VIRTUAL BASS-CLARINET IN MODALYS

Hans Peter Stubbe Teglbjærg Thomas Goepfer

“Composer in Research” (IRCAM) “Computer Music Designer” (IRCAM)
stubbe@post.nordit.dk thomas.goepfer@ircam.fr

KEYWORDS In practice multiphonics pose a certain number of

problems for both the interpreter and the composer. Every
Physical modelling, Realtime, Bass-clarinet, Multiphonics. multiple sounds demands a different embouchure, their
dynamic profiles are limited, their chaining are difficult
ABSTRACT due to the forked fingerings. They are difficult to sequence
with other modes of playing.
This article describes how the authors and the Modalys- It would seem that other means should be searched
team (IRCAM) collaborated to develop and implement a for; like a virtual replica, that can be played virtuoso by
realtime model of a complete bass-clarinet to be used in the computer. The first author therefore wished to develop
the first authors composition "Rippled Reeds" for bass- a realtime model of multiphonics on a virtual bass-clarinet.
clarinet and electronics, that explores the relation between A virtual model allows not only to even out these
an acoustic woodwind instrument and a similar virtual difficulties, but also, thanks to the rigourous control
one. possible with the computer, to force the multiphonic
The intend was to create a model that allowed towards other non-standard vibratory behaviours [7,8].
fingerings to be specified generating predictable output, in Thus leaving what in real life is very difficult, even barely
order to overcome a number of practical shortcomings possible, to an extra-human device?
when chaining complicated forked fingerings producing
multiphonics. The model should run in realtime so that it 1.2 Why Physical Models ?
could be driven from the actual acoustical playing. After more than 20 years of practical application physical
After a brief introduction, the first section will models (PhM) still holds a great potential, esp. when more
reflect about the choice of synthesis method and motivate advanced models arrive and substantial knowledge about
its compositional use. how to control them is developed [4]. Among its main
Second section describes how a model was created features must be mentioned : attractive richness and
from measurements of a true bass-clarinet complete with realism in transients, stimulating complexity in interaction
reed, mouthpiece, tube, bell and holes, sufficiently between excitation mechanism and resonator, its obvious
efficient to run in realtime on one Intel processor. instrumentality and possible expansion thereof, the many
Third section describes the interface and how it vibratory behaviours possible from a single model. In the
raised questions of preset interpolation and multithreading authors view PhM offers a synthesis method which is very
to obtain polyphony. The conclusion draws the contours of well adapted and coherent with current compositional
what was achieved and outlines possible further studies. practices.
Modal synthesis [5] was chosen because of its
1. INTRODUCTION modularity and user-programability, and because it
currently is the most advanced on interaction with an
1.1 The Composers Voice – briefly ! extensive control in realtime. Templates allow for quick
prototyping, while a set of basic connections allow the
Does a new music require new instruments? Could we
user to defined customised interactions. Any parameter can
only ask Partch, Nancarrow, Haba ... or Schöenberg [13].
be either directly modified in realtime or passed via a user-
Digital artists has since long left the question
defined functional expression to their destination
behind for instrumental composers to try to make a new
parameter. Such high degree of modularity is to the
music with traditional chromatic instruments. Woodwind-
authors knowledge not available in other PhM
instruments were for the most part perfected about 150
environments except at the coding-level itself.
years ago. New quartertone instruments (fx. flute, clarinet,
It deserves mentioning that recent advances of
piano) continues to rest outside current musical practice
wind-instruments, such a brass and saxophone [6], has
because of a strongly living traditional repertoire.
stimulated the modelling of a new air-mouthpiece
Schöenberg foresaw that the emerging microtonalism
interaction, that convincingly captures the non-linear
would not find into a central position of current musical
coupling between air and reed. It effectivly replaces
practice without adapted instruments.
Modalys’ rudimentary reed-connection by a more
Concerning multiphonics the situation is roughly
elaborate normalised-valve connection [5].
the same : current instruments are not particularly adapted.

