Two days ago, I had the honour of giving my first lecture about one focus of my work: I had been invited by la Conservatoire de Musique de Montréal and lectured in front of Prof Jean-François Normand and his clarinet class as well as Prof Michel Gonneville and some of his composition students. Also present were Bruce Mather who introduced me to the 1/16 tone piano right before the lecture, and a few other professional composers, e.g. Todd Harrop who had helped me organize the lecture and, besides, is the author of one of the very first compositions for two Bohlen-Pierce clarinets.
The students and teachers were a very dedicated audience as I explained the Bohlen-Pierce scale and harmonies to them and demonstrated the instruments. Jean-François Normand and his students were very curious to try the Bohlen-Pierce soprano and tenor clarinets I brought from Germany. When talking about multiphonics on the Bohlen-Pierce clarinet, Jean-François had a wonderful idea. I was mentioning that there are not so many (yet beautiful) multiphonics to be found on the instrument due to its lack of keys. Keys are essential for multiphonics because they are usually produced by using “odd” or “wrong” fingerings. Jean-François suggested to add one or two “useless” keys to the instrument, like the c’# / g”# key which is central in many multiphonic fingerings. I have suggested this to Stephen Fox, the maker of my Bohlen-Pierce clarinet and am curious about his reaction.
Thanks to Jean-François for giving me a new idea, and thanks to everybody for welcoming me!
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