RECORDER UNLIMITED
A Preliminary Study
of the Alto Recorder's Multiphonic Resources.
A Thesis submitted to
The Department of Music
in partial fulfilment of the prerequisites
for the Degree of
by
April 1993.
I wish to express my gratitude to the many people and institutions who have assisted me
in the formulation of this work. Without their encouragement and support, this project
could not have been realized.
Since a considerable amount of my research in this area had already been carried out
by the time my undergraduate thesis was submitted, I acknowledge again the same people
and institutions listed therein, without necessarily repeating their names here.
Nevertheless, I would like to thank specifically my family, and the following people,
all valued colleagues and friends, for their assistance in providing source materials and
an impressive input of ideas, as well as further encouragement and aid:
Stephen Adams, Michael Ahearn, Robert Allworth, Newton Armstrong, Ros Bandt,
Michael Barkl, Joanne Beaumont, Kirsty Beilharz, Prof. Anne Boyd, Gerard Brophy,
Paul Brown, Daryl Buckley, Bruce Cale, Ann Carr-Boyd, Laura Chislett, Bill Coates,
Racheal Cogan, Brendan Colbert, David Colwell, Neil Currie, Corinne D'Aston, John
Davis, Chris Dench, Robert Douglas, George Dreyfus, Jon Drummond, Roslyn Dunlop,
Lance Eccles, Ross Edwards, Winsome Evans, Jim Franklin, Ian Fredericks, Prof. Eric
Gross, Elliott Gyger, Prof. Graham Hair, Richard David Hames, Walter van Hauwe,
Matthew Hindson, Anthony Hood, Rosemary Jayes, Vicki Jones, Hans Maria Kneihs, Dr
Leon Lambert, Lorna Lander, Riley Lee, Angela Lenehan, Liza Lim, Michael Lonsdale,
Rafaelle Marcellino, Dr John Martin, Peter MCCallum, Robyn Mellor, Jonathan Mills,
Jun-ichi Miyagi, Andrew Moen, Fred Morgan, Peter Myers, Dawn Nettheim, Dr Eve
O'Kelly, Alan Pert, John Peterson, Peter Petocz, Greg Pfeiffer, Prof. Peter Platt, Mark
Pollard, Claudio Pompili, Jonathan Powles, Vanessa Purcell, Thomas Reiner, Richard
Rijnvos, Dr Mike Ryan, Prof. Peter Sculthorpe, Greg Shapley, Graeme Shilton, Larry
Sitsky, Jana Skarecky, Michael & Maria Smetanin, Andrea Stanberg, Malcolm
Tattersall, Alice Taylor, Dr Benjamin Thorn, Richard Toop, Phil Treloar, Simon Wade,
Rodney Waterman, Belinda Webster, Felix Werder, Nigel Westlake, Michael
Whiticker, Justine Wilkinson, and Robert Zurynski.
Several of the textual examples were copied by Paul Brown. His musical calligraphy is,
in my opinion, a paragon of beauty and clarity. I am extremely grateful for his assistance
in this regard.
Finally, I offer a special vote of thanks to my brothers, Chris and Dennis, for the
invaluable role they have played in organizing the layout, typesetting and printing of this
thesis. Their unstinting generosity in freely giving me their time and expertise, as well
as permitting me access to the appropriate equipment and providing me with the necessary
materials, is greatly appreciated.
1.1 The New Experimentalism: Aesthetics and Historical Perspectives . ... . ... 1
2.4.3 Multiphonics with the End of the Footjoint Closed or Covered .......... 92
CHAPTER 3. Some Composite Multiphonic Techniques for the Alto Recorder ..... . 122
3.4 Multiphonics combined with other Multiple Sonorities ...... . . .. . ... . .. . . 157
3.4.1 Multiphonics mixed with Vocal Sounds .. ..... . .. .. .. ..... ... .... 157
3.5 Further Articulation possibilities for Multiphonics ..... . .... . .... . .. .. . 170
3.5.2 Fluttertonguing ... ..... .. ... ........ ...... .... . .... . .. .. .. . 178
3.6.1 Breath-generated Vibrati . ... . ... . . .... ... . .. .. .. ... . . .. .. ... . 190
3.6.2.2 Timbral Vibrato . . . ......... . ... ....... .. . ... ... . .. ... 200
3.8 Multiphonics combined with Percussion Sonorities ........ .... .. . ... .. . 208
3.10 Multiphonics utilizing Separate Sections of the Alto Recorder ...... .... . .. 235
3.10.2 Multiphonics with the Footjoint removed . . . . . .. . . ....... . ... . . ... 241
4.1 Introduction . ..... .... .. . . . . .. . . . . .. ... ... ..... . ..... . . . .. . .... 256
4.2 Multiphonics and Pitch Organization . .. ... . ......... . . . .... . ...... . 2157
4.4 Multiphonic Textures ......... . . .. . . . ... ..... . . .. . ....... ... ..... 263
4.6 Multiphonics and Indeterminate Structures . . . ......... .. .... . ... . . ... 271
4.7 Multiphonics and Electronic Sound-Media ........................... 273
Discography .... .. ..... ..... ... ... ..... ... ....................... . ... 316
Prologue
lT111i111ited
1. INTRODUCTORY REMARKS
- 1-
piano technique known as the 'cluster' (wherein a number of adjacent keys
are simultaneously depressed). Cage developed the 'prepared piano', a
sound-producer consisting of a normal piano effectively transformed into a
multi-percussion instrument through the insertion of diverse objects
between or upon the piano wires. Cage and others subsequently wrote
many works for percussion ensemble during the 1940s, but it was Cage
alone who took the radical conceptual step, with his composition 4'33"
(1952), of allowing all sonic experiences to be potentially musical.
The notion of making available the full spectrum of sound as a potential
musical resource became a prerequisite with the widespread appearance of
electronic technology in music during the 1950s. A clear manifestation of
this aesthetic was evident in the classical electronic music genre referred
to as musique concrete, in which 'environmental sounds were
electronically recorded and then manipulated on magnetic tape. 5 Within
all of the musics of the post-War Avant-Garde, and specifically in
electronic music, ardent exploration of sonic possibilities became a most
important aim. It was in this context of rapidly widening acoustic horizons
that timbre universally evolved as a prime compositional element.
A crucial development in musical experimentation arose during the
late 1950s when adventurous performers started to carry out intensive, far-
reaching timbral research. Hitherto unemployed sound-resources then
began to be incorporated into instrumental compositions and
performances. At this time and in the early 1960s, jazz musicians such as
Eric Dolphy (saxophone and bass clarinet), John Coltrane (tenor
saxophone), Pharoah Sanders (tenor saxophone) and William O. ("Bill")
Smith (clarinet) became interested in and proceeded to develop a variety of
non-traditional playing techniques, including multiple sonorities, which
then began to be utilized in their improvisations. 6 Smith, who is moreover
an important composer and pioneer of Avant-Garde clarinet music,
worked with composer John Eaton in providing multiple sonorities and
many other unconventional devices for Eaton's Concert Music for Solo
Clarinet (1961). Several outstanding, classically trained instrumentalists
were also concurrently investigating the potential of woodwind multiple
sonorities, often in conjunction with a composer. Sergio Penazzi (bassoon)
and Lawrence Singer (oboe), for example, undertook important research in
this area with the composer and theorist Bruno Bartolozzi. Oboist and
composer Heinz Holliger worked independently to develop multiple
sonorities for the oboe. Luciano Berio requested a number of multiple
sonorities in his Sequenza (1958), written for flautist Severino Gazzelloni,
as a direct outcome of Gazzelloni's early involvement with flute multiple
sonorities. 7
Technical research carried out by explorative performers working in all
musical areas of the 1960s Avant-Garde frequently found its realization in
the works of composers with which they closely collaborated. As such,
these performers have made a permanent contribution of widespread
significance to the aesthetics and composition of music, as well as to the
development of instrumental technique and artistic possibilities:
"In no other period of music history has the performer played such an important role
in the development of new sound resources and instrumental techniques. Many
instrumentalists have, during the past twenty years, created a significant impact in
determining and exploring the sound capabilities of their respective instruments
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and have more than justified the claim that this immense potential can be applied as
easily and as constructively as the use of electronic tape."B
- 3-
Because this monograph is limited to the multiphonic capabilities of the
alto recorder, the musical excerpts which punctuate the text are generally
restricted to those composed for this size of instrument (although examples
relating to the other sizes will sometimes be given instead, where
necessary or desirable). These excerpts, it should be emphasized, are given
for purely didactic purposes, and have not been chosen on the basis of
possible artistic merit. 1S
It is my sincere hope that those who study this treatise will be
stimulated to apply and think even more creatively about the potentialities
of the recorder, and, by extension, of other musical instruments. 16 A full
documentation and explication of the available resources should then lead
to better Art as composers, performers and teachers explore the
possibilities in a sensitive, intelligent and forward-looking manner.
Introduction
In comparison with other woodwind instruments (particularly the flute
and clarinet), there is surprisingly little documentation appertaining to the
recorder's multiphonic resources. Much of the published literature treats
the subject in a rather superficial or even useless manner, which militates
against a real growth in technical awareness and prowess by recorder
players as well as an equivalent, parallel development in the artistic
application of recorder multiphonics by composers.
Significantly, most of the material under consideration here has been
formulated exclusively by recorder players, a situation that has
perpetuated ever since the pioneering work in this field was carried out by
Michael Vetter, a German recorder player, during the 1960s. As a
consequence, any serious discussion relating to compositional strategies
for recorder multiphonics is conspicuously absent from the available
source-writings.
Whilst early research into the multiphonic possibilities of the recorder is
fundamentally important, the present monograph develops much of this
research, documents some apparently new multiphonic capabilities, and,
for the first time, proposes numerous compositional procedures that might
be adopted in deploying recorder multiphonics within a piece of music. 17
- 4-
capabilities without delving deeply into any associated technical concerns:
the possibility of eliciting multi phonics (and related techniques) from the
recorder may only be mentioned, with little, if any, discussion relating to
their production or notation. Usually, only a handful of fingerings at most
are given in any accompanying multi phonic charts, and musical examples
are seldom provided. The inexactitude of such articles, demonstrated by
their cursory treatment of the subject, therefore severely limits their
practicability for both composers and performers.21 (In some instances, an
article's contents may even be somewhat suspect.)22
Apart from the two major works which will be examined in detail
shortly,25 all of the criticisms raised in the preceding section may also be
levelled at the paucity of other publications that address, in various degrees
of perspicacity, the multiphonic potentialities of the recorder.26
Positive features
-5-
4. Vetter's document significantly incorporates charts of multi phonics
generated with the end of the recorder's footjoint "closed" or "covered". The
separation of these charts into "closed" and "covered" registers indicates a
thorough awareness of an important acoustic refinement in recorder
technique.
Negative features
1. In general, Vetter's work would now be almost completely unsuitable or
insufficient in meeting the extremely specialized requirements and
complex performance demands of certain contemporary composers who
study, in great detail, the playing techniques of instruments for which they
are writing. 29
2. The multiphonic fingering charts were compiled on the basis of research
carried out with a Moeck Tuju Baroque model alto recorder, a wide-bore
instrument originally designed, it seems, for use by schoolchildren and
amateurs. The structural characteristics of this model are therefore
atypical in comparison with those of an instrument ordinarily used by most
(professional) players in the performance of contemporary recorder
music. 30 Consequently, the charts as such are totally obsolete, because
manifold errors arise.
- 6-
production, acoustical characteristics and other parameters of the
multi phonic sounds themselves as obtained from each given fingering.
Prior to the appearance of this thesis, Martine Kientzy's monograph Les
Sons Multiples Aux Flutes a Bee (Salabert, 1982), published bilingually in
French and English, constitutes the only extensive study directed
exclusively towards the research and documentation of recorder
multiphonics. The work encompasses 1191 fingerings, giving rise to
approximately 775 recorder multiphonics. Although flawed, this admirable
treatise, unfortunately, has not yet received the widespread publicity and
application that it deserves. 32
Positive features
1. Kientzy provides separate multi phonic charts for each of the five
common sizes of recorder [sopranino, soprano, alto, tenor and bass], a rare
feature indeed in comparable studies involving other woodwind
instruments. (This laudable feature will doubtless attain considerable
approval amongst both composers and recorder players.)
2. The charts include many technical parameters, which are lucidly
presented, as well as much more necessary technical information
("explanatory notes"), although both of these aspects of the document are
still incomplete, in my opinion.
Negative featur es
1. The alto recorder multi phonic charts are derived from research carried
out with a Fehr instrument, a rather uncommon brand yielding
idiosyncratic results . (Similarly, a Moeck bass recorder was employed for
the bass recorder charts; this brand is gradually falling into disfavour
amongst many bass recorder players, who now prefer various Japanese
brands instead.) Furthermore, in no instance does Kientzy specify the exact
model of recorder utilized.
-7-
2. Many fingerings within the charts appear to give unreliable or
questionable results. Some multiphonics, for example, are more difficult to
produce than Kientzy's charts claim, whilst other given fingerings yield
constituent multiphonic pitches which are not consistent with those
specified in the charts.
10. Kientzy claims that sets of recorder fingerings exist which yield
identical multiphonic sonorities:
"Synonymous multiple sounds (identical sounds but with different fingerings)" ,
and:
multiple sounds can have ... t he same sound with different fingerings
(synonymous sounds).,, 34
-8 -
This notion is completely erroneous: every recorder multiphonic
encompasses different acoustic details. Certainly, sets of recorder
multiphonics exist which are perceptibly very similar, but they are never
identical timbrally, because their precise spectral contents, air-noise
elements, undertones or modulation characteristics will vary - however
subtly. (For example, the synonymous multiphonic set associated with alto
recorder multiphonic no.67 contains diverse modulation phenomena.)
Such nuances may even be positively exploited by composers.35 (If these
sonoric differences are regarded as being compositionally negligible,
Kientzy's "synonymous multiphonics" might also find application in
musical contexts where ease of fingering is an important consideration.)
- 9-
charts include only alto recorder multiphonics, almost all of which are
thoroughly reliable and easy to produce, and display a reasonable degree of
consistency and stability.37 Potential users of these charts can therefore be
confident that the documented recorder multi phonics are reliably playable
by competent performers.38
Introduction
All acoustical research within this thesis focusses upon the alto
recorder, historically and universally regarded as being the central
member of the recorder family.39 Such research into the recorder's
multiphonic possibilities was carried out with an ebony Moeck Rottenburgh
alto recorder, an omnipresent, high-quality model of modern design in the
English/Modern fingering-system. This instrument, tuned to A440 Hz,
possesses an arched, vertically rather wide windway, double-holes for both
the right-hand ring and little fingers, as well as a fairly narrow conical
bore. Amongst the various instrumental models that are currently
available, it also seems to be the one which is most commonly utilized by
both professional and advanced amateur recorder players in the
performance of contemporary recorder music. Uniform results in the
practical application of the multi phonic resources documented herein can
therefore be expected, due to this instrument's ubiquity and a satisfactory
degree of uniformity in modern alto recorder design generally.
-10 -
be transferred to these instruments with reasonable success, although it
should also be emphasized that the level of innate multi phonic instability
will often increase as a multiphonic is elicited from progressively smaller
recorders (assuming an invariant fingering-configuration).
- 11-
The musical context that a recorder multiphonic is placed within
ultimately determines its practicability: a multiphonic that is easily
produced in one situation might be inexplicably difficult to realize in
another. Composers therefore ought to have a collaborative player test
proposed multi phonics within the intended context of the work-in-progress,
rather than just slavishly copying or definitively basing compositional
decisions upon data provided in a technical manual (such as this thesis).
An additional complication arises from the fact that, because of immutable
anatomical characteristics, different players may vary from one another in
their ability to execute certain multi phonic possibilities demanded by
composers. 41
Because most recorder players, deplorably, are still unfamiliar with the
many technical developments that have been achieved upon their
instrument since 1960, it is the responsibility of every composer, in utilizing
the recorder's multiphonic capabilities, to provide clear, precise and
exhaustive technical details in a preface to the score - and the players'
parts. Thorough explanations relating to multiphonic notation, fingering-
indications and all other parameters,43 the model of recorder used in the
multiphonic research, as well as further verbal directions ought to be
included in all relevant materials. In addition to supplying tablature
pictographs for multiphonic fingerings within the score and parts,44 it is
also desirable to insert, within the technical preface, a separate,
comprehensive chart encompassing all of the composition's recorder
multi phonics and their pertinent parameters. 45 (This readily allows the
performer to verify the response of each recorder multiphonic upon their
particular instrument.)
- 12-
taken by composers in solving problems appertaining to multiphonic
discrepancies. The performer might, for instance, be instructed to
experiment, if necessary, with different recorder multiphonic fingerings -
usually variants of those provided in the score - in order to achieve a sonic
result which optimally corresponds to the given notation. This procedure is
by far the most common: 47
- 13-
Colin Sterne also states the following In relation to his composition
Meadow, Hedge, Cuckoo:
"Although the exceptional fingerings were tested on recorders from various makers,
there may be an effect that causes problems on a particular performer's instrument,
and some experimentation may be called for. This is particularly true in the Eerie,
sinister section [which includes several multiphonic gestures]. If all else fails, a
substitution may certainly be made."48
Harmonics: The. 6oUowhtg haJUnOrUeJ.> Me. Me.d. The. 6htgvUng-6 givm -6hOLL[d be. -6VJ..c;t11j
adhe.lLe.d to. AUe.lLna.:Uve. ILOLLte.-6 Me. atway-6 g..t.ve.n whe.lLe. -6Y-6tem,5 u;t{LU, e. haJl-
morUeJ.> ht 01Lde.1L :that the. pl..a..ye.IL may c.h00-6 e. whe.the.IL OIL not to Me. them M
an htte.gtLai timblLe. dwung the. C.OWL6e. 06 a pe.IL 6OILmaVlc.e.
.. ..
0
.
0
0
..
0
,. T +
(Jl:) 1"" t---
~ 0
0
(ie) j. l'
Ex. 1-4. Tui St. George Tucker: Sonatafor Solo Recorder. Preface.
(Alto recorder)
All rests of a quarter and longer, may be played with a slight fer-
mata. This does not mean that every rest not marked should. be held.
The player must feel his rests and phrases so that they build prop-
erly in actual performance. Since he is ~ot bou~d by co~trapuntal ob-
ligatiOns, they may vary slightly accordrng to hiS own Judgment.
The following fingerings and trills should be observed as notated.
These are the particular sounds intended by the composer.
- 14-
CD 0 0 (j)
e+
~ .
!
,.
!
...
e+
. .
0
!
! !
.+ .+ 0 e+
.+
e+
0 0
0
0 0 0
@ @
~v ...
~ 1'[ For this trill
~
4>
0 use palm of
! ! band on bole
o. o. o.
=
o. o. o. o. o.
.+
0
0
0
at lower end
of recorder .
! .! .! .! .! . .! . 0
0 0
0
@l-
0 0 0 0
0
0 0
0 0 0 0 0 0 0 0
- 15-
subtleties necessary for the realization of most of the recorder's
multiphonic capabilities leads to technical improvement in several areas.
Greater sensitivity of articulation, as well as vastly increased breath-
control and fingering-dexterity result from the repeated production of
difficult multiphonics, the relentless practising of minute or very gradual
multiphonic . spectral portamenti, and the rapid performance of
multiphonic sequences involving awkward fingering-patterns, for
example.
Concluding comments
Where pitch-names are provided in the text, they are also labelled
numerically: the given number indicates the corresponding octave within
the recorder's regular tessitura. A zero (0) refers to the first octave below
the standard range (which might, for instance, include certain
combination tones and unorthodox pitches produced when the end of the
footjoint is closed [airtight]).
3. Arrowheads upon any accidentals in the text (or within the multiphonic
charts) denote a slight intonational deviation away from the specified pitch
- somewhat less than a quartertone; no more than an eighthtone - in the
given direction.
The following chart outlines this pitch-designation system in terms of
the alto recorder, to which all pitch-names given in the text will refer,
unless otherwise specified:
- 16-
A\10 rl!.<:.orrAer.
,-, r-l ,---,.--. ~.
Endnotes
1. Hence the title of this thesis : "Recorder Unlimited". The post-Modernist philosophy just
outlined forms the aesthetic foundation upon which "Recorder Unlimited" is based. It arose
from the philosophy of total artistic freedom which was espoused - but in reality not often
practised - by the post-War musical Avant-Garde. "Recorder Unlimited" is therefore not
bound in any way to specific styles or genres of music (although many of the musical
examples provided herein happen to be taken from Avant-Garde compositions, which often
extensively utilized multiphonic capabilities). Historically, the concept of pan-stylistic,
exhaustive research into the sonic and artistic potentialities of musical instruments has no
precedent prior to the Avant-Garde of the 1960s.
"One of the most significant developments in twentieth-century music has been the expansion in
instrumental techniques that led to a reassessment of the capabilities of all instruments. The
concept of Klangfarbenmelodie ('melody of tone colours'), which made its first appearance in
Schoenberg's Five Pieces for Orchestra of 1908, was further developed in the music of Webern,
Bartok and Messiaen and can be seen as a desire on the part of composers for new sounds and
hitherto unknown possibilities for expression. Since the Second World War, and since the 1960s
in particular, further expansions of instrumental technique have taken place as players and
composers explored the hitherto latent possibilities of their instruments."
- 17 -
3. In view of current musical aesthetics, one may arrive at a workable definition of 'noise' as
being those sounds which have such a high level of aural complexity and transient
phenomena that individual frequencies within the sound can no longer be readily
perceived or determined.
4. It should be understood that there was no connection between these American composers
and the Italian Futurists (whose musical accomplishments and aesthetics are reviewed in R.
Payton (1976)) .
6. Such experimentation by jazz musicians was, naturally, not just limited to the exponents of
single -reed wind instruments, although, amongst jazz performers actively exploring their
instruments, they are perhaps the most prominent and well-documented.
7. A detailed account of early experimentation with instrumental sounds during the late 1950s
and early 1960s may be found in Farmer (1977), pp.31-32. (See in addition Bartolozzi
(1982), acknowledgements.) It is perhaps appropriate to also mention here an important
predecessor and pioneer in this field : harpist and composer Carlos Salzedo, who had, by
the late 19205, already investigated to a large extent and documented in fine detail the
harp's sonic possibilities . Many of the harp techniques and notations that Salzedo
developed, including those with prominent 'noise' elements, were already established
amongst harpists - and some composers - as being viable or even customary musical
resources at the time when analogous research involving other instruments had only just
begun. Salzedo, based in America, was an aesthetic ally and contemporary of those radical
American composers discussed earlier (in particular Edgard Varese, with whom he worked
closely) .
9. The term 'multiphonic', in relation to the (alto) recorder, shall be precisely defined in section
2.1 . (The originator of the word "multiphonic" appears to have been Reginald Smith
Brindle, who created it as a replacement for the obviously unsuitable term "polyphonic" in
his first (1967) edition and English translation of Bruno Bartolozzi's historic New Sounds for
Woodwind. See Bartolozzi (1982), p.2 fn.2 .)
10. Prior to this time, the phenomenon of recorder multiphonics was not customary, being
totally neglected (if not unknown). In fact , the recorder's sonic potential was not actively
researched until the early 1960s, probably as a direct result of the instrument's complete
detachment from the post-War musical Avant-Garde through its ubiquitous association with
amateurs and elementary music education .
11. Historically, research into the recorder's multiphonic possibilities was in fact being carried
out right from the beginning of woodwind multiphonic exploration in general : one should
realize that Michael Vetter's pioneering work II Flauto Dolce ed Acerbo was actually
completed in 1964 [Vetter (1974), p.6], somewhat earlier than that by Bartolozzi [see en.9,
above]. (This fact totally invalidates the popularly held misconception that Bartolozzi was the
pioneer in woodwind multiphonic research.) Furthermore , recorder compositions such as
Jurg Baur's Mutazioni (1962) and Rob du Bois' Spiel und Zwischenspiel (1962), both
written in collaboration with Vetter, rank amongst the earliest acknowledged pieces of
notated music to employ multiphonics. Recorder multiphonics have been continually
utilized in progressively larger numbers of compositions ever since their early appearance in
these historic recorder pieces, thus lending credibility to the proposition that the recorder
multiphonic is, indeed, an established and common resource in post-1960 recorder music.
- 18 -
12 . Daniel Waitzman, for example , supports this view. He states that multiphonics are "a
technique in which the recorder excels all other woodwinds" [Waitzman (1970), p.19] . (See
also Anon . (1969), p.124 and Thorn (1989), p.8 :
"Multiphonics (or chords) are more easily achieved on the recorder than on any other wind
instrument.")
Furthermore , because its simple , keyless anatomy permits supreme versatility through
fluent access to an enormous , inimitable arsenal of technical resources, one could even
readily argue that the recorder is generally better suited to the artistic demands of
contemporary music than any of the structurally more complex , 'perfected' modern wind
instruments. (Consequently, the recorder, despite its structural simplicity , demands the
highest levels of technical mastery in order to fully realize its potential.)
13 . This task is feasibly attainable in the case of the recorder, whereas for most other wind
instruments it is not. We now know, for instance, that wind instruments such as the clarinet,
saxophone, oboe or bassoon, which utilize a reed as a sonic generator, yield highly variable
results from instrument to instrument and from player to player when many multiphonics are
attempted. Because a sound-producing reed is absent from the acoustical mechanism of
the recorder, numerous generalizable, consistent multiphonics exist for this instrument.
14 . Where possible, in presenting and discussing each multiphonic technique, an attempt has
been made to replicate the order of presentation and structure of the Appendix. The data
given in "Recorder Unlimited" has been generated by following the basic procedure of
systematically exploring the multiphonic possibilities which arise from each fingering -
configuration .
15. Whether or not the musical examples represent 'good music' is not a relevant concern here:
the (perceived) musical worth of the examples may in fact vary widely from one to another
when this aspect is considered in isolation. (At any rate , the issue of artistic merit is a
question which can only be resolved by the individual reader: de gustibus non est
disputandum.)
16 . For instance, one could , with appropriate modification, readily apply most of the concepts
discussed in "Recorder Unlimited" to other wind instruments.
18 . Anon . (1969) . This article includes merely a scanty discussion relating to the production,
notation and manipulation of recorder multiphonics, and contains only a few - 18 -
multiphonic fingerings and (unwieldy) multiphonic notations for the sopran ino recorder
alone , many of which are thoroughly impractical. (The multiphonic resources of the
sopranino recorder do not find particularly widespread application amongst composers or
performers , and are translated with some difficulty and inconsistency to the larger sizes of
recorder.)
19 . Vetter (Kontakte No.3, 1966); Vetter (Kontakte No.5, 1966) ; Vetter (Summer 1967); Vetter
(November 1967) and Vetter (1968) .
20 . Such as Baur (1963) ; Anon. (1964) ; Clemencic (1971) ; Margolis (1976) ; Malinowski and
Margolis (1976) ; Hunt (1976) ; Lander (1980) ; Turner (1987) and Thorn (1989) .
21 . However, it must be stated that from the list of articles given in en.20 above , Margolis (1976)
is arguably the most helpful and comprehensive by far.
22 . I find many of the remarks devoted to multiphonics in Thorn (1989) , for example , to be
rather dubious or contentious.
- 19-
26 . Relevant books and monographs include: Braun (1978) [contains a multiphonic chart of
reasonable size]; Schmidt (1981) [the topic of recorder multiphonics is intelligently
discussed, and several musical examples are provided] ; Davis (1983) [includes a single
multiphonic etude with some fingerings and a very brief commentary]; Waechter (1983)
[largely duplicates the material in Braun's treatise]; Rowland-Jones (1986); Rechberger
(1987) [as well as devoting a section to the notation of new recorder music, this admirable
handbook presents tables of alto recorder multiphonics which contain examples with the
end of the instrument's foot joint 'closed' or 'covered']; O'Kelly (1990) [incorporates some
discussion of recorder multiphonic acoustics, an examination of important contemporary
recorder repertoire that utilizes multiphonics, several musical examples, and a concise
technical summary - but regrettably, no multiphonic charts]; and van Hauwe (1992) [an
excellent overview of contemporary recorder techniques in general, with an interesting
discourse on multiphonic production (plus some practical exercises) , but only a very small
table of multiphonics].
28 . This term is actually a misnomer, for most of the multiphonics in question do not include
constituent pitches that are in a harmonic series ('harmonic') relationship to one another.
29 . I have in mind those composers who have adopted the so-called 'new complexity'. Witness,
for instance, the extreme notational intricacies and performance demands presented
throughout Brian Ferneyhough's Unity Capsule (solo flute).
30 . Vetter himself acknowledges this problem, as well as the consequential discrepancies that
arise between the charts' indications and the observed acoustical outcome when the given
fingerings are attempted upon a high-quality alto recorder of standard construction [Vetter
(1974), p.8].
31 . For the purposes of this thesis, a scale, tone or interval shall be deemed to be 'microtonal' if
its pitch-structure differs perceptibly from that of the chromatic scale (i.e. 12-tone equal
temperament) based upon A440 Hz.
32 . The book's obscurity is marked, for instance, by its deplorable omission from an otherwise
fairly comprehensive annotated bibliographic listing of woodwind multiphonic sources
[Barata (1988)] . (It is also highly probable that few composers or recorder players will be
familiar with the work, either.)
33 . For the sake of brevity and practicality, such fingerings are totally excluded from the
multiphonic charts that accompany this thesis.
36 . It is often the case , for example, that composers give recorder multiphonics' timbral
characteristics a higher compositional priority than their precise pitch-content. When
difficulties arise, the musical context and the composer's wishes dictate the choice of
another recorder multiphonic by the player, which will optimally replicate the specified
multiphonic's timbral profile above all other factors.
38. Recorder fingerings that occur within textual examples, unless commented upon, mayor
may not be reliable or yield sonorities that match the given notations. The reader is
therefore advised to consult the accompanying multiphonic charts and/or a trustworthy
recorder player. (The latter possibility is particularly advisable if the example refers to a size
of recorder other than the alto.)
39. The alto recorder has also achieved the highest level of constructional standardization
amongst members of the recorder family.
- 20-
40. A good partial solution to the experiential problem is to have the collaborative performer
record the multiphonic sonorities on (cassette) tape, in order to ensure that the actual
sounds are readily accessible by the composer at all times during the creative process . This
is the sensible approach that the German composer JOrg Baur - for example - took in
working on his piece Mutazioni with Michael Vetter. Baur chose a dozen recorder
multiphonics from approximately thirty, of various degrees of harshness, that Vetter
recorded on tape [Anon. (1964), p.127]. (The Australian composer Bruce Cale and myself
adopted the same working method for the preliminary research and subsequent
composition of his Cullenbenbong.)
42 . This latter remark is made purely for reasons of practicality: aside from recorder players'
potential lack of technical familiarity, the fundamental technical difficulties associated with
certain multiphonic resources of the recorder may also exceed those of more traditional
practices.
43. For recurrent multiphonics, one could number the pertinent fingerings and indicate their
repetition with these numbers, instead of duplicating tablature pictographs: see Ex.4-1 -
and also the technical preface to my own work, Helical Ribbon:
"After their initial presentation ... all multiphonic fingerings are merely designated with numbers
beneath the stave; some performers may instead choose to re-draw the appropriate tablature
pictographs at each new occurrence."
Furthermore, certain information provided within multiphonic charts, such as the registers of
constituent pitches, stability characteristics and levels of innate air-noise, need not appear
in the music. Notationally, one should treat recorder multiphonics in a similar manner to
conventional tone production. (As soon as proper multiphonic production is established,
any extra symbolic reminders of the sonority's basic timbral profile usually become
redundant.)
44. Tablature pictographs for the recorder are invariably placed belowthe musical stave.
45. The composer might also consider providing a brief prefatory verbal description of the
intended multiphonic sonorities . This may be beneficial in avoiding any ambiguities and
could assist in the orientation of the recorder player.
46 . If such a consideration is ignored by the composer, it is likely that an intelligent player will be
placed in a quandary as to which alternative is to be adopted in difficult or ambiguous
ci rcu mstances.
48. Sterne (1979), pp.74-75 . See also the commentary to Ex.4-12 for another example.
- 21-
2. ALTO RECORDER MULTIPHONICS
- 22-
generated. In many instances, a single alto recorder fingering can even
provide two or more distinct multi phonics:
Ex.2-1. Sylvano Bussotti & Michael Vetter: RARA {dolce}. p.l. no.7.
(Alto recorder)
...
- 23-
- in addition to their basic constituent pitches. 11 Moreover, multiphonic
stability upon the alto recorder appears to be essentially connected with the
range of jet-velocities that are able to produce such an acoustical state from
a particular fingering. When this range is wide, a stable recorder
multiphonic emerges; conversely, a narrow jet-velocity range renders a
multiphonic unstable. 12
For recorder fingering-configurations in which an open fingerhole is
located somewhere between two closed fingerholes (or the thumbhole itself
is open), 13 the open fingerhole may serve a dual acoustic function in
establishing a multiphonic, both as an effective termination point of the
pipe, and as a vent-hole or 'speaker' - creating a pressure node - for modes
of vibration above the fundamental mode within the air-column. The
position of this vent-hole along the effective pipe-length presumably limits
the modes of vibration that may prevail within the multiphonic (by
inhibi ting the resonance of certain vibratory modes whilst enhancing
others), and so fixes the registers of the multiphonic's constituent tones. 14
Introduction
It could be posited that most recorder multiphonics are timbrally
unpleasant or odious in comparison with the more traditional sounds of
Western music. Yet within a post-Modernist context, in which every sonic
resource is considered purely on its own terms (independently of the tenets
of Western functional harmony and the major/minor tonality system, or its
parallel, conventional notions of timbre), recorder multi phonics can strike
a listener as being aesthetically pleasing simply because they are quite rich
in acoustic information. This novel technical capability therefore greatly
expands the instrument's tonal palette by providing a thoroughly relevant
expressive medium for composers and recorder players alike: the singular
timbral nature of recorder multiphonics, when deliberately and artistically
cultivated, might, for instance, invest the music with particular substance
by underscoring extra-musical associations that a composer has
consciously linked to a piece.
- 24-
are smoothly elicited with the same fingering-formations - although
sometimes, such single pitches may be separately obtained, quite apart
from the multiphonic.
f
-======= f
I
I: -4
o
o
00
(e o )
Notationa l considerations
- 25-
Furthermore, as a helpful reading aid for the performer, every fingering-
indication - preferably supplied as a tablature pictograph - ought to be
consistently placed below the stave, the corresponding fingering being
provided whenever each multiphonic appears (unless an obvious repetition
or pattern exists ). 18 The following examples, in which all multiphonic
pitches are supposedly resolved to the nearest semitone, typify this
notational approach:
(5)
#~
4t r~ ,. r' rr!1,"f #
I r r' f Fir
9
rT F r.2
v
I
- 26-
Ex.2-6. Klaus Hashagen: Gesten. p.14, letter M.
(Alto recorder and tape)
6 1't5"
------=4-- N
~ schneU .#:e:.,.....
-. ~~~ nacb It..
STJ.
wechseLIl 55
II
E 1~3:)67
-===
-===
!
. L - - - - - - >. #>.
f IT r t~t
> >
I, .
( 01 3 45 )
- 27-
Hirose's fingering tablature here designates the instrument's
thumbhole with a 0 instead of a 1. 21
9';
- 28 -
The arrow above the multi phonic denotes an "intonation somewhat
lower (up to a quarter tone) than notated". This microtonal inflection
occurs automatically whenever the prescribed multiphonic fingering is
engaged. 25
In order to accurately reflect each multiphonic's specific timbral
personality and internal - usually microtonal - pitch-structure, pitches
throughout recorder multi phonics ought to be punctiliously notated, where
applicable, to within approximately an eighthtone of their actual sound. 26
(a ) Beats
The prevalence of inharmonic multiphonic intervals assures that
mistuned consonance s are quite common amongst alto recorder
multiphonics, so that beats are arguably their predominant modulation
feature:
- 29-
~~
'f. .-
.1
ria. ~o
r-
V
.J"
.-
r- ..,
o'ri.
..,
:! ~~
~
I
~
..
1000-
lOo<'V
...,
-
o
o
00
12345678
- 30-
Ex.2-12. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.l, no.IO.
(Alto recorder)
If f-=~====
Ex.2-13. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.2, no.19.
(Alto recorder)
,I
'\9 ...:lI~
=~
-I- ~~ t:
~
~
I,.,
JI( ..
'.J~~
~
-I..Q;;) RS"
- 31-
Ex.2-14. CoHn Sterne: Meadow, Hedge, Cuckoo. p.4.
(Alto recorder)
1
- T
............:;:
mp 1
2 ----~==========~~==========ff
3
6
~ = 69-76
{.\
~ j (1)
G"E' :1
(1) 0 1 2 3 - - 6 7
- 32-
Ex.2-16. Alan Davis: Fifteen Studiesfor Treble Recorder. No.14.
(Alto recorder)
o
f
2
3
6
7
Since the beats in these multiphonics arise naturally when played with
the stipulated fingering, there is no real need for any extra multiphonic
notations here. However, should it prove to be desirable in other
circumstances to signify multi phonic beats, the vertical waveform notation
ofEx.2-10 or Ex.2-11 is preferred. 3o
- 33-
Ex.2-17. Kazimierz Serocki: Arrangements. No.5.
(Alto recorder)
2
3
5
6
QtE~~
.II
: 17"
b
- 34-
q
pitched around F 1(2?). The second multiphonic's upper pitch ("G-flat") in
practice sounds virtually a semitone higher than written; this
multiphonic's pronounced (cubic) difference tone, as expected, lies near
E VO, in accordance with acoustic theory.
In specifying a recorder multiphonic, it is obligatory to notate a
combination tone - which will be automatically produced anyway - only in
musical contexts where its pitch is compositionally crucial, especially if
this pitch is variable and dependent upon the player's breath-pressure. The
symbology of indicating a combination tone with an open rectangular
notehead (as in the multiphonic charts, Ex.4-5, Ex.4-9 and below), is
proposed.
'}" I~;t"
peo..ts ",c.c.e.I.
I'(~~ l
-
- - - .- - - -- -- - ~
II~
=-
vN~T"IBLf j f,,',d)" o\;-f{-;c.L.>It
o
o o
oC>
00
00
- 35-
II
o-====== ==------=- tl====:
0.
~ =
o
o
0"
o
00
o 0
00
00 00
~~l t-B-}
1$ I~ () r )f () II
0 0
0 0
00 00
00----- -- -
II
0--------)25
o
o- - - - - - - -j5
0
o--------C)
o
-
o
~
0
0 o
D
00
00
00
00 - - - - - - - -. 0 00 00
- 36-
Additional examples can be found amongst examples of multiphonic
portamenti instigated by varying the aperture size of the recorder's
thumbhole. 38
The timbral palette of the alto recorder, even when confined to its
multiphonic potentialities, embodies an amazing variety of multiple
sounds, some of which are indeed capable of simulating, to an impressive
degree of resemblance, certain electronic sonorities (such as those that
spring from ring-modulation processes).42 The set of alto recorder
multiphonics, considered as a whole, likewise possesses quite a wide
dynamic range: soft, delicate, fragile or ethereal multiphonics are
represented in the set, as well as the more common varieties which are
loud or robust. 43
- 37-
sometimes overshadow the lower multi phonic elements. This tendency has
meaningful compositional implications for the perception of musical
sequences comprised entirely of consecutive recorder multiphonics: their
highest (instead of their lowest) constituent tones may define the dominant
'melody' of the progression. 44
1 :jPH
Although the tempo at this point is only crotchet = ca.69, the rate of
multiphonic repetition (in quavers) nonetheless demands, if the whole
gesture is to be musically successful, a choice of multiphonics that
establish themselves promptly and reliably. (As with most of the following
examples, the multiphonic notation is microtonally inaccurate.)
- 38-
Ex.2-22. Eric Gross: ''Ians Shenanigan" No.1. p.I. letters A & C.
(Alto recorder)
,. ...
-.-
o
.-o
.-
00
~o
r e.
.
T
-
-0
.f,
CH)
1256
- 39-
Ex.2-24. Rob du Bois: Pastorale VB. p.lO. no.7.
