to control playing techniques using AS representation as control symbols. The experimental evaluation suggests that our AS representation effectively controls the playing techniques and improves the naturalness of the synthetic sound.

Returning from the break, he brought sheet music with him to the college; the scores of his pieces composed in the summer, in which these noodles appeared, were neatly collected, molded, and provided with introductions and striking endings! Performed with impressive technical preparation, appropriate tone and knowledge of style, as well as some imagination, they will-hopefully-take their place on the podium as well.' [...]the previous older versions are no longer relevant. In any case, there is no significant difference between them compared to the third version.

The other major compositions for the instrument from this era are from the Mannheim composer Carl Stamitz, to whom we now attribute at least 11 clarinet concertos, most of which were likely written for the clarinetist Joseph Beer.1 Together, the works of these two composers make up some of the first significant solo pieces in the instruments literature of the common practice period. In recent decades, public interest in his output as composer has been somewhat rekindled, perhaps in part due to a theory that he may have been the actual author of the \"theme by Haydn\" to which Johannes Brahms composed the famous Variations on a Theme by Haydn.4 In the September 2003 issue of this journal, Michael Thrasher and Barbara Wallaces article \"Ignaz Joseph Pleyel (1751-1831): An Examination of His \"Original' Works for Clarinet\" offered the first comprehensive summary of Pleyel's major works in which the instrument played a significant role.' [...]it is hard to discern whether or not Pleyel ever had in mind a specific instrument when he first wrote many of his concertos. [...]in Dieter Klóckers recording of both works, also with Siidwestdeutscher Kammerorchester Pforzheim, both concertos are performed in the sounding key of Bb, with the album referring to the Ben. 106 as Clarinet Concerto No. 1 in Bb, and the Ben. 104 as Clarinet Concerto No. 2 in Bb\"? (Interestingly, different metadata aggregators of Klôcker's recordings on the internet- such as YouTube Music and Presto Music-have, as of late 2024, inconsistently crawled the Ben. 106, sometimes labeling it as the Clarinet Concerto No. 1 in С, further adding to the confusion.) Both concertos, regardless of how they are named or of their original intended instrumentation, present significant musical value that is worthy of further discovery, study, and analysis by the contemporary clarinetist.

Studying music with a somatic approach can bring attention to the mind and body in a way that promotes unity and wholeness of self, allowing acceptance, creativity, freedom, and ease. Western medical treatments generally treat the symptoms that clarinetists suffer from, prescribing NSAIDs, physical therapy, counseling for mental health concerns, and surgery in extreme circumstances. While this is necessary to address the problem in acute instances, lasting change from many of the issues that we suffer from, including pain, anxiety, tension, and depression, will not happen until we begin to reconnect to the pathways within our nervous system that allow us to feel into the experience of our bodies-our felt sense. Without including somatic information, we often apply a Band-Aid, masking the problem and moving the treatment into the future. Because injury is a very real concern for all of us and occupies a significant amount of teaching time, we (Jackie and Shawn) rarely have the opportunity to talk about how clarinetists can grow personally and benefit musically from incorporating somatic modalities.

Two variations exist: upper demi-clarinet refers to the mouthpiece, barrel, and upper joint, while lower demi-clarinet refers to the mouthpiece inserted into the lower joint and bell. Despite the works early date, Errante emphasizes that Smith, not he, was the inventor of the technique: \"It's got to have been Bill... we met in 1966, [and] he was already doing that. Souvenirs de Nice is unique in its use of microtonal notation, indicating the precise sounding pitch of the full clarinet fingerings applied to the \"prepared\" clarinet (Fig. 3). In our discussion, Errante described this choice as purely practical: \"I [was] just fingering... what would be low E, and then just going through it, E F-sharp, G, G-sharp, and, you know, chromatic fingering, and then seeing what pitches it produced with the mouthpiece and bell... then just writing them down.\" The bulk of the demi-clarinet repertoire was composed by the technique's inventor, William O. Smith.

Eventually, his parents stopped trying to discourage him, and his father allowed him to take private violin lessons, marking the start of his formal musical education. Seven years later, a Fulbright scholarship brought Márquez to the California Institute of the Arts, where he pursued a master of music in composition, studying with Morton Subotnick, Lucky Mosko, Mel Powell, and William Kraft.\" Both the tango and the danzón reappear multiple times, each time transformed in some way, whether through extensions or variations in intensity\" This constant development of the two ideas gives the piece an increasing passionate intensity. A founding member of the Qiru Duet and ClarINES Cuarteto de Clarinetes, Gloria is also the creator of the Soplan Vientos de Paz project, which provides music lessons and resources to underprivileged communities affected by long-term civil conflict in Cauca, Colombia, and isolated regions of the Colombian and Brazilian Amazonia.

Jeremy Wohletz interviews extended-technique pioneer Ronald Caravan and offers performance strategies for his unaccompanied work Excursions for A Clarinet (1974). Any advice on practicing the following techniques within the piece: timbre variation, microtones, multiphonics, chance elements (\"x\" note heads, directional arrow, boxes), humming while playing? RC: [...]1 dare say that a prerequisite to several of the unconventional playing techniques is developing the ability to bend upper-register notes (high C, B, A, even G) downward (as much as a third or fourth) using just oral-cavity manipulation (i.e., extreme tongueposition adjustment) as well as developing the ability to focus the air in such a way as to produce the first three or four overtones above low Bb and other fundamentals in the vicinity, using breath attack for each overtone (no tonguing). The Excursions has several places where a high degree of flexibility in tone production is essential, especially the upward portamento gestures and, of course, the special air focus required to produce and balance the pitch content of the multiphonics (understanding that some of the pitches will be naturally more prominent than others; we speak here of optimal balance, not \"perfect\" as though striking a chord on a piano).

EQUIPMENT CONSIDERATIONS (COREY MACKEY) Efficient vibration is vital for clarinet tone and long-term success and is greatly impacted by the condition of your equipment. Yes, you need a certain amount of muscle engagement regarding breath support, and a firm embouchure when playing, but if your instrument is not sealing you will be forced to add undesired finger pressure or use both pinkies when only one is needed. Because the hands need to manipulate the clarinet in an efficient and ergonomic manner, proper hand position is crucial- this is a considerable variable in efficient playing. Ultimately, hand size and finger length will determine the most comfortable position of the thumb, as well as the position of the thumbrest. Since everyone's hands are different, these positions will be slightly different for each individual player.

On the most fundamental level the clarinet is an extension of your body. The clarinet works as a sort of amplifier for the musical ideas within you, and consequently, the embouchure forms around the face and then the clarinet is inserted into that formation. EXERCISE 2: BALANCING THE CLARINET1 While holding the clarinet only with the right thumb at the thumbrest, place the mouthpiece against the top teeth like you are going to play, but do not allow the lips to contact the mouthpiece (Fig. 1). [...]I always try to stay as relaxed as possible while holding the jaw open.