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help to create an explosive intensity. In measure 38, a meno marking creates contrast. The tenuto
accents converge to dramatically emphasize the passage as well (Example 1.2).
Example 1.2: Estudo I, mm. 30-42.
The flutter tongue in measure 42 announces a series of extended techniques. The clarinetist
may or may not perform the flutter tongue from the preceding measure, particularly after
the last note of the triplets. I connect measures 41 to 42 to help build to the peak of this passage.
However, other players may prefer having a slight gap in between in order to better perform
the flutter tongue.
I use four sequences of multiphonics, presented as follows: I, II, III, IV, III, I, II, and I (see
measures 43 to 49). They are first introduced at a slow tempo to emphasize on their timbral effects
and then are repeated. A fingering chart for them multiphonics is available in the score; however,
the musician may use a fingering that best fits his or her own acuity and equipment.
The next passage includes humming, combined with circular breathing, microtones, vibrato,
and glissando. A flutter tongue then follows, the purpose of which is to create tension; it
culminates with a trill. Immediately following, there is a rapidly descending and ascending passage
that incorporates double tongued staccato. Large leaps culminate on a high D7. The coda
begins quietly and gradually evolves to a forte, where a sextuplet of thirty-second-note group is
attacked. The piece ends with another wide leap, from an accented high C7 to an accented low
F#3 (Example 1.3).
Example 1.3: Estudo I, mm. 79-80.
Comunicações Orais 57