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1.3 Why Real Time ? them found in methods is lowest (heard) pitch, usually
with some additional information about dynamic range,
The first author has made a number of pieces based on
speed of response, timbre, ease of playability, possible
PhM mostly non-realtime [9,10]. Though PhM in realtime
alternations, etc.
(RT) has been exploited for some time its complexity and
Multiphonics are seldom those fixed entities they
processing demands has prevented extensive usage. With
appear in the methods [1,2]. They have emerging qualities
increasing processing power more advanced models can that largely determine the order of appearance and salience
run in RT and appropriate live control-systems be of each component, many of which the player can control.
investigated. Clarinettists are fx. known to be able to produce different
RT control is important when exploring the multiphonics from the same fingering only by changing
"playability" of a model either in the studio or on stage. It aspects of the embouchure, reed-position and air-pressure.
allows one to "sense" the interactions of the instrument This domain is rarely systematically described. The first
and immediately evaluate its output. The authors wished to author consequently attempted a physical-acoustical
control individual keyholes of the virtual bass-clarinet in categorisation of the multiphonics based on 3 criteria :
close coordination with fingering sequences specified for
the live player. Each hole interact dynamically with the 1) perceptual, concerns how a multiphonic is perceived.
tube via a hole-connection that can be gradually opened or An empiric, but useful number of categories is proposed :
closed.
Realtime control of the model was used both in the • homogene / heterogene
studio and on stage. It proved a very effective device in • pure / electronic
searching a parameter-space. Modal synthesis tend to have • fine / coarse
many interacting parameters, certain changes may cause • fused / split
multiple effects, such as e.g. lowering number of modes • stable / rolling
may increase overall amplitude, due to less modes that • harmonic / inharmonic
interact. These can be quickly estimated through aural A main division is if the multiphonic provokes a single
feedback. fused percept or multiple simultaneous percepts.
The parameter-space of modal synthesis is not
linear in the sense that linear interpolation of physical 2) physical, concern how a multiphonic is obtained (esp.
parameters would create an even-spaced progression from with regard to type of fingering). They where labeled :
one timbre to another. Interpolating presets had to be • natural
carefully considered. Interpolation presets does not • register-key (proper or fake)
necessarily create an “interesting” transition between • perforated
otherwise fascinating states. RT feedback proved again the • trill-keys
quickest way of finding “zones of interest”. • forked
We wanted to put the models live capabilities to a • resistant (altissimo-fingerings underblown)
test, making full use of its many controls in RT. By
pushing the limits we wanted to address problems thus Each type of fingering describe a specific relation between
provoked and device solutions, some of which will be air-column and nodes.
discussed under implementation in section 2. 3) embouchure, concern how the multiphonic is excited.
This rather intricate category consists of :
1.4 Multiphonics – an extended timbre-study
• reed-position of lips at tip, mid or base of reed
Many has noted the "electronic" sound-quality of allowing more or less of the reed to vibrate.
multiphonics [1]. True, there is a bit of a ring-modulator
• lip-pressure on the reed and how much air
gone wild about them. But they are more than just
that slips through the sides of the mouth.
interesting new timbres. The way they physically work and
manifest themselves as "multiple sounds" goes beyond the • air-pressure determines together with lip-pressure
mere coloristic. For the first author multiphonics constitute the speed of air passing the reed / mouthpiece.
not only a wish for a large sound palette, but a quest for • reed-type either soft (elastic) helping the
composing at the principles of forked fingerings in an production of multiphonics or hard (stiff) enforcing
integral way. A search for a link between a physical fundamental and a strident timbre.
mechanism and its manifestation in sound where multiple
components participate in the coordinated production of • oral cavity is known to play an important role,
more than one layer of sound. but is relatively little described in the literature.
Understanding the physical-acoustical conditions For fingerings whose output is ambiguous and difficult to
necessary for the production of multiphonics in notate exactly an action type notation combined with
woodwinds has been described by some authors [3]. finger-tabulature was adopted. A graphical notation of the
Analysis of multiphonics naturally asks for a notational players embouchure was invented and is described in the
reduction for it to be practical. Main criteria for listing score [11].

