When a composer asks me about writing key clicks I normally start out by explaining some seemingly obvious things such as that an open G uses no keys and therefore doesn't click, and that lifting fingers (as opposed to putting fingers down) also does not produce key clicks. In the end I always feel the need to tell composers to keep in mind that it is only key clicks, and nothing particularly exciting as such. 

But, I stand corrected. Listen to this preview of IKON for bass clarinet and computer by digital composer Jessica Aslan and me. It's 'just' key clicks!

Here is Jessica about how she managed to create such an intricate and varied sound world with only key clicks.

Recording material around which to design our piece was the first and most important step. In initial recording sessions with Marij we touched on the subject of key clicks. Through amplification the strength and texture of bass clarinet key clicks became apparent. We experimented with microphone positions and instrumental effects like removing the mouthpiece. By exploring different angles of playing and sampling we were able to unveil and capture a high level of detail inside the key clicks. Following the recording sessions I created the final sonic palette by magnifying what was already present in the bass clarinet and highlighting some of the more interesting artefacts.

Exploring the possibilities of the key clicks was certainly worth the persistence. The combination of electronics with key clicks is timbrally fresh and lends itself to interesting forms. As such this intricate sound now lies at the core of a substantial section of IKON.

Jessica Aslan