Introduction to clarinet études based on the revision
of basic technical questions inspired by beatboxing techniques

Presented études, as well as „Forms for a recorder” are an introduction to creating a web site entitled „Platform of composed education”. The main idea behind this project is establishing contact with the listener who will be drawn in by the original presentation of playing an instrument.

The goal of the dialog with the 'viewer of the site' is creating 'composition-letters' or 'duets' which are to serve as mini 'team of collaboration', a preparation for the Internet Method Festival. This way sets of musical problems will become a living initiative for interaction and will not deprive the études material of the chance to evolve. I press 'Enter' and I send, building a new piece consisting of playing on the clarinet the 'C tone + Enter + a smile'.

I press 'Enter' and I send, building a new piece consisting of playing on the clarinet the 'C tone + Enter + a smile'.

So why, as a musician, do I create a sound? After 20 years of playing I have the right to ask myself this question concerning the simple gesture of playing. Try to take the clarinet and answer this basic question.

[Below: I play for you. We are an interactive community!!!]

I play for you. We are an interactive community!!!

Someone may live his whole life and not ask himself the fundamental 'why?'. Not doing so makes his relations with space, audience and his own performance of music seem absurd. Lately, during one of the concerts I looked at the situation occurring between me and the audience, a certain reliance on clapping or not clapping, commenting on me playing better or worse assessed in categories of 'great', 'not bad', 'hopeless'. What does my preparation mean to the people, what does my education mean to them if they can't feel invited right into the middle, into the process of performance.

Someone may live his whole life and not ask himself the fundamental 'why?'.

A person who never had a chance to play a melody on the piano in a conscious and musical way or articulate a sound in a certain way is facing an epiphany. 'That is the sound!!! I know it!!!'. Not a pan falling and hitting the ground, not the swishing of a candy wrapper and not the squeak of the door but a sound described by a tradition that's many centuries old.

'That is the sound!!! I know it!!!'

Can you practice this? Sequences of basic gestures, primal reactions as the language of the contemporary pronounce ment. Experiences that result from performing contemporary music force me to verify the basic concepts:

virtuosity,

that can be understood as an advanced method of modulating the sound thru word,

virtuosity, that can be understood as an advanced method of modulating the sound thru word,

message,

which may seem difficult and abstract but can become the bearer of real information,

message, which may seem difficult and abstract but can become the bearer of real information,

instrument,

which turns out to be a part of a movement-sound structure, installation and musical lecture.

instrument, which turns out to be a part of a movement-sound structure, installation and musical lecture.

Any problem emerging from 'standing on the stage', 'entering the stage', 'stage fright behind the stage' can be turned into an étude, a training that is a part of the composed education system. A musician standing on a stage can create an impression of a fellowship with the audience giving them more than just the sound. Through movement that inspires sound, through sound filling the space, through pronounced words that also have a musical meaning because they are written down as sounds, we use tools that break the traditional division of the master's stage and the audience of people looking, listening and with smaller musical skills. Études introducing the subject of a fellowship of the musician and the audience are focused on multidimensional training, because they do not direct the attention only on the development of the instrumentalist, but also give him a possibility to find him or herself in a new situation, proposed by the études author.

Any problem emerging from 'standing on the stage', 'entering the stage', 'stage fright behind the stage' can be turned into an étude, a training that is a part of the composed education system.

The inspiration with beatbox is understood in this case as a fascination with the concept of structure and its rhythmization. A statement that even the most abstract course of sounds can have its reasonable form in the system of rules being established.

The inspiration with beatbox is understood in this case as a fascination with the concept of structure and its rhythmization.

The XXth century gave us the admiration of the experiment. John Cage, Witold Szalonek were searching for what was between the sounds, between the normality of use and the dissidence of possibility. Clinks, blows, clicks, trappings, vibrations. It all happened so that the instrument would change, so it could enrich its 'ego' for the needs of the composer and the composition.

Since the year 2002 with the Kwartludium ensemble we have been working with composers being instrumentalists

Since the year 2002 with the Kwartludium ensemble we have been working with composers being instrumentalists, with whom one can check the sound of the piece, cross out or add a 'technical bug'.

Why is the performer's attitude towards the score unchanged since Mozart, Chopin or Bartok even thou his performance takes place in the XXth century, the century that loves experiment, that loves all sorts of quality crisis? This is a note described in a certain way. Interpret it within the framework of the system. Amen.

For me, however, the always striking question was: 'Why is the performer's attitude towards the score unchanged since Mozart, Chopin or Bartok even thou his performance takes place in the XXth century, the century that loves experiment, that loves all sorts of quality crisis? This is a note described in a certain way. Interpret it within the framework of the system. Amen.' If the system of XXth century music is free from habit maybe the musician should also get rid of it. How? By widening one's possibilities with the composers approval. How? By introducing the concept of deformation, conscious emotionality of a barbarian and open relation with space into his routine. Why? To change, to maintain the continuity of changes, to close the wheel of evolution for a moment.

This will require::

  1. New preparation based on beatboxing techniques.
  2. The concept of structure, under which the form will be filled
  3. Remix, that is working with already existent pieces
  4. Maximum plasticity of the skill set able to create 'postmodernism in mouth'.

Returning, however, to the subject of études inspired by beatboxing techniques, after three years of practice in that matter, I state what follows:

  1. 1. Using beatboxing techniques proposes preparation as a relation between the instrument and the whole of phonetic possibilities being the source of a grater resonance.
  2. Unveils the sonoristic possibilities hidden in the 'tongues of the world'.
  3. It is a communication concerning rhythm, therefore the instrumental techniques within the beatbox structure don't concern only the connotation with contemporary music.
  4. Gives meaning to musical projects like playing with:
  5. cars

    cars

    robots

    robots

    during musical Olympics

    musical Olympics

    The meaning resurfaces in musicalizing sound occurrences, which could be refereed to as a music utopia. However, in contact with the concept of beatbox structure, we can anticipate the development of this concept within absurd or oddity elements.

  6. Can influence the development of the composing skill set and broadening the technical abilities of instrumentalists.

An example of a 'composition-letter' created via the internet together with the Argentinian composer Juan Manuel Abras.

'composition-letter'

It seems to me, that an experiment wouldn't make sense, if an étude wasn't written about it. If John Cage's 4.33 was to be rewritten as an étude, musicians could learn to practice playing pauses and composers – using silence in their pieces. If the Karlheinz Stockhausen's helicopter quartet was to be rewritten as an étude, pilots could learn to read scores concerning the height of flight and the number of the engine revolutions so they could dialogue with a viola and the rehearsal space would become the world's most expensive room for practice.

The études concerning the subject of 'a different preparation using beatboxing techniques' are divided in chapters and each one has three difficulty levels. They are what follows:

  1. 1. Beatboxing techniques transferred onto the clarinet
  2. Remixing the already existent pieces
  3. Describing original techniques through an étude
  4. Using the phonetic possibilities of the world's languages
  5. The instrument and the movement – études on this relation

Being aware of my rights and duties as a person educated in 'seeing' the clarinet, I conceived this here idea, which I would like to continue in my „Études for a clarinet inspired by beatboxing techniques and contemporary music literature”

 


The development of these „Études” was partially financed by an Artistic Scholarship granted to me by the Bureau of the City of Warsaw.Urząd Miasta Stołecznego Warszawy

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