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1.5 Embouchure – a link to bifurcation ? The instrument is capable of producing a large range of
sounds depending on the transfer function used. By
Certain embouchure and fingering combinations seem to carefully controlling amount of feedback it may produce a
point towards a bifurcative behaviour that has been harmonic tone (low pressure), partial splitting or
theorised about by some authors [7,8]. Such behaviours
bifurcation (at certain critical values), introduce
has never been reported in connection with multiphonics.
subharmonics (period doubling) or regimelocks, or by
The authors believes certain embouchure techniques may
successive reiteration further split partials to transite into
constitute a missing link.
inharmonic or chaotic spectra (abnormal high pressures),
For instance changing the reed to a soft type is
eventually approaching white noise, however perceptually
known to help producing multiphonics. The increased
always derived from the initial tone.
flexibillity in bending can better respond to the concurrent
vibrations in the aircolumn. Anonther known factor is the
Among its characteristics can be counted :
amount of reed taking into the mouth. Taking in the entire
reed will allow the reed to vibrate independently of the lips
• smooth (gradual) buildup and decay in attack / release
restraining effect. Combining both aspects in real playing
and in simulated situations resulted in spectra that divide
• clearly defined states (when feedback is smooth)
in a bifurcative fashion. Even on a mouthpiece alone
(without the use of crossfingerings) was such behaviour
• abrubt transitions (regimelocking as in chaotic
achieved. In order to advice precise and practical playing
functions)
techniques a systematic study of these constraints on the
freedom of the reed-vibration is necessary.
• period doublings (like in bifurcating chaotic functions)
In simulation, however, a precise physical model
has been realised that can produce the full route from
• partial cancellings (at fixed frequency intervals)
harmonic to bifurcative to chaotic behaviour. A standard
reed-connection describes the interaction between
• (apparent) change of fundamental with statechange
mouthpiece and tube. In this virtual instrument the reed-
connection is replaced by a special function based on
Changing feedback varies how the system behaves
feedback of the airpressure (tapped from inside the tube) allowing pitch, split spectras, chaotic behaviours bordering
onto itself (as is it enters the mouthpiece). The feedback is to noise to be developed in a continous and connected
shaped and controlled via a userspecified transfer function.
Feedback takes place on samplelevel and behaves like a fashion. Something not easily achieved in real playing.
chaotic oscillator exciting the tube-resonances. A number The instrument is controlled in realtime by mapping from
of different powerfunctions where tested, inluding some the instruments onstage playing position between two
clipping functions (see figure 1). microphones to amount of feedback thus modulating
degree of bifurcation.

schematic flow of a non-linear reed connection

pressure
force output listen
connection
time reed tube point
(bi2mass) (closed-open) access : speed
force reed

envelope access : speed

amplitude y = fn(x) [1]

function
time * [2]
f1 = x
y=force
f2 = power(x 3) - x
(exhale)
f3 = x - power(x 3)
f4 = sign(x) 4 |x| (|x|-1)
x=speed

(inhale)

[1] one may also clip x or y to the range -1,+1

[2] the characteristic need not be symmetric

Figure 1.
Virtual bifurcative instrument with user specified transfer functions.