(Alto recorder)
0
or
0
0 0
- -
--- -
00
00
p
mp
ifz ppp
II 3
Langsam , frei
pp.L
[un g o L.H.
1':\
pp ~. li egenlassen
- 40-
,.,
rit.
1.~~~~~~~
(....)- - - - - - - - - - - - - - - - - -
( ....)- - - - - - - - - - - - - - - - - -
"
verklingen
lassen
~-----------------
The next two excerpts also portray recorder multiphonics whose speech
attributes permit them to appear as grace notes:
- 41-
Ex.2-27. Ryohei Hirose: Meditation. p.2.
(Alto recorder)
~.~f#~f~#f~#f~~ '#E~,~'t""ung, .
f --.:......",======= ===ff
: 0 1 23 5 67 i ( "11 1 :2356 7)
>
[w'" ".tMaYfU!!
1-, ~ If
P IT p I
2
3
4
5
6
Violent 7
fc&[rrrn" f"
II 6 '--6----'
- 42-
Ex.2-29. Jun-ichi Miyagi: Aion-m. p.3.
(Soprano recorder)
Ret,' ~~e~f-q~: \
\
\
\
A 7\
7\1\
J\/~
\v~
/\
\1
I
7
(01'23561)
f
"Tongue as fast as possible, moving right- and left-hand fingers according to the
illustrated instruction (pitches accord approximately to the illustrated instruction)."
Introduction
The technical exactitudes and difficulties associated with the production
of alto recorder multiphonics are, fundamentally, no different to the many
demands that are put upon a player's technique in artistically performing
the traditional recorder repertoire. However, numerous elaborative
comments are still required, as potential hindrances do exist for both
composers and executants in successfully integrating recorder
multi phonics into a piece of music. 48
- 43-
which therefore become the principal source of information appertaining to
the performance of each listed alto recorder multi phonic.
- 44-
"it might prove necessary to adapt the given fingering to the instrument
employed". From this remark, one could logically deduce that he
authorizes a performer to alter the example's suggested fingerings in
order that the multiphonics' reliability of speech might be maximized in
conjunction with the desired aspirant attack.)54
mp 1
2
4
5
6
- 45-
these particular multiple sonorities can also arise instantaneously from an
aspirant attack.)58
17
i I r ;In r ~
--
1 Jlli I
~
~
~
-n.l
~ '~
~/~~'
o
Il" ..
f
...
0
.!..!.. 7
L----
I 'f "-ij] }...r.
~. eMP.)
r-------- 7/e
> "
~ ~~
b~,)
ut.
~-tr
~
- 46-
From each of the two standard 1st-register fingerings and pitches - as
given on p.5 of the piece's "technical information", annexed to this example
- Cale extracts two very dissimilar bass recorder multiphonics. The
carefully executed alveolar plosive 't' in each instance yields a rather
unstable 'pure' octave, whilst an aspirant attack 'h' with an instant rise in
jet-velocity permits another multiple sonority to emerge from the 1st-
register pitch, creating quite a different acoustical effect. The given "attack
syllables" should always be observed by the executant, lest the wrong
multiphonics develop. (Notice that the composer himself miscalculates the
articulation requirements for the octave D-natural multiphonic in this
example: the tie really ought to be ignored by the performer here, as
otherwise the succeeding multiphonic will arise instead. This octave
multiphonic must be cautiously 'tongued'.)
For awkward, obdurate or notoriously difficult alto recorder
multiphonics whose fingering-patterns involve a closed thumbhole, a
potential means exists whereby the problems of multiphonic production
may sometimes be alleviated, to some extent. If it is advocated that the
recorder player commence such a multiphonic with its top note - although
even this condition is not at all binding upon the technique about to be
outlined - this note (or indeed the whole multiphonic) might be more easily
procured with a marginally vented thumbhole, which is then immediately
closed in conjunction with a highly controlled change in breath-pressure
as the multiphonic's complex vibratory mode is established. 6o A composer
could indicate this fingering resource within the score's tablature
pictographs, as in the following examples, if it is known that this ingenious
technical possibility is helpful for expelling a specific recorder
multiphonic. (The method of multiphonic production should otherwise be
left to the instrumentalist's own devices and initiative, where applicable.)
~!~~
~ 19t~~! I
I~ - hi:
,.~. ~-?
II
0
-
0
0
0
0
00
- 47-
Ex.2-34. Richard Rijnvos: Zahgurim.. bars 86-87 & 90-91 (pp.24-25).
(Amplified bass recorder)
--;1 .
z-'
l~'q 0
t/\'t~,
IJ. If
~,.ijW?
z-. ~
0
0 0
.-
0
e'
0
"
"
.-.'
.-
0
.-
0 0
0
0
.-
.-
0
0
0
- 48-
Multiphonic breath requirements
Technical exercises
It is probably an opportune moment now to direct some remarks
towards recorder players specifically, including a few suggestions and
ideas for multi phonic practice regimens that hopefully will prove to be
beneficial in assisting performers with the task of producing multiphonics
dependably.
- 49-
tone production elements. By repeatedly working through the following
practice routines however, instrumentalists will soon continually develop
their skills in this area, and so find it progressively easier to elicit such
sonorities: 69
- 50-
2. Practise obtaining and reiterating sets of (very) difficult multiphonics
that engage many articulation-types in various intensities.
15
,
p ===- pp ====-
- 51-
Posizioni
per Ie doppie note:
Doppelgriffe:
Fingering:
.va ~. . "j. . . .";j". .]. . . . . .;
~ ~
~ (q)
112 112 112 112 112 11- 112
3333333
4 4 4 4 4
5 5 5 5 5
6 6 6 6 6
7 7 7 7 7 7
8 8 8 8
- 52-
The multiphonic notated as B~ 1, A b 3 in this example normally
succumbs to a strong plosive attack only - as is compulsory, for instance, in
articulating Ex.2-36's final multiphonic pair. However, upon its earlier
appearances here, it speaks perfectly in legato (with an aspirant attack),
probably because the two paired multiphonics' registers match (1st and 4th
registers), so that the air-column's prerequisite complex mode of vibration
has already been set up in the previous - initial - multiphonic, and remains
intact for this multi phonic due to acoustic inertia.
This same type of inertial property, arising from the selfsame pair of
fingerings, instead causes some performance problems in the following
example:
o II
- 53-
the second multiphonic to such an extent that, at first, its lowest
constituent pitch (B-natural) transiently appears alone, but is immediately
followed by a swiftly heightened air-flow which secures Waechter's
multiphonic, as written, in a spectrally well-balanced fashionJ5
>
.....
1-%' ,
r 0123467
f
267 +5
ff P
- 54-
Ex.2-39. Alan Davis: Fifteen Studiesfor Treble Recorder. No.14.
(Alto recorder)
o o
t I
2 3
4 4
;:, f;
-e- -e--
- J
- 55-
The multiphonic legato oscillation here gradually accumulates into a
trill.
158
.-
.- 0 0
0
o
o
.'
0
.'
" '-
,
.' "
0 0
.-
::=1 0
.0
0
00
.-
"00
.0 ,0
- 56-
legato passages of recorder multiphonics, musical context, register and
articulation are important considerations for this generic area. Once again
though, there should, in principle, be no real performance impediments if
the composition is technically well-conceived and carefully researched, as
before.
- 57-
2.3 Spectral Portamenti of Multiphonics
Introduction
For the purposes of this monograph, a recorder multiphonic's
'spectrum' is defined to be the agglomeration of frequencies - and their
amplitudes - within the multiphonic. 85 I have also coined the expression
'spectral portamento', which herein designates a continuously dynamic,
sweeping variation of the aforementioned amplitudes (only), in particular
those that are heard as being united with the recorder multiphonic's
primary pitch-elements. Therefore, in terms of the aural cognition of
recorder multiphonics, 'spectral portamenti' are just perceived as
continual shifts in the dynamic levels of, and balance between, a recorder
multiphonic's audible component tones.
The spectral portamenti of recorder multi phonics circumscribe a rather
precious, quite versatile technical region of the instrument, absolutely
fundamental to its multiphonic capabilities. Hence, a thorough
understanding of the technique is of utmost importance to composers and
recorder players alike.
- 58-
Ex.2-43. Jiirg Baur: Mutazioni. 2.18, p.4.
(Alto recorder)
S Z
1236
"The curve by the side of the chords indicates in which order the sound as well as its
spectrum should appear (to be achieved through dynamic alteration)." {tr. I. S.}
Ex.2-44. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.3, no.46.
(Alto recorder)
- 59-
Ex.2-4S. Rob du Bois: Pastorale VH. p.S, no. I.
(Alto recorder)
OJf.\ f.\
,
(presto) (presto)
..... ...--.....
:6
1256
-4{~t[ ~ f b*= /
1H56
(~~ ~.
F
f -= ll' =
Presto
#Jp Q
012Jt56 sjz
/1
8
V: ::z
...........
:os::
-------------~------------------~--------
- 60-
For spectrally flexible recorder multiphonics, considerable control can
be brought to bear upon spectral balance. (Very) slowly changing contours
may be executed, in which, perhaps, the multiphonic infinitesimally 'fades
in' and/or 'fades out' to or from its extremities:
(Iangsam
Oberblasen )
3 3 3 --,
.
~
~ ~
verklingen
~ lassen
~.
.
(~)*
EX.2-49. Jiirg Baur: Tre studi per quattro. No.3, p.12 (bars 48-54).
(Soprano. Alto . Tenor and Bass recorders)
- 61-
"*)Multiphonics: an almost inaudible entry" [soprano recorder),
and:
(td)
~
'--J---.J
- 62-
Ex.2-52. Werner Heider: Katalog. Spiel, 8th system.
(Alto recorder)
J) I
tt
= Eingeklammerte Tonstufe (oder 0 ) tritt im Akkordklang zuruck I Bracketed
note (or 0 ) is subordinate in the sound of the chord
- 63-
"Both recorders: ~ tone of the multiphonics somewhat [etwas] louder",
(In both cases, no fingerings are supplied by the composer: the players
will have to find their own technical solutions for interpreting this
passage,)
.'
e.~. :
0
0
=-
0
P
t-- ~.
O'lf
f~ .'
t
e,~, :
0/\ o
- 64-
The notation of recorder multiphonic spectral portamenti within a
normal metric durational framework has already been dealt with
comprehensively in connection with Ex.2-43. The few examples that follow
herein illustrate some other possible notations for spectral portamenti or
contours demanded within a proportional or analogue system of temporal
organization instead:
,
1
1234/568
ad libitum
Beispiele:
/~---
/
~ ~. I
1 z'
;t-
, 1:23/56-1-
- 65-
t
, '*
hi
124/5 78
~~
tr( ~ )
~ \ I :/ -
1 3~
#'*
>
sfz
(Atemsto{3)
#~
>
'*
>
sfz sfz
#~
>
sfz
II
10
Fiir Sabina Newezersal
Joke
fur Altblockflote
)rWolfram Waechter (1977)
Tranqui llo
)J p
, :on vlbr - >-
~.
= non vibr a.
- ..
I /B. 24/578. l'
3
'fr o
mf
decresc.
124/5
iF ;on
Tranquillo
vibr b
:
~ .. ~~
=======
~---
III/
124 23
~ ... - - - -
..
slIb. i f sub. P ''if frull.
1 234/5678
- 66 -
no n vibr.
f1._'
mj' sub.p
123 / 568 123 /567
Tranquillo, molto liberamente
vibr.
5 (j 7
<F.~-
11 ......---....:. - - b.
23 234 234/5
/I
.!.23/S l'
MC MLXX X by Otto Heinrich Noe tzel Verl ag, Wi lh elmshave n Vervieltaltigun ge n, seien sic abschriftlich he rges teLi t oder fo to-
Ed it ion Heinr ic hshofen. Ams te rdam kop iert od er in einem so nstigen Ve rfahren abge li cht et, werden ,
auch wen n sic fOr wisse nschaftliche Zwecke odee den Schul- ode T
N-340 1 Unterrich tsge brauch vo rgeno mmen wurde n, als Verletzu ng. des
U rheberrechts rcchtH ch ve rfolgt.
:s Flatterzunge (fru"ato)
fru" .
- 67-
Allmahlicher Auf-und Abbau eines Vibratos
(Atemvibrato)
1234/567.
Numerierung der Finger
(8. Finger hier teilgedeckt)
and:
"Gradually building and receding a vibrato (breath-vibrato)".)
r::w:=-~
-'- 0
mf
. ,
frull.
Randp~
9
(Assuming the fingering to be that for F 1, the multi phonic really
should read as F~ 1 and F-:f2.)
- 68-
Ex.2-58. Will Eisma: Wonderen ZUn schaars. bars 67-68.
(Alto recorder)
J ::
~~
f
cCl
12%
=
-= :::::==- -= t
- 69-
Ex.2-60. Kazimierz Serocki: Concerto aUa cadenza. No.32.
(Tenor recorder)
fla u totenore=i:=:J
a becco ~
solo ===-- -===
e.~. :
e.tc..
Already, in the last section and elsewhere, we have met with several
examples of a rather commonplace multiphonic phenomenon whereby a
single recorder pitch is linked (in legato), without any changes of fingering
whatsoever, to an affiliated multiphonic.
Two related possibilities manifest themselves: either the transition
between the monophonic and multiphonic acoustic states may be made
gradual and obscure, allowing the recorder multiphonic to accumulate or
dissipate slowly or ambiguously as part of an intelligible sonic continuum;
or, the transition can instead be executed quite abruptly, creating a
musical emphasis or juxtaposition of distinct acoustic events. Both effects,
being entirely dependent upon the executant's air-flow, are a natural
legacy of the recorder's generic ability to furnish multifarious spectral
portamenti and contours . One could, for example, cite the latter possibility
as being merely a specific - perhaps extreme - case wherein the recorder
player's breath-pressure lurches radically.
Two parallel notational variants therefore emerge in response to this
circumstance. The first possibility could be represented simply and
- 70-
comprehensively by a written multiphonic with an appropriate contour
indication; the second possibility is best notated by tying the extractable
single pitch's notehead to one of the multiphonic's (and/or vice versa),
which again ought to incorporate a contour waveform for the meticulous
stipulation of the multiphonic's moment-to-moment spectral balance -
despite the fact that most composers, unfortunately, have by now developed
an annoying habit of omitting such graphics:
-=f=-mp
-71-
Ex.2-63. Richard David Hames: Kit. p.5, 3rd system.
([Alto] recorder. dancer and multiple tape delay)
n
NV. rvv
r 5:4- I+ ~
p~ ~':\-
- h
- 72-
Ex.2-65. Amieo Dolei: Nuovo Ricercare 4. p.8.
(2 Alto recorders)
8
> >
.J .. 1+."-,,;
~
..
, (~ ::--
-
~
~
f--
~
t=
~
t=
~
t=
~.
= . ,,
~
J
mf
,..,-----,..,~
sff
~rr
,~
mf
-"
~
~
if
--------=~
-----e
~, ==
-
~
.----~
"- f--
~
i-=-
\ eJ
mf 8 iff mf =
-73 -
Ex.2-66. Jiirg Baur: MutazionL 2.m, p.5.
(Alto recorder)
~r:'I
t ~ ~
@.,
123567
----
f/Zt
Upon reaching the final monophonic element, one could then - for
instance - at last change fingerings, if desired. Certainly, the whole linking
process here carries a lot of potential for making elegant, perhaps even
musically significant, enunciations. 96 For example, linking a carefully
selected recorder multiphonic's highest and lowest extractable single
pitches via a maximal-range spectral portamento, provides an engaging
general method of connecting, legatissimo, two recorder tones that lie in
different registers. This fascinating type of single-pitch legatissimo-
coupling is perhaps more interesting than the ordinary monophonic
legato-leap, due to the (possibly surprising) transitory presence of the
interposed multiphonic, whose continually shifting spectral balance
stunningly yields extra timbral and harmonic dimensions :
?:'\ c==~
... ~
~o ;to
- 74 -
timbrallharmonic spectrum to proceed from the bottom extractable pitch
alone to the top through the multiphonic.
II
ifz
(*
124567 )
- 75-
Undertones and their notation
-1 -1
=--
~ 22
!5 5
6
7
5"
6
7
a~,tHin~4
l-j-.~~ I~----------------------------
,9"
I
- 76-
At this juncture, it might be advantageous to clarify precisely what the
relationship is between an undertone and an associated multiphonic
component, if any. So long as a recorder multiphonic's lowest constituent
pitch falls within the instrument's 1st register, there will normally be a
corresponding undertone at that same pitch; this undertone, however,
materializes only after the multiphonic's highest extractable pitch is
attained on its own. Thus, an undertone usually can be transmuted,
smoothly, into such a multiphonic component, with a mere decrease of
breath-pressure - which also shifts the multiphonic's highest extractable
single pitch into the multiphonic proper - along a spectral contour. (This
process could even be carried out, perhaps repeatedly, in a rhythmic
fashion: the rhythmicization of spectral portamenti, as well as other
complex multiphonic spectral phenomena, are discussed within the
forthcoming subsection.)
-77 -
vicissitudes of breath-pressure and multiphonic spectral balance. The
following example is also comparable:
~ 7- 11
,;.,A ,...
f ..
ii( Jll il l JJJJJJJJJ11 , Q
> ')
_:. "-"'.
,,"_;'1.1;.1.. ; _ _ ~\....,. 4"'~"" .4. __ 04 ..._
IA~-~ ..zt._
The normal F-sharp fingering is implicit here, and above that reiterated
pitch, the multi phonic is progressively 'faded in':
"Gradually push harder, with an increase in the overblown tone" {tr. Prof. Eric
Gross}.
-78 -
CSerocki's instructions regarding his slightly whimsical multiphonic
contour notations, as depicted in Arrangements [and elsewhere] are
appended to Ex.2-59.) The repeated scalar 'riff here is gradually
overblown, as in the next example: 105
25~
I I I I
,
2 1
I J J
1 3
I
2 2 2 2
3 3 3 3
.4. 4
5 5 5 5
.-t
6 6 b '
I
J
I *) ~
fbtm:~i
ppp --=====:=111 ppp-====:III
-79 -
140~ 141~
I
I
.--.--.
~~}
buiWdWdWdI v
I
ppp--====fff pppl~=====fff
- - - - - - - - _ . r. __________________________________ ~~.--------------
~ ~ h
~1)'
~l @)
(J!, -)
511
r----3---, (. )
jill ft l ~ It ) : . ) If !
,-3-,
ill')
0-
0 0- 0- o
0 0 o 0--
0 o
0 0 o o
0 0 o
" " " "
" " " "
- 80-
_____ = inc r ease air pressur e up t o gi ven note
aeee!.
123667 123
6
123467
- 81-
(And again, in the following movement of the same composition):
bj" J f bJ, n, bJ f J,
I~ e=st2Jc=,-=
f (poco accel.)
j r'-= I~
123567
- 82-
Ex.2-78. Erhard Karkoschka: Floten-/I'onband-Spiele 1978. No.ll/2.
(Soprano or Tenor recorder [Recorder in CIl
Flzg
- 83-
Ex.2-S0. Werner Heider: Katalog. Spiel, 7th system.
(Bass recorder)
~ ---
,--5---,
(
+
~-- ~\ I :fl
~
l
~
-- --:-
B. ....., 0
0
.
~ t7;~__ ~__"1 o ~ .._ .. "--"'Co 0
-
123567
1234578
(6)
~
~
,I
@) l- ~f~
-----..
.......
... " ,
_ _ t{ 0
.
0
-
0
0
'---
- 84-
2.4 A Categorization of Alto Recorder Multiphonics
Introduction
Any attempt to create a multiphonic typology, to separate the complete
corpus of alto recorder multiphonics 113 into various mutually exclusive
'equivalence classes', or instead, to subsume them under a number of
overlapping categories, is essentially subjective and arbitrary. No method
of multiphonic categorization, of which there are indeed many, is
intrinsically superior to any other - although some perhaps could be more
apropos for certain purposes than others. At any rate, one can, as one
wishes, easily classify and encode all alto recorder multiphonics, which
are then clustered as desired into subsets according to some aspect(s) of
their respective technical data: similar levels of ease and manner of
production; pitch-relationships and other identifying acoustical
characteristics; comparable (average) dynamic levels; broadly related
fingering-configurations; production parameters held in common;
intervallic and timbral profile, and sonic flexibility, encompassing a wide
scale of colouristic possibilities.
The criteria chosen for establishing a multiphonic taxonomy within this
monograph 114 in my view reflects widespread compositional
preoccupations. Composers themselves, both within scores' preliminary
technical schedules as well as within the music itself, often seem to nest
recorder multiphonics according to the following groupings, based upon a
mixed consideration of fingering-types and sonoric properties.
- 85-
Ex.2-82. Nicolaus A Huber: Epigenesis I. p.g.
(Alto recorder)
o
o
o 00
- thef)-
f~
! ====== ff f --+=====::. If
00
00
00
00
ff
*
1'231!/G7
- 86-
Ex.2-85. Malcolm Tattersall: Franklin River. section 2e.
(Alto recorder)
, .
'>
> f;r
EJ]} It
12../.f-S"
~ ?! J I,.,Fhr') ::;::>"
.
j I@
01'114-'-7
~
~
f-
~
=
~
~
- t:'! ~.
Adagio
i
I- -
~
I--
. f- II:;:'
11 I I 01'2:"b 0131tSi!
dolce} espr.
- 87-
This multiphonic pair is drawn from the standard fingerings for Ist-
register B-natural and B-flat, both of which are forked. (Dolci duly provides
them within the introduction to his score.)
- 88-
Ex.2-88. Wolfgang Witzenmann: Bordun H: on its own set of tones. p.5.
(Tenor recorder)
-..a.-----
-. II
attacca
The fingering given here by Witzenmann is the regular one for (tenor
recorder) B ~ 2. This multiphonic, simply generated by carefully
'underblowing' that pitch, is nonetheless a little awkward in one technical
respect: in order to tune its lowest constituent pitch - A-natural - properly,
it immediately demands, from the outset, a very precise thumbing. (From
the executant's vantage-point, it is otherwise perfectly practicable.) In
terms of its notation, the thumbhole's critical hair-line crack is,
thankfully, well represented within Witzenmann's tablature pictograph.
- 89-
Ex.2-90. Rob du Bois: Spiel und ZwischenspieL bar 113.
(Alto recorder)
In order that the E-natural does not sound flat here, the thumbhole
must be half-opened. Since this pitch projects rather weakly with this
fingering-configuration, the upper multiphonic tone, F -natural, tends to
prevail within the aggregate multiple sonority.
0
0
0
0
0
z .- .-
0 0
::::.=--
J
0 0 0 0 0
.- .- .-
0
0 0 0
0
0
0
0
.0 .0 o' .0 .' 0
.' .0 00 o' .' .0
The effect that the thumbhole's almost complete occlusion has upon
multiphonic pitch is made clear within the first excerpt of Ex.2-91, a
phrase which is comprised entirely of multi phonic trills (bars 103-104). For
instance, observe, by comparing the multiphonic in question with those
contiguous to it, the more pronounced impact that the thumb action exerts
upon the intonation of the lower multiphonic elements.
- 90-
In bar 107 here, the quite slender thumbhole ventage actually raises the
multiphonic's bottom component (only) by as much as a minor third, to E-
flat: with a fully closed thumbhole it would sound much nearer to C ~ 1 -
'middle C' - in the multiphonic.
~~a
2 I
, I
5 I
~---"
- 91-
As is almost always the case, instantly finding the precise amount of
thumbhole ventage is crucial for attacking the multiphonic with accurate
tuning, even more so when it is as brief as this. Later, Bornefeld
automatically exploits the same intervallic relationship by calling for the
equivalent multiphonic - with identical fingering - on sopranino recorder
(at no.23, p.15). On both occasions, the upper multiphonic extremity in
practice sounds a quartertone higher than written. 126
2.4.3 Multiphonics with the End of the Foot joint Closed or Covered
Introduction
The act of occluding in various ways the end of the recorder's footjoint,
as a permissible technique to enhance the instrument's expression still
further, is, perhaps surprisingly, by no means 'new'. Indeed, during the
seventeenth century, Sir Francis Bacon, the Lord Chancellor of England,
wrote the following within his Sylva Sylvarum, or A Natural History (1627):
"Trial was made in a recorder after these several manners. The bottom of it was set
against the palm of the hand; stopped with wax round about; set against a damask
cushion; thrust into sand; into ashes; into water (half an inch under the water); close
to the bottom of a silver basin; and still the tone remained. But the bottom of it was set
against a woollen carpet; a lining of plush; a lock of wool (though loosely put in);
against snow; and the sound of it was quite deaded, and but breath."127
Of the two basic methods of stopping the end of the recorder's footjoint in
order to elicit certain multi phonics - by bringing about either an airtight
closure, or a non-airtight covering, of the bore's endpoint - only the former
operation can be comprehensively dealt with herein: the introductory
nature of this thesis, and its constraints upon space, unfortunately
precludes any deep investigation of the latter method as well as the
inclusion within the appended charts of any resulting multiphonics.
Moreover, this infinitely fertile technique of producing recorder
multiphonics, in which the end of the instrument's footjoint is lightly
pressed against some variety of porous cloth, is, even now, not at all
standardized, so that the consequent class of multiphonics - though
without question musically worthwhile - is still unacceptably nebulous and
inconsistent. 130 It is perhaps feasible and helpful, nevertheless, to mention
here, on the subject of "covered register" recorder multiphonics,131 a few
vague tendencies which are hardly conclusive and amount simply to a
general comparison with characteristics of their "closed register" 132
counterparts.
- 92-
recorder's footjoint for an airtight closure often achieves the effect of
making a 'closed register' multiphonic softer (in dynamic level), somewhat
windier (i.e., with more conspicuous air-noise), or timbrally 'foggier'.
Stability characteristics could also be modified; on the whole, 'covered
register' recorder multiphonics tend to be quite stable. Furthermore,
endhole coverage may, in rare instances, eliminate the multiphonic
sonority altogether, or, with much less disruptive result, generate (minute)
deviations away from the specific micro-tuning of a 'closed register'
multiphonic's internal pitch-elements, thereby altering the original
multiphonic's modulation parameters at the very least: what was once a
'closed register' recorder multiphonic that incorporated strong beating
effects might now become a beat-free 'covered register' multiphonic with a
noticeably different intonation.
Ex.2-94. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.l, no.l.
(Alto recorder)
~<':-~-S-'-b----------------------------!!:'" ,
- 93-
Ex.2-95. Rene Clemencic: Chronos-Studien. (where?) 134
(Alto recorder)
sec.
~1 ~"'I:
T
1'1'A
... V
X
~ c;-
= -'13'*5
- 94-
Yet again, this multiphonic is taken from Vetter's edition of the
performer's part, instead of Eisma's full score (which at this point
indicates a totally unrealizable recorder multiphonic). (Note also that, for
prescribing the fingering, Vetter's tablature system in this excerpt is,
rather misleadingly, identical to that employed within Ex.2-94: the
tablature's superscripted line in Ex.2-96 is supposed to signal an airtight
closure of the bore's endpoint, not its cloth coverage.) Aside from its prime
chronological role, the analogue notation here implies that the recorder
player should allow this slightly unstable tri-pitched 'closed register'
multiphonic to break down eventually, so that its soft inner pitch emerges
alone.
An effective airtight obstruction of the recorder's endhole demands a
fairly flat, non-porous surface. Either of two fundamentally different
approaches can be taken in order to achieve this: 136 the instrument may be
appropriately 'prepared' beforehand, or, when required, the executant
might instead block the recorder's bell tight against a vinyl pad (for
example) or - more usually - against some part of their own body.
- 95-
with a tight-fitting plug or cork: it is not unreasonable to construe that such
an act is closely akin to muting a brass instrument by placing a specially
designed 'mute' inside its bell. This 'muting' of the bass recorder in
Zahgurim, from the end of bar 198 (where the first 'closed register' sonority
- a multi phonic - is heard), remains in force for the rest of the work.
v
------p
II I
, - -+---+--.....- -
V
V ..... .---~ .,
P ~
==J=
II I r r r i II V
7
\. J
-J4 .------
~
{
,
- 96-
"In studies 2, 3 and 5 'stopping' is called for. This requires the orifice (i.e. lower
sound exit [endholeD to be sealed with a small plug or strip of adhesive tape. This
brings about an essential increase in compass and tonal spectrum, although the
player will discover that such treatment will cause standard fingerings to produce
irregularly pitched notes (higher, lower or 'off-pitch' i.e. notes not conforming to the
tempered system)."
o=~n
- 97-
The three remaining examples of this subsection (which will then serve
to finish it), each make use of what is, among composers, arguably the
most popular 'closed register' alto recorder multiphonic of all, a
particularly attractive, clear, but gentle sonority - with latent implications
of triadic tonal harmony - that straddles the lower end of the instrument's
conventional gamut. It can only be obtained when every fingerhole on the
recorder, as well as the endhole of the footjoint, is closed, airtight:
f'F
I
f ff
- P 1234~? _ _ _ _ _ _ _ _ _ 12345678 _ _
pp .........::=::::::::=== ======~===---~
- 98-
Ex.2-102. Gerhard Braun: Schattenbilder. No.1, p.5.
(Alto recorder)
- , gedackt
~
&l MK ,9%9 1
. 'G!_MK_ _ __~~II
Introduction
Even from the early 1960s, when composers first began to capitalize on
the multiphonic sound-world of the recorder, they affirmed already a
predilection for those recorder multi phonics based upon the interval of an
octave. 143 Such multiphonics, many of which are somewhat unstable and
require a plosive attack in most contexts,144 frequently can be obtained from
'open fingerings'145 (associated with certain 1st-register pitches), and their
closely related derivatives:
- 99 -
3 4_ 50
2 3-
15 2-
~ 1-
Despite the fact that Masumoto actually provides very few fingering-
indications within this excerpt, it is recommended in the score's preface,
rather vaguely, that certain of these "multiple-sound[s] (octave )" are
"available by closing some of [the] finger-holes insufficiently" , instead of
using a normal 1st-register fingering. Thus, some fingerhole(s) - but not
the thumbhole - are to be shaded or vented precisely so that the octave
multiphonic is secured with the correct intonation: the octave A-flat
multiphonic, for example, can be played with the open fingering 012aJ----
(0 = the thumbhole; 3 is 'half-holed', approximately), rather than with the
tenor recorder's standard forked fingering for (lst register) A-flat,
012-/45(6)- .
p "
('rip " f, , '0 ~
0
.-,
0
,., ,
.2-
,. l+- to
00
'0
00
- 100 -
Multiphonics with 'impure' octaves
In reference to recorder multiphonics, the epithet 'impure octave'
denotes the emergence within a multiphonic of an octave interval that is
(microtonally) mistuned to some extent: a near-octave or 'pseudo-octave'.
This inharmonicity between the frequencies of such a multiphonic's
component tones, automatically gives rise to strong amplitude modulation
in the form of trembling beats,146 itself a potent timbral feature which is
arguably the foremost characteristic of the multiphonics that fall into this
particular category:
~"
:1"
~ ~
l$=-
I pr tf
I
Ex.2-106. Sylvana Bussotti & Michael Vetter: .RARA (dolce). p.l, no.15.
(Alto recorder)
This soft and unstable multiphonic, with vented thumbhole and innate
beating, is rather difficult to produce. Its intonation - particularly that of
the lowest pitch-element - is controlled by the extent of thumbhole aperture.
(Again, the multiphonic's true pitches sound microtonally sharper than
written.) 148
- 101-
Multiphonics with 'pure' octaves
Within members from this class of recorder multiphonics, their 'pure'
octaves are perfectly in tune (i.e., intervallically 'harmonic'), so that the
aggregate sonority is, ipso facto, beat-free. Therefore, in the sonoric
continuum which connects timbral and harmonic/chordal acoustic objects,
'pure octave' multiphonics are psychoacoustically somewhat ambiguous:
human auditory processes often tend to classify such sonorities, fused into
an exact harmonic series relationship, as rich monophonic timbres (or
complex single tones).149
. /{1'tS'
--_. ------
r
-102 -
(Number tablature: 1 = the thumbhole.) Although Hashagen indicates
beats within the octave A-sharp multiphonic, it is normally 'pure' and
beat-free in most circumstances. 150 (Yet again, 'tonguing' is necessary.)
Moreover, Hashagen's fingering for the subsequent E-natural, 12--1-678,
also yields a 'pure' octave multiphonic upon that pitch, though it is in fact
unclear as to whether this possibility is really intended at this point. 151
-103 -
On account of their high degree of instability, such recorder tones
(associated, in pairs, with special fingerings) can be fairly readily trilled
through undulatory manipulations of breath-flow alone: in the same
manner as a throat vibrato,154 the modulated air-stream is subjected to
glottal and laryngeal control. Rather remarkably, these recorder 'breath
trills' lay untapped as a viable compositional device until 1988, apparently:
~~~~--=t~~~il~m~ !'.~)
(nf ...~ f ??~ of p-
I
. f-"l~~1'1f==~~~~~~g=l:jlW~i "'=
fr o~
....
f .
00
-104 -
altogether different from them in essence. Whereas brass instruments' 'lip
trills' engage two high adjacent partials within the harmonic series, every
'breath trill' on the recorder - and its multiphonic derivative - involves only
soft, (highly) unstable tones that lie unusually close together within the
instrument's 1st and 2nd registers respectively,155 spanning an interval
much less than an octave, quite unlike the intervallic pattern of the
harmonic series as defined by its fundamental and first overtone. 156
-105 -
impression of diminished stability from the multiphonic's two pitches: the
air-column does not specifically lock into either of these vibratory modes,
but rapidly oscillates between them instead - in a random, chaotic
fashion. 162 This physical behaviour is comparable to that of a fluorescent
light tube, which continually switches on and off at a rate of 50 Hz (in
Australia) due to the electricity mains' Alternating Current [AC], or to that
of a cinematographic film which flashes 24 individual shots (,frames') at
the viewer per second in order to give the optical illusion of continuous
motion. Yet in both cases here, the scanning eye perceives the resultant
images as consisting of a continuous and unbroken vision: a false optical
continuity. Similarly, in hearing these fragile fluttertongued sonorities, an
'auditory illusion' of a quasi-continuous sound-image is created, because
psychoacoustically, the brain's central auditory processor is tricked into
acting as a kind of Digital-to-Analogue Converter [DAC]: both 'breath trill'
pitches are interpreted by the listener to be continually present, when in
reality, they are not. 163 Their repeated interruption is in fact a direct
outcome of the fluttertonguing, which induces amplitude modulation
within the air-stream 164 at a frequency of approximately 30 Hz (the
fluttertonguing's rate of iteration), certainly fast enough to achieve an
overall effect of continuity. 165
It is important to understand that, for (pseudo-)multiphonics derived
from the fluttertonguing of breath-generated trills, the evaluation of their
timbral nature is definitely context-dependent: when grouped together,
they are liable to be apprehended as bona fide multiple sonorities by the
listener; otherwise , one may construe the sound produced as being a
particularly 'dirty' fluttertonguing of a single tone, rich in noise content
and transient phenomena.
-106 -
Voluntary, throat-controlled micro-fluctuations within the player's
breath-flow can also be used here, without any overlay of tongue activity
breaking up the air-stream, to give (slower) aleatoric oscillations - ranging
from semiregular trills to extremely irregular undulations - between the
elements of a recorder 'breath trill'. Pulmonary action therefore dictates
the sound-object's internal rhythmic construction, an idea which holds
truly profound implications as a universal organizational principle for
musical time. 1lO Moreover (together with local articulation intensity), air-
pressure as a controlling parameter governs the statistical weighting of
appearance for each 'breath trill' tone over the entire aleatoric sonority.
Endnotes
1. See Appendix 2. Also, for definitions of basic terms from Acoustics that are utilized in the
ensuing text, such as 'fundamental', 'harmonic', 'spectrum', 'formant', 'phase', 'transient',
'partial', 'mode of vibration ', 'resonance' and 'node' etc., the reader is referred to Rossing
(1982). (Martin (1985) and Martin (1987) are also useful and informative.)
2. For instance, one could execute a fingerslap on the recorder (Appendix 6.1) concurrently
with a fingernail rap to the body of the instrument (Appendix 6.4), thereby combining two
different technical possibilities in order to generate an audible multiple-percussion sonority.
3. It must be admitted that this definition is not entirely satisfactory. In fact, it is demonstrably
impossible, on psychoacoustical grounds, to contrive a totally adequate definition for
recorder 'multiple sonorities', because the 'Single' and 'multiple' sound-worlds of the
recorder are not separate (mutually exclusive) and contiguous to one another, but
interpenetrate according to contextual circumstances . The recorder's sonic universe is
therefore a continuum, within which certain indefinite acoustic regions exist whose
elements are ambiguous in terms of their timbral or harmonic disposition: an alternative
fingering for a given recorder pitch may, for instance, generate a timbre that incorporates a
spectrum with a particularly prominent, individually distinguishable overtone, yet the
spectral components are fused together sufficiently for the pitch/timbre to be regarded as a
single sonic object in most contexts. (See also, for example, sections 4.3 & 4.7, in which
the 'timbral-harmonic duality' [chord/timbre dualism] of recorder multiphonics is discussed.)
6. It is difficult to identify why some alto recorder fingerings seem to be more successful than
others in readily attaining multiphonics. (The acoustical outline that follows herein does not
address this question in sufficient depth to achieve a detailed answer.) At any rate, recorder
players and composers usually adopt a pragmatic approach in music-making, so that this
particular problem of Acoustics is not really a significant issue for them. (For their purposes,
it is satisfactory merely to pinpoint which multiphonic fingerings are troublesome.)
-107 -
7. See section 1.2.
8. For instance, highly detailed spectrum analyses - which can be done aurally to an adequate
degree of specificity for current purposes anyway: see the charts that accompany this
thesis - and oscilloscope readings of alto recorder multiphonics are omitted. In this section,
textual comments and suppositions are derived primarily from direct performance
experience (in which practical observation of instrumental behaviour is made within
multiphonic contexts) and speculation as to how certain acoustical situations occur.
Consequently, no decisive or definite scientific conclusions can be reached. However, the
information that does appear here unquestionably merits presentation, since it is my belief
that recorder players and composers need to possess at least a basic understanding of
recorder acoustics in circumstances involving multiphonics, in order to perform or compose
for them effectively. For example, the ability to predict , with reasonable accuracy, the
acoustical outcome for a recorder multiphonic when its fingering is altered slightly, could be
a valuable resource that arises from a knowledge of recorder acoustics.
9. That is, the register-number matches the mode of vibration's number. (The modes of
vibration are numbered in ascending order of their vibratory frequencies .)
11. See Martin (1987), p.25. Interested readers may be pleased to learn that John Martin has
submitted a Ph .D. thesis to the University of New England, Armidale NSW, Australia,
dealing with the acoustics of the recorder. (The cited article derives from research
associated with his monograph.) It is likely that Martin's thesis will become the major source
of information in this field .
12. (Highly) unstable alto recorder multiphonics are almost always static timbral objects, in that
they can very rarely endure the superimposition of other technical possibilities, such as
breath-generated vibrati or spectral portamenti, without disintegrating. (Stable recorder
multiphonics, on the contrary, are usually adaptable, and so are often able to readily support
various composite multiphonic techniques.)
13. Fingering-patterns of this type are normally referred to as 'forked fingerings'. (OccaSionally -
but, in connection with other woodwind instruments, quite often - they are also called 'cross
fingerings' .) When one examines the complete set of possible recorder fingering-
configurations , as well as the multiphonic charts that accompany this thesis , it soon
becomes evident that the overwhelming majority of alto recorder multiphonics stem from
forked fingerings .
14. It is worthwhile to observe that these forked fingering-patterns often engender alto
recorder multiphonics with a high degree of stability and technical flexibility.
15. One might also mention that the lowest component pitch - excluding sidebands - of many
alto recorder multiphonics lies within the instrument's 1st register, although this is by no
means always the case. The initial multiphonic of Ex.2-1, for instance, as well as several
other textual examples, depict lowest component tones which fall within higher registers .
(The reader will also encounter many similar cases amidst the accompanying multiphonic
charts.)
