Bb clarinet

multiphonic D4 & B5

multiphonics     C4 & A#5 D#4 & C#6 F#4, G#5, D6 & G6 D4 & B5 E4 & C5 G#4, C5, A#5 & E6 D#4, D#5 & B5 F4 & G#5   D#4, F5, C#6 & E#6 F4 & A5

Impedance

Fingering a key depressed a key not depressed a hole covered a hole uncovered a part of the mechanism that is not normally touched Details in fingering legend. Acoustic schematic a closed tone hole an open tone hole Non-specialist introduction to acoustic impedance Non-specialist introduction to clarinet acoustics Notes are the written pitch. Frequencies are the sounding frequency, for Bb clarinet. Unless otherwise stated, the impedance spectrum is for a Bb clarinet.

Here, the D4 may be considered as produced by a variant of the E4 fingering, with considerable cross fingering to make it flatter. The B5 is produced by the third peak in the impedance spectrum, which one could consider as the third resonance of a modified fingering for G3, with the open key acting as a register hole.

A two-note multiphonic requires the superposition of two standing waves (whose frequencies, which are not in harmonic ratios, determine the pitches). Usually, this is achieved by opening one (usually small) tone hole in a series of closed tone holes. The wave travelling downstream from the reed is partially reflected at the open tone hole, which makes one standing wave. The rest of the energy in the incident wave continues down the bore, until it reaches the first in a series of open tone holes. Here it is reflected to make the second standing wave.

For this situation to apply, the frequencies of the notes have to be such that the effect of the inertia of the air in the open tone hole is large enough to allow some transmission past the hole, but small enough to produce some reflection.

Sound

Sound spectrum of a Bb clarinet played using fingering for the multiphonic D4 with B5.
For more explanation, see Introduction to clarinet acoustics

Sound Clip

You can hear the multiphonic D4 with B5 played.