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2. MAKING OF AN INSTRUMENT Modalys represents many interfaces (MatLab, LispWorks,
OpenMusic, MaxMSP) that can co-communicate. The
2.1 Implementation – a true collaboration ! model was read from file into a Lisp-script in order to
create all necessary accesses, additional objects (reed,
We aimed at a modelisation that would closely match the keys), connections (normalised-valve, hole-connections)
properties of a real bass-clarinet, complete with reed, and controls (dynamic controllers for all parameters).
mouthpiece, tube, bell and 32 holes (last hole being the Apart from being non-RT the Modalys Lisp-version is a
bell). A true bass-clarinet from the company Buffet- perfect user entry. Once executed this lisp-code produced a
Crampon was taken apart and its geometric dimensions final textual script that can be run in realtime from
measured. With a set of MatLab scripts these data where MaxMSP (using the extern modalys~) applying value-
used to calculate a mesh using the finite-element method changes to all predefined controls via messages. No
of representing 3D objects [5]. This actually modelled the further definitions takes place, one "plays" ones
whole interior air-column of the bass-clarinet as one single "instrument". Special care was taken to create a flexible
composite object (see figure 2). The mesh was then turned reed on a detachable mouthpiece, and to make the hole-
into modal data (mode-frequencies, mode-losses and interaction as simple as possible. The final instrument has
corresponding mode-shapes) which Modalys can read about 40 interactions, approx. 50 primary physical
directly from a file. This data now represents one big parameters and 90 secondary parameters to be controlled
resonant object, whose impedance-curve match that of the in realtime.
measured true bass-clarinet with all keys closed. This work
was undertaken by the team for acoustics of musical 2.2 How to blow the instrument ?
instruments (IRCAM).
The instrument is blown by augmenting an air-pressure
parameter (called gamma in a normalised valve model) to
a critical value. Air-pressure is really a time-dependent
parameter one has to vary in a smooth fashion. Abrupt
changes are likely not to work and high air-pressure values
may likewise block the reed from vibration. Each register
demanded air-pressure and embouchure to be adopted
differently. Multiphonics had usually their own settings.
The time spend in establishing which blowing would work
for which fingering tells how delicate blowing really is - as
in real life!
Holes are opened by setting the appropriate hole-
weight to non-zero thus activating the hole-connection.
When hole-weight is set to zero the hole is closed and the
hole-connection will be deactivated (freezed) in order to
save CPU. All holes had the sasme initial parameters
tuneable from the interface. Each hole radiates a certain
amount of energy that will be added to the final sound
when the hole is open. The two register-keys where
however treated with the cheaper speed-connections as
their radiation do not contribute to the sound. A key-to-
hole mechanism was not included in the model. Instead a
scheme for all conventional fingerings for corresponding
opening and closing of holes was saved as presets for
instant recall. Forked fingerings found in methods where
usually created as variant of regular ones and saved as
presets.

2.3 Completing the instrument

A special feature allows the mouthpiece to be detached
from the rest of the tube - while playing and still
Figure 2. sounding ! This procedure would not be possible in real
playing and thus shows an example of how the virtual
A mesh of the interior air-column of a bass clarinet. instrument can extend the real one. The idea of gradual
Holes “turn” outward as miniature air-columns. coupling / decoupling has required the implementation of a
weight parameter in all connections. The weight parameter
can grade the connection from fully connected to fully