16. The proposed fingering could actually be the only suitable possibility for realizing this
multiphonic! It seems, lamentably, that adequate fingerings are unavailable for producing
many of the other tri-pitched recorder multiphonics which appear in Mellnas's composition .
17. Again , it should be emphasized here that any two recorder multiphonics (obtained from
different fingerings) which command identical notations, certainly do not sound exactly the
same, as microscopic - perhaps inaudible - pitch-variations and differences in modulation
characteristics, stability and/or air-noise (etc.) will exist. (This is borne out within the
multiphonic charts ; and I have already made this point, within section 1.3.2, in my criticism of
"synonymous fingerings" in M. Kientzy (1982) .) Accordingly, the multiphonics' primary
component pitches alone might be perceived as being equivalent.
18. See also section 1.6 and Chapter 1, ens.43 & 44.
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19. See section 4.6 and Chapter 4, en.41.
20. It seems that, whilst there is ample musical jargon appertaining to pitch and pitch-relations,
there is actually a dearth of terminology for the discussion of musical time and time-relations.
I have therefore found recourse to create the - admittedly rather cumbersome - neologism
"chronomorphology", which equates generically to 'the morphology of time' , or, more
specifically herein in regard to a piece of music, to ~he formal/structural organization (at and
between various architectonic levels) of the time-domain within a musical composition'. (I do
apologize beforehand if the reader finds this coinage to be somewhat bewildering; yet on
the other hand, it is not untypical of my idiolect. With luck, anyhow, the context will always
serve to clarify my intended meaning.)
21. There are, accordingly, two divergent numerical tablatures for the recorder that are currently
in use . This awkward situation frequently disorients recorder players, particularly when
composers do not clarify which tablature system is operating throughout their pieces.
Furthermore , whilst it must be conceded that numerical tablatures do fulfil a constructive
role in the designation of recorder fingering-patterns mid-text (where tablature pictographs
would result in excessive textual fragmentation), numerical tablatures lack sufficient detail in
accurately specifying finely vented or shaded fingerings; they often cannot be fluently read
or convey data quickly enough to the performer, nor can they incorporate complex finger-
actions for techniques such as trilled portamenti. Tablature pictographs avoid all of these
deficiencies, and so are recommended to composers instead.
22. When the fingering for a recorder multiphonic is omitted, and the multiphonic's lowest
constituent pitch appears to belong to the instrument's 1st register - as is the case for both
multiphonics in Ex .2-8 - an instrumentalist, working empirically, might commence research
with the normal fingering for this lowest pitch (or its standard variants). Luckily, such an
approach often yields satisfactory results, as in this example . Composers , however, are
advised to include fingerings always, ideally for every recorder multiphonic throughout the
composition. (Alternatively, a lack of a multiphonic fingering could deliberately signify that
prospective performers are to find appropriate fingerings for themselves , a ploy which may
be efficacious for generating musical indeterminacy.)
23 . That is to say, the pitch-relat ionship is 'inharmonic': these pitches' frequencies are not
(perceived as) whole-number multiples of a basic, 'fundamental' frequency .
24 . This definition assumes a baSis-pitch of A440 Hz. (Some applications for microtonal
recorder multiphonics are examined in section 4.2.)
25 . Numerous other microtonal recorder multiphonics are located amongst the textual
examples, and in the multiphonic charts of part 2.
26 . This is the same degree of resolution for multiphonic pitch-specification that was adopted
by M. Kientzy (1982). It is similarly employed throughout this thesis : see section 1.7 and the
multiphonic charts. This pitch-system is accurate enough to fulfil the requirements of most
contemporary composers, whilst being sufficiently imprecise to accommodate microtonal
deviations which might occur when a particular recorder multiphonic is attempted upon
different instruments.
27. Because the acoustical mechanisms of amplitude modulation apparently permit the
multiphonic sidebands to interact amongst themselves and with the multiphonic
component tones' harmonics as well, these modulation characteristics are in fact not
mutually exclusive: beats and assorted combination tones can therefore coexist within the
same multiphonic. See, for instance, the soprano recorder II part of Ex.4-5; the identical
fingering also yields equivalent results from an alto recorder. Beats and combination tones ,
as well as variations of phase , are fully elucidated in Rossing (1982) , pp.131-144.
29 . Whilst 'summation tones' are also present , they are not usually heard as individual
combination tones in recorder multiphonics.
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30 . The notation for multiphonic beats in EX.2-12 and Ex.2-13 is not recommended, since the
waveform pictograph's placement therein is identical to that of the almost indistinguishable
symbol for chord arpeggiation.
31 . Consequently, the accompanying multiphonic charts provide only approximate pitches for
combination tones.
32. Rossing (1982), pp.135-136. If a recorder multiphonic that comprises only two constituent
pitches at A Hz and B Hz (with B > 2A) also incorporates a 'cubic difference tone', then this
cubic difference tone's frequency will be (B - 2A) Hz.
33. My hypothesis for the cubic difference tone's common manifestation in alto recorder
multiphonics derives from the observation that the second harmonic is apparently rather
prominent within the (alto) recorder's acoustic spectrum [Martin (1987), p.24]. Perhaps
these 'cubic difference tones' are merely simple difference tones arising from the nonlinear
interaction within recorder multiphonics of their lowest component tones' second harmonic
(frequency 2A Hz in the definition of en.32) with their uppermost constituent pitches'
fundamental (frequency B Hz)?
34. A detailed explication of this potentially fruitful multiphonic resource cannot be attempted
within the bounds of this thesis. Some textual examples will instead be provided, although
they are by no means exhaustive and merely serve as a scanty introduction. Whilst the
parameters in the multiphonic charts of part 2 also overlook this possibility, composers are
nonetheless encouraged to investigate, with a sympathetic recorder player, each relevant
multiphonic's potential in this regard.
35 . Of course the pitch(es) will in fact change, although the perception of this can be
minimized, if desired. Usually, it is the recorder multiphonic's lowest component pitch, in
particular, that has the greatest proclivity to change . (At any rate, the sideband modification
is likely to be the multiphonic's dominant timbral feature if its component pitches are not
radically altered.)
36 . As stated in Chapter 1, the various fingerings involved here do warrant separate entry in
ostensibly full multiphonic charts, since their diverse modulation traits give rise to essentially
different - and useful - recorder multiphonics. (cf . M. Kientzy's attitude: see the final
paragraph of section 1.3.2.)
39 . In fact, pitch-discrimination within alto recorder multiphonics is usually quite easy, even
when they are totally divorced from a musical context which contains (many) clear pitch-
references .
40 . This timbral 'fusion' is attained, in the case of most recorder multiphonics, almost certainly as
a result of the internal acoustic processes and features just mentioned: their inharmonic
spectra , specific colorations (noise elements), and, above all , their definite inner
modulations and 'roughness', presumably contribute to the perception of each recorder
multiphonic as a complex but unified sound-mass. (However, upon comparison with the
highly complex, chaotic multiphonic sound-amalgams of the oboe and bassoon, which
regularly encompass numerous sonic ingredients, recorder multiphonics are nevertheless
relatively simple, since the majority of them include only two audible component pitches.)
Other acoustical factors which contribute to a recorder multiphonic's overall timbral profile
are the presence of formants and transients, phase variations, as well as the recorder's
sound-radiation properties. (Furthermore, in all sustained tone production under human
control, the sustained sound's spectra is always dynamic: the internal balance between
spectral elements changes from one moment to the next.)
41 . Although such air-noise is indeed external in provenance (all air-flow emanating from the
instrumentalist's pulmonary operation), air-noise is nonetheless innate to the production
mechanism of alto recorder multiphonics. These air-sounds, one might conjecture , occur
because the requisite volume of air entering the alto recorder's windway per moment is
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excessive in relation to the windway's limited constructional dimensions, so that the large
quantity of escaping air subsequently introduces detectable fricative (frictional) noise which
inextricably mingles with the multiphonic.
42 . Ring-modulation is outlined in Rossing (1982), pp.513 & 521; it is also defined lucidly and
studied at some length in Emmerson (1977). On the basis of aural similarity, it perhaps
comes as no surprise that the timbral transformations of ring-modulation are not acoustically
unrelated to the amplitude modulation processes that a recorder's air-column undergoes in
eliciting a multiphonic.
43. These remarks are exemplified within the multiphonic charts of part 2. An important
observation in relation to the perception of recorder multiphonics should also be inserted
here: psychoacoustically, a loud recorder multiphonic is often able to give the impression of
greater volume than a loud single pitch or chord that contains the same constituent pitches.
44 . I certainly found this to be the case in my own terse multiphonic etude, Helical Ribbon: all of
the multiphonics' uppermost pitches determine the piece's foreground 'tune'.
45. It appears, on the basis of my own experience , that, with few - if any - exceptions, the
frequency components of (alto) recorder multiphonics can generally be made to speak
synchronously, or virtually so, with far greater speed than those within the multiphonics of
other woodwind instruments.
47 . See also Ex .2-4 - tempo: crotchet = 72 - for another example of an instantly propagated
multiphonic from a different work by du Bois. (My own work, Helical Ribbon, is also replete
with such multiphonics.)
48. As stated in section 1.6, this situation necessitates some close collaboration between
these two parties in positively bringing the work to its final fruition.
49. That is, a fixed block, windway, labium, edge, chamfer, 'cut-up' and 'voicing'.
51. By now, the reader will appreciate that ease of multiphonic production may vary slightly from
recorder to recorder (but very much less so from player to player, because the instrumental
characteristics are, in general, thoroughly dominant over technically competent performers'
anatomical disparities in this situation) .
52. One can define (micro-)articulation on the recorder as being the process whereby air-flow is
initiated, sustained and terminated in the instrument by the player's various articulatory
organs. The character or manner of articulation is therefore principally determined by the
way in which the air-stream is modified or affected by these articulatory organs: they all
exercise considerable control over the air-column. (The articulatory organs are either
stationary or movable articulators. The movable articulators consist of the lips, jaws, tongue,
glottiS and vocal cords, all of which adjust the breath-flow from the lungs; the stationary
organs are the teeth, the alveolum, the hard palate, the velum [soft palate] and the uvula.)
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54 . Anyway, within both of these multiphonics - as evoked from the specified fingerings - the
written A-natural certainly sounds somewhat flat (always), in accordance with Lechner's
footnote(?), but the second multiple sonority's highest given pitch is actually much closer to
F-sharp.
56 . Again, unless otherwise specified by the composer, the most suitable micro-articulation is
usually found heuristically, by performers' 'trial and error', subsequent to consulting the
appropriate details within a reliable multiphonic chart - which then serves as a starting point.
57. This neologism, or rather, its German counterpart "Zwischenblasen", was coined by Michael
Vetter [in Vetter (1968), p.468].
58 . Within Ex.2-31, the multiphonic production constraints have of course been imposed
artificially by the composer, since these specific multiphonics are, in reality, highly supple, in
that they can be realized in myriad ways . Some of the other textual examples, as well as the
multiphonic charts themselves, contain numerous 'genuine' cases where the recorder
multiphonic must always be promulgated 'from the bottom up' because no other production
method suffices .
59 . Yet again, the interested or curious reader is advised to seek the relevant information within
the multi phonic charts of part 2.
60 . Under these circumstances , the breath-pressure most often falls slightly, although,
according to the individual multiphonic's air-flow requirements , it need not change at all and
may even rise , as necessary.
61 . Throughout the multiphonic charts, some attempt has been made to reveal this technical
capability (or clever artifice) for expediting difficult multi phonic production.
62. A cursory mention of the circular breathing technique appears in Appendix 1.6.10.
64. This timbral attribute was expounded in the previous section. [See also Ex.2-21 to EX .2-29
inclusive.] It is usually prudent to 'tongue' - Le ., give a plosive attack to - fast or instantly
speaking alto recorder multiphonics, if speed or immediacy of speech is demanded .
(Although a plosive attack may not even be obligatory, this is certainly the best approach to
take when such a multiphonic is the first event of a sequence or is solitary; in other
contexts, it could be more reasonable to aspirate the multiphonic.) With an aspirant attack,
multiphonic onset times can sometimes acquire unwanted delays owing to the air-column's
inertia, which automatically manifests itself in aspirant micro-articulation. Some aspirated
recorder multiphonics , then , may be relatively slow-speaking, though this is by no means
always the case.
66. See also sections 3.5.1 & 3.5.2, as well as Appendix 3.4. (In addition, the more generalized
statements of [Chapter 2] en.12 , above, are most pertinent here.)
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67. This concept greatly facilitates multiphonic production . The notion comes from traditional
playing practices, where performers produce and connect tones in a musically effective
fashion because they already have a clear mental image of the sound in advance of its
actual realization.
69. Imaginative instrumentalists will naturally invent other relevant practice drills, aside from
those mentioned here. (To cultivate their musicality, every recorder player is, in fact, invited
to do this.)
70. That is to say, its constituent elements are perceived as being equally prominent, or
thereabouts .
73. For this reason , as stated previously in section 1.6, it is imperative that composers establish
the performance viability of each multiphonic within its intended context, by working and
experimenting directly with a co-operative, assiduous recorder player who will test them
thoroughly in each passage of the work-in-progress.
74 . Illustrations of this happy phenomenon can be found - for example - amongst numerous
multiphonic trills [see section 3.2]: a multiphonic from one of these trills, which might
normally be elicited in isolation with a plosive attack only, will readily appear within the trill in
legato (aspirant attack). (Such is the case with certain trills of 'pure octave' recorder
multiphonics, for instance.)
75. Of course, as Waechter gives no advice on the matter whatsoever, one could even modify
his suggested(?) fingering.
77 . This seems to be true even when complicated finger-movements are involved, although it
is then quite possible that such a connected multiphonic sequence will be technically tricky
to bring off well.
78 . Many more analogous legato phrases of bass recorder multiphonics appear in Zahgurim.
(Details of Rijnvos's intensive 18-month research/collaboration are given in personal
correspondence with the author.)
79. One facet of this field will be discussed at some length in the next section.
80 . Put another way: slow-speaking recorder multiphonics ought not to be coupled with rapid
finger-movements, unless their perception at an incipient stage of formation is intentional or
acceptable to the composer.
82. The (alto) recorder's keylessness considerably simplifies this topic. Apart from some
infrequently encountered , exceptional circumstances, all of the necessary details are
provided within the "Multiphonic Fingerings" subsection of the "Multiphonic Chart
Parameters" in part 2.
83 . I have in mind , for example, fingerings that engage only one of the upper pair of double-
holes normally controlled by the right-hand ring finger, whilst the lowest double-hole(s) are
also being activated simultaneously with the right-hand little finger. [See, too, my critique of
M. Kientzy (1982), "negative feature" no .8, section 1.3.2 .] Furthermore, any fingerings
which entail some shading or venting of fingerhole(s) other than the thumbhole , are, sadly,
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still non-customary, and so could be found unduly awkward to manipulate by many recorder
players not altogether au fait with these techniques.
85 . As already noted in section 2.1, these attributes are largely responsible for giving each
multiphonic its characteristic timbral signature.
86. There is actually a close acoustical analogy between the realization of a multiphonic spectral
contour on the recorder, and a particular filtering process of electronic music, whereby the
resonance peak of a bandpass filter is moved continuously over the frequency domain.
87 . For rather inflexible (or unstable) recorder multiphonics, it is considerably less feasible - or
even impossible - to construct spectral contours, on account of their inherent instability: the
charts of part 2 provide sufficient data in relation to each multiphonic's spectral portamenti
capabilities.
88 . This second possibility reveals a timbral resource essentially different - though related - to
the 'undertone', discussed later in this section .
89 . See also Ex.2-9, Ex.2-11 and Ex.4-12, as well as their associated commentaries. (As a
passing observation, why Heider chooses to deploy two quite distinct notations for identical
multiphonic spectral effects in Katalog is, I find, rather puzzling .)
90 . Perhaps the composer might equate discrete (relative) dynamic levels to 'steady state'
multiphonic spectral balances as follows : upper notated multiphonic extremity only = fff;
lowest notated multiphonic extremity only = pp(p) ; other intervening dynamic levels
correspond to equal increments of spectral balance between these two limits. (Unless
crescendi and/or diminuendi are provided, an audible multiphonic state of spectral stasis is
always assumed.)
91. Specific directives regarding multiphonics' spectral balance are usually preferred by
executants , so that these suggestions ought really to be adopted by composers as strong
recommendations.
94 . In practice, this seldom occurs: most composers' notations give the fallacious impression
that these quite distinct acoustic objects are essentially the same.
95 . .. . if indeed a 'standard fingering' is even available for the pitch in question, let alone the
notion of 'standard fingering' being a relevant concept for what will, in all likelihood, be a
microtone.
96 . For apposite, flexible recorder multiphonics that can be (easily) approached from either
extractable single pitCh, it is, in principle, inherently no more difficult to connect with the
multiphonic from the highest such pitch than it is from the lowest, although the exact
outcome and facility of execution will doubtless vary from specific case to specific case.
97. For yet another example of a legatissimo registral shift which results in the coupling of
extractable single pitches via an interceding multiphonic - coincidentally from the same
composition - see Ex.2-43.
98. If listed, such exceptions will be cited verbally within the appended multiphonic charts,
wherever possible .
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100. Th is assertion is germane, in particular, to those handful of (alto) recorder multiphonics
possessing more than two prominent tones, wherein their inner - least overt - multiphonic
tone is indeed, for reasons as yet unclear, most ticklish , or often even impossible , to
segregate as part of the aforesaid (legato) linking process. One perplexing reverse
tendency, moreover, warrants special mention here. When this linking process is
commenced with a monophonic sound, usually somewhat difficult to produce, whose pitch
is intermediate to those of the multiphonic's extremities (so that it might even match a third ,
inner multiphonic component) , a legato connection to this identically fingered multiphonic -
if such a connection is available at all - seems to be possible only with an augmentation of
breath-pressure, in which case the multiphonic invariably 'switches in' rather hastily.
101. Often, this uppermost pitch extractable from a multiphonic is, purely in terms of instrumental
technique (but not necessarily in terms of acoustical theory) , equivalent to a 'natural
harmonic' on a stringed instrument (or indeed the transverse flute) . The accompanying
'undertone' - amongst various coteries working in Acoustics or flute pedagogy, sometimes
called a 'residual tone' - always, it seems, appears in the recorder's 1st register, and so could
be deemed equivalent, in the above sense, to a 'fundamental'. (ct. the analogous situation
of the flute.)
103. As a further simple justification for its taxonomic preclusion from the general field of
'muttiphonics', the combination of recorder undertone and high single pitch also delivers a
total aural effect or resonance vastly different to that of the ordinary recorder multiphonic.
105 . Such a device is obviously akin to the process of grafting a spectral contour onto a
(muttiphonic) trill : this technique is covered in section 3.2.
106. I also have in mind here circumstances such as extended, intricate multiphonic sequences
subsumed under a single arc or curve governing the multiphonics' spectral balance , as well
as a number of dazzling composite multiphonic techniques (an array of which will be studied
in Chapter 3) , like multiphonic portamenti or trills with spectral shifts ; and , most of all , the
fantastically complicated but quite amazing technical procedure involving the simultaneous
combination of recorder multiphonios trilled whilst being subjected to a portamento [pitch-
contour] as we" as a spectral sweep [spectral contour]: this technical intermixture is truly
nightmarish and awesomely problematic to notate - let alone execute - with any degree of
specificity (although the effort here is unimpugnably justified by the virtuosic sonic impact
springing from its performance , which, in its transcendence , almost demands a suspension
of belief).
107. A number of refinements to this symbology by Rijnvos are also possible. Delimiting
horizontal (parallel) dotted lines could be added above and below the wedges,
corresponding to the attainment of the multiphonics' extractable single pitches alone (or
some other extrema of breath-pressure); the wedges themselves may be more subtly
contoured and, like the standard waveform contour, they could be orientated about the
minimum breath level (rather than being made symmetrical about a centralized mid-level).
108. Seen in this light, such a device is simply a complex manifestation of a multiphonic spectral
contour/portamento possibility examined earlier: the linking of a recorder multiphonic to its
extractable single pitches. Or, put another way, the technique just involves a quick,
rhythmic 'fading-in' and/or 'fading-out' of multiphonic elements. It could, therefore, be seen
as an analogue to double-stopping upon bowed string instruments, where a mere change
of bow ang le will cause one pitch to promptly sound or be quelled while that of a
neighbouring string is sustained continuously.
109. Notably, in section 2.111 of another of JOrg 8aur's recorder compositions, Mutazioni, this
'spectral rhythmicization' phenomenon is rendered 'aleatoric'. That is to say, exact details of
any multiphonic's internal rhythm ic profile are left entirely to the discretion of the recorder
player. (This indeterminate procedure will be studied in the appropriate place within Chapter
3, viz., section 3.9.2. )
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110. See Appendix 3.7.
111. This is particularly crucial where internally notated rests or caesurae are concerned: within a
recorder multiphonic, they actually denote an instantaneously delivered spectral
portamento .
112. See also Ex.2-11, as well as other excerpts from Katalog et seq.
113. This body of recorder multiple sonorities truly is enormous and acoustically diverse, for
there exists a wide range of possibilities for overblowing different types of 1st-register
tones.
114. Notice that in comparison with section 2.4, however, the multiphonic charts of part 2
themselves are organized quite differently, being ordered solely by resultant pitch
(although the comparatively small class of recorder multiphonics derived from breath-
generated trills - see section 2.4.5 - is separated from the other multiphonics therein) .
116. 'Forked fingerings' are defined and discussed in section 2.1 .2 et passim. [See also ens.13
& 14 (etc.).] 'Open fingerings' are simply their complement: those 'plain fingerings' which
are not 'forked'. (The terms 'open fingering' and 'non-forked fingering' are thus
synonymous.) On the recorder, forked fingerings - and hence their associated multiphonics
- outnumber their open counterparts by far.
117. So much so , that all of the "universal" multiphonics listed in the charts of part 2, being most
flexible, fall into this sub-category. (Conversely, the most flexible [etc.] multiphonics are
often - in the sense given within part 2's "Multiphonic Chart Parameters" - "universal".)
118. See the assertion given in the second paragraph of section 1.2, as well as other authors'
endorsement of it in Chapter 1, en.12.
119. Regarding their intervallic make-up, such multiphonics, in which the fingering-pattern
contains no internal gaps of open, shaded or vented fingerholes, are regularly comprised of
octaves or near-octaves: see section 2.4.4.
121 . Within numerical tablature systems, an underlined number ordinarily denotes 'half-holing'
(or some other degree of ventage) . Whenever this underscoring refers to either of the two
sets of double-holes, as it does here (6 = the right-hand ring finger), only one of the
double-holes is to be closed - an obvious equivalent of 'half-holing'.
122. On the recorder, a thumbhole ventage causes any resultant multiphonics to acquire certain
technical and acoustical traits that can be readily enumerated, so that , taken collectively,
such multiphonics then give rise to a clearly discernible, quite separate multiphonic class.
The relatively clear-cut nature and behaviour of these multiphonics therefore justifies their
singling out here; however, due to limitations upon space within this document, a detailed
consideration of the larger, generalized class of vented-fingering recorder multiphonics
must, unfortunately, be postponed.
123 . For this reason, such recorder multiphonics are sometimes called 'harmonic multiphonics' -
strictly speaking, an acoustic misnomer that is perhaps still acceptable owing to their
relatively gentle, harmonic-like timbre - or just 'soft multiphonics'.
124. See the discourse in section 2.1.3 devoted to amplitude modulation within alto recorder
multiphonics. (See also section 2.1.2.)
126. From among the other applications of this multiphonic-type that are scattered throughout
the text of this thesis, two more workable examples may be cited here for further
examination by the interested reader : Ex.1-4 (fingerings 7 & 10 - the actual sonorities
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themselves should be located within the multiphonic charts of part 2), and Ex.2-68.
127. Century II, 159; quoted from Martin (1987), p.22, and Montagu (1841) , Vol.lI, p.31 . It must
be acknowledged that, rather than studying the acoustical nature of the recorder itself,
Bacon, at this point in his experimental research , was simply making use of the recorder in
order to investigate the sound-absorption properties of diverse materials. In other words ,
Bacon's wayward speculations here were experiments in the name of Science, and not
forays into musical proto-Modernism.
128. From being a length of pipe which is open at both ends (Le., the window and foot joint), the
recorder is here acoustically transformed into a length of pipe that is now open at one end
but blocked in some way at the other. We of course know from the science of Acoustics that
this simple modification holds enormous repercussions in terms of the instrument's
elementary acoustical behaviour.
129. In fact, closing the end of the recorder's foot joint in an airtight fashion, has been utilized by
the 'Dutch Schoo l' of recorder players at least since the early 1960s - within every style,
period and type of recorder music. Moreover, as a widely accepted means of obtaining , on
the alto recorder , the vexed note F~ 3 (deriving it from the standard fingering of Fl:j 3
or, more usually, G ~ 3), there is plentiful evidence to suggest that this same blocking
technique has actually been in circulation among recorder players and other woodwind
exponents for a good deal longer. See, in particular, Waitzman (Winter 1968), as well as all
of Waitzman's other writings appertaining to the 'bell key' that are listed in the Bibliography
(part A) .
130. The sheer heterogeneity of cloth-types , densities and thicknesses utilized for this non-
airtight covering procedure, already suggested by the miscellany of substances used in
Bacon's experimentation, is the culprit here. Therefore, in order to guarantee a musical
outcome which is both predictable and re liably repeatable, composers really need to be
much more exacting in the specification of materials for generating recorder multiphonics in
such a manner.
131 . ... as Vetter calls them in /I Flauto Dolce ed Acerbo (1974), p.48.
132 . See Vetter (1974), p.36, for the origin of this nomenclature.
133. Personally, I would recommend, as a suitable symbology for a non-airtight, cloth occlusion
of the recorder's endhole, the employment of some related sets of graphic variants based
upon the (filled-in) tablature 'boxes' that are used within the multiphonic charts to indicate
an airtight endhole closure or blockage: whereas the opposite case of an utterly blank
tablature 'box' denotes a totally open endhole , such a 'box' WOUld, of course, be tessellated
with different patterns according to the type, thickness and density of material utilized in the
end hole's non-airtight coverage - a thoroughly logical and practical notational solution which
accurately reflects the physical situation.
134. Ex .2-95 is quoted verbatim from Clemencic (1971) , p.225 [Example 30]. (Within th is
important article, it is rather irritating that Clemencic neglects to indicate the precise location
of his examples within their cited composition.)
135. The notation of this technical device is explained fully within the "Multiphonic Fingerings"
subsection of the "Multiphonic Chart Parameters" in part 2. (Consult also the charts
themselves, and en .133, above .)
136. In generating 'closed register' recorder sonorities, the use of a 'bell key' does not merit
serious consideration whatsoever - for not only is it simply unnecessary, it is, in actuality, a
downright hindrance. Firstly, unless the 'bell key' is to be activated by the instrumentalist's
left-hand little finger (which is otherwise not engaged , ordinarily), fingering possibilities will
be artificially limited: the chosen finger plainly cannot operate a 'bell key' and close some
other fingerhole(s) at the same time; and any such key mechanism is itself ungainly and, in
terms of the recorder's external appearance alone, aesthetically displeasing as well. Worse
still, the entire class of 'covered register' recorder sonorities would be dispensed with
completely if a 'bell key' was tacked on to the recorder, gratuitously robbing composers of
an invaluable musical resource.
- 117-
137. Of course, this is not to say that any of the other methods of closing the end of the
recorder's foot joint cannot be applied continuously over long musical sequences as well.
Such a possibility could, in fact, proffer one of the more idiomatic applications for 'closed
register' recorder sonorities in general. (At any rate, a rapid interchange between an open
and occluded end hole risks injury to the recorder player's teeth, particularly when the
occlusion is carried out against their own body or some other independent surface.)
Moreover, there is nothing to stop a recorder player from utilizing, instead, a second
instrument which has been 'prepared' in advance, swapping to it from the regular non-
prepared instrument, thence back again, at the appropriate moments; indeed, this may well
prove to be the best and most flexible solution of all.
138. Blocking airtight the end of the foot joint with the pad of an index finger, is by far the best
option under these circumstances, as it admits much greater control and agility, and
minimizes the aforementioned risk of physical injury to both player and instrument. (Thus,
the bore's endpoint - the end hole - is treated just like any other fingerhole on the recorder.)
139. To account for every executative possibility here with regard to mobility in performance, if
the recorder's bell is to be pressed instead against a non-porous pad (which is laid either
upon the recorder player's thigh or, alternatively, is mounted upon a stand of some kind) ,
the player is again fixed to a certain performance location.
140 . Gumbel also mentions in his introduction that "although all six studies are written for three C
descant recorders, they can be appropriately sight-transposed to render them playable by
three treble or tenor recorders".
142 . See en .134, above . (Ex.2-100 is quoted directly from Clemencic (1971), p.227 [Example
32].)
143. For instance, both of the major publications (reviewed in section 1.3.2) that focus upon
recorder multiphonics, Vetter (1974) and - to a lesser extent - M. Kientzy (1982), specifically
acknowledge 'octave multiphonics' and discriminate between the two sub-types mentioned
in this subsection's title .
144. 'Octave multiphonics' that, in order to sound at all, ordinarily compel the recorder player to
deliver a plosive attack, might not necessarily need this type of (micro-)articulation under
certain other circumstances, however: on account of acoustic inertia, it could instead be
sufficient just to aspirate such multiphonics within specific (multiphonic) trills or legato
sequences, for instance. [See, too, the commentary in section 2.2 on alto recorder
multiphonics within musical sequences - particularly en.74 - and, by way of contrast, the
(mis)treatment of the 'pure' octave multiphonics in Ex.2-32 (as noted within its succeeding
textual remarks).]
145. For further clarification of the various recorder fingering-types, see the second paragraph of
section 2.4.1, as well as the appropriate endnotes above. (en.119 in particular refers to
'octave multiphonics'.)
146. We have already encountered this acoustical notion amongst the paragraphs and examples
of section 2.1.3, concerning amplitude modulation within alto recorder multiphonics. (See,
also , section 2.1.2.)
147. This particular ('impure octave') alto recorder multiphonic is specifically singled out for
further consideration in the second paragraph after Ex.2-68.
148. For further illustrations of 'impure' octave alto recorder multiphonics, see also EX.2-10 to
Ex.2-13, inclusive - as well as EX.2-104 (on soprano recorder) .
149. Rossing (1982), pp.121-122. [See also Erickson (1975), Grey (1975), and Slawson
(1985).]
-118 -
151. According to both Schmidt (1981), p.48 , as well as the fairly abstruse "Explanation of
Signs" that prefaces Nicolaus A. Huber's Epigenesis I, the rather curious, recondite
rectangular symbol which appears here - and is not explained anywhere within Hashagen's
score - means ''to give an increase in the upper frequencies" {tr. I. S.}: certainly an equivocal
definition. Since this fingering (in EX.2-1 08) can also support just a rich, 'reedy' single pitch -
see Appendix 1.6.2 - on E-natural (as notated), thus pointing up the dual timbral-harmonic
nature of 'pure' octave recorder multiphonics, the instruction is therefore quite ambiguous
in this context.
152 . Kazimierz Serocki: Arrangements, "Abbreviations and Symbols", p.6. This excerpt, which
makes use of the same E-natural fingering as that in Ex.2-108 (i.e ., 12--1-678, but on the
bass recorder here), is comparable to those examples analysed towards the end of section
2.3 - Ex .2-70 through to Ex.2-74, inclusive - wherein articulation, fingering and air-flow (the
last-named regulating the multiphonics' spectral balance) operate quite independently of
one another.
155. It must be pOinted out that any statements-of-fact or forthright claims within section 2.4.5
are made purely in reference to 'breath trills' - and their multiphonic precipitates - arising from
fingering -configurations for which the endho/e is open. Whilst some of their 'closed
register' counterparts will indeed react in the manners described (and possess similar
technical attributes) , this certainly does not hold true in all cases: the disruption to the
recorder's normal acoustic system that is caused by fully occluding the bore's endpoint is
simply too great to permit global generalizations here. For instance, one will (in due course)
discover within part 2's multiphonic charts quite a number of 'closed register' multiphonics
generated from 'breath trills' which contain three unstable component tones lying in the 1st,
2nd and 3rd registers - in total contradistinction to Juritz's archetypal bipartite sonorities .
(Two specific examples should suffice: the alto recorder fingering .0.-23/4--7/8 yields a
'breath trill' multiphonic with constituent pitches Et: 1, Gd 2 and Sf 2 in these
respective registers; likewise, comparable results may be obtained on the alto recorder from
the fingering --2314--118 [thumbhole = 0; the bell's endhole, shut airtight = 8] .) [See also
Shanahan (May 1991 ).]
156. Juritz has already alluded to this rather bizarre acoustical anomaly. Has anybody put forward
a satisfactory explanation for this family of fingerings' strange behaviour yet, or for their 1st-
and 2nd-register pitches' unusually compressed intervallic structure (wherein the tones'
frequency ratio is much less than 2)?
157. This entire multiphonic-class is given a discrete listing within a separate section of part 2's
multiphonic charts; a general proposal for their notation is included there, at each
occurrence .
158. This is certainly the case for those extremely unstable 'breath trill multiphonics' on the alto
recorder in which the bottom (1 st register) tone is rather soft relative to the multiphonic's
upper (2nd register) tone . (For example, consider the multiphonic in this sub-category with
fingering --23/4567 [thumbhole = 0] - the reader is referred to the multiphonic charts of
part 2 for its full details.) Whenever isolated, it can be very difficult to detect the interval that
is contained by such a multiphonic, because the pitch of the lower multiphonic element
itself might vary with changes in breath-pressure - creating a complex internal 'pitch-
portamento' - or it could just be difficult to perceive clearly the pitches themselves (so that a
listener may not even apprehend the total sonority, if segregated, as a 'multiphonic' per se).
Accordingly, these multiphonics might be more effectively deployed within the context of a
multiphonic sequence consisting solely of 'breath trill multiphonics'.
159. That is, 'alveolar fluttertonguing' or 'uvular fluttertonguing': the tongue's vibratory fluttering
action takes place either at the tongue-tip (against the area of the teeth-ridge [alveolum]), or
towards the back of the tongue (against the back of the throat [uvula] , similar to gargling) ,
respectively . These iterative articulation-types are often distinguished from one another
colloquially by the terms 'tongue' or 'throat' fluttertonguing ; see also Appendix 3.4.2.
-119 -
160 . Composers should also remember that in this situation, there are actually other limiting
performance possibilities which they could be arbitrarily confronted with as well. For a
certain recorder player, only one type of fluttertonguing might be ruled out whilst the other
is perfectly feasible; instead, another executant could merely find one fluttertonguing
method somewhat easier to execute than the other, for instance. These unpredictable and
unavoidable physical restrictions or impediments also place the composer in a quandary,
and impose obvious prerequisites upon their compositional options.
162 . One can thus draw a fairly interesting - and topical - analogy here, which perhaps holds
widespread and deep musical ramifications. This unstable acoustic system strongly exhibits
properties not unlike those of the complex 'strange attractors' of Chaos Theory, wherein
highly intricate switching occurs between two component-states of the attractor (cf. the so-
called 'butterfly wings' of the Lorenz attractor) : the two unstable 'breath trill' tones that
define the multiphonic each can be seen to function like a 'strange attractor'. Moreover, this
whole class of quivering multiphonic sonorities can be regarded metaphorically as musical
equivalents to 'fractals' (as I have already pointed out in the introduction to my composition-
kit based upon this multiphonic SUb-category [Shanahan (May 1991)]):
"If one accepts the premise that any piece of music for solo melodic instrument - such as
Varese's flute solo Density 21 .5 - is essentially uni-dimensional, whereas an example of
Renaissance polyphony - such as John Taverner's Western Wynde Mass - is bi-dimensional
(because it places equal importance upon musical line and simultaneity), then the sounds
proposed in the following [,breath trills' and their various technical relatives] may be regarded as
'fractal'. They fall somewhere within the continuum between purely linear (uni-dimensional) and
harmony + melody (bi-dimensional) musics. That is to say, their perceived acoustic dimension is
greater than one but less than two: genuinely fractional-dimensional or 'fractal' (as Benoit
Mandelbrot would have it)."
163. Nor can they ever be. No 'breath trill' tone is anywhere near stable enough to be
continuously sustained as a component pitch of some normal, non-fluttertongued (but,
alas, merely hypothetical) recorder multiphonic made up of paired 'breath trill' tones alone,
because with 'breath trill' fingerings, the air-column's lowest two vibratory modes - being far
too unstable themselves - are simply not able to interact or resonate together in the way
other, more stable, modes of vibration do for regular multiphonic generation on the
recorder. Strictly speaking then, such cognitive legerdemain to create the psycho acoustical
simulacrum of pitch-simultaneity (brought about by fluttertonguing), implies that these
flickering fractal-like recorder sounds might best be described as 'pseudo-multiphonics'.
164. One must understand that this type of multiphonic amplitude modulation, being generated
entirely by an external agent (Le. fluttertonguing), is therefore quite distinct from the usual
innate amplitude modulations accruing to recorder multiphonics in the other categories.
165 . The remaining varieties of iterative articulation, such as tongue-tremoli - see Appendix 3.4 -
are either incompatible here, on account of an excessive intensity of breath-pressure (as is
the case for 'flutterlip' and 'buzzed-lip' articulations), or, instead, their rate of iteration
(maximum: approximately 20 Hz for tongue-tremoli) is simply not fast enough to give the
aforementioned psychoacoustical impression of simultaneity. Fluttertonguing thus affords
the only articulatory method quick enough in its reiteration, and sufficiently gentle, to
provoke these pseudo-multiphonic sonorities into sonic existence. (In general then, it
seems that any extremely unstable recorder sonority could be applicable to this
fluttertongued multiphonic-category.) Applying tongue-tremoli to the unstable pitches that
arise from the recorder's 'breath trill' fingerings yields an altogether different resource,
which will be briefly examined within the next, and final, subsection.
166. This particular implementation is eminently practical, for the set of all alto recorder 'breath
trills' lies within a rather narrow compass on the instrument (bounded by the high 1st and
low 2nd registers); moreover, the intervallic structure of most 'breath trills' is quite similar, if
not identical, thus ensuring a considerable duplication of pitch within the full set: recall, for
example, the nearly coincident pitches which arose from Juritz's discovery of the four
original 'breath trill' fingerings .
167. See also sections 3.9.2 & 4.6, as well as Appendix 7.3 (etc.).
- 120 -
168. Appendix 3.4.1.
-121-
3. SOME COMPOSITE MULTIPHONIC TECHNIQUES FOR
THE ALTO RECORDER
3.1 Introduction
-122 -
moreover, an exciting and challenging - if rather cerebral - policy that I
espouse. But because composite techniques in regard to recorder
multiphonics are not common enough yet under any pretext, it is my aim
that this chapter shall at least help to assuage the present sorry situation.
Introduction
Although other hybrid types do exist, in its purest or most general
format, a 'multiphonic trill' is - quite simply - comprised of a periodic
(legato) alternation between two multiphonics:
0-10-1 . . . . . . . . . .
1+
5
7
8
:9"
,
-123 -
Besides having the potential to be highly effective musically, the average
multiphonic trill is also relatively easy to perform on the recorder. This
instrument's wealth of multiphonic trill possibilities - including the
superimposition of spectral portamenti - is truly astonishing: subject to
certain technical constraints, one is perfectly able to combine individual
multiple sonorities (plus fingerings) from amongst those of part 2's
extensive multiphonic charts and, in conjunction with an agreeable
recorder player, experiment with likely alternatives in order to construct a
plethora of multiphonic trills. to
(t )
o
e . ~.'. o (e )
-124 -
trilling motion over the whole event, in direct accordance with changes in
the contour's wavelengths. 11 Such a notational system is therefore
extremely handy for depicting modifications in the velocity of trilling
activity (as carried out by the player's fingers), wherein the multiphonic
trill acquires an accumulation or dispersal of impetus. 12
,,-wj
0
t
2
0
t
2
fJ,
Tremolo
#J~1
r
0
t
2
0
t
2
~
r
~
111
3 3
4
2 3
, 5 5
"6 6 .
7 7
-125 -
Ex.3-3. Erhard Karkoschka: FlOten-/l'onband-5piele 1978. No.I/I.
