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Structural Overview
Estudo I contains a large number of extended techniques in a single work. In addition,
form and sequential harmonic patterns are intentionally deemphasized to provide an open ground
for extended techniques. Nonetheless, the piece does contain a musical structure, as outlined in
Table 1.1.
Table 1.1: Estudo I: structural overview
Introduction
1 st
Statement
2 nd
Statement
3 rd
Statement
4 th Statement
Extended Techniques
Coda
mm.
1-8
mm.
9-18
mm.
19-29
mm.
30-42
Flutter
Tongue
mm.
42
Multiphonics
mm.
43-49
Circular
Breathing
and
Humming
mm.
50-58
Flutter
Tongue
mm.
59-60
Double
Staccato
mm.
62-64
Acutissimo
Register
mm.
65-69
mm.
70-80
The introduction is announced by a rapid and irregular arpeggio passage, in an ascending
sequence from the lowest note E3 to a very high G#6, underlined by an ff dynamic. This
arpeggio (E, G, G# and C) is repeated three times until reaching the altissimo register (G#6).
It is followed by a sequence of descending eighth-notes, using an augmentation procedure that
gradually slows the tempo, thus changing the character of the passage. When relating this pattern
to post-tonal principles, one finds the numeric segment [0148]. Also, a flat-7 partial is obtained
when the player reaches high G#6. The actual pitch should be an A6, as the harmonic
series is [B, B, F#, B, D#, F#, A]. However, due to both its acoustical peculiarities and the unique
construction of the instrument, the partial is so flat that an almost-perfect Ab is produced.
Brymer asserts that “it is perhaps extremely fortunate that this flatness so accurately places the
note ... because in fact it is the only one obtainable on most clarinets” (Brymer, 1992). Two hexachords
(0,1,3,5,6,9) and (0,1,3,6,7,9), in measures three and five, respectively, have interval
vectors and . This is a descending line, progressing from small intervals
to wide ones.
Example 1.1: Estudo I, mm. 1-8.
Major and minor seconds and their inversions, and augmented and diminished fourths and
fifths are combined randomly. The contour of the melody is sometimes emphatic and other times
it is delicate. The effect created depends on each individual, according to his or her own temperament
and state of mind.
A transitional section follows. This section is rather energetic, with a piú mosso marking
and a ff dynamic. Descending and ascending mixed scales, basically in a whole-tone mode, also
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Anais do XII Sempem