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deconnected. This feature is also used when opening and initialisation. A somewhat counterintuitive "feature" is that
closing holes. the more open holes (i.e. the more interactions) the more
Another important implantation is the very efficient demanding the model is in CPU.
expression-controller that allows user-specified functional An expression controller was also used to freeze
expressions to be evaluated in real time. It is used for a hole-connections when weight equals zero, thus saving in
multitude of purposes like mapping a single dynamic CPU. In the final version of the model the CPU raised upto
controller to multiple actions, to make tests of states like if about 80% when all holes where open.
a connection has weight equal zero then freeze it, or to
perform tasks in the background. It has a rich syntax 2.5 Code developments – a summary
including most arithmetic operators, conditional tests, and
special operators for retrieving and storing information in These elements where added to the Modalys application
objects, controllers or connections. Expression controllers for the realisation of this project :
are fx. used to operate on modal data in realtime. Retrieval
• weight parameter in all connections
and storing of information can also be executed from for grading degree of interaction
MaxMSP using the getinfo and setinfo message to
modalys~. This is handy when the state of an object is • expression controller
unknown (or exploded!) and needs to be reset to a known allows functional expression to evaluate in RT
state. • spring connection
Volume-control of a dynamic system like Modal a twosided stiffness-controlled connection
synthesis is a topic by itself. Modalys in non-RT • normalised-valve connection
normalises by default, which is handy for the generation of replacing the older reed-connection
soundfiles. No such feature exist for RT use. One must • auto-normalisation on/off
either scale the audio output from modalys~ or build flag for non-RT use
scaling functions into the script. One way to proceed is to
run the script in non-RT with the auto-normalisation flag • get-info and set-info
off and the then look for the maximum output sample. One more complete set of operators
may find that the value range of Modalys' 64 bit
calculations is so small that it will not display in 3. COMPOSING FOR THE INSTRUMENT
MaxMSP's floatboxes. Using an expression controller one
may create a function that dynamically adapt the overall 3.1 Interface – for multiple simultaneous instruments
output volume according to the a running average of the
maximum sample so far. For the practical use all Alltogether 9 virtual instruments where developed, 2 of
instruments had to have approx. the same output volume. them complete virtual bass-clarinets. The 7 remaining ones
are derived from singling out various aspects of the
2.4 Optimisations – stairway to heaven ! complete model. They may be characterised as follows:

A good number of codelevel optimisations where carried • soloist instruments are complete virtual
out by Nicholas Ellis (IRCAM) in order to achieve a full bass-clarinets, one with a detachable mouthpiece.
model running without clicks on one Core 2 Duo intel
processor. Among this we tested a version of Modalys that • modulator instruments are either modulated
benefit from the processors 64 bit calculation possible from the patch or by the real player.
from Leopard 10.5.7. A double gain was achieved; in • resonator instruments takes players sound-input
terms of speed and in terms of resolution. Physical and filters it through modal objects.
modelling requires a large value range to be able to
represent movements of very large and very small masses. The second author made an interface for each instrument
64 bit resolution is effectively well adapted for this with a coherent style of GUIs and use of presets [12]. Due
representation. However a 64 bit Modalys could not be to a rather large number of primary and secondary
integrated in Max5 as it presently calculates in 32 bits. To parameters for the complete model we chose to split that
avoid a risky concert situation with several demanding interface into two parts: one covering everything
applications running in parallel we thus decided to remain concerning the holes and one concerning blowing, reed,
with a 32 bit Modalys that could run from inside Max5. tube and modal data. Each with its own storing and
In the Lisp-script optimisations where mainly retrieval system. The interface groups the models many
achieved using the expression controller. Fx. send in real parameters according to their functionallity (see figure 3).
time of certain basic physical parameters would cause the In other words we kept fingerings apart from the
entire model to reinitialise and actual values to be lost. instrument allowing us to test various blowings against
Instead specialised expression controllers where use to any series of fingerings. We were conceptually at ease with
affect only desired parameters without causing re- this distinction.

436
 Figure 3.

Sample of interface for a virtual bass clarinet (Max5),

comprising controls for mouthpiece, tube and modal data, blowing and reed specifications.
Fingerings, other instruments and concertcontrol are specified a part with a similar GUI.
For more details see [12] by the second author.