(Soprano or Tenor recorder [Recorder in C] and piano)
0
Klav.
Il
mj 6
, r~
~
DIe vo rgeschlagenen Gnffe sInd ggf.
-126 -
Ex.3-4. Tui St. George Tucker: Sonatafor Solo Recorder. pp.4-5.
(Alto recorder)
@
Fl.- - .,
tr I
#~
-
II
Very often, trills are possible between recorder multiphonics that have
homologous sonic characteristics and production parameters. In this
regard, an important qualification is that the registers of the multiphonics'
constituent pitches correlate with one another. 18 If they do not, then either
the hypothetical trill will not work in practice as intended, or instead -
though performable - its timbre will be rather 'dicky', because the recorder
player must slur across a register-break somewhere within the trill:
t
".......
o~.)
~ i:; (,-;) II
o
o
00-
-127 -
Whilst both Ft3s belong to the 4th register, the 1st-register Dif 1 snaps
up to a 2nd-register E~ 1 with a click whenever the lowest set of double-
holes is shut. (Another click occurs when this finger-operation is reversed,
and the 2nd-register tone breaks downwards.) Consequently, this trill is
imbued with a popping quality.
Unfortunately, without a comprehensive multiphonic trill chart, it is
still not really feasible to foresee the outcome of allying, within a trill, two
recorder multiphonics (each chosen separately from a standard
multiphonic chart) that embrace identical - let alone diverse - register-sets.
Rather than trying to anticipate the results, a composer is much better
served through having the multiphonics in question tested as a trill-pair by
a willing performer. Nevertheless, another useful principle to keep in
mind here is that progressively larger trill-intervals (especially those
which lie fairly high within the [alto] recorder's tessitura) increase the
likelihood that corresponding tones within the trill's primary and
secondary multiphonics will fall into different registers of the instrument,
in which case - even if the multi phonic trill is attainable - its execution is
somehow liable to be clumsy. A corollary of this observation which can be
deduced immediately is that, in general, the higher the registers engaged
within a workable multiphonic trill, the narrower its trill-intervals are
likely to be (in order to avoid any conflicting registers between alternating
tones).
-128 -
Ex.3-6. Richard Rijnvos: Zahgurim. bars 107-108 & 110-111 (pp.29-
30).
(Amplified bass recorder)
tel' .... ~
~L-- 3 ~
z
o.
0
.-
.-
.-
0
0 0
o
o
0 -
0
00
.-
0
00
0
0
00
0
.'
0
.'
0
0
00
. 0 .'
0 0 00 00 0 0 00
.' 00
0
0
.'
110
tr.,. .. .. .. .. ... .. ... .
I ( ( , '\ I I I' \ (, '\ ( II \ '\ \
!'ass
Rec.
I -J< \' -; -q-"" \ '-J l ~"j ~; l qT) tFi IF)
t~; t .~
.- .- .-
.-
0 0
0 0
00
.'.0 o'
00
.'
0
.'-
00
-129 -
Ex.3-7. Benjamin Thorn: Pipistrelli gialli. ... No.m, p.S [edited].
(Bass recorder)
o
0
.-0
.-0
.-0
.-0
00 - - - - - - - - -
.-0
-00
0 0
00 - - - - - - 00
.-0
00
Fingering considerations
For the facile performance of multiphonic trills on the recorder, their
relative ease of execution in regard to the fingers' trilling manreuvres is
quite an important factor. If the multiphonic trill's 'primary' and
'secondary' fingerings themselves are superficially similar to one another -
and, the multiphonics' registers, stability and data for their other
performance parameters are comparable as well - few obstacles should be
encountered.
Of course, inherent physical limitations upon the rate of trill-speed do
exist. The basic maxim here is that the more intricate or tortuous the
fingers' operation is in carrying out the multiphonic trill, the slower the
maximum velocity of the trill itself will be. Or, to reverse this argument,
the smaller the number of fingers moving (in independent motion -
particularly on one hand), the quicker the recorder player can make the
trilling action. Yet the anatomy of the human hand dictates that certain
movements of the fingers, regrettably, are always going to be rather
sluggish or awkward: for instance, contrary motion of fingers upon the
same hand, wherein some of these fingers are uncovering their
fingerholes whilst others are simultaneously closing theirs, can be
notoriously difficult (most notably when a fast rate of operation is
demanded):
- 130 -
- 0
0- .
-00
- 00
e+c..
00 00-
, ,
Ed 013462:
pp II pp
P
- 131-
When the recorder player carries out a "trill with the finger specified",
an oscillation between the notated multi phonic and a single 2nd-register
tone, G'& 2, occurs.24 (According to the score's preface, Linde also requests
a contoured spectral portamento throughout this event:
"Chord with crescendo (ending on the highest note of the chord)."
This mixed variety of multi phonic trill arises when the monophonic
segment's fingering supports an unstable mode of vibration whose
register-number equals that of one - nearly always, it seems, the lowest - of
the multiphonic's vibratory modes. But the breath-pressure needed to
project the multiphonic in a spectrally well-balanced manner within the
trill, causes the abovementioned unstable mode to overblow into a stable
higher mode alone (rather than another multiphonic). Thus, in Ex.3-8, the
multiphonic's 1st-register E ~ 1 should, theoretically, alternate with a soft
(1st register) C$l off the fingering 01-3/4561. However, the breath
requirements of the multi phonic trill are indeed too strong for this unstable
tone to appear in practice, and the more stable 2nd-register G $ 2
materializes instead as the multiphonic trill's secondary component. All
such multiphonic trills, furthermore, are timbrally 'choppy', 'slurpy' or
'clicky', since a register-break is being crossed repeatedly, back and forth,
in legato.
Although they may regularly incur a second, sometimes weak,
multiphonic (occasioning, in consequence, an ordinary multiphonic trill),
typical fingering-conformations for these hybridized multiphonic trills on
the recorder involve some trilling finger-activity in the vicinity of the lower
part of the fingering 's effective tube-Iength. 26 When one of the trill-
components from such a fingering does turn out to be a single pitch, it may
tend to be somewhat subdued; or, at the opposite extreme, a prominent
monophonic trill-component might perhaps be shadowed beneath by a faint
undertone accompaniment.
-132 -
Ex.3-9. 'Multiphonic-monophonic' trills.
(Alto recorder)
p~NWWWW
I~ f e ~;: e.
II
(cnP )
,.
00 00-"
+r~
~) o
(9-' )
I~
;It e
II
qO
0-.
-
.,
00
-133 -
The secondary trill-element - omitted from the notation here because it
is far too elusive - is unstable to the point that any attempt to sustain it
alone (and so permit identification) fails, for the sound instantly
disintegrates. 27 Could it be just a single pitch? Does it possess an undertone
patently dissimilar to any 1st-register resonances within the multiphonic?
It is hard to tell for sure, although it can be said that the sonority as a
whole is somewhat akin to a smorzato-like fingered vibrato which has been
superimposed upon an already rather rich-sounding recorder
multiphonic.
Returning now to the mainstream of the recorder's multiphonic trills,
several composers have demonstrated a partiality towards a
'homogeneous' sub-class hinted at previously: multiphonic trills which
embrace a pitch that does not change, despite the oscillations of fingering.
Whenever such a trill induces this constant pitch to be held absolutely
steadily, without even the slightest hint of interruption to its sound,28 the
pitch in question is always the uppermost constituent element of the
multi phonic - so long as neither trill-component is a 'closed register'
sonority.29 The musical effect, then, is of a high 'inverted pedal'
underpinned by a pair of lower, alternating tones:
2
tr ... ... ... ... ... ,."
0 13 467 0 1234 57
~ ~ )1 -
\
-== ---- .......
~.~.
;>
\
'~
< - 'I'
T f' p
'I
fp fp p if
- 134 -
"*Overblow until 'G' gradually emerges above [the] tremolo, then reduce pressure
until it vanishes."
In reality, the constant high tone referred to above comes out pitched as
a microtonally flat G-sharp. Moreover, although they have been omitted
from Sterne's score, it is obvious that the composer envisages the standard
fingerings for B ~ 1 and C ~ 1 being employed in this trill. (Sterne's notation-
system for the contoured spectral portamento more-or-Iess duplicates that
of Richard Rijnvos in Ex.2-75, coincidentally.)
1-
.-
0
0 0
.-
..
0
.. ..
00 0 0 00
"" ."
br~ ~
~~JF=~I~ p
123567
t
Whilst the high E-flat is fixed, the C-sharp trills in conjunction with a
D-natural one semitone higher. (In Baur's number tablature, the
-135 -
recorder's thumbhole is designated by a 1; an arrow indicates the trilling
finger, in this case 5 [the right-hand index finger].)
A 'tongued' attack is advisable for expediting this multi phonic trill. (The
numerical tablature here is identical to Ex.3-14's, incidentally.)
+r~
-136 -
(Ex.3-16(b)). It is therefore the composer's responsibility to verify their
efficacy through having them tested by a recorder player well in advance of
setting them definitively within the music.
I 1 I 2.
0
0
0 0
00
f; ,,~t ,... lt~ 00
\e~
0-.
00
0-.
00
0-.
le'3 00
0-.
II
1
j
~ tt-
4-4-
34
I I
0
0 \ I 0 I 2
-
0
0
00
00 Ie':)
le~
00
0-.
1e.'3
0-. 0-.
-137 -
(right hand) finger: all other trills here - because their fingering-patterns
engage both hands - must be executed by pressing the end of the footjoint
against the seated performer's thigh, and jiggling the recorder up and
down.
1 ~
2 2
3
...
:~!lO"
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-
-138 -
Ex.3-1B. Richard Rijnvos: Zahgurim. bars 119-124 (pp.32-33).
(Amplified bass recorder)
ti _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
i\)
~ u~ . .
/ ..... --- .'-/ :____ ;----- '~---::::::::;;;;;;;;~iiiiiiiiiii.
.-
\ -------- ... '--' \"
.-
.-
-
.-
0 0 0
-- .-
-
- .-
0
0
-
0
.'
.' .' .'
.' .' .' .'
-139 -
Ex.3-19. Jiirg Baur: Mutazioni. lorn, pp.3-4.
(Alto recorder)
III.
tJ .... --..J .... ~: I 55 (1234578)
i
The 1st-register trill-tones that spring from the stipulated fingering are
joined (in legato) to their 3rd-register trill-counterparts, by overblowing
through the intervening multiphonic trill. As a musical complement to
-140 -
this trilled episode's spectral development, its oscillatory motion is
decelerated just as soon as these 3rd-register extractable monophonic trill-
tones are isolated, in response to the composer's notation of elongated
wavelengths within the trill-phrase's quasi-triangular waveform-
contour.37
The two previous examples display alto recorder multiphonic trills that
are linked, within a single continuous gesture, to both their upper and
lower sets of extractable monophonic trill-pitches. Wherever the highest of
these monophonic trills is attained, not unexpectedly, a 1st-register trilling
of undertones may be heard. If, as in - for instance - Ex.3-B, the
multiphonic trill instead metamorphoses into a smooth, expressive
fingered vibrato effect upon the highest note (whose pitch never varies
within the trill), this resultant sonority is best classified as an 'undertone
vibrato'. 38
-141-
fingerholes which - being open initially - are part of the set of fingerholes
that are complementary to the multiphonic trill's main fingering-pattern
and trill-action: 42
./
J
0 - . 0-. 0
0
-
0 0
0
- - -
0 0 0 0
I
'-00 00 I.
00 00 00
- 142 -
In many instances, one can evolve these complex, multiply trilled
sonorities from regular multiphonic trills which use more than one
trilling finger for their performance:
(1 ) (i; i ) \2.q"ci. .
t rANVWVWV +r ~
It
-
II
-
(re ) ; k!5 <,. " k"
=(~.=t= t' \, = )
II
e._ o
o
e-o
o
o ~-O l
-0 e lI.~tlcl .
o o
,.
.-0
o
-0
o
,.
J
,.
.,
-143 -
sound-image - a dense, randomly flickering multiphonic texture (iii). It is
worth noting that in Ex.3-22(a), the already heightened level of sonoric,
technical and compositional complexity may be magnified even further by
trilling with the (left hand) thumb as well, if so desired; yet another
multiphonic ingredient - with pitch-elements G \72 and Al3 - would then be
added to this extraordinary trill-melange .)
Introduction
There appears to be an almost universal imbroglio amongst present-day
musicians as to the correct meanings of, and distinctions between, the two
terms 'glissando' and 'portamento'. In some circles, these terms are
treated synonymously; between others, their definitions are reciprocated.
Clearly then, an urgent need exists to alleviate promptly the confusion
arising from this situation. Without any further ado, I shall therefore state
immediately the case as it applies throughout this dissertation.
-144 -
The notation of recorder multiphonic portamenti
Whether or not the chronomorphological contexts for recorder
multiphonic portamenti are governed by analogue or (traditional) metrical
principles, their notation is derived directly from that of conventional
portamenti involving single pitches: 48 the duration of a pitch-portamento,
taken as a whole, is precisely determined by the note-length that is
assigned to the portamento's initial pitch(es); a contour - graphically
identical to one which regulates multiphonic spectral balance - provides
moment-to-moment information regarding any undulation of pitch within
a portamento. Beyond such a waveform dictating the localized behaviour of
pitch, all macro-articulations (legato, tenuto, non-legato, staccato, etc.),
together with any patterns of accentuation, need to be specified explicitly as
well. 49
>
." ... ~~ .
e . ~.:
(~~ .~ .~ \
e.t c. .
The production of multiphonic portamenti upon the alto recorder, and their
various attributes
Assuming that the recorder player has fulfilled every condition for a
suitable multiphonic's production, that multiphonic may then be subjected
to a portamento by implementing a characteristic finger-action: 52 often
with a slight turn or roll of the wrist, the appointed finger(s) are slid
sideways across their fingerhole(s), perpendicular to the bore-line of the
instrument. A lateral sliding motion which gradually removes a finger
-145 -
from its fingerhole yields an ascending portamento, whereas one that
slides a finger onto its fingerhole has the opposite effect. At all times, the
performer ought to use the lightest possible finger-pressure. A closed
fingerhole, for instance, should receive the minimum amount of finger-
pressure such that the closure is just airtight.53 For a (multiphonic)
portamento which entails a gliding finger-movement upon either of the
right hand's pair of double-holes, I sometimes find it best to slide the
finger(s) vertically, parallel to the recorder's line of (single) fingerholes, in
order to avoid any unwanted 'bumps' or pitch-discontinuities that are
prone to occur otherwise. Although this fingering-solution is, admittedly,
rather hard to master, it is preferable for performance contexts which
especially feature slow portamenti, where undesirable breaks would be
particularly obtrusive. As stated elsewhere, if the precise order of sliding
finger-activity is important, then it should be indicated unambiguously by
the composer.
"/' /rem ,
.
._---1',
~,
"'l888.
~'-~------~.~============:::
....,
~ ~
multitonal sounds produced by overblowing of a lower fingering; the reali:lation is left to the player
nlUlliphonische Kliinge durch iiberblasen eines lieferen Griffesj die Realisalion iSl dem Spieler
iiberlassen
-146 -
Ex.3-24. Will Eisma: Wonderen zijn schaars. bars 193-195.
(Alto recorder and prepared piano)
195
~::il.'1!:=-& I
13 --1 --l3'f5
1-
-t. '
to; t
sf sf!, Sf
'Ped. _ _
-147 -
Ex.3-25. Hans-Martin Linde: FiirifStudien. No.IV.
(Alto recorder and piano)
IV
tr
012:.14::;7
f non vz'brato
Klav,
~r
The initial and final multiphonics of this portamento - along with every
multi phonic in between - embrace constituent pitches that lie within either
the 1st or 4th registers. The finger-action which is demanded here is,
nevertheless, rather awkward to negotiate. I suggest that the performer
gradually slide 5 [the right-hand middle finger] onto its fingerhole,
removing 6 [the right-hand ring finger] in a normal fashion only at the last
possible moment. (Consequently, Linde's linear contours do not accurately
reflect the acoustic situation, if this multiphonic portamento is executed in
the manner just described; moreover, although Linde has written the
highest tone of this portamento's terminal multiphonic as F-4f 3, in practice,
it sounds approximately a quartertone sharper, near G ~ 3.)
, 110
-. 'b:~ I , I
...... ~
sf
-148 -
(This example is presented in exactly the same way as Ex.3-24.) Vetter's
multiphonic portamento contour disintegrates twice towards the end of bar
109, somewhere between the third and fourth notated multiphonics, and
then again as the multiphonic portamento is retrograded: with these
fingerings, it is impossible to achieve a continuous portamento which links
E ~ 2 to G~ 3, for a break between the alto recorder's 3rd and 4th registers
would have to be crossed.
Given the dearth of workable examples of recorder multiphonic
portamenti (both in the repertoire and within this monograph), the
provision of some extra guidelines for their derivation is timely. In
proposing two recorder multiphonics that are to function - hopefully - as
the endpoints of a multiphonic portamento, what are the principles which
will guarantee their successful connection in this way? The precept of
fixing a multiphonic portamento's register-set, one might find reminiscent
of certain criteria for the secure production of recorder multiphonic trills;
indeed, this is the key - these two technical regions are quite closely
interrelated.
Aside from the identical notion of equating the multiphonics' various
production parameters and acoustical characteristics,58 a further general
formula is that if one can trill the multiphonics in question, then a
connective portamento between them could be feasible as well. 59 So rather
than asking for their oscillation, one attempts a smooth coupling through
all intermediate frequencies instead:
0 0 0
'.-00
-00
- - -00
- - - - - -00
00
00
00
00
00
00 "-00 -------00
-149 -
Within the maximal range of every multiphonic portamento, shorter
portamenti and pitch-contours can also be extracted. Thus, a multi phonic
portamento's medial points spawn a whole constellation of discretely
separable multiphonics, multiphonic 'windows' which themselves are
fully capable of serving as termination points to smaller, 'subset'
multiphonic portamenti. 6o An implication here is that the fingerings of
multiphonics which bound a multiphonic portamento might include some
partially closed fingerholes: 61
Ex.3-2B. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.l, no.7.
(Alto recorder)
(bi
t~-D--
( 0,)
~~~ -&--
-
I'
I$!)= i9-'-l
~ u;" 0 fo -~Ij
II
P,,-
~ 0 0
0 0
-
.-------0
00 00
.-------0
00
00
00 00 00 00
-150 -
An equivalent portamento with a thumbhole that is shut - Ex.3-29(b) -
proves to be impossible; it fails because one of the multiphonic constituents
there ineluctably skips across two register-breaks.
Flz.
~~
ItM AMAH"
ov v0 QldX3M
f gliss. '
FLZ . - - - - - - - -
G.P.
--==-
25
0--
04
- 151-
For softer specimens of this type of multiphonic portamento, the
executant should take extra care to compensate with breath-pressure by
reducing it appropriately, lest the portamento's low sliding tone overblow
undesirably (leaving the constant upper pitch to sound alone) at
intermediate points of fingerhole closure. 64 Moreover, any prominent
difference tones here will always glide in the opposite direction to that of the
sliding tone, due - obviously - to the portamento's continually evolving
intervallic design.
Another kind of recorder multiphonic portamento consists of those
which are effectuated by varying the size of the thumbhole's aperture - a
mannerism, it seems, among composers who have collaborated with
Michael Vetter:
Ex.3-32. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.l, no.7.
(Alto recorder)
,7~!'=~7=~============================J
Ex.3-33. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.2, no.30.
(Alto recorder)
- 152 -
fully closed; at its narrowest (central) point, however, the thumbhole
should be shaded - as in Ex.3-32. Both of these examples from RARA (dolce)
also display a constancy of pitch for the topmost portamento component, a
recurring phenomenon with this particular genus of multiphonic
portamenti. 65
Another generic tendency amongst such multiphonic portamenti is that
they may be susceptible to instability if attempted with an even spectral
mix: a recorder player often has to reinforce their air-flow in order that the
highest element of the portamento predominates without any risk of it
'falling off through underblowing. 66 With stunning effect, though, many
of these portamento sonorities embody extraordinarily dynamic sidebands -
difference tones shifting in contrary motion relative to the portamento, etc.,
in response to subtle changes of aperture size - imposing a quasi-electronic
patina upon their timbral signature.
Multiphonic portamenti can even be found on the recorder whereby one
of the portamento's multiphonic peripheries belongs to the 'closed register'
(the other periphery stemming, in a regular fashion, from a fingering with
an unobstructed endhole). Focussing now solely upon these frontier
multiphonics , whenever the 'closed register' sonority's normal fingering-
configuration requires only one hand, the index finger of the remaining
hand can be used to carry out the portamento by gradually sealing over the
endhole; otherwise, the instrument's endhole will have to be closed
carefully, by degrees, against the player's thigh - or some other suitable
surface : 67
II
o
o
D~ APi'(1.Ol<Il'lAn: p;kh "f+>,e ( "\J b;c. ?)
o\ ;~er<1.t>c.e +One .
o o
00
00
0---------
- 153 -
Note that the characteristic intervallic development of Ex.3-30 is inverted
here, and it is the portamento's lowest component tone (aside from the
difference tone) which stands rooted upon the one pitch. This method of
obtaining recorder multiphonic portamenti could, therefore, be fruitful
wherever a composer desires a similar outcome. 68
(0.')
Hz. - - - - - - - - - -"""1
II
o
0 0 o
o
o
- - - - --co
- - - - - 00 _ _ _ _ _ _ _ _ _ _ 00
- - - - - - - --Oll
-154 -
Ex.3-36. Richard David Hames: Ku. p.3, 2nd system.
([AltaI recorder. dancer and multiple t ape delay)
,
:5V.
: ~.- . -.-{)
0
...'o
,
'
,
11
:r-
,
:1t-
1 I, :-,:~
0
e,
1 00 '
, (,)
'"' 1\ ,. .. ,
-1
-~
:~.
, -,i ( )
; -
,
..
,
=< {f= 0
\.
fTID
I
..
,
L_ .J
f ::: \
d
I \ : ' - MK
I I.. L tr
~,_---o.'--~~...-v ,.,.p.-':JIO-'-""""---"""" .. gedackt
~
1. taUJU
::::=- p pp
e. e
o -
o o
. 0
o - - -- -_. ' 00- - - . 0 .. 00' ''0''00 . . 0 - 00
-155 -
Once the multiphonic ("MK") is 'faded in', an undulating multiphonic
portamento - more correctly classified as an oscillatory 'slide trill'71 - is
called for, which progressively accelerates into a normal multiphonic trill.
Braun provides no information whatsoever as to how this passage is to be
fingered; underneath the example, then, I propose a workable fingering-
sequence (which is, in all likelihood, that originally contemplated by the
composer), wherein the right-hand little finger initially slides to and fro,
the principal fingering-states being cleanly alternated, in a disjunctive
fashion - i.e. with an ordinary trilling movement - only at the point where
the trill proper ("tr") commences. This transition of finger-actions ought to
be hidden as much as possible by the performer, leaving the impression of
a smooth metamorphosis. If a recorder player decides to apply my
fingerings here, they will find that Braun's written pitches are
microtonally inaccurate. Moreover, whilst it is true that the upper
portamento/trill element does traverse the widest interval, Braun's
notation still misrepresents the situation: the lowest multiphonic tone is
not at all steady, but fluctuates, slightly - over an interval of approximately
an eighthtone.
-156 -
(e.)
tr~tr~
0
.
. - 0
0
00
- - - - - - - - - - - 00
00
- - - - - - - - - - - -00
00 00
-157 -
Ex.3-39. Arne Mellnis: The Mummy and the Humming-Bird. p.3.
(Alto recorder)
flz
r- I - ....
~c . ..
I f
~ 1 '--'
'; 3
~ ~ ../
III
I I -j I ~~
,
J I ~ L
to..--
sill> f>
- 158-
The two non-specific multiphonics, symbolized here as numbered
rectangular blocks, are to be "chosen by the recorder-player himself'. And
note that unless the whole phrase is performed completely in legato, each
part will be articulated in direct accordance with its counterpart's rhythm.
On the other hand, the recorder player's voice fades out promptly once its
highest point is reached, immediately after the entrance of multiphonic
no.3; this multiphonic IS then sustained alone, beyond the voice's
undisruptive egress.
At any rate, both vocal and multiphonic sonorities are subject to the
same breath requirements. Limitations are imposed upon a recorder
multiphonic as determined by the air-flow and breath-pressure constraints
of the performer's vocal output: 78 for instance, a very low, soft sung note
would be found to be incompatible with a loud recorder multiphonic
necessitating a large displacement of air at high pressure; contrariwise, a
high vocal pitch will surely overblow a gentle recorder multiphonic derived
from a breath-generated trill - unless the voice is particularly restrained. 79
(Lamentably, it is impossible for me to be more explicit: I can speak only in
generalities, since recorder players' vocal abilities and physiques vary so
widely.)
-159 -
Ex.3-41. Konrad Lechner: Varianti. I.Thesis, section 5, p.S.
(Tenor recorder)
5 Gaida*
Presto possibiIe
. .
'------' '---'
_ f
Stimme (Summton)
voice (hum) _.
>
-~
- = -= -= = ---- l
v----1---"1
ffo
-
-160 -
Whenever the sound of the recorder player's voice is united with that of
a recorder multiphonic, a matrix of additional sidebands and interference
patterns results: the intervals created by the sung tone (and its partials)
against the various multiphonic elements (and their partials) will cause
extra combination tones and/or beats to materialize, exactly as a
multiphonic component pitch would. Undoubtedly, the multiphonic's
timbral spectrum is changed radically. In fact, the sonoric effect may be of
a mixture of organ mutation stops; or, the ensuing timbral conflation could
sound as ifit has been electronically synthesized. 81
Ex.3-42. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.2, no.21.
(Alto recorder)
'"f pp
o G
-
~
c:= Mi tgesungener Ton, bzw. Akkord
-161-
"With sung tone." {tr. I. S.}
schntll
nac:h
-162 -
Ex.3-44. Klaus Hashagen: Gardinenpredigt eines BlockjIOtenspielers.
p.2.
(Bass recorder)
bassfl o t e
f -----=-==-- rTfJ
...................... ,&~
( ~ = summton)
=
g;...-- lfi~""'---
12.4n Al:l Sb
birrr)ba-cci 0 - nQ
(blasen und singen;
~ = "sing"-tCine)
"hummed tone",
and:
"blowing and singing; 'sung' tone." {tr. I. S.)
altflote
, mp
~ .......... ......,
gr(rr)-e
12U IT
(blasen und singen=
flatterzunge)
- di n(ng)--
-163 -
For both examples, Hashagen demands specific vocal pitches. He is,
moreover, careful to differentiate between a hummed tone - "summton" -
and one which is sung: "bias en und singen; ... 'sing'-tone". In Ex.3-44, the
"r(rr)" of "birbaccione" - Italian for 'scoundrel' - denotes alveolar
fluttertonguing; this particular bass recorder multiphonic is produced
with a labial attack Cb'). The succeeding bass recorder multiphonics
succumb to another labial attack with an ordinary vowel sustain ('ba'), and
to a guttural attack with a diphthongal vowel sustain ('ccio'),
respectively;83 the conclusion to the phrase consists of a normal
monophonic bass recorder pitch that is articulated with a nasal alveolar
attack and a vowel sustain Cne'). Ex.3-45's alto recorder multiphonic
appears within the last syllable of the word "gredin" - German for 'cretin' -
where it is promulgated with either an alveolar Cn') or a guttural Cng')
attack.
The fact that in every echelon of recorder playing, there are now
significant numbers of both male and female exponents (whose vocal
ranges embrace quite distinctive pitch-sets), poses a dilemma for modern
composers who wish to meld an instrumentalist's specifically pitched
vocalizations with the recorder's multiphonic output. And even in
passages of recorder music which are playable and singable by both
genders because only those vocal pitches held in common have been called
for, it provides little consolation to observe that the overall timbre resulting
from the admixture of vocal and multiphonic sonorities will still differ
from one sex of recorder player to the other, as their voices are bound to
possess discrete sound-qualities and colours. So how can this problem be
resolved by the composer? A questionable compositional solution is to ask
expressly for either a male or a female recorder player to perform the work
- exactly as one might employ a bass tuba instead of a trumpet. But aside
from the obvious drawback that such a discriminatory expedient could,
nowadays, be regarded as ideologically suspect, the work's performance
opportunities would be drastically curtailed. 84 Perhaps the best - or most
pragmatic and uncontentious - remedy is to designate an ossia, an
alternative version, for any problematic vocal parts; this may just involve a
verbal instruction to transpose certain vocal pitches (by an octave or two)
into a comfortable register for singing: 85
"normal" R -?-/ -
~-bL
/a../JetCo
-164 -
Yet although Wave is conceived for a (male) recorder player with a
baritone singing voice wherein octave transpositions are permitted for
female executants,86 this possibility is denied the performer whenever the
piece is presented in its solo bass recorder version (without percussion
accompaniment):
"Wave also exists as [a] solo piece for bass recorder. In that case it's called Blue
Mosque and is entirely the same as the recorder part of Wave except for the
permission of octave-transpositions." 87
> 1\ >
0
~
e-rc-.
e.~..
+~
-165 -
Ex.3-47. Helmut Bomefeld: Concentus. no. IS, p.12.
(3 Alto recorders)
-f- (t-----
~ (.\
SWV' V'vtL1i9( Pi-1;o?tstIA/JS :;,:8(J) -.;:
-r= ...
,(Y . ""7 ..,
~ '- 7 I..-
-.
-.r7
@) ). f~
~ l
~~
::= j i {.'
./ - ... f'""' --.
,
J'
.
...
, .I.
- =~j
0
0
0
<.Y
- ~~
0
'-'-
~~' -'1- f.'
f::::'
f.\
-===-==o;;j .0
I---
#
::::::==-
Alto recorders I & III project their multiphonics (in Ex.3-47 ) with a
steadily pitched humming, whereas alto recorder II's multiphonic is
accompanied by a sinusoidal vocal pitch-contour issuing from the recorder
player. Within each part, the choice of hummed pitch is left wholly to the
individual musician.
-166 -
3.4.2 Playing Multiphonics upon two recorders simultaneously
Within this excerpt, the sopranino and soprano recorders are held in
the performer's left and right hands, respectively. Observe, below the
(isomorphous) multiphonics that conclude this phrase, the truncated
tablature pictographs signifying a one-handed fingering-action. Typically,
these particular multiphonics' timbres merge into a strident and piercing
ff sound-mass. Gross has also availed himself of the optimal notation
under these circumstances, by writing the multiphonics upon separate
staves.
Irrespective of any manual polyphony, the articulations - if not the
spectral balances - of recorder multi phonics coupled synchronously in this
way, will always match each other. Yet even while multiphonics are being
elicited from one recorder, the player can easily place, or remove, a second
instrument from between their lips; moreover, the windway of one of the
recorders may be blocked with the tongue-tip, effectively silencing it, while
a multiphonic from the other recorder is articulated (so long as the
multiphonic's production parameters are compatible with this 'non-
- 167-
tongued' mode of attack). In any event, a musical caesura will be
necessary, in order to allow the performer sufficient time to pick up and
position a second recorder - and perhaps to reorientate their hand as
well. 95
-168 -
recorders whatsoever. 103 Why not match a recorder polyphonically with
some other variety of endblown fipple flute, or (wilder still, conceptually) a
non-woodwind instrument - all being under the command of just one
protean performer?:
The bass recorder's phrase is played entirely with fingerings that utilize
the left hand on its own; meanwhile, a hard wooden mallet held in the
performer's right hand strikes several rin, as shown. Without any visual
cues, the sonoric effect for a listener is of a free counterpoint between two
instrumentalists: a bass recorder player and a percussionist. (Not
surprisingly, the bass recorder has to be suspended with a sling
throughout Cullenbenbong.) 104
-169 -
Ex.3-50. Eric Gross: 'fans Shenanigan" No.n. p.5.
(Sopranino recorder, Soprano recorder, and Tin Whistle in D: 1 player)
BE'1W!:E"
FItON11EET1\:
"'-IN WHIS1l-E tNt>
~ ....
- .. f'o~~,
~~ ...~
Introduction
Articulatory constraints enforced for the production of certain recorder
multiphonics notwithstanding, all resources of human articulation (as
codified by the science of Phonetics), 106 can, in principle, be interfaced with
most classes of multiphonics on the recorder. However, owing to the need
for succinctness, only three regularly deployed multiphonic articulatory
capabilities - each of them an iterative articulation - shall be surveyed
herein: fluttertonguing, multiple-tonguing, and tongue-tremolo.
What, therefore, are the criteria regarding the compatibility of these
iterative processes with some proposed recorder multiphonic? To
recapitulate what I have previously stated within a paragraph concerned
with "Multiphonic facility, speech and stability" from section 2.2: "recorder
multiphonics which speak quickly, are stable, [spectrally] pliant, and
readily attainable, can easily tolerate rapid repetitions derived either from
single- or multiple-tonguing as well as the higher-frequency micro-
articulatory iterative processes of fluttertonguing and tongue-tremolo ... "
-170 -
(For those recorder multiphonics which seem to be "universal" in their
applicability and uniformity, these comments are singularly apropos.)
Multiple-tonguing
Whenever a composer requests, for a series of non-legato recorder tones,
distinct attacks that are too rapid to be delivered with ordinary single-
tonguing, the performer has recourse to multiple-tonguing:
'- tF;wtw
'1 1g{El~~~ 11
I 4 I 1234678
~EF >
I~~ '1
3 1 2 I
nt.
=
I r
~>~
g jiJ
2 I 12456
-171-
will sometimes make the multiple-tonguing's pronunciation easier for
them - with almost all recorder playing (including multiphonic
production), any alterations to the shape of the oral cavity, or to an
articulation phoneme's vowel, seem to have no bearing whatsoever upon
the acoustical outcome.
4. Etude
p~.. t .-i. . -i
,! [ [
.. ....
ti-ke. . .
[~r [ [
.... ..
I[
.. b"
f [ t [ ~ I DE ~ Etf} EfY I
tl-ke .. .
r
R
p f
II
--=== if
E. M.Nr. 1526
f-===
.L
#~ --
~ 0.
I 0'1
od,, / oe o~
.~ o~
-172 -
The phonemes "ti-ke ... " (together with the conventional double-staccato
symbol) denote a "rapid reiteration employing double-tonguing". The f(f)
multiphonics that end this brief movement - their fingerings are appended,
above - in reality contain the pitches B ~ 1, D~ 3 (or thereabouts) and E ~ 2,
F:\t3, respectively. Lechner also declares, within the notes to his score, that:
"Alternative [fingering] solutions may have to be worked out depending on the bore
of the instrument ... 0 = 114, 1/2 or 3/4 coverage [of the fingerholel. The method to be
adopted in individual cases can only be ascertained by experimentation, this
applying in particular to micro intervals. "
150
!'ass
Rec .
10
0 0
0
0 0
0 0
0 0
.'
" " " " "
" " " " " " ," '
k t k t k t d did I d I ddl d I
Il'~i
dldldl d ddldldl ftktk
\-5~1.=..5-J
I
, ..
'IIMIII' 'Ui!t"wm I
L-
V
6 -,,-- 6 --''-- 6 ~ c-- 6 -'
'ii
0
0
0
0 0
0
0
0 0 0 0
- 0
0
0
0
-173 -
Multiple-tonguings recur in discretely articulated packages, whereby
an articulator repercusses the recorder tone with a plosive (or some other
type of consonantal) attack. Hence, the performer's air-stream contains a
number of apprehensible bursts, and so is (quasi- )discontinuous. As such,
all multiple-tonguing acts to define rhythmic groupings; thus, it is macro-
articulatory. For this form of macro-articulation, then, how can one
distinguish between double- and triple-tonguing? The length of a multiple-
tonguing's 'consonantal chain', as determined by its quantity of syllables,
dictates whether a multiple-tonguing is more explicitly categorized as
'double-tonguing' or 'triple-tonguing' (etc.). Triple-tonguing - such as
'tekete', 'dedege', or 'didldi' - is, in the main, rather rare, let alone finding
it enlisted as a composite multiphonic technique:
1
2
4
5
8 G~O--7
b~ ,WWWI
p =.1
dolce
P ====-:pp--=====p
-174 -
accelerando, ritardando
IIIIIM W-IIIII accelerando, ritardando
(3) 0 I - 3 4 - 6 7
- 175-
Tongue-tremolo
"f= tongue tremolo: very fast (as fast as poss. ) ungrouped double-tonguing. The
phoneme 'did}' is preferable here." 112
-176 -
Another possibility: indeterminate 'Morse rhythms '
I
I
8 158 . I.
sp~~ll~==
r
fb :
mf:
I 2~:~.~.~.~~.~.~.~.~.~.~.~.____._.____.____.____.____._.
Lt ~~I;j~-----;---
. mf'
52. I
53~
1
I
I
"8
SP~I--------l~-36---t--------------------~~~~~~
S ~ ~Im~if~'~----------------------~1~23~4~5~----
~
.. ~
I a "_"
fb .. .. .. .. . " ...
t~1
- 177-
.1
e e e e . .. . . . . .. .. ..
,
123467 '......
b:~
gbl~
.if m,I
I
S
~
2
}
&
[, 7 --=..-.:.... . . :. .-.-:'_'__
' _____
...
s; ~=!z::*=~-----I
I
3.5.2 Fluttertonguing
-178 -
There are, essentially, two different types of fluttertonguing - alveolar
and uvular. 115 One of these designations will be chosen according to which
stationary articulator the tongue flaps against. Almost always, however,
composers (by asking merely for 'fluttertonguing'116) leave such
distinctions to the executant, who usually selects the alveolar variety. It
need only be mentioned that, for certain endowed individuals, alveolar and
uvular fluttertonguing may be combined. 117
With an average iterative frequency of around 30 Hz, fluttertonguing,
through agitating the air-stream prior to its propulsion into the recorder's
windway, generates its own amplitude modulation - quite separately from
any sidebands that originate from the multi phonic itself within the
instrument. 118 Fluttertonguing thereby imposes an additional quality of
'roughness' upon the timbral signature of each recorder multiphonic with
which it is affiliated. Yet by varying the tension of their vibratile tongue and
the tongue's proximity with respect to its stationary articulator, or by
altering their force of breath-flow, a skilful recorder player should be able to
change both the speed and intensity (or amplitude) of any fluttertonguing.
But if, however, a recorder multiphonic is already somewhat unstable,
unreliable or difficult to procure, then submitting it to any fluttertonguing
will probably increase its instability:
Ex.3-60. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.l, no.6.
(Alto recorder)
.0'\
-179 -
Ex.3-61. Werner Heider: Gassenhauer. pp.2-3 & p.6.
(Soprano recorder and small drum)
'lOV ~
8
'"
.60.'
.....j. Fz
f
>
if
========--- p.p -= mf p mf P
(Echo)
~\
Fz
(5) '4"
f\ r - l~ J ~~~ 11 ~
-===--r-
i
mf~f
4 :)
J"
,
>
f
'-
3 3 (R) (5)
OJ 3
_
P ~~I=1==I===( L}t-~
mj~p
-180 -
--=======f
(laul gesprochen)
ft.
11.'+5<0 f f f f J f f
- 181-
(As before, Eisma's graphic score is presented first of all, and Michael
Vetter's closely correspondent interpretation of this notational flight-of-
fancy appears on the right.) Again, Vetter's "rrrrrr ..." denotes alveolar
fluttertonguing, whereas Eisma - oddly enough - depicts this iterative
micro-articulation with its more normal symbology of mid-stem slashes;
the single recorder multiphonic to which the fluttertonguing applies is
buried amidst this phrase's other filigree gestures.
Flzg Flzg
-i-. ... l-bi
>
*
. . . . . . 0. ~ I.f.
Fl ~ Flzg
~t- r~.f. +~f ~ > > ;> >b~
+)
T.
0
0
~
'-"--
- 182 -
Overblowing the bass recorder - on both occasions, the fingering should
be the standard one for the 1st-register pitch in question - induces a rich
multiphonic to emerge; fluttertonguing is added by the composer merely as
a surface-textural, colouristic overlay.
