Dyad Multiphonics Explained

Dyad multiphonics are one of four ways to produce multiple sounds on the clarinet and appear frequently in contemporary music for clarinet. Understand the basics and fundamentals of producing and playing dyad multiphonics.
This video is part of a series that aims to explain the most common extended techniques for clarinet. The series is aimed at clarinettists, at composers and at anyone interested in knowing more about these techniques. The topics are explained in an intentionally simple way, so that an international audience can learn more about these complex phenomena. If you are interested in knowing more about the complexities of certain techniques or performing research with a clarinet player, please contact me directly via my website, www.richardehaynes.com
This video was made possible in part through the support of the InMusic Clarinet Festival: www.in-music.pt/festival/
These techniques and more can be heard in the context of contemporary works for clarinet on the following albums:
Sonorous Body (clarinets in E-flat, B-flat and A)
Spotify - open.spotify.com/album/4vrYRq...
Apple Music - / sonorous-body
Rendering (bass clarinet)
Spotify - open.spotify.com/album/4FS2lP...
Apple Music - / rendering
The Outward Impulse (contrabass clarinet)
Spotify - open.spotify.com/album/3E5YCL...
Apple Music - / the-outward-impulse-ep
Ghosts of Motion (clarinet d'amore)
Spotify - open.spotify.com/album/4pRIuO...
Apple Music - / ghosts-of-motion
A wealth of tracks can also be heard on Soundcloud: / richardehaynes

[@exeromusic]

Love these extended technique videos you give. Is there a way to reliably play "multiphonic power chords" on a bass clarinet or soprano clarinet? In other words, is there a way to play both a root and a fifth above it simultaneously in a reliable way?

[@RichardElliotHaynes.clarinet]

Hi Exero, it’s very tricky to isolate the fundamental and the 12th (it’s not a fifth) in a spectral multiphonic power chord. I assume by "power" you mean loud. The most secure way of doing this is going for (=voicing) the fundamental + 12th + major 6th. Look for some kind of stable spectral multiphonic here. So as an example, on Bb clarinet, finger a low E3 but voice the G5. On bass clarinet finger low C3 and voice the E5. Apply this method to other chalumeau pitches.

[@exeromusic]

@@RichardElliotHaynes.clarinet Thanks for the reply. When I mean power chord, it's just a non technical term used to mean a root-fifth-octave "chord". I was actually hoping just to play a root plus a fifth or twelfth at a reasonable volume.

[@RichardElliotHaynes.clarinet]

What you're referring to is actually a spectral multiphonic. By playing the fundamental and adjusting your tongue and embouchure to produce a spectral multiphonic, it might be possible to isolate the 12th. In my experience this is the lowest possible voicing of a spectral multiphonic and very difficult. Practice producing spectral multiphonics (see my other video on this) and making them glissando up and down. You'll find that the lowest point may be very consonant, and powerful, but it takes practice to control it.

[@joeg46Highlands]

Try singing while playing. I do this routinely when playing bass clarinet. The best examples I could give come from the late trombonist Albert Mangelsdorff:
ruclips.net/video/dmCifasMN6s/видео.html

[@RichardElliotHaynes.clarinet]

My experience with singing whilst playing spectral multiphonics hasn't been particularly enjoyable, but if you can do it, great. Singing whilst playing regular pitches can sound really good, particularly when in clear harmony or beating dissonance, but I can't imagine it could match the volume of a block chord spectral multiphonic.