Each instrument interfaces includes appropriate value- necessary, resulting in fewer high partials being present in
limits for all parameters to avoid clicks and leaks from many of the sounds. To compensate for this high-cut
excessive control values, and a limiter to act a volume characteristic bounced sounds where fed through a
safety-gaurd (Modalys can be very sensitive!). The harmonic excitor to regain some of the lost higher partials.
concert-patch is essentially an event-player that can trigger Various other post-production treatments where used
sequences of presets and affect specific parameters via sparingly only to enhance the sonic projection of the
messages, including interpolated presets for fingerings, otherwise pure direct output from Modalys.
blowings and tube design for various types of instruments. The speaker placement consisted of a 6 channel
The intention was to control the compositions 9 system surrounding the audience projecting mainly the 6-
modalys instruments in realtime, with a maximum of 3 channel audiofiles. Onstage a special speaker tower called
running simultaneously. However, to achieve a satisfactory “La Timee” (reduced version) was placed opposite to the
richness in sounding result much modulation was player. Here realtime instruments modulated by the player
necessary. The CPU strain became very high and a was projected in order to enhance the interaction between
reduction necessary. Instruments that was not modulated the player and the virtual instruments. The placement
from either the event-player or the soloist where therefore onstage of this speaker configuration was conceptually
bounced in realtime in the studio and instead triggered as thought of as a shadow player.
premixed 6-channel soundfiles including a volume- The bass-clarinet was fitted with a closeup
control. For the realtime control in the studio two microphone attached to the instrument-body to amplify
BCF2000 where connected to MaxMSP and mapped to key-noises and other microsounds and a microphone at
modalys parameters. This proved a very fruitful studio-use approx. 1 meter distance for general amplification of the
of Modalys in realtime. playing. No realtime treatment was involved except for
From a mixing point of view the sonic result is some reverb from the main mixer to fit the hall-acoustics.
deliberately kept close to Modalys. No sound appear More information about speaker setup and technical
which is not either from Modalys (whether bounced or in requirements is found in [12] by the second author.
realtime) or from the real player, e.g. no external samples
where used. However due to the realtime demand of the
instruments lowering of number of modes where often

437
3.2 Preset interpolation – or why does it work ? 4. SUMMING UP
Special considerations had to be given to automatic value
4.1 Parts of a conclusion
interpolation. As described earlier the parameter-space of
modal synthesis is not linear. Because of the dynamic The model was not entirely in tune when compared to the
nature of modal synthesis random switching or tempered scale, thus predictability for forked fingerings
interpolation of presets would not garuantee to bring back found in referenced methods was only partially achieved.
a known vibratory state. We devised a way of forcing the The deviation was as much as a semitone. Possible cause
system to reset and learned to pay attention to the exact of deviation could be the measured dimension of the tube
order and timing of switching presets. Interpolation of and holes, the hole of the register key that descend into the
embouchure settings also proved very sensitive and these instrument like a small tube, and tuning of hole
where mainly used in a switching fashion. resonances, which maybe must be done on a individual
In addition we noted how the CPU strain during basis. As a consequence precise pitch-contend had to be
interpolating varies according to parameter type. To begin measured afterwards in order to be notated and correlated
with we led Modalys interpolate everything by default but with multiphonics used in the composition.
realised it caused click for certain basic physical However the various principles for forked
parameters. We carefully examined the CPU strain of each fingerings produced in many cases spectral results
parameter and left the critical ones uninterpolated by strikingly close to the behaviour of real-life multiphonics.
Modalys. For MaxMSP we adopted a system such that a It is expected that better tuning of the model, e.g. of hole
preset could be recalled with a global interpolation-time resonances, combined with proper embouchure setting
and followingly any desired parameter modulated locally. would raise predictability. As in real playing proper
Only values that has changed where actually sended. It embouchure control plays a crucial role in obtaining
was thus necessary to distinguish between the desired multiphonics. Interpolation of embouchure proved
interpolation in Modalys which is done on samplebasis esp. difficult for which further study is necessary.
(more precise but costly) and in MaxMSP that perform it Driving the model from the acoustic playing is but
at vectorbasis (less precise but cheaper). one solution. The model is sufficiently rich and flexible to
be played on its own e.g. by a wind controller. The
3.3 Polyphony implementation as a standalone applications allows easy
To be able to run several instruments simultaneously in integration with other styles and ideas. Appropriate
concert, we looked into what can be achieved from the strategies for realtime control of model in concert whose
OSX multithreading capabilities on multi-core Macs. parametrical behaviour is complicated remain however a
Modalys can multithread its instruments provided concern, as much for the composer as the developer.
no cross-references are made. It means that a single model The approach herein described yield an attractive
or parts of it cannot be multithreaded. However all structural match between how the composition was
keywords for controllers must have individual names as “thought” and how the synthesismodel was “controlled”,
they exist in a global namespace. The same holds for as both could be organised according to a similar set of
MaxMSP where multithreading can be achieved from “fingerings”. Compositional workflow was considerably
poly~ but not generally for MaxMSP itself. Modalys~ enhanced through this unified representation. The
inside a poly~ can be multithreaded. MaxMSP's instrumental part and the electronics does not exist in two
namespace is also global, meaning local variables are not parallel universes, but unfolds along a common line of
possible outside poly~ in multithread mode. thought. Multiphonics as a form of controlled distortion
Many of the instruments have uniform names for seem very promising, and may constitute a new aesthetic
controllers performing similar functions. This makes in the making ?
instrument definition and interface development easier and
we decided to keep this convention. We therefore made 4.2 Acknowledgement
each instrument an individual runtime application The team of “acoustics of musical instruments” (IRCAM)
controlled from a central patch via OSC. Multiple runtime assisted the project in many ways with elements of code-
applications will automatically benefit from development, in discussions and during implementation.
multithreading on a multi-core Mac. Each instrument is Especially Nicholas Ellis and Joel Bensoam where greatly
thus an independent application that easily could be helpfull throughout the entire project. Alain Terrier
integrated into other environments using OSC. carefully undertook the measement of the Buffet-Crampon
Output routing for each instrument-application was bassclarinet, including its disassembling and reassembling.
set to individual output channels, assembled and redirected Woodwind instrument manufactor Buffet-Crampon
in RMEs Fireface 800 matrix-mixer to the main PA mixer (Paris) kindly borrowed a concertmodel bassclarinet for
for live broadcast. The concert setup used for the first the purpose of its meaurement.
performance is described by the second author [12]. The authors like to make a particular mentioning of
Andrew Gerzso (IRCAM) for his contionuos confidence in
this projet.