.0=_
o
o
o
0 0
0 0
(t)
: >
'I) #0] :i~~..,t-~ '.,.. ,!t. ~~ +. Jf=. ~
t)
3::3::3 L1 1 I
I)
t)
'1
~
L
:r
.- 11
1'1 U
.-J
-183 -
~ ...,..I."'4 \,~; " -+0 ,"+"'oJ.w.e. {Iz
r-I --~~- 3 ------,
-,__[w--------
(/') \l) - -- -- -- - - f\z
~2ii JI
1
~. ,.
1[
11'1 'I 1
I- 11
......I
L 12- - \.......--, ~
~
~.
e ,
> +-
> j,.
:::-H. f-
+=
l\-
1=
f-.
+-
+- (.\.
"
.J if
ffull... >
~
et=
~
~
8:>- - - - - - - - - - - - - - l
,~ >
~:::- #~
t.. b. <J,. t= ;, F-_
.I
1407
II-=: bf ==- II ,~
= ----
For both alto recorders here, the ties signal that neither fluttertongued
multiphonic is to be plosively re-attacked. So the fluttertonguing -
-184 -
designated "frullato" in Dolci's native Italian - must be brought in without
delay. The composer also suggests the following multiphonic fingerings
within a foreword to his score: (alto recorder 1) 0-2-/45--; (alto recorder II)
0123/4-67.
(1)
0
(~)
0-0
Z
,, "'--->-fl2.
~
(~ tr
,
-~
~
ff'
~POI5'~
rrlf
, 1f:4 -.rI ~
= pp =rnp l'
.,-/
/
I
:, 3 :ff poss ,
I ~
,4 , - - - - - - - - Tt): (7')
,
I
I
:11
I> ,.
l"-
r-i'f '4 - ; t
. SI i" .LJ II TT
.. ".~
~-
3 ,
I
- 185-
This process of aleatorically opposing tongue-tremoli and
fluttertonguing commences within bar 12, in exact synchronization with
the "overblow contour"; but as the multiphonic itself dissipates during bar
13, so too does the irregular articulatory juxtaposition (leaving only an
unalloyed tongue-tremolo of a short microtonal run to end the gesture). 121
Beyond the topic at hand though, the recorder part of Ex.3-67 is quite
interesting compositionally, in that it lucidly illustrates an organization of
the independent executative parameters of micro-articulation, pulmonary
operation, and a trilling finger/key-action, into a wholly assimilated three-
dimensional musical morphology.122
-186 -
Ex.3-68. Hans-Martin Linde: Amarilli mia bella. No.3, p.IO.
(Bass recorder)
10
BafSblockflote 3.
.r s.v.
-187 -
Ex.3-70. Hans-Martin Linde: Musicfor a Bird. No.5.
(Alto recorder)
Liberamente
b1":"\ /' i b r.
,
JS (
0 12456 pp
P
-188 -
2. Fingering-generated vibrati: a triangular contour
,
~~ 1\ ,; ,
;' '.. .~f: ...... . .. ", '.... ,#,,/........ : ... 01 . . . . , . ...... " " ,
... ~ ..... ...... -.. ,:....... ~. . . "I #",.~ ..... _,.,~ , ... '
The square vibrato contour (no.5, above) can be pressed into service
whenever necessary: for example, when four vibrati are superimposed, or -
rather more likely - when several vibrato-types are utilized within the same
composition. (For certain recorder pieces written during the 1960s, and
particularly those in which Michael Vetter has had some editorial input, a
square vibrato contour is used for notating a 'throat tremolo'.)
A vibrato may be rhythmic or pulse-defining, with a constant frequency
or even with the vibrato's rhythm being explicitly notated by the composer;
or, it could be rendered irregular and aperiodic according to the vibrato
contour. Compositionally, one can thus set up or contrast temporal
structures and relationships between a vibrato and the primary rhythms of
the music (which, on the recorder, are largely determined by fingering and
articulatory considerations).
-189 -
Assortments of recorder vibrati can be alternated or juxtaposed in order
to construct special musical tensions. And - like articulation on the
recorder - pseudo-dynamic effects and tension arches may be projected
through vibrato: a vibrato could be used to highlight a particular recorder
tone from its neighbours, for instance. (These resources, again, will either
be enhanced or diminished by other technical deployments.)
Transformations to the frequency and/or amplitude of a vibrato, as well as
metamorphoses from one vibrato-type to another within each basic vibrato
category, are also achievable; the executative restrictions under which any
type of recorder vibrato will operate are, in general, circumscribed by the
same limitations that are placed upon the techniques from which these
corresponding vibrati are derived.
Finally, I confess that the scope of examination of vibrato phenomena
within this thesis is, deliberately, somewhat limited, mainly for reasons of
space: as this section's rubric declares, only "a selection" of recorder
multiphonic vibrati shall be studied herein. 128
-190 -
'diaphragm' vibrato is well-established, less cumbersome, and handy, it can
continue to be used, of course, in the daily work of music pedagogy ... 3. In every case
the larynx is actively participating with muscular activity, even at low frequencies
... Thus the [diaphragm] vibrato is always a mixed type. The degree of laryngeal
involvement can vary. 4. On the other hand, we were able to document purely
laryngeal vibratos without any participation by the abdominal muscles, thoracic
muscles, or diaphragm. 5. As a rule, the [diaphragm] vibratos tended to be of lower
frequencies (under 6 Hz). The highest frequencies were produced by subjects with
purely laryngeal mechanisms (7 Hz .. .). Even in those subjects who used a thoraco-
abdominal mechanism and tended towards lower frequencies, in certain instances
higher frequencies were recorded up to 7 Hz; these were always of laryngeal origin.
6. The laryngeal vibrato has the widest range of variation of all vibrato types. 7. We
observed a certain preference for laryngeal techniques in the production of vibratos
in pp dynamic levels ... "
13467
'--- ------
12367
7TU!Z ZO
- 191-
Linde's sinusoidal contour here signifies an air-column vibrato; the
multiphonics' fingerings are the standard, 1st-register fingerings for each
lowest pitch-component. 132
"The laryngeal vibrato is still condemned by many authors, often because of lack of
knowledge, because they unjustifiably confuse it with the chevrotement. In the
chevrotement we are dealing with a more or less complete periodically occurring
closure of the glottis, which causes an interruption of the air stream and thereby the
'bleating' and 'stuttering' of the sound. Naturally this technique does not even
deserve discussion in this artistic context; it is worthless and useless."
"s. schn. " is an abbreviation for "sehr schnell": this throat tremolo,
therefore, is to be executed very quickly. (An adequate fingering for Huber's
multiphonic here is 0-23/---(7), incidentally.)
-192 -
Ex.3-74. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.l, no.2.
(Alto recorder)
and:
"Softer laryngeal vibrato" Itr. I. S.}
2.
----------
1. @., :,:, I"i"=<,:'f #1 ~
-193 -
(chevr. Tit . - viln'. nat. ", .,.. (accel. chevr . )
"---l'~~
= ~~
~!F--------- / =
t\ =j: L f- ' :f:~
lao
tJ
P---=:t-= if;; k f -=->- s}. z .Iff ifz
'?14~7AU r?1 ~ 1 ?~4R7~ 1246 246 ' 24 SR
~i~
> (chevr.)
=
= ~
~; b- b q~~
t\ ... -t;;- chevr. rit
bl /'
~"
/: :" / -
tJ
~
~f.&
1268
.
8111;'
124567
ifz
236
12468
iffo
mp
1234578
-== 11if::::=-.. . ::::::::. =====- -=::::::::iff!
1236
-c::::::: -=::::: -<-=::.
and:
"Duration of a group within a rectangle'" one full breath." {tr. I. S.}
Baur, rather than drawing any vibrato contours, provides simple verbal
instructions as regards the development of multiphonic vibrati within
section 2.Ia of Mutazioni - "chevr. rit. - vibr. nat.", "accel. chevr.", etc. The
meanings of these abbreviations should be self-evident. (There are also a
few misprints of multiphonic pitches in section 2.Ia; these can easily be
cleared up by comparing the multiphonic tones with those of section 2.1.)
I close now with two further examples from RARA (dolce) that show
fluttertongued multiphonics in alternation with others which have been
modulated instead by a throat vibrato (Ex.3-76), and a multiphonic/voice
admixture together with fluttertonguing that decelerates and transforms
into a throat tremolo (Ex.3-77):
Ex.3-76. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.l, no.12.
(Alto recorder)
-194 -
Ex.3-77. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.3, no.51.
(Alto recorder)
~,,~ ... ~
,:'yJ
'123'tCCfE -8
(The upper pitch of this multiphonic is actually much closer to D:\F 2.)
Introduction
Only three varieties of fingering-generated multiphonic vibrati will be
reviewed herein; they are, arguably, the most important of such resources.
(Another multiphonic vibrato - 'window' vibrato - that is based upon
fingering considerations, shall be discussed elsewhere, within section
3.9.1. ) 134 Among the vibrato-types which are to be studied below, there is, it
turns out, some overlap: none of these categories of fingering-generated
vibrati are rigid or mutually exclusive. 135 They are all, however, united by
the fact that none of their trilling finger-actions change the registers of any
multiphonic tones: each multiphonic's register-set remains constant
throughout such fingered vibrati.
What are the limitations upon velocity for such vibrati? Details of speed
maxima and fingering compatibility (etc.) are precisely the same as those
for multiphonic trills, and so can be learnt on re-reading the appropriate
paragraphs of section 3.2. Furthermore, although separate proposals are
proffered later, the abbreviation "Fvbr" plus a triangular waveform contour
and - of course - a tablature pictograph indicating finger-activity, suffices
as a possible notation-symbology for all recorder vibrati carried out via the
fingers .
-195 -
components are audibly inflected, but only slightly. So the prime focus of a
fingervibrato is its microtonal pitch-modulation, rather than any
incidental shift of tone colour: with the flattement - an historical woodwind
fingervibrato, prized by French Baroque musicians 136 - pitch is subtly
inflected downwards 137 through a trilling finger-motion which does not
substantially alter the primary fingering-pattern; timbral change is
minimal relative to the flattement's pitch-deviation. It is worth noting too
that in many cases, a fingervibrato's amplitude (as well as its pace) can be
continuously varied by changing, progressively, the action of the trilling
finger(s): a dynamic amplitude is attained by increasing or decreasing the
amount of momentary fingerhole coverage during the fingervibrato.
When a fingervibrato is applied to a recorder multiphonic, it is usually
the multiphonic's lowest component tone which is most affected (i.e. its
lower trill-interval will be greatest), the uppermost element exhibiting
somewhat less inflection of pitch. 138 There are, nonetheless, numerous
exceptions to this formula. Ex.3-78 shows two alto recorder multiphonic
fingervibrati for which the normal situation is inverted, with each
multiphonic's highest constituent pitch traversing a wider microtonal
interval under its particular fingervibrato:
(<7-.,) (b)
Fvbrvvvvv fvb('~
9-B- ~-e-
I' &)0
e.
k"
0
\I
0 0
00-.0
00 -.0
-196 -
Ex.3-79. A fingervibrato modulating the multiphonic's difference tone.
(Alto recorder)
-197 -
In this numerical tablature (with thumbhole = 1), the arrow points to
the trilling finger, no.7 (the right-hand ring finger).
Fvby.~
174tbun? .~~I&~-j
i - 7 '7 jY mF ?
-.
XiO. :mL
"11. Fvbr.: Fingervibrato Cflattement'), executed quite quickly, with the indicated
finger(s). Fingervibrato results in very slight or microtonal pitch changes, being
executed like a trill." 139
- u
flattement
-198 -
Lechner's "key to symbols" states that "alterations to fingering as well
as trills are distinguished by [an arrow, pointing to the fingerhole in
question]" . So here, the multi phonic flattement is accomplished by trilling
upon the right-hand middle fingerhole . But besides the resulting pitch-
contours being rather fancifully depicted - a flattement's effect upon both
multi phonic tones would, of course, always be coincident - the multiphonic
pitches themselves are notated inaccurately: the top pitch-element sounds
almost a semitone higher than written.
In the same way that one can assemble higher-order trillings - 'meta-
oscillations' - of recorder multiphonics,142 there is also the possibility of
constructing mul tiphonic 'meta-fingervibrati ': simultaneous,
independently executed multiphonic fingervibrati - or multi phonic trills
plus fingervibrati - in which autonomous trilling activity is apportioned to
each hand. 143 But how is a suitable recorder multiphonic fingervibrato to
be unearthed in the first place, without having recourse to special,
comprehensive charts of such sonorities? There are, thankfully, a number
of promising methods. For instance, once a target multiphonic (which one
hopes to adorn with a fingervibrato) has been located, experimentation that
involves shading any remaining open fingerholes , one at a time , will
probably yield satisfactory results. Alternatively, by scanning part 2's
charts for pairs of multiphonics with closely related fingerings , identical
register-sets, and pitch-elements whose intonations diverge by only a
microtone, it is likely that an attempt at coupling them as the primary and
secondary components of a multiphonic fingervibrato will meet with
success. On the basis of preliminary testing, furthermore, it appears that
fingervibrati may, in principle , be applied to all categories of recorder
multiphonics, including unstable octave multiphonics (Ex.3-84(a:
-199 -
Ex.3-84. Multiphonic flattement: some additional examples.
(Alto recorder)
(e) (-f)
COl) (b) (c.) eel.) FvbrAN.V l'3 )
fVor/VW'N
fvv,-wvv Fvbr~ FvbrNVVV fvk~
~~
f:vbrrvvvvvv
It' l~)-e- ~)-e- t-e- ('-e- 9-lL ~-e-
f"b,/VVv'V
bj-&-
I~
140
\- 1-
~e
I~ ~ 1[0 IY Ii 0
1 19:' II
e.
II
0 0 0
0 0
~ 0 0 0 0
-
0
0 0 0
0-. 0-.
0
0-. e
00 - .(e) 00 -e(.) 00- 00 00
c. 00 oo-eo gg-?O
00 e. 0) 00
("'P) C", P)
(Mf_")
-!'r~
I(vbY~ K:b.~
0 1/ 9 !: -- ~ ~ ~ . F7.J . (;/-.,
bs.r. [~~ -------.:;- -
f61.'-\;1t o --
t. I)
JI!";_t;;==-
~ i!
nl
~
IJ I~ .-0
eo-.
L..h..
=
I oo-eo
- 200-
All three sonorities here are in fact multiphonic timbral vibrati, even
though the last is notated as an ordinary trill. Cale's truncation "Kvbr" is
semantically ambiguous in a useful sense: it could stand for either 'key
vibrato' or 'klangfarbenvibrato'.
00 00 .-00
- 201-
The symbology of undertone vibrati is very similar to that of
klangfarbenvibrati, except that the abbreviation "Uvbr" is adopted instead;
although optional, it would be informative to show, with an inverted
triangular notehead, the primary and secondary undertone pitches as
well:
Lb) (c.)
Uvbr ' /V\,IVVV'v
D-. D-.
0-. D-
00
00
00
00
These multiphonics' component tones fall within the 2nd and 4th
registers (Ex.3-87(a)), and the 2nd and 5th registers (Ex.3-87(b) & (c)),
respectively.
Introduct ion
It has already been noted elsewhere that certain recorder multi phonics
(and other sonorities) routinely display some presence of air-noise; 148 the
topic at hand, however, is concerned instead with controllably admixing, in
various ratios, air-noises with the instrument's multiphonic sounds. Air-
noises arise through an impedance of the breath-supply to the recorder: by
narrowing the air-stream's passage until turbulence and friction of breath-
flow occur, extraneous air-noises may be created.
- 202-
3. The velocity or force of the air-stream. Increasing the force of breath-flow
will effect a boost in an air-noise's sound energy level, thereby making this
sonority louder: to be specific, higher frequencies within the air-noise will
be amplified, giving the sound more 'hiss'. (Naturally, the reverse applies
in reducing the force of air-flow.)
4. The shape of the recorder player's oral cavity, and in particular, the
position and shape of their various articulatory organs (the tongue, lips,
etc.). For this complex parameter, wherein the mouth itself acts as a
resonance filter, an air-noise is modulated in exactly the same way as the
sounds of unvoiced speech - whisperings - are modulated in enunciating
various consonants and vowels.
All four of the above factors are combinable unilaterally, and may be
brought to bear, deleted or modified almost instantly. Moreover, within
each parameter here, smooth transformations are possible, yielding many
types of 'tim braI portamenti'; these, in turn, give rise to various kinds of
lip-, jaw-, tongue- or breath-generated recorder vibrati, as well as to unique
varieties of vibrati existing solely within the realm of air-noise (such as
those involving variations in the angle of the air-stream with respect to the
instrument's windway, for example).
- 203-
The realization of air-noises with recorder multiphonics
(a) Embouchure variations
In the latter scenario, the recorder's fipple sits against the lower lip,
and the player's air-stream flows partly through the windway (as usual),
but also partly outside and past the beak. This technique can be utilized
over the whole range of the instrument, and may be applied or shed
instantly. O'Kelly is optimistic that "players will find that infinite subtle
variations are possible with this technique". 151 Variations in the shape of
the oral cavity, however, yield only minuscule timbral changes. Yet the
character of consonantal attacks whose point of articulation is forward in
the mouth, is modified, in that tongue-noise within the attack becomes a
prominent tone colour: as well as air-sounds, one hears quite distinctly the
noise of articulation accompanying the fingered multiphonic pitches. 152
Also, both in terms of overall timbre and the technical procedures involved,
this technique is potentially evocative of the shakuhachi (a Japanese
endblown bamboo flute); visually, too, there is a certain similarity of
playing position for the two wind instruments.
Ex.3-SS. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.2, no.31.
(Alto recorder)
- 204 -
Although it is not clarified anywhere within the score of RARA (dolce),
the "x" (with extender) here calls for an infusion of air-noise into the first
two multiphonics. 153
R
..--1' ~ \j = il-'. 'Rcuw ch. OI. ~b e-rJel..e"" l l:a.-scL.e}(. I.) ie ci.n vt1L4.5S0't.
"Introduce rustle sounds, then back again (abandoning the air-noises)" (tr. I. S.)
- 205-
Ex.3-90. Nicolaus A. Huber: Epigenesis I. p.IO.
(Alto recorder)
~~ x) t::~ ~
------""'..
". ~ '1' ..,
I. - ; ; .
'It;
-i-
.....
~-.:.-r--
'lY
~.
>
p
~
"
~
.L C9-c:::::.
1 f f --
x)
@ VOk. w O,7...Ctvv. Ev.-t.fn-nI.O'IJ;" fLgtebLa..5en.);e>JjLtf~r J:e Jo.Yl1e Jhuldur.
and:
"x) 'W' by blowing into the recorder at a distance of ca. 2mm. This [removal of the
instrument from the mouth] is valid for the whole structure." {tr. I. S.}
- 206-
Propel the air-stream into the recorder's windway at an angle,
With the recorder player's lips essentially remaining upon the beak in
their normal position, air-noises can be coalesced with multiphonic
sonorities by sustaining fricative and sibilant sounds in different ways and
measures; these hissing air-sounds are derived directly from the various
fricative and sibilant articulations: 156 one simply impedes the air-stream
with the teeth, jaw, tongue, or lips , in accordance with the relevant
articulation-type: 157
- 207-
be attained by pursing the lips and drawing them back onto the edge of the
beak, somewhat in the manner of a smile; some air might escape the
windway, depending upon the precise lip position.
Continuous elisions of airy timbre are also available between any two
sustained sibilants, or between any two sustained fricatives. Transitions
that cross over from one of these basic articulatory areas to the other are in
many circumstances problematic: the transition might not be smooth, and
an undesirable re-articulation, gap, or 'bump' could occur. Apparently,
such transitions are impossible between 'th', and's' or 'sh' (plus all of
their lax variants), whereas elisions between 'f, and's' or 'sh' (plus all of
their lax variants) may instead be executed in a perfectly smooth
manner. 158
Far and away the easiest and most natural composite multiphonic
techniques involving percussion sonorities on the recorder are those which
utilize 'fingerslapping'. 160 As a percussive adjunct to the attack of a
multiphonic, fingerslapping calls for one or more fingers to tap their
fingerholes hard, adding to the multiphonic sound a distinctive soft
popping resonance pitched at that of one of the fingering's lower vibratory
modes. Most often, this pitch corresponds to a 1st-register tone, although
pitches from higher-register modes of the fingering may be elicited by
slapping the appropriate fingerhole(s) - usually ones lower down the
instrument, with the right hand. Iterated fingerslapping can arise
spontaneously as part of a trilling finger-activity in the performance of
fingering-generated multiphonic vibrati 161 or multiphonic trills. The
moving finger(s) simply make an extra effort to forcibly tap their
fingerholes:
- 208-
Ex.3-92. Neil Currie: Stopping by Woods on a Snowy Evening. bars 52-
54.
(Tenor recorder)
ex
o
"5. X [drawn above the notehead, and in the tablature pictograph] : Noisy finger-
slapping (slapping the finger down hard onto its fingerhole ), with the indicated
finger , in addition to blowing into the recorder. When this is employed in trills,
tremolos or fingervibrati, the oscillating finger is to repeatedly finger-slap
throughout its oscillation." 162
Because the trilling finger must be lifted higher in order to hit its
fingerhole with sufficient force, the maximum speed of oscillation will
necessarily be slower than usual. As a compensation however, by varying
the energy of a finger's descent to its fingerhole , it should be possible to
imbue such repeated fingerslapping with a dynamic contour that is quite
independent of the multiphonic sonority's breath-controlled development.
Fingerslapping the endhole 163 produces a louder 'plop' sound, the pitch
of which bears little relation to the fingering's blown pitch-resources. On
the alto recorder, if a right-hand finger executes the endhole-slap, the
'plop' will be pitched at approximately A1= 2 (irrespective of the left-hand
fingering-configuration); if, however, while maintaining a right-hand
fingering-pattern, a left-hand finger taps the endhole, then the tap-tone
could be as low as A:f 1. But because one hand must remain free to
fingerslap the endhole, an obvious corollary is that this device may only be
employed in conjunction with one-handed fingerings. By analogy with
Ex.3-92, endhole-slaps which recur as an accompaniment to a multi phonic
trill or fingered vibrato carried out upon the endhole, are also effective.
- 209-
their chronomorphological autonomy, a truly polyphonic interplay between
blown and struck sounds is therefore attainable.
Introduction
If instead, a hand is carefully cupped over the window such that the
window becomes mostly covered, then the uppermost regular constituent
element of a recorder multiphonic will be nullified. The hand's arched
fingers apparently cause this vibratory mode to be suppressed altogether
within the multi phonic, while an altissimo pitch - together with some air-
noises - replaces it: the surrogate altissimo tone seems to be under the spell
- 210-
of some kind of 'strange attractor' resonance, for it is almost always
pitched very near to B V 3, C ~ 3, or D ~ 3 on the alto recorder. (These
multiphonics are rather more plentifui than those which are merely
inflections of common recorder multiphonics, as above.)
: a IS 4 9 0 ~n !Z IJ
I
""\
II
t& 9" 0
I 40
0
0
0
0
0
0
0
0
0
-
0
-.!
0
0
0
~
0 0
w;"J,OV'l 0 ff ~ 0 ~ 0 ~ ~ ~
lR.. \; ,J sh"<A~. "~fF'
+;~e ..S "rc.he~ , --
0 0
0
0 0 0 0 0 0
0 0 0
..,.,;no\ow 0 ~ ~ 0 )Zf ~ ~ 0 yf ~ ~
[(l., ,1-1.1
C'"'pf"-"\, shQ'\ .. oI ,
f;~I'")",('(q<l.
- 211-
3.9.2 Indeterminate Multiphonic possibilities
Introduction
Musical indeterminacy is a compositional or executative action whereby
precise details of a resultant sound cannot be predicted in advance of its
performance. The realization of the score is therefore left to the executant,
who allows any sound to manifest itself, subject to guidelines - if any -
established by the composer. 171 In no small part a legacy of John Cage, the
notion of indeterminacy permeates every facet of the contemporary
recorder scene: it can, for instance, be discerned in abundance among
compositional applications of each element of (composite) multiphonic
technique.
Composers - like Will Eisma in his Wonderen zijn schaars - often
provide graphic symbols or visual designs which may evoke suggestions as
to what multiphonic pitches, dynamics, fingerings, articulations, or other
parameters, the recorder player could choose; otherwise (or as an adjunct
to these musical graphics), verbal directives or adjectival descriptions of
the desired sound might be contributed by the composer, to aid the
instrumentalist in discovering an appropriate multiple sonority.
What, then, are a composer's motivations for resorting to indeterminacy
in devising music with recorder multiphonics? There are indeed many
conceivable answers to this question, and the forthcoming subsections hope
to provide illumination for some of them - although in no way do I profess
to have made a complete exposition of this infinitely fertile theme.
LONG CHORDS
~ I
~~-==- - -
- 212-
Lucky Dip is structured as if it were a card game; indeed, Tattersall's
score consists merely of explanatory sheets, plus a set of seventeen different
instructional 'cards' which are to be reduplicated and randomly shuffled,
the recorder players fulfilling whatever each card requires of them when it
is selected:
"THE GAME: 1. From 3 to 6 players may take part. Each may choose freely from
alto, tenor, or bass recorders; each may also have nearby small percussion
instruments (as listed on the 'Percussion' card) and/or a radio. 2. The deck of cards
(face down) is within reach of all players. 3. Players take cards in turn and
commence playing. 4. Any player may discard his card and take another when he
wishes. 5. Each player finishes when he draws and 'End' card. The game/piece
finishes when the last player finishes ... [Tattersall then goes on to suggest some
variations to the game, after explaining the exact composition of the deck - i.e., how
many copies of each type of card shall appear in the deck, according to the number of
players]. "
- 213-
(H) (I) j'f;% IHl-EIl- -
I II
ca. = 10" -15"
fJ::O:7> Q!:if ~!ftaG~r:;-rL. r? fiB ~ (l) 1J ~,'.t.t~'I1.-r*~~f.lI?,
..
optional mult iple-sound j:ff~ i' R J.... (l) .t oj I.: liT. ( tpfjl51i" t VJ) T .., -::g: t I'll t, T f.:
- 214-
Ex.3-96. Kazimierz Serock.i: Concerto aUa cadenza. Nos.135-l39.
(Bass recorder)
ID lifiill11
mPI
I
I
t1lli
r :........ .
orch
I
I .. I
J I
l~1 i;i~
I
I
I" --::::=:::::::: e. c. ~Olb.SSI e.c.
e'c.
=----=----
- =-- ~
b~~
i 12"
----------~. --------------------------------------------
138~ 139~
I
I
I 1
I ~"
11illl1
mf : planofor.e
Will
1- - = = =
1
1 .emple blocks
III z;;;s ~
~tc.
etc
pp
- 215-
Ex.3-97. Milko Kelemen: Zehn Fabeln. No.n.
(Soprano and Alto recorders)
II
Der Mond und die Mutter
simile
- ---
A
A A
llil
. ~
....----: .;: - "---
. ~ If#- -#.
----- T1
- 216-
multiphonic, a rather impractical prospect gIven the composer's p
dynamic level.
/I
~------.,
,,
0 0
0
0
0 0
.!
0
0
0
0
00
00
00
00
- 217-
Ex.3-100. John Rimmer: The Exotic Circle. p.l.
(Sopranino, Soprano, Alto, Tenor, Bass and Great Bass recorders, and
percussion)
John Rimmer
Descant
I"
+ '':..
.
T
I I
Treble
, f' I
Tenor
IT'". " I p~ ..
Bass
2
L _ __
r - - - - 3/~ - . .,
tr-
5
" +. H I ." 1
o
," fT.#> / , ."
Tr.
I" If f I>
T
f ---- 3____..... ...
fT*
B
+r If--==.f P ...,
G. B
:--== 1 s.c.. ... - -. 2'-- --1 . .."
~ - rl
Perc
i
.(
: Ii> -==..f ==-# v ;~
______ SR____ ,
Lv.
I" :
0 A"i" M... <;.'" II> I~i ... ..;.~
2 \.v .
.....
-- - - 5"
.f
_ _ _ .J
An y sonorous cho rd
3. 0-- - gl issan do around a centra l no t e, app roxi m at ely a se mitone below and above .
- 218-
Ex.3-l0l. Jacques Bank: Wave. p.6.
(Amplified bass recorder and percussion)
( I
r-
1'- ~.1
~
u
2.
~
V()i~ oj
rt.c~rder
plAyer
1. w""tf./'1DcJa
). t ""'f lL
},J:x:.ks
- -7
/
-,
I
.
I
~ ill
kJ b
-- r ~
p - '===
rr
7
I ClUI"'- L-.!!..
0C< )----<o~--f
p-----
- 219-
"A 'scratchy' forked fingering, as you wish (yielding a fully diffuse 'sound-
band' )" (tr. I. S .)
- 220-
Ex.3-104. Maki Ishii: Black Intention. p.6.
(Tenor recorder)
, - - - - - - ca. 6""- - - ,
,----- - ca. 6 --~
(p-"!f")}--- - - - - . . . . . J
*)G
Voice l - - - - - - - - - - < i > - - - - - - ' - - - - - - - - - - - - - - - - - - - -
mp==~
., .:
Voice n-~~-++~~-~----------~--~~---'---~~
mp
(Fl . ~ Flattenange )
\" oi ce fl-----------+---H-~~+~-----------
"!f"-:'-==m
=ot=to
"!f"-=
- 221-
Ex.3-l05. Michael Smetanin: Spin (0). bars 18-19 (p.4).
(Amplified bass recorder and amplified harpsichord)
.~ _I.
0_
~ [
:~';::I====~
I
~n2-n t
~:I :: :~L-I ____
> . ,.
bhs,,,, b,
::> ,.
~~ ,. I
,
'bl. . 6.. s'1l bL bl hI.. bh . b, . I hL bh #
1 ;
:!:
- . ,. ~,.
L-..- 5 :4 ~ '-- 3 ---J
L-- ---J
3
- 222 -
Ex.3-10G. Rolf Riehm: Gebriiuchliches. p.3.
(Alto recorder)
- 223-
Ex.3-107. Kazimierz Serocki: Arrangements. No.3.
(Tenor recorder)
1
2
l
(,
b >
tlE~rr ~f~FI~&r~I"~8~""'=-~~
--------------_.'
:8 11
------------
Ex.3-10B. Kazimierz Serocki: Arrangements. No.7.
(Soprano recorder)
a
4
5
~
8 ~~-4-5--------~--------
sJ T: I .
I
"Chord supplied with vertical fingering is sustained while tone-holes are covered
and uncovered in a rapid rhythmically improvised manner in accordance with the
given horizontal fingering ... [i.e. the horizontally written numbers reveal which
fingers are to be aleatorically actuated]." 177
- 224-
Ex.3-109. Kazimierz Serocki: Concerto aUa cadenza. Nos.301, 308 &
319.
(Sopranino recorder)
301~
I
I
30~
1
2
3
4
5
6 1
7
I
30~
3
309!
5
6
I
I
4 I
1 320~
2
5
~ 1
1$47- ,.......,-,-.....,-,-....,-
I
.8'1
".. . hold the chord in the indicated fingering, and at the same time improvise
quickly by fingering on the indicated (horizontal notation) fingerholes ... " 178
- 225-
In the same work, Serocki offers a less particularized method of
producing indeterminate recorder multiphonics through random finger-
movement:
7~
I
I
7{
1
7~
1
I 3
I '
f~
I"' . . .. . C8 5" . . . . .. . . . . . . . . . . . . . . . . . C8 10" .. .. . .". . .. .. .. : : I
;;:\iano
l
~ ---cr---- I
j-~-~-~-~-~-~-~~~-~-j
PPk, I
"P /---=~=======/ff,
"The wind-pressure as little as possible, below the level at which sound is produced;
by quick improvised fingering upon the fingerholes produce soft noises of
unspecified, rapidly changing sounds, and then by a gradual increase in wind-
pressure reach - through unspecified composite overtones [multiphonics] - d'" with
the given fingering, and at the same time improvise rhythms continuously on the
indicated (horizontal notation) fingerholes (567)." 179
- 226-
Ex.3-111. Kazimierz Serocki: Arrangements. No.3.
(Tenor recorder)
1
2
'3
4-
5
6
7
t ~l V~*=--''-''-''-''-'
.
mfl,
..... I
'8"
' .................
.
1
2
3
.,5
,i ,J t
- 227-
Ex.3-113. Kazimlerz Serocki: Impromptufantasque. Nos. 175-179
(pp.39-40).
(Sopranino. Soprano. Alto. Tenor. Bass and Great Bass recorders)
39
.. ca 5"
175.. " ,
I
*l III~
sp ,i ./~ [ 2' ...... .. ...
1\
V.
S './'~ [ ~ .......... ..
a 4.z? [~ ........ ~ ..
". .
fb ~ 2-
t $*?'<~[2"""' V
b .~
.......
-<-= [ a ........ .
~
gb ~ .??-- [ ~ . . . . . . . . . . . .
III:
I
... M=60":
(1 ")
t
179
sp~ ~
z'-'--- V ~ . . . . . . . . . '''v ~
I
1\
~ " V
~ .. .... v}__
8
_-..;.._ _ _ _ V 2
s~
~ "
~
V}-I. I
a~
...... V ~ _ _._._._._._._. V Z
I
fh v ~
.......... v}- .
t~ 2
~ I
b~
8
:..:..:..:....: V ~
Z. ....... V '2'" .. .. V}-'.
8
gb~ :....:..:: v
'2" . .
~
,
V ~ .. ; ........ v}--
I
- 228-
*Jdiebeliebig gewahlten Tone innerhalb des angegebenen Tonumfangs
standig wechseln
change constantly the notes chosen ad libitum within the indicated
range
"Repeat any sound within the indicated range quickly, aperiodically (Morse
signal); overblow rapidly so as to produce composite overtones [multiphonics]." 181
overbww
) 1\ 15
t.!
1\ ... "'" - - f
overbww
"\t.!
f
- 229-
"For the final note just blow hard through the recorder to get a squawk!" 185
161.
16~ 8: "
1591 : sp~11 'a;B6 t f..---.-
I
~ ~ ppp-==.fff
158 : s~Gt:22J#; t r . - -
4, ~~ppp fff
fb 157,.. ~~1':Z::f;f I - . - . -
156. : t ~lIi&& I . - -' - . - . -
I b~11 t~ i7'~fff - - - - - -
[ 8 ~~ ppp""""=fff
gb~l~i I . - . - . - . - . - . -' -
~
ppp -==fff
I
I
"Quasi glissando; play very rapidly frullato [fluttertonguingJ on the entire range of
the instrument in ascending direction and at the same time overblow gradually, so
as to obtain composite overtones [multiphonics]." 186
- 230-
Ex.3-116. Jana Skarecky: The Sign of the Four. p.6.
(Tenor recorder)
(L.H.)2 2 2 2 2 2
n 11 n
'~
==:
II: UJ UJ :11
444444
(R.H)4 4 4 cre sc o biSf.!. - / .
(m itdem--
2. Finger) ohne Rucksicht auf Uber-
al niente
"Without concern at overblowing; then suddenly cut off [the sound)." {tr. I. S.}
- 231-
Febel has concocted separate chronomorphologies for each hand in
Ex.3-117. Fingerings are given specifically in rhythms: with thumbhole = 1,
the fingering-pattern 1-3-/56-- is to be held constant while fingerhole 2 is
flicked shut (in steady quavers) by the left-hand index finger, against 4
being momentarily closed (in triplets) by the right-hand index finger - the
latter necessitating a displacement of the right hand from its usual
position. Indeterminate multiphonics are certain to occur during the
overblown crescendo to ff.
- 232-
Ex.3-119. Werner Heider: Katalog. Spiel, 3rd system.
(Sopranino recorder)
Ex.3-120. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.2, no.20.
(Alto recorder)
,
-
- 233-
they like, in whatever spectral balance they like, simply by adjusting their
breath-pressure indeterminately:
~ r <
1\ ~ 'b- ~. JI. .Ll .~-
III. ---
~:t
tJ ifz~
mf tranquillo nif tranquillo
~ <i
/
cantabile .q cantabile
123457 00
==
~~~ ~<
..=~.~. . ~.- '61' _ _ _
1\ - ---
tJ 123567
ifZi
mf tranquillo
~
ifz-=
\
'61'''~J diminuendo
cantabile
9-
"A free rhythmic arrangement of the chords under (over) the trill." Itr. I. S.}
I append two workable trill fingerings for Ex.3-121's second and sixth
'boxes', respectively:
- -.-0
0
0100\
-0
0
0
-
00
Postscript
The reader is alerted to the fact that some additional applications for
recorder multiphonics within indeterminate musical structures shall be
brought to light in section 4.6; some of the discourse of section 2.4.5, also, is
apropos.
- 234-
3.10 Multiphonics utilizing Separate Sections of the Alto Recorder
Introduction
For the realization of multiphonics upon a separate recorder headjoint,
or upon a recorder with its foot joint detached, I recommend that
performers avail themselves of some spare instruments, from which the
appropriate parts can be removed beforehand. This sensible solution is far
better than attempting to hurriedly dismantle a whole recorder, thence
reassemble it, during live performance - an operation that takes valuable
time to acquit. Indeed, some compositions already adopt such a practical
procedure: Kazimierz Serocki, in the "Notes on the performance of the solo
part" to his Concerto alla cadenza, declares that:
"The work should be performed on 6 recorders with 'baroque' fingering: sopranino,
descant, treble, tenor, bass and low bass [i.e. great bass]. Moreover the player should
be equipped with five separate mouth-pieces for these recorders except for the treble
recorder which in the Concerto appears always without the mouth-piece so that the
latter may be used separately. Consequently the soloist should possess 6 instruments
and 6 separate mouth-pieces."
Composers, however, are issued the caveat that any multiple sonorities
performed upon sections of a disassembled alto recorder (as documented
below) are likely to vary somewhat in acoustical effect from one recorder to
the next - even more than as is the case for the complete instrument.
Nevertheless , multiphonic production and technical treatments upon a
headjoint, or upon a recorder deprived of its footjoint, are essentially the
same as for a whole recorder. In consequence, there is a comparable
richness of possibilities here for the creation of composite multiphonic
techniques : most headjoint multiphonics are able to withstand vocal
additives, air-noises, or fluttertonguing, for example; and an alto recorder
without its footjoint can support syntheses of its multiphonics with trills,
fingerslaps, vibrati, spectral contours, or portamenti, etc. It is best,
therefore , to think of the separate sections of a recorder, either alone or in
combination, as being quite distinct musical instruments possessing quite
distinctive sonic attributes.
- 235-
open window, and a low-amplitude multiphonic window vibrato is often
feasible; headjoint multi phonic portamenti, also, can be effected through
window manipulations.
- - - - - - - - - -+ - - - - - -7H I
-)
!'!!!!:=
-
-
s~hneLL
n-ach
0 (T)
ft
!
8.~ ---u-vvvlJW/
~
./
ft-
:- ..
il----
IQ
-fr
wQchsQln! (mf)
- 236-
Lamentably, explanations for the various cryptic pictographs here
concerning the tenor recorder's headjoint are not to be found anywhere
within Hashagen's score. With the help of Schmidt (1981), p.35, however,
their meanings have hopefully been deciphered correctly, as follows:
"loosely cover the labium, with the end of the headjoint being closed
airtight"; "cup the end of the headjoint in the hand [the square wave
contour denotes a chevroter],,; "the labium is firmly closed"; "alternately
close and open the end of the headjoint [a vibrato?],,; "both the labium and
the end of the headjoint are to be firmly closed"; "whilst cupping the end of
the headjoint in the hand, loosely cover the labium"; and "cup the end of
the headjoint in the hand", respectively. (The recorder player then changes
hastily to an alto recorder.)
Within this short passage, the composer also provides some graphics to
suggest headjoint multiphonics with developing densities and bandwidths
in various registers; the precise details of their realization will have to be
ascertained empirically by each recorder player - a state of affairs
pertaining to Ex.3-123 as well:
r~i - - f---r-
.,.. ____ __ -1'
LAh;~.. leif 111" /,.. ,",- fC/IIIo/J,ft.
H-~ CI/",4!J,i/.. ~ .-t,.&k6I&, 6;~
11t; -'lb-/9 ""f IIi. .. t:,..,lItIIfu
tA....0.,.,.1." "J:1"~i-.