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5. REFERENCES

Methods with fingerings for bass-clarinet multiphonics

[1] Ph. Rehfeldt, “New Directions for Clarinet”,
University of California Press (1977).
[2] H. Bok, “New Techniques for the Bass Clarinet”,
special limited edition by H. Bok (1989).

On the acoustics of multiphonics

[3] J.Backus, “Multiphonic tones in the woodwind
instruments”, JASA, 63, 591 (1978).

On the physical modelling of clarinet tones

[4] R.T. Schumacher, “Ab initio calculations of the
oscillations of a clarinet”, Acoustica 48, 71 (1981).

Modalys reference
[5] Modalys, IRCAMs Physical modelling application,
http://support.ircam.fr/doc-modalys.
[6] Arturia Brass, 3 PhM Brass software instruments,
http://www.arturia.com/evolution/en/products/brass.

References on bifurcative behaviour

[7] F. Laloï et al., “Bifurcation, period doublings and
chaos in clarinetlike systems”, Europhysics Letters 1 (6),
pp. 295-302 (1986).
[8] Vincent Gibiat, “Chaos and musical instruments”,
proceedings of ICA, Madrid, Spain (2007).

First authors compositions based on physical modelling

[9] H.P.S. Teglbjærg, “Regime_S” for 8.2 channel tape,
performance material by the composer (2007).
[10] H.P.S. Teglbjærg, “Kobar Qunar II” for clarinet and
electronics, score by the composer (2008).
[11] H.P.S. Teglbjærg, “Rippled Reeds” for bass-clarinet
and electronics, score by the composer (2009).

Description of concert patch and technical setup for

“Rippled Reeds”
[12] Th. Goepfer, “Rippled Reeds”, IRCAM technical
report No. 145 (2009), http://brahms.ircam.fr/sidney.

On the evolution of new instruments

[13] A. Schöenberg, “The future of orchestral
instruments”, in “Style and Idea” Belmont Music
Publishers (1975).

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