- 237-
25
7"
\
0
\
"Gradually cover the labium with the [curled] left hand, so covering it until an
overtone sounds simultaneously with the fundamental tone",
- 238-
Ex.3-124. A table of recorder headjoint sonorities.
(HeadjOint from an Alto recorder)
r
~-& "~..Q.
14- - A.\. I. A. l.?. . A\.3. A. \. 'T. A\. S'. A. \.b.
LH 0 LHO LHO LH 0 LH 0 LH 0
1<H Oope" . RI1 x{ Ri-l ~ RH~ ~H ~ [1..\-1 c.lose.ol. ",;.-t;'3nr.
II
L~~
A.+. I . LH ~ A.'r.2. LH ~ A.'t-.'3 .
LH~
A.'l-.'\- .
w-I J A.'l-. ? L..H ~ II +' . {, .
- 239-
(B) L.B.: as in table (A);
R.B.: my middle finger was inserted into the headjoint's bore,
progressively, as indicated.
1 ~~)~
~ /~ :n::
I 0 II
B.\.I. 6. I. 5.
Ll-\ 0 U-lO
1\14 0 ovt.
I'
- --4
~..Q. 9-&
6.1..3 . B.1 .tr. B.l .6 .
I
Lli,,0 LH Xi LH .0
RI4 ~ RH ~ ~\-l
(e) L.B.: the L.B. is free - with the window remaining open;
R.B.: the end of the headjoint is clenched, or a 'tube' of curled
fingers is formed there.
1f~ i-&
.. -
i-e-
I~*o" *0 I 9" I " " ~ !l bu"" b u
[I
U1 0 L}1 0 /...l1 0
- 240-
= with the Right Hand, a portamento between this headjoint
sonority and the corresponding sonority in the next bar to
the right can be performed.
- 241-
most Japanese manufacturers of plastic alto recorders - such as the Zen-
On Music Company Ltd. - now furnish protective tenon caps that may serve
a useful function here as a means of effectively blocking the tenon's
endhole .
To round off this section then, here are a further ten miscellaneous
multiphonics, chosen almost at random from among the thousands
available. (This example also demonstrates the characteristic tablature
pictograph - with the lowest pair of double-holes duly omitted - which ought
to be used whenever the recorder is divested of its footjoint):
I- 2. .
vn*,ble
,. '+1 4-. 5. ! --e- b. f 7. b-e- It'
3.1( .0..
"I. f oB- \0 .
J..Q. i~ ~ fll.
--
ili!
I~ ~: li: ~
I-
I Ge J Id I 9!! Iii "- I 9() I g Il , II
15
%
1 l!
o. 0 0 0
0
-
0
- -
0
0
a
0
0
0 0
Epilogue
The multiphonic resources of 'incomplete' recorders are immensely
rich, yet so far , they have been researched and exploited only superficially
(and very sporadically at that): they are sorely in need of definitive
investigation and documentation. Thus it is hoped that some enterprising
individual shall carry out the necessary work in the near future , so that
musicians will then have better access to this great mine of sonorities. If
somebody is stimulated by the above prelude to undertake such a daunting
task, then my small efforts will have served their purpose well.
- 242-
Endnotes
2. The reader is strongly advised to consult that paragraph of section 2.2 which is entitled
"Multiphonic facility, speech and stability"; en.12 of Chapter 2 is also highly relevant to the
matter at hand.
6. Within these three categories, though, several technical areas are interrelated, or derived
from one another - as will soon become apparent. In such cases, an unambiguous division
between these areas may be very difficult (or even impossible) to discern. This in itself can
be a valued compositional resource, for one then has a means of moving freely between
seemingly different regions of composite multiphonic technique. For instance, a
multiphonic fingervibrato in certain circumstances might instead be regarded as a
multiphonic trill in which every trill-interval is microtonal; in some cases, the act of
'overblowing' encroaches upon the field of multiphonic indeterminacy. (If one really desires
to discriminate punctiliously between composite multiphonic techniques that yield similar -
or indeed, identical - sonic results, the musical context within which the multiple sonority
appears should be the sole criterion.)
7. In the manner of Brian Ferneyhough , for example, and other important 'complexist'
composers such as Chris Dench, Richard Barrett and James Dillon .
9. For instance, where the interval of oscillation is a microtonally stretched major second - say,
225 cents (= 9/8 of a tone) - it is technically correct to invoke the term 'tremolo', though of
course the sound is very similar to an ordinary major second 'trill'. (Moreover, as the reader
will recall, most recorder multiphonics' intervallic contents are predominantly and inherently
microtonal in nature.) But there is also an early, sixteenth-century vindication for adopting
the term 'trill' in such situations; it is to be found within Chapter 24 of Sylvestro Ganassi's
Opera Intitulata Fontegara (1535), quoting here from the English translation (1956), p.87 :
"The simplest ingredient in elegant and graceful playing is the trill. It is done by trembling with the
finger over a hole of the recorder. Trills can be made with a third, with a whole tone, and with a
semitone, in all of which the interval may fluctuate [microtonally]. a little more or a little less.
These variations are barely perceptible to the ear with precision, but you can fix them accurately
on a stringed instrument on a single string, and then discover the suitable fingering on the
recorder. The trill in thirds is a lively ornament; the interval may be larger or smaller than a third.
The semitone trill, on the contrary. is a gentle and charming ornament; in this also, the interval
may be larger or smaller. Between these two, as a medium ornament, is the trill of a whole tone, or
less ."
10. Actually, what is needed most of all here is a separate chart - or rather, a table of
concordances - devoted purely to the (alto) recorder's multiphonic trill capabilities . The
provision of such a chart or table within the framework of this thesis WOUld , however, be too
taxing, and so must be left for some future research. Nonetheless, basic guidelines for the
assembly of recorder multiphonic trill configurations are offered herein.
11 . It is even feasible that a composer could request absolute speeds of trilling activity - in hertz
(Hz) [= cycles per second (cps)] - by writing numbers directly above key points of the
waveform contour, which would then have to be carefully delineated in order to correspond
with the numbers. Alternatively, as a 'semiabsolute' specification, these numbers may be
related somehow to the prevailing beat and tempo, or even to the fluctuation rate of a
vibrato , or a trill, which emanates concurrently from another instrument (thereby defining a
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subtle interactive performance relationship among members of an ensemble). Such
directives might simply amount to quite specific, rhythmically measured legato oscillations of
recorder multiphonics, like that of Ex .2-42 .
12. In effect, Ex.2-41 shows a (legato) multiphonic trill that hastens from 'slow' to 'fast' - although
Serocki has written it, in analogue notation, as a legato multiphonic alternation that is
subjected to an accelerando until it becomes a trill.
13. Textual examples will appear shortly; see also the subsection "Multiphonic Fingerings"
within the "Multiphonic Chart Parameters" of part 2.
14. Despite the fact that Ex.3-3 in reality makes use of the 'tremolo' notation criticized adversely
just now, it does so in such a way that my point here still remains cogent: think of the
second multiphonic in the notation of Ex.3-3 as being merely the multiphonic trill's
secondary component (amid parentheses) within the 'trill' symbology just propounded.
Then the trilled segment's total duration is derived from the horizontal length on the score
page (in centimetres) , taken from the initial, primary trill-component to the end of the line-
extension . (See also Ex.3-1, as well as other examples yet to come in section 3.2.)
15 . The fingerholes included in the trilling action may be among those involved in establishing
the multiphonic originally (Le ., the basic multiphonic's fingering-configuration) , or instead
might belong to the set of remaining (open) fingerholes .
16. For example , in order to be properly delivered under most performance circumstances ,
both of the 'pure octave' multiphonics with pitch-elements C ~ 1, C ~ 2 and D ~ 1,
D ~ 2 (on the alto recorder) demand plosive attacks . Yet they can be trilled together
perfectly well in legato. So, paradoxically, a recorder multiphonic that normally needs to be
'tongued' in isolation might respond instead to aspiration in a trill context. This exceptional
acoustic behaviour is most likely the result of physical inertia within the recorder's air-
column , which displays a tendency to retain its initial bifurcated mode of vibration . (See the
material of section 2.2 given after the technical exercises - all of which is highly pertinent to
the explication of mu ltiphonic trills - and Chapter 2, ens.74 & 144 in particular.)
17. For additional examples, see Ex.2-36 (the final bar); Ex.2-34 (bars 90-91); and Ex.2-91 . The
latter two citations also provide instances of multiphonic trill sequences (to be discussed
shortly): Rijnvos's composition is riddled with similar examples.
18. ... as is indeed the case for the multiphonic trills of Ex.3-4.
19. i.e ., both of the trilled multiphonics' upper tones belong to the same register, and the ir
lowest extremities likewise fall into another single register (below that of the upper tones) .
20 . For a full explanation of this technical device, the reader is advised to consult, within section
2.2 , the end of the subsection entitled "Basic procedures for the production of Alto
Recorder Multiphonics" (from the second paragraph after Ex.2-32 onwards) .
23. This is really not a proper concern of composers, for the necessary acquisition of such
finger-dexterity is something of a technical nature which belongs in the player's domain,
and hence is their responsibility to solve .
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24 . See Chapter 2, en.121 for an explanation of underlining within the numerical tablature
system.
26. ... although this is on no account always, necessarily, the case with the recorder, as the first
trill of the forthcoming example (Ex.3-9) will prove: such multiphonic trills can also eventuate
with a mid-tube-Iength trilling action that instigates an alternation between a forked fingering
and an open fingering .
27. Is this not, therefore, an exemplar of a central law from Quantum Mechanics (Heisenberg's
Uncertainty Principle)? - "The act of observation, and even the frame of reference itself,
modifies the very thing being observed". Accordingly, one cannot draw any firm, 100%
conclusions about physical behaviour here, but only comment in terms of probabilities and
trends instead.
28 . i.e., in the terminology of Acoustics, the fixed pitch is perceived to have a constant
amplitude envelope throughout the trill. (For the moment, we also assume that the
executant here has been blowing uniformly, with an unwavering air-flow.)
29. The whole of this assertion makes sense acoustically, for it is the recorder's upper-register
tones that can often be generated as non-fundamental modes of vibration stemming from
at least a couple of fingerings . For those few multiphonic trills on the recorder where the
lowest pitch remains to all intents and purposes constant, this tone is - apparently - always
're-articulated' by the moving finger(s), resulting in a rather percussive, choppy, broken or
rippled sound-surface. Such trills seem to be more closely related to either multiphonic
fingervibrati (,flattement': see section 3.6.2.1), or - whenever the fingering-configuration
changes radically for one of the trill-components - to timbral vibrati ('klangfarbenvibrato': see
section 3.6.2.2), than to multiphonic trills proper. However, many exceptions to these
tendencies will probably be found amongst trills in which the endhole is alternately closed
and opened: the acoustical properties of 'closed register' recorder multiphonics are quite
obviously, and fundamentally, divergent in relation to those with an unobstructed endhole
(because the pipe is modified structurally at its endpoint), thus increasing considerably the
likelihood that such trills - which are about to be featured herein - could support a smooth
and constant lowest pitch.
30 . ... as has been done with the opening multiphonic trill of Ex.3-7, for instance .
31 . Recorder multiphonics with the endhole closed (or covered) are given a thoroughly
exhaustive inspection within section 2.4.3, to which the reader is referred should they wish
to review certain details more fully.
32 . Could this situation of total neglect have come about due to the apparent risk of mouth
injury to the recorder player, concomitant with the overly vigorous performance of such trills
(Chapter 2, en.137)?
35 . This is just an abridged redefinition of the normal - or rather, the recommended - notational
symbology for multiphonic spectral contours that was outlined within section 2.3: see the
commentary to Ex.2-43 in particular.
36 . For an even more explicit example of a multiphonic trill that is linked, legatissimo, to both its
lowest and highest extractable trill-tones - viz., they (as monophonic trillS) appear,
respectively, before and after the trilled multiphonic proper - the reader is referred to EX.2-
66, also from the reuvre of JOrg Sauro In Ex .2-66 (excerpted from Mutaziom), however, this
upper trill-tone is truly constant (E D2) instead .
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37. Technically, this is (in a sense) an independent performance action : all nuances which
relate to the trilling operation itself are controlled by the instrumentalist's finger-movements,
whereas spectral balance is regulated by their pulmonary mechanism.
38. (Undertone vibrati are covered in Appendix 4.3.3.) To clarify this situation more fully, the
foregoing textual statement appertains to all of those multiphonic trills wherein the top
element of the trill is some sustained single pitch, an 'inverted pedal' : whenever the
multiphonic trill's spectral balance is biased completely towards this sole high pitCh , the
acoustical residue is an undertone vibrato. Hence, turning our attention once again to Ex.3-
8, at the moment when the multiphonic trill's dynamic level reaches "fr' and the shimmering
G-natural cuts across alone, the undertones E b1 and ct
1 (plus - perhaps - a very
muffled resonance at G~ 2) alternate beneath this high note : it is graced with an
undertone vibrato .
40 . This latter potentiality is easiest of all to effect when the trilling finger(s) belong to one hand,
but the underlying changes of fingering - which essentially define the multiphonic trill
sequence - occur upon the other hand instead. i.e., these quite distinct fingering-roles are
partitioned between, or allocated to, separate hands: a clear-cut 'division of labour'.
41 . Because of their brevity, these interleaved elements usually appear in the notation as grace
notes (or 'acciaccature').
42 . This resource, though largely unexplored on the recorder, cannot be studied at length
herein , and so must wait for its full explication elsewhere.
43. The notion that is about to be outlined, in truth straddles two (contiguous) architectonic
levels of the music, in a type of conceptual feedback-loop : the idea of 'oscillation between
sonorities' is applied to itself, to yield 'oscillations of oscillations' - i.e. "meta-oscillations".
(Invoking a mathematical definition, metaphorically, what we have here is a 'composite' or
'recursive' function : f[f(x)] , where f(x) = some alternation.)
44 . Random alternations of more than two (monophonic) trill-tones have been employed, for
instance , in a recent work for solo double bass by Brian Ferneyhough : Trittico per G.S.
(1989). Predictably, they are often referred to as 'double trills', or even - sometimes -
'multiple trills ', and are notated accordingly. (In this situation, the old-fashioned 'tremolo'
notation could indeed be useful somehow, particularly if the alternations are methodical.)
45. And of course, it almost goes without saying that the same applies to all of the other
multiphonic trill-elaborations which have been put into this subsection.
46. Whilst multiphonic 'pitch-fluctuations' also are referred to within this section's heading, their
explication can be effectively subsumed under the study of recorder multiphonic
portamenti , for a 'pitch-fluctuation' is nothing more than a short-range portamento in which
the pitch is 'bent' or inflected away from some initial pitch . For instance, the fingering
0-23/---- supports an alto recorder multiphonic encompassing the pitches E~ 1 and
Gl3 - together with a prominent cubic difference tone at about E't\
O. If 1 [the left-hand
index finger's fingerhole] is then shaded slightly, the Gtt- 3 remains practically constant ,
while the E ~ 1 is 'bent' downwards to approximately Eq 1 and the difference tone rises
to pt1 . (I could go on further to split all such pitch-fluctuations into one of two sub-
categories: 'pitch-inflections' which then return to the starting pitch through a reversal in the
direction of the portamento ; and 'pitch-bends' that retain some pitch-differential [relative to
the initial pitch] by preserving the portamento deviation.)
47 . These criteria are summarized in the last paragraph of section 1.4; the Prologue to part 2 is
also apropos .
48. The subject of portamento notation is dealt with quite comprehensively and lUCidly in Stone
(1980), pp .19-21 & pp.63-64 - although it is there labelled "glissando" . Irrespective of
conflicting terminologies, Stone thoroughly explains the full panoply of portamento
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notations, from the completely determinate right through to the highly indeterminate or
approximate , via several degrees of intermediate (pitch) specificity.
49. That is to say, the exact nature of the tongue's (and/or other articulators') intended action,
and pulmonary operation, over the entire portamento event - as well as its periphery - ought
to be properly notated.
50. Examples within the text shall appear in due course; see also the subsection entitled
"Multiphonic Fingerings" amid the "Multiphonic Chart Parameters" of part 2, as well as the
many synthetic constructs of alto recorder multiphonic portamenti in the "Other Multiphonic
Resources" section of part 2's charts.
51 . I strongly emphasize this remark. The provision of these details can be absolutely crucial for
a successful performance of some recorder multiphonic portamenti, as may be confirmed
by an examination of those multiphonic portamenti supplied in the "Other Multiphonic
Resources" chart of part 2.
52 . Recorder multiphonic portamenti cannot, in general, be executed with the breath alone
(unlike many single pitches, which are able to sustain 'breath-pressure portamenti' as well as
the much more common fingered variety) . For virtually all recorder multiphonics - apart from
the handful of exceptions that are highlighted in part 2's charts - changes in breath-
pressure primarily affect multiphonic spectral balance , rather than inflecting the pitches of
multiphonic constituent tones .
53. It must be said that this technical concept, advocating an economical finger-action which
eliminates excessive weight from the fingers, is salutary to traditional recorder playing as
well. In my opinion, it is a very good idea to teach recorder portamento techniques to
students at a fairly early stage in their instruction, because it trains them to always hold the
recorder in a relaxed manner with light finger-pressure , thus increasing their agility of
fingering while minimizing physical strain.
54 . Not unexpectedly, it is wise for a composer to check the viability of any multiphonic
portamento - whatever its direction - with a co-operative recorder player.
55 . It is very important that in the notation of contoured multiphonic portamenti, all multiphonic
constituent pitches - together with their respective graphic pitCh-contours - be included.
57 . This factor explains the lack of intervallic stasis in recorder multiphonic portamenti, and is
responsible for the pervasiveness of the multiphonic sideband phenomenon just outlined
in en.56, above.
59 . This would have to be verified by the composer, in consultation with a recorder player.
60 . Whenever such interpolational multiphonics can be produced, it is usually found that they
exhibit comparable degrees of stability - and breath-pressure requirements - relative to the
multiphonic portamento's endpoints. However, certain recorder multiphonics may be
educed from a portamento in legato, without tonguing, when they normally demand a
plosive attack. For such multiphonics, their bipartite vibratory mode is established by the
portamento's initial multiphonic, thence maintained through sheer physical inertia. (The
same phenomenon materializes for some multiphonic trills: see [Chapter 3] en.16.)
61. i.e., fingerholes which are slightly vented, slightly shaded, or approximately half-open.
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62. I append two similar examples : 0 ~ 1, G ~ 3 with fingering 012.3/4~67, ending a
portamento from E.f 1, G 1j. 3 with fingering 01-3/4-67 ; and A ~ 1, O~ 2 with
fingering 0123/~567 , ending a portamento from B ~ 1, OQ2 with fingering 0123/-567.
In both cases, observe the constancy of the upper portamento component. (See , in
addition, Ex .2-20 as well as the example of a multiphonic 'pitch-fluctuation' given in
[Chapter 3] en.46.)
64 . Two more examples from this category of multiphonic portamento can be found in en.62,
above. Here is yet another, on the alto recorder: the multiphonics E ~ 1, G ~3 (fingering
01-3/4-67) and B 'v 1, G ~ 3 (fingering 0123/4-67) can be joined by way of a
portamento that sustains G ~3 unswervingly.
65. See EX.2-92 as well. Innumerable other examples from this multiphonic portamento family
can be constructed simply by interpolating data from the multiphonic charts of part 2. (Of
course , they will then have to be tested by a recorder player, prior to their definitive
compositional incorporation.)
66. Furthermore , instability here is often concomitant with troublesome multiphonic production
and a mandatory 'tongued' attack.
67. ... as discussed within section 2.4.3. This somewhat unwieldy routine is not irrelative to that
used for procuring - on alto recorder - E ~ 0, as the conclusion of a portamento from
F ~ 1. Such a monophonic portamento is demanded by Hans-Martin Linde in the first
movement of his FOnt Studien, where the performer must effect a "covering of the foot joint
with the knee" {tr. I. S.}; its retrograde opens Arne Mellnas's The Mummy and the Humming-
Bird. (Rowland-Jones (1986), p.70, includes a brief description of the technique employed
for producing [alto recorder] E 9 0.)
71 . See Appendix 1.4. (Ascending monophonic 'slide trills' are frequent occurrences in the
honkyoku repertoire of the Japanese shakuhachL)
72. This technical consummation has already been mentioned in Chapter 2, en.106; [Chapter
3] en .70 , above, is also pertinent (in that it puts forward two means of perspicuously
notating such portamento complexes which incorporate spectral portamenti) .
73 . The synthetic examples provided herein , as well as the "Other Multiphonic Resources"
chart of part 2, may serve as useful starting pOints or templates in investigating this
technique'S potentialities . Regarding the construction of trilled multiphonic portamenti in
general, however, a set-theoretic approach must be accepted: i. e., the limitations of both
multiphonic portamento and multiphonic trill production on the recorder will definitely apply
here. Restated in brief , the register-sets of all participating multiphonics need to be
identical, with other production parameters being similar; and the trilling finger-action
naturally has to be practicable. Furthermore , the intervallic ranges covered by these
sonorities are typically not large (lest they break apart) ; in addition , the portamento is
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sometimes easier to perform in one direction only. And yet - as for ordinary recorder
multiphonic portamenti , and except where shown otherwise - one can start or finish almost
anywhere within such a sonority's maximum range.
76 . This technical artifice is peculiar to fipple flutes : because they do not require an
embouchure for sound-production (which is achieved instead through the operation of the
fipple apparatus), the player's lips need not always be held against the instrument while
blowing .
78. The coalescence of a strong vocal sound with an unstable or refractory recorder
multiphonic, for example, does not often meet with practical success.
79 . This latter situation seems to be a much less severe impediment than its obverse .
81 . Alternatively, the vocal part can be treated as yet another harmonic element. But wherever
the voice is pitched in unison with a recorder multiphonic constituent tone, the outcome is
just a timbral coloration of the multiphonic, of which the main characteristic is a natural inner
liveliness - amplitude modulations - emerging from ostensibly uncontrollable micro-
fluctuations in the voice's pitch .
82. ... as we have already seen in Ex.3-40 , where the voice 's portamento pitch-contour is
simply a rectilinear ascent.
83 . The highest constituent pitch of this bass recorder multiphonic is, in fact , E ~ 2.
85. Of course, the main disadvantage here is that the composer loses all control over the timbral
signature of the voice/recorder multiphonic combination, particularly when a specific tonal
quality is desired.
86 . Such a flexible approach is also implied by a footnote to Konrad Lechner's Varianti, quoted
in the text after EX.3-41 .
88 . One must accept that for correct, accurate voice-tuning , the production of specific vocal
pitches in this context needs much extra practise time on the part of the executant.
89. See, for instance , EX .3-40 and Ex.3-41 , as well as Benjamin Thorn's The Voice of the
Crocodile ... (for bass recorder player) .
90 . This is the best - and clearest - option when many synchronous pitch-components are
involved. (Naturally, all pitches have to be notatable under the one clef, if they are to be
written together on a single stave .)
91 . See EX .3-39 .
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94. (See Appendix 2.4.) A far more archaic motivation is to be found in the ceramic effigies,
which have survived from antiquity, of Ancient Greek and Etruscan musicians performing
upon the aulos, a reed-activated wind instrument "almost invariably played in pairs, the piper
holding one pipe in each hand and sounding them both simultaneously" [Baines (1974),
p.223]. Baines lop. cit. pp.223-224] then informs us that:
"A great deal of double-piping still goes on today, especially around the Mediterranean and Black
Sea regions ... [these] pipes are ... of the equally ancient 'parallel' kind ... on which the fingers
can span both pipes if desired, and all are sounded with primitive single reeds made by slitting a
tongue in the cane ... Their diversity of playing techniques appears astonishing to the Western
musician brought up to play on his single woodwind instrument; frequently one of the two pipes
has fewer holes than the other, to provide for all kinds of accompaniment from a plain drone to
ingenious harmonic and rhythmic counterpoints ... "
95 . In reversing this operation, though, much less time is needed for an executant to discard
one of the recorders.
9G . However, such fingerings usually demand that the recorder be held in the right hand only,
as the recorder's two sets of double-holes (and/or lower keys) are designed specifically for
the right hand - and it is rare for these double-holes not to be used at any time over a whole
passage of music.
97. A brief amount of time will be needed here to carry out this manceuvre, thence to return the
finger to its standard position; practice should make its execution increasingly deft.
Furthermore, these fingering-patterns are performable with either hand upon alto recorders
and their smaller-sized cognates in the recorder family, whereas the larger instruments -
tenor, bass, and great bass recorders - must be held by the left hand owing to an obliquely
drilled left-hand fingerhole (on the tenor recorder), or keys which have been customized for
the left hand's ring finger (on the bass recorder, etc.).
98 . If one assumes that a great bass recorder can be effectively gripped and played with one
hand alone - and this is, admittedly, a very optimistic assumption at that (even for a male
player with large hands), but something which is clearly out of the question for the
contrabass recorder - then there are exactly seven members of the modern recorder family,
from the garkleinflotlein to the great bass, which impinge upon our calculation: thus, in
theory at least, there are 28 distinct pairings of instrument, precisely (ignoring hand-order).
99 . Recorder multiphonics that arise with the instrument's endhole closed airtight were
examined within section 2.4.3 .
102 . One large and influential Japanese manufacturer, Zen-On, has produced plastiC soprano
and alto recorders that are fully operational with either the left hand , or the right hand, only.
Substantial information about such one-handed recorders can be found within Hersom
(1985), Hunt (1981), Hunt (1982), and Tsukamoto (1980) .
104. Further quotations (of a similar 'schizophrenic' nature) from Bruce Cale's Cullenbenbong,
are located in Ex.2-32 and Ex.4-4.
105. Eric Gross: "Ian's Shenanigan" No. II, "Technical Information", p.1.
107. The hoary subject of recorder articulation, its phonology, historical performance practice,
and stylistic implementation throughout the repertoire, is enormously complicated . The
forthcoming lengthy list of references may be helpful as a point of embarkation in studying
this topic: Arthur (1973), Charlton (1981), Davis (1975), Davis (1983), Ganassi (1535/1956),
Greenberg (1983), Hotteterre (1707/1983), Houle (1965), Hunt (1977), Lasocki (1967),
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Linde (1974), Peter (1958), Rowland-Jones (1986), Shanahan (1985), Waitzman (1978) ,
and Wollitz (1982) .
108. I implore composers to investigate, and begin applying, the full array of multiple-tonguings:
the present-day poverty of articulatory nuance in woodwind mUltiple-tonguing sorely needs
correction.
111 . The initial alveolar attack 'd' is, of course, interchangeable with any other suitable attack
phoneme; however, iterative 'reflex' articulations are favoured for tongue-tremoli on the
recorder, owing to their relative evenness and lack of disruption.
114. This issue is dealt with, less cursorily, in the third paragraph of the subsection from section
2.4.5 entitled "The production of recorder multiphonics derived from 'breath trills"', and
then in Chapter 2, en .160; see also Chapter 1, en.41.
115 . (See Chapter 2, en.159 .) For their notation, I propose the abbreviations "Aflz" and "Uflz",
respectively.
116. "Recorder Unlimited" abounds with mid-text musical examples of fluttertongued recorder
multiphonics , passim. A few more shall be provided shortly.
118. This apparent paradox is explained further within the subsection headed "Some acoustical
considerations" from section 2.4.5, as well as Chapter 2, en .164.
119. Michael Smetanin's distinctive tablature pictograph calls, in fact, for a double trill wherein the
right-hand index and middle fingers execute an alternating trilling action upon the left-hand
ring finger's key: see Appendix 1.3. (As the commissioner of Spin (0), I proposed this
double-dashed symbology to the composer, and so recommend it for future application by
others in the hope that it shall eventually become the standard tablature notation.)
120 . (See Appendix 7.3.) At a yet higher level of complexity in articulation, the casual
interleaving of fluttertonguing with Morse rhythms and tongue-tremoli could, perhaps , be
within reach of many recorder players.
121. Again , observe Smetanin's notation - which I enthusiastically endorse - for this erratic,
chaotic articulatory interplay.
122. See the final subsection of section 2.3, "Applications of spectral portamenti within more
complex musical events", and Ex.2-70 through to Ex .2-75 in particular.
124. Indeed, multiple admixtures of recorder vibrati are conceivable wherever each of the
player's hands - or even their individual fingers plus the instrument's end hole - is treated
unilaterally, as a discrete entity. (There is the possibility, too, of combining vibrati with other
technical areas in an almost limitless number of ways: 'flattement' with tongue-tremolo, or
'klangfarbenvibrato' plus diaphragmatic thrusts, for instance.)
125. The amalgamation of a small number of recorder vibrati , therefore, generally leads to more
desirable musical outcomes.
126. This same 'Fourier' approach should apply also in compounding diverse vibrato-types.
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127. Just as a vibrato contour's wavelengthlfrequency and amplitude are graphically orthogonal
in their notation, so too do these two sonic dimensions of a vibrato generally function quite
independently in practice.
128 . The entire group of articulation-generated recorder vibrati is excluded altogether, for
example : see Appendix 4.4 for a brief gloss on these vibrati - and Appendix 4 as a whole,
which provides a full tabulation of aI/ recorder vibrati.
131 . Thus, all of these vibrati could be regarded as derivatives of either aspirant or vowel (glottal)
articulations, leaving only two basic recorder vibrato categories : articulation-generated
vibrati , and fingering-generated vibrati (etc.).
132 . Further examples of multiphonic air-column vibrati can be found in Ex.2-37, Ex .2-40, EX .2-
46, Ex .2-47, Ex.2-56, Ex .2-101, Ex.3-11, Ex .3-28, and Ex.4-12 (which also includes a
'senza vibrato' directive), et passim.
133. In fact etymologically, chevroter stems from the French chevre, a goat.
134. The complete armoury of fingering-generated recorder vibrati, and others dependent upon
fingering-conformations, is enumerated in Appendix 4.3.
136. Hotteterre (1707); quoting from the English translation (1983), p.21, fn.9 :
"The French word flattement, as used here, refers to a type of finger vibrato which was used to
embellish tones and add life and vibrancy to them .",
"Vibrati [flattemen~ are produced almost like the regular trill, with this difference that the finger is
always raised at the end ... In addition, it is done on holes which are further away, and some on
the edge of holes. Contrary to the trill, it involves the lower note."
137. Hence , for the sake of notational fidelity, a flattemenfs vibrato contour should be drawn as
an inverted triangular waveform.
138 . See, for instance, the final multiple sonority of Ex.3-42, which is notated as a multiphonic
trill, but is , in effect , a multiphonic fingervibrato that acts predominantly upon the lowest
component tone .
139 . Neil Currie : Stopping by Woods on a Snowy Evening, Explanatory Sheets, p.2.
141 . Neil Currie : Stopping by Woods on a Snowy Evening, Explanatory Sheets, pp.1-2.
142. See the concluding paragraphs of section 3.2 (in the subsection captioned "Some more
sophisticated schemes involving recorder multiphonic trills") .
143. This complex resource is not unrelated to Kazimierz Serocki's random fingering effects with
recorder multiphonics in his Arrangements and Concerto aI/a cadenza - see section 3.9.2 .
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145 . This provides a vital clue as to the method of deriving multiphonic klangfarbenvibrati from
charts of individual recorder multiphonics: test, in alternation, pairs of differently fingered
multiphonics that embrace (near-)identical pitch-sets, selecting only those pairs for which a
timbral transformation is the predominant feature. (Occasionally, there might be switching
between adjacent registers for some multiphonic tones within the primary and secondary
components of a multiphonic timbral vibrato that has been gained through this process.)
And, as with the flattement, timbral vibrati can be further elaborated by introducing
additional multiphonics which meet these criteria, mingling them together in various ways to
produce random multicomponent klangfarbenvibrati ("bisbigliandi" [Artaud and Geay
(1980), p.29]), or well-ordered timbral 'meta-oscillations' instead.
146. Read, within section 3.2, the last paragraph of the subsection labelled "Fingering
considerations".
147. Recorder undertones, and their relationship to the instrument's multiphonics, have been
briefly surveyed in section 2.3, within a subsection headed "Undertones and their
notation". Acoustically as well as timbrally, monophonic undertone vibrati on the recorder
are not unlike the flute's unison 'harmonic trills', a contemporary ornamental device which is
in danger of becoming a vacuous cliche, particularly among certain Italian composers (such
as Salvatore Sciarrino) and their disciples. To be fair however, Sciarrino's AII'aure in una
lontananza (1977), for solo alto flute, is perhaps both the prototype and ne plus ultra
amongst woodwind compositions built upon such sonorities.
148. As mentioned in section 2.1 .3, this will often be the case for loud recorder multiphonics in
general, as well as for members from the genus of 'covered register' multiphonics (briefly
discussed within section 2.4.3). The so-called 'Wind Rush' effect - see Appendix 5.3 - is
also pertinent here.
149. This symbology - an elaboration of the one provided in Stone (1980), pp.186-187 - is due
to Richard David Hames. Its graphic uniqueness, as well as its higher level of precision and
flexibility, makes it preferable, in my opinion, to the oft-seen system of air-noise notation in
post-1960 recorder composition (the symbology of which was established and
disseminated by Michael Vetter, being simply based upon the "X" symbol). However,
because of the proliferation of diamond-shaped symbols in recent flute music to indicate air-
noise, for the sake of uniformity, many composers might elect to modify the Hames
symbology by replacing circles with diamonds.
152. Generally, the production of air-noises with recorder multiphonics is quite independent of
articulatory considerations: any suitable articulation should be compatible with most breath-
sonorities.
" .. . the player [is required] to hold the instrument at an angle (deflected horizontally, usually
rightwards) and form his lips to a consonant midway between [English] f and v (the so-called
Spanish v). The sound is one of equal proportions of tone and rushing air."
"The sounds's' and 'sh' may be used as articulations in two ways : Either as initial attacks, or
sustained [air-]noise. In the latter, the player hisses or shushes ('s' and 'sh', respectively) for the
duration of the note."
- 253-
157. Fricative and sibilant air-noises can be combined with all other types of breath-sonorities;
they are able to be effectuated, or modified, instantly. Moreover, sustained sibilant and
labiodental ['f'] sounds of a slightly different colour and resonance may be generated by
maintaining the appropriate tongue position and clenching the teeth. This expedient
lowers the frequency of the noise's formant peak slightly, and lends itself to various kinds of
transitions, articulations, and air-noise vibrati.
158. This fact is easily verified by carrying out the various air-noise modulations with the mouth
alone, independently of an instrument. Naturally, troublesome elisions here can be made
smooth and continuous through a brief insertion of some vowel midway between the two
extremities of air-noise coloration. Again, these elisions yield unique manifestations of air-
noise vibrati - between different types of sustained fricative or sibilant sound, or between
various degrees of fricative ness or sibilance.
159. Brosnahan and Malmberg (1970), pp.1 03-1 04. (I have altered the authors' International
Phonetic Alphabet symbols - and some of their other symbols as well - within the quoted
text, in order to bring it into accord with the symbologies for micro-articulation and frequency
that are being employed throughout this treatise.)
162. Neil Currie : Stopping by Woods on a Snowy Evening, Explanatory Sheets, pp.1-2 .
164. Further details can be found in Appendix 6.4 and 6.5, respectively.
167. See Appendix 5.1 : the air escaping from the window impinges upon the hand there,
creating fricative noise.
168. The criticality of hand-placement over the window also renders the task of accurately
documenting such multiphonics quite burdensome.
169. The question of notating window manipulations is indeed vexatious. Certainly, there is no
consensus or standardized symbology. Benjamin Thorn , nonetheless, has proposed to
this author a clever symbology based upon variously angled sectors of a circle (as used in
floor-plans to show door openings): a 90 sector would correspond to an unobstructed
window; the smaller the angle, the more the window is to be covered over with a flat hand.
(A variant of this notation is utilized in Thorn (1991), p.9 & p.71.) For an arched hand at the
window, however, some other appropriate pictograph could be pressed into service. At any
rate, most would probably agree that the graphic notations for window manipulation which
have appeared thus far are not very satisfactory.
170. See Appendix 4.3.7. The notation for window vibrati is elucidated within the introduction to
section 3.6.
171 . This precept is not necessarily equivalent to 'improvisation', where instead, a player taps
into their previous experiences and memory, utilizing what is stylistically acceptable within a
particular performance practice or genre.
172. Makoto Shinohara, in his solo tenor recorder composition Fragmente , deploys some
indeterminate multiphonics within a global mobile form consisting of fourteen "fragments",
the order of which is rather more strictly controlled than in Hirose's Meditation: see EX.3-23.
Although Fragmente's endnotes claim that the fragments "may be linked in any desired
sequence, with the exception of fragment 10 which can only be played after the middle of a
version", Shinohara in fact lays down various rules as to whether or not a fragment may
begin and/or end the work, including the instruction that "each fragment is to be played
- 254-
only once". Moreover - unlike Meditation - the fragments "are linked without a break, unless
a rest [pause] is indicated between them" , the length of which "can vary from 2 to 5
seconds". JOrg Baur's Mutazioni, likewise, exhibits a substantial usage of multiphonic
indeterminacy within a free variation form. Michael Vetter, in his introductory "Remarks for
the Performance of the Work" explains :
"The Mutazioni are in their complete disposition aleatoric. The sequence as well as the choice of
variations remains free list freigestellt]. Tempo and Dynamic are occasionally stated as a basic
idea, their shaping and elaboration likewise being left to the player. The present edition of
Mutazioni leaves the individual variat ions to appear in the original ordering, as at the
composition's world premiere (on May 14, 1962, in Munster)." {tr. I. S.}
(I also cite Kazimierz Serocki's Arrangements, yet another recorder composition replete with
indeterminate sonorities in which the order of its sections may be freely rearranged, as the
players wish . [Full details are provided within the work's supplementary booklet.])
173. Kazimierz Serocki: Concerto aI/a cadenza, "Explanation of Symbols", p.6. (These notations
for indeterminate multiphonics are also to be seen throughout Serocki's Arrangements. )
175. In Ex.3-98 and Ex.3-102 , some sense of multiphonic pitch is contributed, whereas Ex.3-99
designates each multiphonic's fingering.
178. Kazimierz Serocki : Concerto aI/a cadenza, "Special Manners of Playing", p.6.
182. For multiphonic events within Mutazioni, the period of which is determined by breath-
constraints , see Ex.2-66, Ex.3-19, and - in particular - Ex.3-75 , which is accompanied by my
translation of Vetter's prefatory explanation regarding Baur's phrase-enclosing rectangular
boxes.
183. For a musical example showing this idea in practice, see Ex .3-121 .
186. Kazimierz Serocki: Impromptu fantasque, "Abbreviations and Symbols", p.5. See also Ex .3-
98 .
189 . The absent foot joint, after all, embraces only the lowest pair of the recorder's double-holes.
190 . See Chapter 2, en .134. Ex.3-125 is quoted straight from Clemencic (1971), p.227
[Example 35] .
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4. COMPOSITIONAL STRATEGIES AND APPLICATIONS FOR
RECORDER MULTIPHONICS:
SOME MISCELLANEOUS POSSIBILITIES
4.1 Introduction
It should be stated from the outset that the following discourse cannot in
any way pretend to encompass all imaginable compositional applications
and strategies for recorder multiphonics. Many composers have already
demonstrated that this technical resource is fabulously rich in musical
possibilities; there is no reason to assume that they will cease to find new
and intriguing ways of utilizing recorder multiphonics in the future,
beyond those presented in this chapter. 1
Interested composers will also soon discover that several of the concepts
outlined in the ensuing discussion may be essentially incompatible with
one another, or could be useful only to those composers who embrace a
particular musical aesthetic or compositional philosophy. Intrinsic merit
is not a relevant concern here. A composer, for example, who insists upon
a predictable and replicable musical outcome, accurate in relation to a
well-defined, precise set of notations and performance directives, might
consider a specific compositional strategy for recorder multiphonics to be
in accordance with these requirements, hence potentially valuable.
Another composer, with Cagean orientations in which the creative process
or performance gestures are conceptually more important than the
resultant sound or its ability to be meticulously reduplicated, may, on the
contrary, decide that the same strategy is worthless or in diametric
opposition to their artistic purpose. (There is, as one might expect, a
continuum between these extreme compositional viewpoints.)2
- 256-
conclude: new, subtle and advanced formal procedures for recorder
multiphonics will be required, in which composers avoid vulgar 'effects',
the 'shock of the new', or other crass tactics, by intelligently, tastefully and
- above all - musically integrating every aspect of the instrument's
character (along with its selected multiphonic capabilities) into the very
structure and conception of the work, at various hierarchical levels. 4 This
poses a major artistic challenge to contemporary composers, which must
be met if the recorder and its concomitant technical arsenal and musical
repertoire are to grow meaningfully.5
- 257-
Because almost all recorder multiphonics are naturally microtonal, the
intonation of an ordered set of multiphonics arising from predetermined
recorder fingerings could, for example, be used to form a unique
microtonal scale or mode. 10 The precise intervallic nature of this scale will
be circumscribed by the acoustical characteristics of each individual
recorder, and so will probably vary from instrument to instrument (as I
have already declared within the prefatory notes to my short multiphonic
study Helical Ribbon):
"Microtones. The 22 multiphonics employed within this piece (as well as any
resultant combination tones) define a unique micro-intervallic pitch-set, which will
be transformed whenever these multi phonics are generated - with the given fixed
fingerings - upon any alto recorders that encompass different structural
characteristics. "
Alternatively, one could adopt the standpoint that the same multiphonic
set produces parallel microtonal structures in different registers of the
recorder:
- 258-
"In multiple-sound playing, it is necessary for the performer to devise his own
fingering suitable to the individual instruments." [sic]
- 259-
Ex.4-2. Jun-ichi Miyagi: Aion-m. p.l.
(Soprano recorder and shakuhachi)
-ty~
1:.----
(0124)
ff f
>-
f (01'2.356)
ff
-, .
:f
- 260 -
Alterations in the timbral perception of recorder multiphonics can be
made even more durable, to the point of achieving their complete synthesis
with other sonorities:
1
au LLE: N BEN BON G : lop. 67.1
:?>Z~ ?>zj
. . ... . I
I
'(
2.
~
L.fI.{... ~)
9~
I
0
.. ;"" , S
L "'t.f
Cale requests the soloist to play the bass recorder multiphonics - marked
"(MF.)" - with the left hand alone,18 whilst simultaneously striking the rin
with a wooden beater that is held in the right hand. (For physical stability,
the bass recorder should be supported with a neck sling.) Because all
attacks, decays and dynamic levels are matched meticulously, a non-
ephemeral conflation of the multiphonic and bell sounds into a single,
unique sonority is achieved - even though the spectral balance and lowest
pitch of each multiphonic change continually. It is entirely probable that
the blending process is assisted by the inharmonicity of both timbral
components.
- 261-
Ex.4-5. Benjamin Thorn: Canard-canard-. No.1, p.4 (bar 64).
(2 Soprano recorders)
,
~..o..
l
S1
f to
0
00
~? ~.Q..(
S)l
J
f ~CJ
0
0
- 262-
possibilities that spring from electronic sound-manipulation,2o one method
of achieving a spatial modulation requires the placement of a multiphonic
into an artificial reverberation field defined by some other instrument's
natural resonance characteristics. A grand piano, for instance, may be
utilized solely as an acoustical chamber or reverberation unit into which
(loud) recorder multiphonics are directed. In this situation, whenever the
sustaining pedal of the piano is depressed so that its strings are no longer
damped, sympathetic resonances within the piano's strings and sound-
board are created, which echo or sustain the multiphonic sonorities as if
they were originally projected into some highly reverberant acoustic
space. 21
Introduction
In writing melodic lines for solo woodwind instruments (traditionally
thought of as being strictly monophonic or monodic), it has long been a
conceptual aim of composers, by diffracting these single musical lines in a
variety of ways, to create multilayered vertical architectonic structures
which are perceived as a plurality of musical lines operating
simultaneously.22 Conventional methods of achieving this (asynchronous)
linear diffraction have included the agglomeration of melodic pitches into
widely separated registers, plateaued dynamic levels, as well as a clear-cut
differentiation of timbre and/or articulation.
Multiphonics now afford composers the opportunity of constructing
truly synchronous multilinear musical structures with solo woodwind
instruments. Under such schemata, multiphonics can be treated
exclusively as harmonic entities.
- 263-
In this example, the single rapidly speaking multi phonic ([slightly
sharp] C-sharp, E-natural) seems to function as a uniting element within a
melodic line that is formed upon two distinct registral planes: the
multiphonic simultaneously links, or straddles, these two registers.
Similar instances of non-illusory, efficacious two-part writing for solo
recorder, resulting from an astute usage of multiphonics, are provided in
the next two examples:
efc .
N
N
N
N
o o
-
o o o
o o
0
e.eo .0
00
eo
eo
00
e
.0
eo
00
00
00
eo
00
- 264-
There are, in general, numerous convincing bipartite textures that can
be fashioned from the multiphonic resources of a solo recorder. As we have
seen before, simple parallel two-part textures which arise from carefully
chosen multi phonic structures, are a perfectly natural consequence of the
instrument's multi phonic capabilities. 25 In particular, (legato) sequences
of recorder multi phonics involving obviously related fingerings, in which
the set of registers that contain the constituent multiphonic elements
remains constant, often give rise spontaneously to parallel harmonic
motion. 26
- 265-
constructing layers of recorder multiphonics that move polyphonically or
in contrary motion against one another, for example.
() ~
i=
~
(=/, ~)
-
,
A
J
f
- 0
00
00
(.)
~ -/-.
,
n
9~ ~
-
T
J
f
0
0
-
0
0
00
n Jl- 11-
(.)
,
J
<J
~ .... .
.f
0
00
0
- 266-
Within a purely homophonic texture, Thorn here achieves a sonic effect
of great impact. The multiphonics comprising each vertical column are, in
addition, very strongly coupled to each other. When one examines the
pitch-content of the second column in particular, it becomes clear that the
abundance of mistuned unisons and octaves alone guarantees a
conspicuous presence of beats and/or difference tones which help to alloy
its multiphonic sonorities into a unified, amalgamated timbral object or
sound-mass.
f) ,., -
A
J
f
-0
00
nr, ~-'L
l'
j
f
-
0
00
.
()"
~....,.
J
o
- 267-
A cascading multiphonic texture: the multiphonics, which are
sustained until the end of the bar, enter successively.
Ex.4-11. Jiirg Baur: Tre studi per quattro. No.3, p.10 (bars 13-16).
(Soprano. Alto. Tenor and Bass recorders)
m
'\i
J-e
p cresCo
Pi
r ~.
- 268-
1 3
T T
I..-'----(:-,<-~I mp--===: :,' .m,."p,- - -=----;;
I~:::-'I--;;~
;:::-:;""
I .- "'f
~~~~:
mp~~~~~~
i ~ : s.v. _ . nip mf
~f ===- "'1'-=
Ed . Mak Nr. 1525: Hc:idc:r. U. LEGG ENDA O[ SANrORSO LA
- 269-
4.5 Some Applications for Multiphonic Sidebands
Introduction
Amplitude modulation is an absolutely fundamental acoustic
characteristic of all woodwind multiphonics, and is responsible for the
generation of multi phonic sidebands. 32 Sidebands manifest themselves as
discernible phenomena in the form of either 'combination tones' - of which
the most prominent is the 'difference tone' - or 'beats'.33 These ubiquitous
multiphonic resources demand intelligent, multilevel formal utilization;
yet composers, curiously, seem to have so far ignored their compositional
potential. Hopefully, the following suggestions will provide sufficient
stimulus so that interested contemporary composers might begin to
redress the current situation of total neglect in this area.
Multiphonic beats
Although they, too, are subject to the peculiarities of specific recorders
(and consequently require a sympathetic compositional approach),
multiphonic beats arguably have a greater potential for widespread
compositional application than combination tones . Beat-frequencies can act
as chronomorphological regulators in numerous ways.34 A multiphonic's
beats - intimately connected to the instrument's physiology - can be used to
define temporal relationships with subsequent durations, rhythms or
tempi: 35 a specified number of multiphonic beats may be equated with a
prospective musical event's duration;36 or, the time that they span could
determine a single tactus pulse of a new tempo. A performer might also be
instructed to relate their tongue-tremolo (articulation) frequency, rate of
(breath-generated) vibrato, or trill (fingering) speed, to the beat-frequency of
a concurrent or adjacent recorder multiphonic. (There are, presumably,
even further diverse possibilities for the intelligent compositional
implementation of tremulous beats emanating from recorder
multiphonics.)
- 270-
4.6 Multiphonics and Indeterminate Structures
Introduction
The following applications and morphologies for recorder multiphonics
might engage the attention of those composers in particular whose
conceptual domain encompasses the currently popular scientific
disciplines of Nonlinear Dynamics, Chaos, Fractal Geometry, Turbulence
or Game Theory. (Such multiphonic strategies are, naturally, also equally
relevant to composers who embrace the more common musical practices of
Cagean indeterminacy or improvisation.)37
- 271-
exact duration of the pause cannot be predicted, and so generates an
indeterminate durational structure. Proportional (non-metric) rhythmic
notations 41 and other vague, imprecise, or indeterminate temporal
symbologies may, in general, provide the most appropriate
chronomorphological mechanisms under which these types of recorder
multiphonic might operate.
- 272-
possible, until it disintegrates" is therefore a perfectly viable performance
instruction that a composer might utilize when dealing with this
multiphonic family. (Again, an indeterminate duration materializes as a
direct result of the instrument's constructional idiosyncrasies.)
In general, too, any such precariously unstable recorder multiphonics
can be marshalled as axial elements of a 'tree structure' in the cybernetic
application outlined above: a multiphonic's staying-power and tolerance
over a preconceived duration defines the probabilistic function at each
formal branch.
Introduction
The post-1940s musical genre consisting of traditional 44 instrument(s)
accompanied by some form of electronic sound-generation, is fraught with
compositional dilemmas. It is, in my opinion, one of the most demanding -
but also one of the most potentially rewarding - performance media for
which a composer might attempt to create music. Whilst all non-electronic
musical instruments now incorporate an immense range of accessible
acoustic resources, the electronic sound-generators of today undeniably
possess an immeasurably wider array of readily available sonic
capabilities. The compositional problems with this genre arise, therefore,
in endeavouring to define and convey significant conceptual or musical
relationships between the sound-worlds of the two unequal protagonists. 45
This section will accordingly propose some formal interrelations that may
be instituted between the recorder's multiphonic resources - which already
display some degree of timbral affinity to the electronic soundscape - and
various electronic sound-media.
For current purposes, it is convenient to portray a theoretical division of
the electronic sound-medium into two categories, each defined according to
when the formative period of acoustic realization occurs in relation to the
performance event.
- 273-
Electronic sound-processing in the recording studio
The most popular exploitation of electronic sound-production by
composers is, at present, typified by the process of generating electronic
sounds in a recording studio, well in advance of the performance event,
and then storing them - digitally or on analogue magnetic tape - for future
retrieval or reproduction. Because an electronic part fashioned in such a
manner is completely predetermined, any delicate structural
correspondences set up between a recorder multiphonic (as apprehended
by the composer) and such an electronic accompaniment may,
unfortunately, be jeopardized by the constructional vagaries of each
recorder player's instrument. This difficult quandary needs to be resolved
at a very early stage in the compositional process. 46
Some of the concepts that have been discussed in preceding sections of
this chapter immediately suggest various credible implementations for
recorder multiphonics, wherein formal relationships are established
between the multiphonics' innate acoustical characteristics and a
preconstructed electronic soundscape.
- 274-
developments in Quantum Mechanics which led to the universal
awareness that light and matter demonstrate a 'wave-particle duality':
both states, depending upon their manner of observation and the physical
circumstances, exhibit either wave-like properties, or behave as
corpuscular particles. Many recorder multiphonics - and innumerable
other sonorities, too - display, by analogy, a 'timbral-harmonic duality', in
which the sonorities under scrutiny are heard as timbral objects, or as
harmonic/chordal events, according to their musical context. 48 Sounds
which strongly project this dichotomy, in moving ambiguously between the
two categories, are able to be synthesized par excellence by computer. The
composer, then, can somehow build a psycho acoustical correspondence
between a recorder multiphonic and a (computer-generated) electronic
accompaniment, whenever both electronic and non-electronic soundscapes
feature this chord/timbre dualism.
- 275-
itself. 50 As further technological advances are made, so that the relevant
digital apparatuses in particular acquire higher computational speeds,
ever-expanding memories, and greater processing power at lower cost,
real-time computer-controlled electronic music will become increasingly
habitual.
- 276-
Ex.4-13. Benjamin Thorn: Pipistrelli gialli .... No.n, p.4 [edited].
(Bass recorder and 5" tape delay with digital delay "reverberation")
n .J:F (l I I I JIo. ~ r. I I
5
J ,,_ v 'Iv
0 ~~ 0
-
etc: .
-
0
0
0
00
00
00
00
D (othel" I"\"\tipho,,lc.s) 1Ft; I I
J '1 v
[1]
In producing - precisely five seconds after projecting the initial
multiphonic - a bass recorder multiphonic that is subtly varied (through
using a slight alteration of fingering), the 5" tape delay causes both
sonorities to be presented simultaneously. Thorn, as with previous
examples of his work offered within this chapter, similarly achieves in
Ex.4-13 a high degree of timbral amalgamation, as well as the propagation
of sidebands (beats), interference and phasing effects, thereby powerfully
emphasizing an otherwise fragile - but piquant - relationship defined by the
tiny acoustical differences between each bass recorder multiphonic.
It is also worth noting that the electronic hardware requirements for
Pipistrelli gialli... include two tape delays set up in series, with
asymmetrical delay times of two seconds followed by three seconds. (By
contrast, the digital delay - set to delay times in the order of milliseconds -
is used solely as a timbral transformation or distortion device.) Whilst
guaranteeing an immensely rich musical texture, such an asymmetric
consecutive tape delay arrangement thus avoids, to a large extent, the
rhythmic tedium of an obvious canonic structure with inalterable
periodicity - and points to the possibility of constructing ever more intricate
networks of delay devices 53 and elaborated motivic correspondences.
- 277-
mentioned briefly here, in conclusion.
Epilogue
Endnotes
1. Even now, it seems that many of the compositional strategies and applications for recorder
multiphonics which are considered here (and elsewhere) are original, in that they do not
appear to have been used yet by contemporary composers. Therefore , such resources are
- 278-
given merely as hypothetical avenues for future artistic exploration , in the hope that they
might bear music of real worth . The earnest reader is also urged to sift through the
Appendix of this thesis - section 7 in particular - for further possibilities not examined herein.
In each instance throughout this discussion, I have attempted to be completely objective
and ecumenical by avoiding, as much as possible, the imposition of my own compositional
aesthetics and biases. (Nevertheless, any ideas raised are also largely the product of my
own limited musical imagination.)
2. These two viewpoints can also be characterized in terms of the composers' reliance upon
the uniformity - or non-uniformity - of the acoustic response of disparate instruments in the
hands of different pertormers.
3. As one would expect, these remarks are directed primarily towards those composers who
work within a determinate framework , in which specific multiphonics are requested during
the act of composition - and are expected to be heard during pertormance.
4. This manner of deep, intelligent musical thinking and integrated structural organization is
often exemplified in the compositions of certain European composers, such as Brian
Ferneyhough , Chris Dench , Richard Barrett , Michael Finnissy, James Dillon , Luca
Francesconi, Klaus K. Hubler, Roger Redgate, James Erber, Claus-Steffen Mahnkopf and
Robert H. P. Platz, who are usually (but somewhat misleadingly) placed under the banner of
a compositional school of thought that has come to be referred to loosely as 'the New
Complexity'.
5. To th is end , composers also need to tackle the multidimensional issue of mus ical
psychology ; in particular, they must address the perplexing question of perception of new
formal procedures, strategies and compositional intentions - or non-intentions - involving
recorder multiphonics: To what extent are these notions discerned, and at what structural
levels are they perceived in the music? Where abouts do they register in the cognitive
space ranging from the fully conscious to the subliminal? Will they impinge upon the
mnemonic categories of the (very) short-term memory or the longer-term memory? Are
they , or are they not , teleological? Will they somehow warp a listener's
ontological/internalized time-flow? (etc.)
6. It is now quite obvious that many post-Modernist composers are reacting vehemently - but
with inimical intellectual blindness - against the aesthetics and musical languages of the
post-War Avant-Garde , thereby depriving themselves, at least potentially, of a wealth of
Avant-Garde artistic possibilities which could successfully be incorporated into a post-
Modern ist sound-world. (This self-deprivatory attitude is, I feel, compositionally self-
defeating ; it even flies in the face of the central post-Modernist ethos of stylistic plurality and
acceptance .)
7. This is surely a basic premise of eclectic post-Modernism. Hence, there is no cogent reason
why (microtonal) multiphonics, for instance, cannot be effectively integrated into neo-tonal
soundscapes (for example) . Multiphonics are not fundamentally incompatible with musical
styles/philosophies such as minimalism or the ubiquitous 'New Romanticism' - although
superticially, to some, they might appear to be.
8. (See Chapter 1, en .31 for a definition of 'microtonal'.) This rationale for the emancipation of
woodwind instruments is summarized within O'Kelly (1990) , pp.82-83 :
"As far as the woodwinds are concerned, and this includes the recorder, two fundamental tenets
must now be reassessed in the light of [recent) discoveries. The first is the belief that there is
only one poss ible fingering for each note on a woodwind instrument, and the second is that
woodwind instruments can play only one note at a time . Neither of these statements is true and
the real isation that new fingering combinations can produce single and multiple sounds with a
variety of different timbres and intonations has been perhaps the most significant event since
the design innovations of the early eighteenth century gave us the prototypes of the instruments
we play today. Along with the discovery of the new sound-world of non-standard fingerings has
come a realisation of the possibilit ies offered by various forms of articulation and vibrato and of a
whole panoply of special effects, some of which take the player into territory very far removed
from that of conventional wind technique."
- 279-
9. This assertion is no idle boast. The keyless anatomy of the recorder permits infinitesimally
subtle degrees of fingerhole shading ; its pitches can also be minutely inflected through
changes in breath-pressure, or by manipulating the instrument's window. (These microtonal
capabilities on the recorder are limited only by the performer's technical and aural skills.)
10. The microtonal scale or mode would be cumulatively defined by the extreme (audible)
pitches of each multiphonic. As we have seen before, these pitches can often be isolated
whilst maintaining the same fingering-configuration : see section 2.3. One could then also
utilize other fingerings which yield matching single pitches, thus allowing the scale to be
presented linearly, with a variety of timbres at different dynamic levels. The chosen
multiphonics might act solely as a generating set for the microtonal scale, or they may be
subsumed into the musical material at any formal level.
11. There are numerous possibilities here. The composer can, for instance, accept this
phenomenon - if it is in keeping with their compositional philosophy - and insist that the
given recorder fingerings be observed, irrespective of the acoustic consequences. (cf.
John Cage's attitude towards the 'prepared piano': he specifies the exact preparations,
although he accepts, ab initio, that the resultant pitches or timbres cannot be predicted
accurately whenever the same preparations are applied to a different piano .) Alternatively,
the composer could request that the performer modify the recorder fingerings in order to
match, as closely as possible, the written pitches - though this approach essentially defeats
the purpose here, since the musical conception offered just now is based upon the notion
that the scale structure would be defined by the instrument itself. The composer might also
utilize only those recorder multiphonics/fingerings which are known to give a high degree
of sonic uniformity from one instrument to the next - asking for particular models of recorder
may help in this regard - or, quite simply, one can choose to ignore this multiphonic
application altogether.
12. It is rather surprising that I have not, so far, been able to find even a single musical example
illustrating recorder multiphonics that have been subjected to serial processes.
13. Such a fortunate circumstance is in total contrast with the situation of other woodwind
instruments, particularly those that are reed-activated . For these instruments, the pitch-
content of many of their multiphonics is often fused or embedded to the extent that such
sonorities are usually perceived as timbral phenomena alone, thereby seriously limiting their
potential for inclusion in any (audible) serial pitch-structure. Even on the recorder, certain
multiphonics exist which contain more than two audible elements wherein the inner
pitch(es) may be rather soft, indistinct or nebulous. Composers therefore need to carefully
rationalize the selection of such multiphonics, if these inner pitches are intended to act as
defining elements of the proposed serial pitch-set. (Of course, it could be more convenient
just to ignore such inner pitches altogether, whilst retaining the other audible components
of the multiphonic as serial determinants.)
14. Of course, any decision that a composer makes pertaining to a musical work-in-progress is
not 'precompositional' : such decisions are a/l acts of composition. In this context , then, the
term 'precompositional' refers to those organizational systems or musical elements which in
some respect act as predeterminants for the work, and are formulated prior to the stage of
realizing the work's final documentation.
Because mura-iki do not have a particularly rapid onset or decay time, the mura-iki attack
occupies a significant proportion of the whole envelope. Such attacks, being very clearly
defined, are therefore perceived as separate, distinct, rather sustained acoustical events
which merge only gradually into the ensuing sound.
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17. I nharmonic spectra are those in which the frequency of the component partials are
(perceptibly) not in an integral/'harmonic' relationship with one another. That is to say, these
frequencies are not whole-number multiples of a basic, 'fundamental' frequency.
18 . See also section 3.4.2, in which recorder multiphonics produced with fingerings that utilize
only one hand , are discussed.
19 . (One might even be tempted here to draw upon a metaphor from the science of Chemistry:
'sonoric molecules' can be constructed by inducing an acoustical reaction that agglutinates
several individual 'sonoric atoms' into a coherent whole.) This manner of 'additive timbral
synthesis', and the manipulation of timbral perception in general, is examined , copiously, in
Erickson (1975) and Grey (1975) ; see, also, Cope (1984) , pp.118-121, L. Payton (n .d.) ,
Schouten (1968), Slawson (1985), and Stiller (1985), pp.4-9.
22. Brian Ferneyhough's Superscriptio (solo piccolo), and Chris Dench's Del ploye (solo
piccolo), Closing Lemma (solo flute), ShIn (solo bass flute) , Vier DarmsUidter Aphorismen
(solo flautist), and Sulle Scale della Fenice (solo flute), are important works that significantly
exemplify this type of strategic, multilinear compositional thought in creating 'polyphonic'
music for solo (melodic) instruments. Other modern examples, chosen at random from the
many available , include : Michael Jarrell's Assonance (solo clarinet) - conceived as a
contrapuntal structure which falls across three of the clarinet's registers, each being
regarded as a distinct timbral and textural unit; Benjamin Britten's Six Metamorphoses after
Ovid (solo oboe) - fifth movement: echoed 'two-part' writing; Helmut Bornefeld's Suite in C
(solo alto recorder) - Musette : melody plus 'drone' ; and Tiberiu Olah's Sonata pour
Clarinette Seule (solo clarinet) - fugal writing.
24 . The score and recording of this composition were unavailable at the time of writing . Hence,
these transcriptions are based upon my memory of a radio(?) performance (by the
composer, Peter Hannan) of the work, as reproduced from a (private) cassette recording
which I listened to repeatedly and scrupulously during 1989 . The accuracy of my
transcriptions is therefore highly suspect, although this factor is, for the purpose of this
section, not particularly important: my transcriptions nevertheless convey quite faithfully the
composer's intention - and , in addition, show what can be achieved with recorder
multiphonics. It should also be stated that most of Hannan's minimalist composition RSRCH
12184 Dream revolves around the idea of creating an authentic, highly rhythmic two-part
polyphony from some carefully chosen recorder multiphonics which speak immediately (yet
appear to be totally reliable, and highly consistent, whenever they are attempted on
different tenor recorders) .
"Microtonal Loops. A particularly engaging technique used for the first time in [Chris Dench'sj
Sulfe Scale della Fenice is the microtonal loop. This is a sequence of eleven descending
microtonal fingerings, some of which readily produce multiphonics or resonances (this piece
requires the latter). The upper and lower lines of the multiphonics loop at different rates ; the top
line loops twice, one loop having five pitches and the other, six; the lower line also loops twice,
one loop having three pitches and the other, four (four fingerings do not produce readily audible
resonances , and hence the fewer looping notes in the lower line). The most intriguing aspect of
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this technique is that the points where the two lines begin and end their loops do not coincide,
and because of their noncoincidence the effect as a whole appears to be seamless ... [at th is
point in ChisleU's text, the reader is directed to a musical example: p.4, line 2 of Dench's score].
(These continuous microtonal loops remind me of the synthesized, ever-descending or ever-
ascending glissandi of Jean-Claude Risset in Passages for flute and computer-generated tape
[Paris: Editions Salabert, 1983])."
The self-containedness of each 'loop' (or rather, the autonomy with which their pitches
operate) calls to mind the polyphonic techniques of 'color' and 'talea' prevalent in the
fourteenth-century isorhythmic motet - a pertinent remark, given Oench's musical tastes
and compositional preoccupations - as well as, more recently, the prismatic seven-fold
'isomelos' that opens Ferneyhough's La Chute d'icare (1988) , and the duplex ostinati laid
upon differently valued 'isorhythms' underpinning the "Liturgie de crista I" movement from
Messiaen's Quatuor pour la fin du temps (1941). But considered in a more general light, I
see no reason why the string of multiphonics must repeat itself exactly. Surely they, hence
the 'loops' themselves, can be made to progressively mutate and evolve - both in terms of
pitch-content and length of cycle? Moreover, the pitches that are 'looped' need not (all) be
strictly microtonal - subject, of course, to the available multiphonic possibilities. Nor must
they always move in an ever-rising or ever-falling scale-like manner: the ordering of 'loop'
tones could easily yield eccentrically undulating pitch-contours (which one may then treat
thematically, perhaps) . Thus, a 'loop' might even be thought of as an elementary 'motive', to
be developed accordingly.
29 . The conflation of recorder multiphonics was discussed in section 4.3: see, especially, Ex.4-
5 and its commentary.
30. Most of the remarks pertaining to homophonic textures of recorder multiphonics are
applicable here as well.
32 . Recorder multiphonic sidebands and amplitude modulation are discussed in sections 2.1 .2
& 2.1.3.
33. 'Roughness' , which is initiated from the same acoustical process , is a non-separable
timbral/psychoacoustic property of multiphonics: unlike beats and combination tones ,
'roughness' is not observable in its own right as a discrete sonic phenomenon.
34. But must they function only chronomorphologically? Perhaps composers in the future will
find further uses for (recorder) multiphonic beat-frequencies - and the beating effects
themselves, considered as multiphonic timbral adjuncts - which lie outside the time-domain.
(Is it not unreasonable, for example, to establish a timbral hierarchy based upon the
intensity of multiphonic beating?)
35. To let some aspect of the music's chronomorphology be governed directly by instrumental
physiology (and not the composer) is indeed a radical proposition. But in the interests of
perception of compositional intent, it would probably be desirable to fashion the musical
details themselves in such a way that these chronometric relationships are clearly affirmed.
Rhythmically controlled double-tonguing, for example, which precisely matches the beat-
frequency of the previous multiphonic, would unambiguously declare the composer's
conception of creating a correspondence between a specific instrumental characteristic -
the multiphonic beat-frequency - and the ensuing tempo which this characteristic institutes
via the matching articulation. (Elliott Carter's notion of 'metric modulation' is also pertinent
here : the process of generating a mathematically simple ratio between two tempi -
discerned as an intentional 'gear shift' - is usually enunciated with absolute clarity by the
rhythmic/accentual structures that Carter employs during the process.)
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36. Anecdotally, it is my understanding that there exists a piano piece, by Erik Satie (1866-
1925), in which the duration of its final chordal sonority is circumscribed by a given number
of inherent beats propagated by tones within the sonority itself. Unfortunately, it has not
been possible for me to trace the source of this information, and, despite an extensive
search for this elusive composition, my efforts have proved to be fruitless . At the time of
writing, I am therefore unable to provide any more details: I am now inclined to surmise that
this report is apocryphal. Anyhow, the organization of multilevel correspondences between
the various acoustical parameters (pitch, duration, loudness, timbre , space, etc.), in
particular those that confirm parametric interdependence (an axiom later explored,
convincingly, by Karlheinz Stockhausen during the 1950s), definitely merits further
attention within the non-electronic soundscape.
40 . On the other hand, because of the likelihood of them giving rise to unwanted errors ,
multiphonics of this type might not be particularly efficacious in a highly determinate
compositional context.
42 . This probabilistic concept is not unlike a 'Markov chain' - as utilized compositionally, for
instance, by lannis Xenakis. A Markov chain fixes the exact series of (musical) events
according to a progression of pre-arranged probabilities that are attached to each event. In
the textual example, the 'probability' is defined by each recorder's likelihood, in each
player's hands, of producing and maintaining the specified (awkward) multiphonic within a
particular performance context: the instrument's physiology yields a train of statistical
tendencies which regulate the musical flow-of-events .
44. In this context, the expression "traditional musical instrument" is synonymous with "non-
electronic musical instrument".
46 . A number of possibilities present themselves here, luckily. Only universally reliable recorder
multiphonics might be utilized (inasmuch as is practicable), in order to minimize the risk of
failure. The formal correspondences themselves could also be rendered more durable by
allowing some degree of (pitch- or timbral) flexibility within the recorder part. Alternatively,
the composer might preclude any tenuous or fragile structural correspondences which are
apt to be undermined or compromised in live performance - particularly if the relaxation of
restrictions in regard to the recorder multiphonics is a compositional anathema. A distrustful
composer can even choose to avoid this performance medium altogether.
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48 . Such a notion is discussed, exhaustively, within Erickson (1975) , Grey (1975), L. Pay10n
(n.d.), and Slawson (1985) . (The timbral perception of recorder multiphonics was examined
in section 4.3 of this thesis.)
49 . In yet another digital synthesis technique that is - perhaps - worth mentioning here, some
(fragments of) recorder multiphonic(s) might even be employed as the germinating 'sound-
grain(s)' in the so-called 'granular synthesis' process . The basic formula behind granular
synthesis is predicated on an aggregation of thousands of tiny sound-atoms into a 'macro-
sound', upon which global statistical behaviours are then imposed. This application may yet
turn out to be problematic though , in terms of the apprehension of some formal acoustic
relationship between the 'live' recorder multiphonic(s) and the granular-synthesized sound:
the role of the recorder multiphonic(s) as the generative seeds of the accompanying
granular electronic soundscape is not likely to be perceived as such. However, this difficulty
could be overcome by - for example - establishing an audible correspondence instead
between the general tendencies of any digital granular 'macro-sounds' and, say, the
spectral development or global dynamic envelopes of their initiatory recorder
multiphonic(s), as put forth live by the recorder player. (An interesting observation : this
latter idea or solution is not unrelated to the cross synthesis procedure just described.)
50 . See also Appendix 7.4 : Appendix 7.4.2 in particular mentions some of the real-time (or live)
electronic possibilities.
51 . Specialist analogue delay devices - such as those formerly associated with the electric
guitar - have now been totally superseded by their digital counterparts .
52 . Contemporary digital delay units also enjoy a useful musical advantage over basic analogue
or tape delays, in that they almost always incorporate several other signal-processing
capabilities - such as delay modulation (cf. FM synthesis) - thereby inherently allowing
further timbral modification.
53 . Already, there exists Richard David Hames's piece KO, which makes use of a highly complex
multiple tape delay set-up - with a lattice-like mixing control patch and signal feedback
system - involving several tape recorders. Through the exploitation of this (analogue)
electronic technology, Hames has thereby ensured the gradual acoustic unfolding, during
live performance, of a structurally labyrinthine matrix of associations between various
recorder sound-objects within his composition.
54. Analogous real-time computer processing of instrumental sounds can be found in Pierre
Boulez's large-scale composition Repons: see Boulez and Gerzso (1988) .
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5. FINAL REMARKS
- 285-
which recorder players, teachers and composers are able to push forward
their Art with increasing awareness and mastery of the instrument's
capabilities. This thesis begins to address the issue in the single area of
recorder multi phonics, by now even thought of as being a commonplace
resource, but which are nonetheless still approached with unwarranted
mistrust, uncertainty and ignorance. 3
Although the sonic possibilities of the recorder have been continuously
researched and documented with ever-increasing zeal over the past thirty
years,4 no technical area of the recorder has, as yet, been definitively, or
even comprehensively, investigated. As recently as 1981, Ursula Schmidt,
for example, attempted a detailed codification of contemporary recorder
symbologies. Her document most eloquently portrays the current unhappy
state of flux in this area, despite the fact that it is a highly valuable attempt
to establish some degree of uniformity and consensus in the notational
practices associated with modern recorder music. 5 (On the other hand,
recorder studies concerning the instrument's interface with new and
developing technologies 6 must, by their very nature, remain ongoing
experiments.) It is obvious that we have already learnt much regarding the
recorder's sonic properties, but it should also be abundantly clear that
there is still an overwhelming amount of important work to be done in
deciphering and promoting the full artistic potential of the instrument. A
positive outcome for the recorder demands our immediate, undivided
attention in carrying out this t~sk.
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Within our own Western culture, musicologists involved in early music
research have progressively refined the concept of what constitutes a
recorder. Until quite recently, one could merely refer, with validity but only
a modicum of accuracy, to recorders from different musical epochs:
Medieval, Renaissance, Baroque and Modern instruments. Such crude
categorizations no longer suffice without further qualification, for it
emerges that there are a variety of distinctly different recorder families -
with distinctly different timbral profiles, tunings, temperaments and
constructional characteristics - that flourished within, and between, these
various epochs. In the Renaissance period, for instance, there existed
(among others) 'Virdung', 'Ganassi', 'Praetorius', 'Mersenne' and 'van
Eyck' 11 recorders. Amongst modern recorders, one can find instruments
constructed from plastic or metal, one-handed recorders, high-quality
instruments for professional recorder players, as well as those designed for
schoolchildren or amateurs. Replicas of the earlier instruments are now
becoming more and more readily available, and their structural features
and sound-qualities are gradually being standardized, so that
contemporary composers should not hesitate in specifying, for any musical
application, the precise type of recorder that they wish to use from the
many which are now available. Unfortunately, little, if any, investigation
into the full technical and sonic resources of these recorder families has,
as yet, been attempted, although one hopes that this lacuna will be
comprehensively dealt with in the near future. Historical replicas of early
recorders (as well as the ,diverse types of modern instrument) utilized for
the interpretation and generation of new recorder music, could then be yet
another vital direction in which Art involving the recorder may move. 12
Of fundamental importance to the recorder's continuing evolution is its
function within music education, even though this role may sometimes be
problematic. Through the discerning application of easily produced
modern playing techniques on the recorder - such as multiphonics - in a
classroom context, young musicians can be provided with an introduction
to the sound-world, aesthetics and techniques of contemporary music in
general. Attendant with this must be a vast improvement in teaching
standards of the recorder, a greater executative ability, and a heightened
awareness of the instrument's acoustic potentialities and repertoire
amongst teachers - and those who train them. For only then, through a
healthy rise in playing standards, will the recorder rid itself of the
prejudices currently surrounding it and command the respect that it
deserves. This is, in essence, merely a question of education and habit.
Children, from an early age, are entitled to be steeped in the endless
artistic possibilities of music, which then become fundamental and natural
to them. 13 In the hands of an open-minded, inquisitive, energetic and
intelligent generation of talented young recorder players, one can look
forward to a positive and abundant future for the instrument.
- 287-
Endnotes
1. I am convinced that the general public, as well as the majority of musicians, are totally
unfamiliar with the notion of a recorder family, which currently includes eight sizes of
recorder (from the garkleinflotlein to the contrabass) .
2. One might easily acquire the erroneous notion that, fundamentally, the recorder is a plastic
instrument, because the ubiquitous 'school recorder' is almost invariably made of that
material. Yet most high-quality recorders are actually constructed from wood. Plastic is
favoured in the mass production of recorders, because it is durable, malleable in moulding,
and relatively inexpensive. Despite the fact that there are now many excellent plastic
recorders on the market, some of which even rival wooden instruments in quality, it is
unfortunate that the plastic recorder is all but universally reviled because in the public view,
plastic is often synonymous with cheap or disposable products such as infants' toys.
4. The pioneers in this area were undoubtedly Michael Vetter and Frans BrOggen. Vetter's
researches, for example, began to manifest themselves from the early 1960s in a number of
path-breaking compositions by young German and Dutch composers.
5. Schmidt (1981) . The bulk of Ursula Schmidt's monograph comprises a wide-ranging survey
of contemporary recorder notations, as found in the scores of a large number of
composers. The facsimile score reproductions included in her monograph depict a diversity
of notational solutions to identical musical problems. She then attempts to remedy this total
absence of notational uniformity by making intelligent recommendations for a standardized
symbology (where applicable), based upon those notations surveyed.
7. The Appendix lists most - if not, as is my aim, all - of the possibilities. It is important to
understand that the concepts about to be outlined in the text here may not only be
pursued independently, but are obviously able to be interlaced in their development.
8. It may not be widely realized that the recorder was a regular member of the pre-Classical
orchestra.
11. Strictly speaking, 'van Eyck' recorders fall into a transitional period, between the high
Renaissance and Baroque epochs, defined by the first half of the seventeenth century.
Recorders of this type are named after a famous blind Dutch recorder player and composer
who flourished during that time .
13. One could even argue that this is crucial to their development as balanced, complete and
spiritual human beings.
- 288-
BmLIOGRAPHY, WITH FURTHER REFERENCES
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- 290-
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- 291-
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Benade, Arthur H.: Fundamentals of Musical Acoustics, Oxford University Press, New York,
1976.
Bergman, Billy and Horn, Richard: Experimental Pop: Frontiers of the Rock Era, Blandford Press,
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Bohm, David: Wholeness and the Implicate Order, Routledge & Kegan Paul, London, 1980.
Bok, Henri and Wendel, Eugen: New Techniques for the Bass Clarinet, Editions Salabert, E.A.S.
18802, Paris, 1989. Accompanying cassette tape: Editions Salabert, SC 025.
ed. Bons, Joel: Complexity in Music? - An Inquiry into its Nature, Motivation and Performability,
JoB press, Amsterdam, 1990.
ed. Boretz, Benjamin and Cone, Edward T.: Perspectives on Contemporary Music Theory, W. W.
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ed. Boretz, Benjamin and Cone , Edward T. : Perspectives on Notation and Performance, W . W.
Norton & Company, Inc., New York, 1976.
Boulez, Pierre (English translation by Richard Rodney Bennett and Susan Bradshaw): Boulez on
Music Today, Faber and Faber, London , 1971.
- 302-
Braun, Gerhard : Neue Klangwelt auf der Blockfl6te, Heinrichshofen's Verlag, Wilhelmshaven ,
1978 .
Caravan, Ronald L. : Extensions of Technique for Clarinet and Saxophone, D.M.A. Dissertation,
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Caravan, Ronald L.: Preliminary Exercises and Etudes in Contemporary Techniques for Clarinet,
Ethos Publications, U.S.A., 1979.
Charlton , Andrew: The Charlton Method for the Recorder: A Manual for the Advanced Recorder
Player, University of Missouri Press, Columbia, Missouri, U.S.A., 1981.
Chatterley, Albert: The Music Club Book of Improvisation Projects, Stainer and Bell Ltd., London,
1978.
Cogan, R. and Escot, B. : Sonic Design: The Nature of Sound and Music, Prentice-Hall,
Englewood Cliffs, New Jersey, U.S.A., 1976.
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1974.
Cope, David H.: New Directions in Music, 4th edition, William C. Brown Publishers, Dubuque ,
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Cope, David H.: New Music Composition, Schirmer Books , New York, 1977.
Cott , Jonathan: Stockhausen: Conversations with the Composer, Pan Books Ltd. , London ,
1974.
Dallin, Leon: Techniques of Twentieth Century Composition, 3rd edition, William C. Brown
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Dean, Roger T. : New Structures in Jazz and Improvised Music Since 1960, Open University
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Berkeley, California, U.S.A. , 1979.
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Dick, Robert: The Other Flute: A Performance Manual of Contemporary Techniques, Oxford
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- 303-
Erickson, Robert: Sound Structure in Music, University of California Press, Berkeley, California,
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Farmer, Gerald J.: Multiphonics and Other Contemporary Clarinet Techniques, SHALL-u-mo
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Ganassi, Sylvestro : Opera Intitulata Fontegara, Venice, 1535. (ed. Hildemarie Peter, [English
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Gerboth, Walter and Prucha, Harold J.: Primer for the Bass Recorder: A Complete Method, Hargail
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1957.
Gleick, James : Chaos: Making a New Science, Cardinal (Sphere Books Ltd.) , London, 1988.
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Godwin, Joscelyn: Music, Mysticism and Magic: A Sourcebook, Arkana Paperbacks, New York,
1987.
Godwin , Joscelyn: The Mystery of the Seven Vowels: In Theory and Practice, Phanes Press,
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Goodyear, Stephen F.: The Recorder, Hodder and Stoughton, London, 1978.
Goossens , Leon and Roxburgh, Edwin : Oboe, Macdonald and Jane's Publishers Ltd ., London ,
1977.
Griffiths, Paul : A Concise History of Avant-Garde Music, Oxford University Press, London, 1978.
Griffiths, Paul: A Guide to Electronic Music, Thames and Hudson, London , 1979.
Hamel, Peter Michael (English translation by Peter Lemesurier): Through Music to the Self: How
to Appreciate and Experience Music Anew, The Compton Press Ltd . (Element
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Hansen, AI.: A Primer of Happenings and Time-Space Art, Something Else Press, New York,
1968 .
Harrison, Lou : Lou Harrison's Music Primer, Peters Edition, New York, 1971 .
van Hauwe, Walter: The Modern Recorder Player (Volume I), ED 12150, Schott and Co . Ltd. ,
London , 1984.
van Hauwe, Walter: The Modern Recorder Player (Volume II), ED 12270, Schott and Co. Ltd. ,
London , 1987.
- 304-
van Hauwe, Walter: The Modern Recorder Player (Volume III), ED 12361 , Schott and Co. Ltd. ,
London, 1992.
Higgins, Dick: A Dialectic of Centuries: Notes Towards a Theory of the New Arts, 2nd edition ,
Printed Editions, New York, 1979.
Howell, Thomas: The Avant-Garde Flute: A Handbook for Composers and Flutists, University of
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Hunt, Edgar: The Bass Recorder: A Concise Method for the Bass Recorder in F and Great Bass in
C, Schott and Co . Ltd., London, 1975.
Hunt, Edgar: The Recorder and its Music, Revised edition, Eulenberg , London, 1977.
Inglefield, Ruth K. and Neill, Lou Anne: Writing for the Pedal Harp: A Standardized Manual for
Composers and Harpists, University of California Press, Berkeley, California, U.S.A.,
1985.
Johnston, Ian : Measured Tones: The Interplay of Physics and Music, lOP Publishing Ltd . (Adam
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Jones, Daniel: The History and Meaning of the term "Phoneme", 2nd edition , The International
Phonetic Association, London , 1967.
Jorgenson, Owen: Tuning the Historical Temperaments by Ear, Northern Michigan University
Press, Marquette, Michigan, U.S.A., 1977.
Kientzy, Daniel : Les Sons Multiples Aux Saxophopes, Editions Salabert, E.A.S. 17543, Paris,
1982. Accompanying cassette tapes: Editions Salabert, SC 001 & SC 002.
a
Kientzy, Martine : Les Sons Multiples Aux FIOtes Bec, Editions Salabert, E.A.S. 17610, Paris ,
1982. Accompanying cassette tapes: Editions Salabert , SC 007 & SC 008.
Kishibe, Shigeo : The Traditional Music of Japan, 3rd edition, Ongaku No Tomo Sha Edition,
Tokyo , 1984.
Kluver, Billy; Martin, Julie and Rose , Barbara: Pavilion, E. P. Dutton, New York, 1972.
Kbneke, Hans W.: Skizzen zu einem neuen Blockfl6ten-Unterricht, H. Moeck Verlag, Celie,
1972 .
Kottick, Edward L. : Tone and Intonation on the Recorder, MCGinnis and Marx, New York, 1974.
Ladefoged, Peter: A Course in Phonetics, Harcourt Brace Jovanovich, Inc., New York, 1975.
- 305-
Linde, Hans-Martin (English translation by James C. Haden): The Recorder Player's Handbook,
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Lloyd, L. S. and Boyle, Hugh: Intervals, Scales, and Temperaments, St. Martin's Press, New York,
1978 .
Mackay, Andy: Electronic Music: The Instruments, The Music and The Musicians, Phaidon Press
Ltd., Oxford, England, 1981 .
Mandelbaum, Joel: Multiple Division of the Octave and Tonal Resources of Nineteen-Tone Equal
Temperament, Ph.D. Dissertation, Indiana University, 1961.
Mandelbrot, Benoit B.: The Fractal Geometry of Nature, Revised edition, W. H. Freeman and
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Margenau, Henry; Watson, William W. and Montgomery, C. G.: Physics: Principles and
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MCClain, Ernest G.: The Myth of Invariance: The Origin of the Gods, Mathematics and Music, From
the Rg Veda to Plato, Nicholas Hays, Inc., York Beach, Maine, U.S.A., 1976.
MCClain, Ernest G.: The Pythagorean Plato: Prelude to the Song Itself, Nicholas Hays, Inc., York
Beach, Maine, U.S.A., 1978.
Mersenne, Marin: Harmonie Universelle: The Books on Instruments, Paris, 1635. (English
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Moyle, Alice M.: Aboriginal Sound Instruments, Australian Institute of Aboriginal Studies,
Canberra, 1978.
O'Kelly, Eve: The Recorder Today, Cambridge University Press, Cambridge, England, 1990.
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Peter, Hildemarie (English translation by S. Godman) : The Recorder: its Traditions and Tasks,
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Podnos, Theodor: Intonation for Strings, Winds, and Singers, Scarecrow Press, London, 1981.
Prigogine, lIya and Stengers, Isabelle: Order out of Chaos: Man's New Dialogue with Nature,
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Rechberger, Herman: Die Blockflote in der Zeitgenossischen Musik, Finnish Music Information
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U.S.A., 1977.
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1981 .
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cassette tape: Sounds Australian OZM2014.
Vetter, Michael: "Flauto Dolce ed Acerbo: Instructions and Exercises for Players of New
Recorder Music, 2nd edition , H. Moeck Verlag, Celie, 1974.
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Science, Shambhala Publications, Inc. , Boston, Massachusetts, U.S.A. , 1985.
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von Winterfeld, Linde Hoffer: Der Neue Weg: Blockflotentechnik (Teilt), Edition Sikorski NR
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von Winterfeld, Linde Hoffer: Diarium for Jeanette: Daily Exercises for Alto Recorder, Pelikan-
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Wishart, Trevor: Book of Lost Voices, published privately by the author, England, 1979.
[Available from: Philip Martin Music Books, 22 Huntington Road, York, Y03 7RL,
England.]
Wishart, Trevor: On Sonic Art, Imagineering Press, 83 Heslington Road, York Y01 SAX, England,
1985.
Wollitz, Kenneth : The Recorder Book, Alfred A. Knopf, New York, 1982.
Xenakis, lannis: Formalized Music: Thought and Mathematics in CompOSition, Indiana University
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Yasser, Joseph: A Theory of Evolving Tonality, Da Capo Press, New York, 1932.
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External World, Princeton University Press, Princeton, New Jersey, U.S.A. , 1969.
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A LIST OF COMPOSITIONS UTILIZING RECORDER
MULTIPHONICS
Abbreviations
Bassoon: Bsn.
Clarinet: Claro
ElectronicslElectric: Electr.
Amplification!Amplified: Ampl.
Synthesizer(s): Synth(s).
Flute: Fl.
Guitar(s): Guit(s).
Horn: Hn.
Keyboard(s): Keyb(s).
Harpsichord: Harpsich.
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Organ: Org.
(Prepared) Piano: (Prep.)Pft.
MandolinCs): MandCs).
Oboe: Ob.
Orchestra: Orch.
Percussion: Perc.
Drum: Dr.
Piccolo: Picco
Player(s): pI.
Recorder(s): Rec(s).
Garkleinflotlein: g
Sopranino: s
Soprano: S
Alto: A
Tenor: T
Bass: B
Great Bass: G
Contrabass: C
Shakuhachi: Shaku.
Strings: Str.
Violin: Vln.
'Cello: VIc.
Whistle: Who
1. Bank, Jacques: Put me on my bike no. 1, ([Ampl.] A, Baritone voice , mixed [S,A,T,B] choir
[16 voices]), Donemus, Amsterdam, 1971.
2. Bank, Jacques: Wave, (Ampl. B, (optional) Perc. [2 pl.]), Donemus, Amsterdam, 1974? [The
solo amplified bass recorder version is entitled Blue Mosque.]
3. Baur, JOrg: Concerto da camera: Konzert fOr Blockflote und Orchester, (Rec. pI. [s,A,B] ,
Orch.), E.B . 6762, Breitkopf & Hartel, Wiesbaden, 1975.
4. Baur, JOrg: Mutazioni: Studie fOr Altblockflote, (A), E.B. 6451 , Breitkopf & Hartel,
Wiesbaden, 1962.
5. Baur, JOrg: Pezzi Uccelli, (Rec. pI. [s,S]) , E.B. 6472, Breitkopf & Hartel, Wiesbaden, 1964.
6. Baur, JOrg : Tre studi per quattro: Drei Episoden fOr blockflotenquartett, (4 Rec. pI.
[s,S,A,T,B]) , E.B . 6689 , Breitkopf & Hartel, Wiesbaden , 1972.
7. Bechtel, Helmut: Duo fOr Sopran- und Alt-Blockflote, (S,A), M 22.436, Moseler,
WolfenbOttel,1981?
8. du BOis, Rob: Pastorale VII, (A), E.M . 5024, Moeck, Celie, 1964.
9. du Bois, Rob: Spiel und Zwischenspie/, (A, Pft.) , Donemus, Amsterdam, 1962.
10. Bornefeld , Helmut: Concentus, (3 Rec. pI. [s,S,A,T,B]), E.M. 2522, Moeck, Celie, 1980.
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11. Bornefeld , Helmut: Florilegium, (Rec. pI. [s ,S,A,T,B], Keyb. [Org . or Pft .)) , UE 17461,
Universal Edition, Vienna, 1977.
12 . Braun, Gerhard: 5 Miniaturen, (S , Pft. , Perc. [2 pl.]), BE 554, Bosse, Regensburg, 1970?
13 . Braun, Gerhard : minimal music II, (Recs. [s,S,A,T,B], etc.), E.M. 1523, Moeck, Celie , 1972.
14 . Braun, Gerhard: Monologe I, (Rec. pI. [Recs., etc.)) , HE 11.404, Hanssler, Stuttgart, 1970.
15 . Braun , Gerhard: NachtstOcke, (Rec. pI. [s,S,A,T,B], Pianist [(Prep.)Pft., Perc., Lotus Fl. ,
etc.]) , E.M . 1530, Moeck, Celie , 1972.
16. Braun, Gerhard : Recitatives and Arias, (T [or S)) , E.M. 1521 , Moeck, Celie, 1975.
18 . Bussotti, Sylvano and Vetter, Michael : RARA (dolce) , (A) , Sy. 2198, Ricordi, Milan,
1966/1969.
19 . Cale, Bruce: Breeze in the Chimes of Time, (Rec. pI. [T,B], Mand., Fl. , Ob., Bb Clar. , Bsn. ,
Hn.), Hampton NSW, Australia, 1991 . Manuscript. AMC.
20 . Cale, Bruce: Cullenbenbong, (Rec. pI. [B , 7 Japanese Temple Bells {Rin}]) , Hampton NSW,
Australia, 1989. Manuscript. AMC.
21 . Cale , Bruce : Spirals/Tunnels, ([Ampl.] A, Tape [5 Recs.]) , Hampton NSW, Austral ia, 1992.
Manuscript. AMC.
24 . Clemencic, Rene: Maraviglia IV, (3 Recs., Harpsich. , Tape), place? , date? Manuscript?
25 . Currie, Neil: Stopping by Woods on a Snowy Evening, (T) , Adelaide, Australia, 1985/1990.
Manuscript. AMC.
26 . Davis, Alan: Fifteen Studies for Treble Recorder, (A) , Edition 11480, Schott, London,
1981? [See Study No.14.]
27. Davis, Alan : Technical Study 6e, (A) , from Treble Recorder Technique, Novello, England ,
1983, p.122.
28 . Dickinson , Peter: Recorder Music, (Rec(s?). [g,s ,A,T,B, Peruvian Notch Fl.], Tape),
Novello, England, 1973.
29. Dolci, Amico : Nuovi Ricercari, (A) , N 1396, Heinrichshofen, Wilhelmshaven, 1972.
31. Dolci, Amico : Nuovo Ricercare 5, (A) , N 1408, Heinrichshofen, Wilhelmshaven, 1973.
32 . Dolci, Amico : Nuovo Ricercare 6, (Rec. [s,S,Aj, Vln. , Vic.), N 1413, Heinrichshofen,
Wilhelmshaven , 1974.
34 . Eisma, Will : Wonderen zijn schaars, (A, Prep.Pft.) , E.M. 1524, Moeck, Celie, 1965.
35 . Febel, Reinhard : Sechs Bagatellen, (A, Pft .), E.M . 1528, Moeck, Celie , 1978.
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36. Furrer-Munch, Franz: Details IV, (Rec. pl., Vic. or viola da gamba, Org.), edition modern,
Munich , 1975.
37. Gross, Eric: "Ian's Shenanigan" No.1, Op.142/1, (A), MCA Music (Australia), Sydney, 1985.
AMC .
38. Gross, Eric: "Ian's Shenanigan" No. II, Op.14212, (Rec. pI. [s,S, Irish Tin Who in D)), MCA
Music (Australia), Sydney, 1988. AMC.
39 . Gumbel, Martin: FIOtenstories, (3 Recs. of equal pitch), E.M. 2504, Moeek, Celie, 1976?
40. Hames, Richard David: KO, (Rec., Dancer, Multiple tape delay system), edition modern,
Munich, 1979. AMC.
43. Hashagen, Klaus: Gesten, (Rec. pI. [S,A,T,B], Tape), E.M. 5031, Moeck, Celie, 1966.
44. Haverkate, Guus: Twelve Advanced Studies in Recorder Technique (Books 1 & 2), (S),
Nos. 1085 & 1249, Broekmans & van Poppel, 1973 & 1976? [See Study No.5.]
45 . Heider, Werner: Gassenhauer, (S [or Picc.], Small Dr.), E.M. 2537, Moeck, Celie, 1984.
46. Heider, Werner: Katalog, (Rec. pI. [s,A,B)), E.M. 5025, Moeck, Celie , 1965.
47. Heider, Werner: La Leggenda di Sant'Orsola: musica per Vittore Carpaccio, (3T), E.M .
2525 , Moeck, Celie, 1981.
48. Heider, Werner: Musik im Diskant, (s [or Picc.], Harpsich. [or Pft.], Perc.), HE 11.403,
Hanssler, Stuttgart , 1970.
52. Hirose, Ryohei: Potalaka, (A, Vic., Harp), Zen-On, Tokyo, 1972.
53. ed. Hofmann, Friedrich: Neue Choralmusik fOr Blockflote, (Rec. pI. [S,A,T)), HE 13.048,
Hanssler, Stuttgart, 1975. [Pieces - one each - on chorales (EKG 297, 179, 195, 355
& 48) by Veit Erdmann, Harald Heilmann, Bernhard Krol, Matthias-Claudius Link &
Hans Georg PflUger.]
54. Hooke, John M.: Cognos, (A), Blair Athol SA, Australia, 1991. Manuscript. AMC?
55. Huber, Nicolaus A: Epigenesis I, (4 Rec. pI. [S,A,T,B)), BA 6109, Barenreiter, Kassel,
1968.
56. Ishii, Maki: Black Intention, (Rec. pI. [Baroque S (A415 Hz),S,T, Tam-Tam)), R-143 , Zen-On,
Tokyo, 1975.
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59 . Kelemen, Milko: Zehn Fabeln, (S,A), E.P. 8450, Peters, Frankfurt, 1980?
60 . Kroll, Georg: Canzonabile, (B [or B to Tto A], Guit.), E.M. 1518, Moeck, Celie, 1976?
61 . Kroll, Georg : Con Licenza, (A), E.M. 1535, Moeck, Celie, 1971.
63. Lechner, Konrad: Engramme, (Rec. pI. [s,A,T,B], Harpsich. , Perc.), E.M. 2516, Moeck,
Celie , 1983.
64. Lechner, Konrad: Lumen in Tenebris, (3 Rec. pI. [S,A,T,B, Perc.]), E.M. 2521 , Moeck,
Celie, 1980.
65. Lechner, Konrad: Spuren im Sand, (Rec. in C), E.M. 1526, Moeck, Celie, 1976.
67. Lim, Liza: Lullaby, (A), The Hague, Holland, 1987. Manuscript. AMC? [This composition has
been officially withdrawn by the composer.]
68 . Linde, Hans-Martin: Amarilli mia bella: Hommage a Johann Jacob van Eyck, (Rec. [S,A,B]),
OFB 133, Schott, Mainz, 1971 .
69 . Linde, Hans-Martin : FOnf Studien, (A, Pft.) , OFB 137, Schott, Mainz, 1974. [From the
Modern Music Book for treble recorder and piano.]
70 . Linde, Hans-Martin: Music for a Bird, (A) , OFB 48, Schott, Mainz, 1968.
71. Linde, Hans-Martin: Musica da Camera, (Rec. [A,B], GUit.), OFB 135, Schott, Mainz, 1972.
72 . Lucke, Gottfried : Studie 1967, (A [or Fl.], Pft.), BE 335, Bosse, Regensburg, 1967.
73. Masumoto, Kikuko : Pastorale for Recorder Solo, (Rec. [T,S]), R-105, Zen-On, Tokyo,
1975?
74 . Mellnas, Arne: The Mummy and the Humming-Bird, (Rec. [s,S,A], (optional?) Harpsich.),
Avanti ER 63, Edition Reimers, Stockholm, 1980?
75 . Mindel, Meir: The catch, (Rec. pl.), Kibbutz Negba, Israel, 1983. (Manuscript?)
76. Mittermayr, Georg: Drei StOcke fOr Blockfl6tenensemble, (6 Recs.), place? , 1974.
Manuscript?
77 . Miyagi, Jun-ichi : Ai6n-lI/, (Rec. [S,A], Shaku., Harpsich.), Sendai, Japan, 1987. Manuscript.
79. Osborne, Nigel: Passers By, (B, Vic. , VCS3 Synth., Slide projection) , Universal Edition,
London, 1976?
80 . Quintiere, Jude: Music for Recorder and Tape, (Rec., Tape), New York, date? Manuscript?
81. Riehm, Rolf: Gebrauchliches, (A) , E.M . 5138, Moeck, Celie, 1972.
82. Rijnvos, Richard : Zahgurim, whose number is twentythree and who kills in an unnatural
fashion .. , (Ampl. B, Perc. [4 pl.]), The Hague, Holland, 1988. Manuscript.
83. Rimmer, John: The Exotic Circle, (s ,S,A,T,B,G , Perc. [2 pl.]) , Kiwi Music, Wellington, 1974.
84. Rimmer, John: Whakaari, (A), CAT 018, Catena Press, Auckland, 1977.
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85 . van Roosendael, Jan Rokus: Rotations, (A), Donemus, Amsterdam, 1988.
86. Rose, Pete: Right Hand Pentichord Variations, (Prep.8), New York, date? Manuscript?
89 . Serocki, Kazimierz: Concerto alia cadenza, (Rec. pI. [s,S,A,T,B,G], Orch.), E.M. 5181,
Moeck, Celie, 1974.
90 . Serocki, Kazimierz: Impromptu fantasque, (s,S,A,T,B,G, 3/6 Mands., 3/6 Guits., Pft., Perc.
[2 pl.]), E.M . 5160, Moeck, Celie, 1973.
91. Shanahan, Ian: Helical Ribbon, (A), Sydney, Australia, 1990. Manuscript. AMC.
92 . Shanahan, Ian: Lingua Silens Florum, ([Ampl.] Prep.A), Sydney, Australia, 1991 .
Manuscript. AMC.
94 . Skarecky, Jana: The Sign of the Four, (T) , Mississauga, Canada, 1986. Manuscript.
95 . Smetanin , Michael: Spin (0), (Ampl. B, Ampl. Harpsich.), Sydney, Australia, 1990.
Manuscript. AMC.
96 . Sollima, Eliodoro: Evoluzione 3a, (A, Pft.), N 1402, Heinrichshofen, Wilhelmshaven , 1972.
97 . Spahlinger, Mathias : nah, getrennt, (A) , UE 30111, Universal Edition, Vienna, 1992.
98 . Sterne , Colin: Meadow, Hedge, Cuckoo: Variations for Solo Alto Recorder on John
Dowland's Ayre: '~way With These Self-Loving Lads", (A) , ARS No.87, Galaxy Music
Corporation, New York, 1978?
100. Tattersall, Malcolm: Games of Chance IV: Lucky Dip, (Recs.), Melbourne, Australia, 1978.
Manuscript. AMC?
101 . ed. Thorn, Benjamin: Recorders at Large, (Recs. [S,A,T,B]), Currency Press , Sydney,
1991 . AMC . [See NO.6 "Crazy Clock" (2S or 2A) by Mary Mageau, and NO.20 "Crunchy
Music!" (2A) by Benjamin Thorn - as well as this anthology's useful "Glossary of
Unusual Techniques and Notations", pp.71-72.]
102 . Thorn , Benjamin: Bagliori, (2S, Harpsich.), Sydney, Australia, 1981 . Manuscript. AMC.
103 . Thorn , Benjamin: Canard-Canard-, (2 Rec. pI. [both S,A]), Sydney, Australia, 1984.
Manuscript. AMC .
104. Thorn , Benjamin : Chasing ... , (A,T,B) , Sydney, Australia, 1985. Manuscript. AMC .
105. Thorn, Benjamin: Neurotika, (Rec. [A or B], Live Electr. [Tape , Tape delay & Digital delay]),
Sydney, Australia, 1984? Manuscript. AMC.
106. Thorn, Benjamin : Pipistrelli gialli... , (B, Live Electr. [Tape delay & Digital delay]), Sydney,
Australia, 1985. Manuscript. AMC .
107. Thorn, Benjamin : The Voice of the Crocodile .. . , (Bass Rec. pl.), E.M . 2561, Moeck, Celie,
1988. AMC .
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108. Thorn, Benjamin: Two diagonals and a squiggle, (Rec. [S,A,T], Perc.), Sydney, Australia,
1991. Manuscript. AMC.
109 . Ton-That, Tiet: Ai Van 2 (Epitaphe 2), (B, Harpsich.), J.J. 885, Jobert, Paris, 1972.
110. Tucker, Tui St. George: Sonata for Solo Recorder, (A), RCE No.14, Anfor Music Publishing,
New York, 1970.
112. Veilhan, Jean-Claude: Liens, (A) , A.L. 24.602, Alphonse Leduc, Paris, 1971 .
113. Waechter, Wolfram : Joke, (A), N 3401 , Noetzel, Wilhelmshaven, 1977. [From 3 StUcke fUr
AltblockflOte.]
114. Waechter, Wolfram : Neue Technische Ubungen, Otto Heinrich Noetzel Verlag,
Wilhelmshaven , 1983. [See Studies 15, 16 & 19.]
115 . Witzenmann, Wolfgang : Bordun II: on its own set of tones, (S,A,T,B), ZfS 472, Moeck,
Celie, 1978?
116. Witzenmann , Wolfgang : Bordun III, (S ,A,T,B), ZfS 544, Moeck, Celie , 1982.
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DISCOGRAPHY
4. CBS Records IMI 20004 "Genesis". Recorders: The Mor-Li Recorder Consort.
No. 75. {Meir Mindel: The catch.} (Recorder: Michael Melzer.)
8. Evasound Records Jade JADCD1022 "Times Remembered". [Compact Disc] Recorder: Ian
Shanahan.
No. 91 . {Ian Shanahan: Helical Ribbon.}
9. Evasound Records Jade JADCD1025 "Splendour of the Past". [Compact Disc] Recorder:
Ian Shanahan.
No. 92. {Ian Shanahan: Lingua Silens Florum.}
10. Kiwi Records SLD-38 "The Exotic Circle". Recorders: The College Consort.
No. 83. {John Rimmer: The Exotic Circle.}
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11 . Moeck E.M. 10.003 AlB "II Flauto Dolce ed Acerbo". Recorder: Michael Vetter.
NO.4. {JOrg Baur: Mutazioni.}
NO. 8. {Rob du Bois: Pastorale VII.}
No. 43 . {Klaus Hashagen: Gesten.}
Vetter. Michael: Figurationen III. (version for Amplified Recorder). E.M. 5052 .
Moeck. Celie . 1967.
12. Muza S X 1315. Recorder: Czeslaw Palkowski. National Philharmonic Orchestra (Warsaw) .
conducted by Andrzej Markowski.
No. 89 . {Kazimierz Serocki : Concerto alia cadenza.}
13. Sounds Australian OZM2014 "Recorders at Large". [Cassette] Recorders: Benjamin Thorn.
No. 101. {Mary Mageau: Crazy Clock; Benjamin Thorn : Crunchy Music~
15. Unisono UNS 22 717. Recorder: Gerhard Braun. [Piano: Rudolf Dennemarck.]
No. 13. {Gerhard Braun: minimal music II.}
No. 14. {Gerhard Braun : Monologe I.}
No. 15. {Gerhard Braun: NachtstOcke.}
No. 66. {Konrad Lechner: Varianti.}
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APPENDIX
A COMPREHENSIVE SUMMARY
1. Single sonorities.
1.1 Chromatic fingerings (12-tone equal temperament) and other basic considerations
(including recorder acoustics; phrasing, and breathing factors).
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approximations .
o Fingerings for 31-tone, 19-tone and 43-tone equal temperament, etc.
o Various other tuning systems (or temperaments): Just temperament, Mean-tone
temperament, Pythagorean temperament, tunings based upon the bitone paradigm, non-
logarithmic scale structures, etc.
o Microtonal possibilities arising from the physiological characteristics of the (particular) recorder.
o Timbral implications of microtonal fingerings on the recorder.
1.3 Trills .
o Fingered trills of various intervals: the initial and subsequent pitch(es) of a trill - and by
extension, a fingered vibrato [see 4.3] - are referred to as the 'primary' and 'secondary'
pitch(es), respectively.
o Trills with the 'wrong' finger(s).
o Breath-generated trills.
o Clicky' trills (see 1.6.8).
o Double trills. The regular variety of double trill involves the oscillation of two pitches, one pitch
deriving from fingering 'A', but the other pitch being obtainable from two distinct fingerings,
'B' and 'e': these fingerings then (quickly) alternate in the pattern ABAeABAe ... ; {keyed
recorders only} give rise to another, related, type of double trill, wherein the index and
middle fingers - usually of the right hand - carry out an alternating, trilling action upon a
single key.
o Monophonic trills involving more than two pitches.
o Portamento, pitch-fluctuations and slide trills generated through manipulations of the window:
pitches fall continuously as the window is progressively covered.
o Flattened pitches (with characteristic timbre) generated through covering the window in
various degrees. A 1st-register pitch may be flattened by a minor third at most, relative to
the normal pitch. Higher-register fingerings bear even less deviation.
o Extremely high pitches (with audible noise content).
o In all cases, fingerings on the recorder are limited to those involving only one hand .
o Here, the dynamic level of the instrumental tone is lowered slightly and its timbral profile is
noticeably modified: a rather unfocussed, breathy, distant quality is introduced. The extent of
'breathiness' is totally controllable only within the 1st register. (This technical resource,
pertinent only to beaked recorders, has considerable potential for application in repeated
passages where 'echo effects' are requested .)
o With certain 1st-register fingerings, when breath-pressure is gradually increased (up to the
point where overblowing occurs), the pitch remains perceptibly constant whereas the timbre
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acquires an increasingly reedy quality.
1.6.3 Timbral and pitch changes achieved through squeezing the bell between the
thighs (with the player being seated).
o For certain fingerings, as the bell of the recorder is 'squeezed', the pitch is inflected
downwards slightly and the timbre acquires a reedy, oboe-like character - rather like the 'reedy'
sonorities discussed in 1.6.2. The effect is most noticeable for 1st-register pitches, particularly
where the lower right-hand fingerholes are closed. This technique is visually striking, and so
requires especially careful artistic treatment.
o When playing high 1st-register pitches, an absolutely minimal breath-velocity will often yield an
extremely soft, pure, distant, slow-speaking edge-tone that is usually referred to as a 'whistle
tone' (in literature pertaining to contemporary flute techniques). Whistle tones are invariably
sharp in pitch by approximately a quartertone relative to the corresponding normal 1st-register
pitch. (They tend also to be more responsive, or more easily coaxed to life, upon a plastic
instrument. )
o These resources are customarily achieved with the end of the bore occluded (airtight) or
covered (non-airtight), and with most fingerholes closed. Air-noises or breath-sonorities are
often apparent as well.
o All fingerholes and the end of the bore must be closed (airtight) in order to generate these
sonorities. With the recorder player's mouth over the window, air is sucked in through the
windway to the window and edge, where the sound is produced. Air-noises or breath-
sonorities are an often apparent adjunct.
o 1st-register pitches are overblown, whilst pitch-falls occur when higher-register pitches are
underblown .
o These sounds can occur when legato articulation is utilized to connect pitches that belong to
different registers : i.e., the pitches are 'slurred'. (Within a traditional context, players are taught
to suppress these register-crossing sounds as much as possible. Hence, competent recorder
players ought to be able to cultivate, or discourage, the appearance of such sonorities.)
Similar effects are also able to be achieved through finger-action involving pitches within the
same register.
o This is technically related to 1.6.1 (which applies only to beaked recorders). By changing the
position of the endblown bass recorder's cap (or by removing it), the fundamental timbral
signature of the instrument is modified. The normally blown instrumental timbre becomes
increasingly harsh or rough, with increased breath-noise, as air enters the windway ever more
directly. Three basic cap positions are therefore possible, and are here given in order of
increasing 'harshness' :
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1.6.9.3 Cap removed, window facing the player.
Whenever the window faces the player (1 .6.9.2 and 1.6.9.3) , amplification with a normal air
microphone - see 7.4.1 - becomes impossible . Furthermore, in this situation, the sound-
radiation qualities of the bass recorder are a~ered, since most of the recorder's sound is
projected from the window (here facing the player). In 1.6.9.1 and 1.6.9.2, the angle
subtended between the slot in the cap where the player blows and the windway in the block
can also be varied in order to modify the degree of timbral 'harshness'. Additionally, the cap
itself may be pulled away (upon its tenon) from the block by various amounts, in order to
enlarge the reservoir of air behind the windway ; this has the effect of softening the quality of
the basic instrumental timbre slightly.
o This device permits continuous, uninterrupted (blown) musical lines to be played. Circular
breathing, without any overt unwanted 'bumps' in the sound, is extremely difficult to achieve
on the recorder, due to the rather low levels of breath-pressure - relative to other wind
instruments - needed to generate the normal instrumental sound . To achieve a smooth,
continuous air-flow, the player will probably need to increase the air-pressure by narrowing the
aperture between the lips. This may create sustained fricative sounds - see 5.2 - which could
be undesirable within the musical context. The technique may find its best application in those
circumstances, such as multiphonic sequences, which naturally require higher levels of
breath-pressure.
2. Multiple sonorities.
2.1 Multiphonics.
o One can easily and naturally achieve this acoustic combination, since the player merely
engages the vocal cords, which are excited by the same air-flow used to make the recorder
sound . All human vocal possibilities can therefore , in theory, be combined with the
instrumental sonority. However, the vocal and instrumental sonorities are only partially
independent of one another. The player's articulators usually duplicate the attack and release
characteristics of both classes of sonority - although one may fade the vocal sonority in or out
whilst sustaining a continuous air-flow, and the instrumental sound can be introduced or
removed by changing the position of the instrument's beak relative to the lips ; here, one is
also able to modify the spatial relationship between the two sounds: vocal tone and
instrumental timbre can , literally, be physically uncoupled or conjoined. Both classes of
sonority are, furthermore, subject to the same breath requirements .
o Possibilities and limitations attendant with this resource : both instruments are limited to
fingerings that require only one hand, for instance.
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o The use of one-handed recorders.
o The use of replicas of historical instruments - not necessarily tuned to A440 Hz, or in equal
temperament - for their additional pitch- or timbral resources within this context: played in
tandem with a modern (A440 Hz, equal-tempered) instrument, intervallic dissonance,
beating and/or phasing effects may be introduced thereby.
o The use of other endblown fipple flutes : tin whistles, flageolets, nose flutes, swanee whistles
(lotus flutes), ocarinas, pitch-pipes, etc.
2.5 Phasing and interference effects yielding 'beats', 'roughness' and 'combination tones'
('difference tones', etc.), arising from two or more recorders being played
simultaneously.
o In order for this technical resource to be viable, the recorders in question need to be in close
proximity to one another: the intensity of the combination tone(s) decreases with physical
distance .
3. Articulation.
o In order to fully plumb human articulatory potentialities as applied to the recorder, one must
accomplish an investigation into the envelope (Le. attack, sustain and release) characteristics
of recorder sounds (micro-articulation), as well as their organization into higher-level
articulatory structures (Le. phrasing, legato, staccato, tenuto, etc.: macro-articulation) through
the study of Phonetics. One then finds that the recorder is capable of producing an enormous
range of articulations, due to the lack of embouchure restrictions in carrying out normal sound-
production on the instrument. Effectively, aI/ human articulations can be applied to the
recorder, which makes a phonetic approach to the articulatory resources of the instrument a
logical prerequisite. Through fingering and articulation, one then generates higher-level
temporal structures : durations, rhythms and phrases. (See also 7.3.)
o With the oral cavity being shaped in various ways, the glottis alone acts as the articulator. This
resource is particularly valuable as a timbral parameter in the production of breath-sonorities
(5.1) . The elision of vowels creates a diphthong. For a complete listing and symbology of
vowel articulations, it is necessary to consult the International Phonetic Alphabet; the
notations provided therein are thus recommended to composers.
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tlreagiontl}, etc. (The first articulation here is particularly striking as an attack.)
o Labial + fricative coarticulations [affricates]: 'pf' (as in tlg!ennigtl), 'pv', 'bf', 'bv', etc. (Here, the
lips are initially sealed altogether and only open gradually, with the air-stream being forced
through the widening gap between them into the windway of the recorder.)
o Sibilant + sibilant coarticulations [affricates]: 'ssh', 'shs', etc.
o Guttural + labial coarticulations: 'q' = 'kw' (as in "guick"), etc.
o Other coarticulations, including those which, when utilized as an attack characteristic, give two
attacks in close proximity to one another: 'sp' (sibilant + labial); ~I', 'dl' (alveolar + semivocal);
'pi' (labial + semivocal); 'pth' (labial + fricative [affricate]); 'sf' (sibilant + fricative [affricate]); 'gl'
(guttural + semivocal); 'kp' (guttural + labial) ; etc.
o 'Triarticulations', generated by the overlapping of coarticulations with other consonants: an
elision of the guttural + sibilant coarticulation 'ks' (or 'x') with the sibilant 'sh' yields 'kssh' (or
'xsh'), for example .
o Coarticulations which have been compounded - as above - into 'words' (linguistic vocables or
otherwise), making the instrument 'talk': the reiteration of the compounding process I
ensures that an innumerable quantity of 'words' can be built from the many permutable
chains of letters, syllables, vocables and phonemes that are available.
o These two resources are distinguished technically from one another in terms of their
frequency of iteration, achieved through different levels of lip-tension. Buzzed-lip articulation
corresponds to the normal sound-generation process of orchestral brass instruments, for
example. (This articulation may actually produce a subsidiary pitch corresponding to the
iteration frequency, in addition to that of the recorder; therefore, one could claim that this
articulation, in reality, yields a multiple sonority.) The iteration frequency of flutterlip
articulation, in which the lip tension is negligible, is comparable to that of a tongue-tremolo.
Here, the air-flow merely allows the relaxed lips to flap against one another. Both resources
incorporate prominent amounts of noise.
o Suction and vacuum between the articulators are fundamental to the production of these
articulations, and are the common elements which define and relate them to one another.
o In these articulations, the tongue is used in a highly percussive, dynamic manner. The air-flow
is suddenly terminated by the tongue as it hits other articulators, creating a percussive
resonance in the oral cavity and the recorder.
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coarticulations), whereas the diaphragmatic thrust is derived from the intensification of an
aspirant articulation. These micro-articulatory devices are usually - but need not necessarily be
- applied to the attack characteristic of the envelope. Complex transient phenomena and
noises invariably result: (transient) overblown sounds, air-noises, oral cavity noises or
multiphonics might be produced.
3.8 Cheekslap .
o With puffed-out cheeks , by slapping a cheek with one hand, air is forced into the recorder
through lips which are initially closed. A soft percussive sonority is generated within the oral
cavity as part of the recorder sound's attack. The envelope is very brief, unless the lips are
opened or air is continuously forced into the recorder through hand-pressure. Fingerings on
the recorder are, naturally, limited to those produced with one hand.
4. Vibrato.
o The three classes of recorder vibrato (4.2, 4.3 and 4.4), given below, are not at all mutually
exclusive, and so give rise to a multitude of composite vibrato-types. Furthermore, in most
instances, variations in the amplitude (or intensity) and/or the frequency (or speed) of the
vibrato can be achieved, yielding vibrato contours.
4.2 Breath-generated vibrati (in a sense derived from vowel and aspirant articulations).
o Throat tremolo consists of a rapid, intense throat vibrato in which the air-flow is actually
interrupted (or nearly so).
4.3 Fingering-generated vibrati, and vibrati dependent upon fingering considerations. (See
also 1.3,)
o Here, a pitch is subtly inflected downwards with a trilling finger-action which does not
substantially alter the basic fingering-configuration that is used to generate the primary pitch .
The timbral change is minimal relative to the pitch-deviation.
o Here, a trill (or rapid oscillation) between two fundamentally different fingering-configurations
for the same - or almost the same - pitch is executed, in which, primarily, the timbre changes.
The klangfarbenvibrato may involve the alternation of adjacent registers between the primary
and secondary pitch(es) .
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4.3.3 Undertone vibrato.
o Here, a trill between related fingering-configurations for a pitch above the 1st register is
executed, in which the (1 st register) undertone audibly changes. The pitch-deviation of the
primary pitch should be negligible.
o Here, a trilling action is carried out against the hole at end of the bore . The pitch-deviation is
minimal: timbre modulation is the dominant feature .
o This type of vibrato is most readily applied to 1st-register pitches. With pivot vibrato, the pitch
is inflected (upwards) by performing a repeated pivoting motion in which the thumb alternately
vents (in various degrees) and occludes the thumbhole.
O See 1.4. This type of vibrato is most readily applied to 1st-register pitches. With rolling vibrato ,
the pitch is inflected (upwards) by performing a repeated rolling lateral motion in which the
affected fingerholes are alternately vented (in various degrees) and occluded . This type of
vibrato is closely related to pivot vibrato .
OSee 1.5. Here, the pitch is inflected downwards - at most a minor third for a 1st-register pitch,
less for a higher-register pitch - by waving a hand over the window of the recorder. Some
timbral modulation will also occur. The pitch continues to fall as the window is increasingly
covered. The overall timbral character of window vibrato is reminiscent of the sounds
produced by a flexatone or (bowed) musical saw. Fingerings on the recorder are, naturally,
limited to those produced with one hand.
o Squeeze vibrato is achieved through repeating the action described in 1.6.3. The bell is
repeatedly 'squeezed' and released.
4.4 .1 Tongue-vibrati .
o These vibrati are generated either through reiterated jaw-movements, or through the
re~eration of a particular labial articulation - labiovelar semivowel'w' - (3.1), respectively .
o Cheek vibrato is derived from the actions described in 3.8, in which the hand activating the
cheek modulates the air-flow by repeatedly depressing and releasing the puffed cheek.
Fingerings on the recorder are , naturally, limited to those produced with one hand.
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5. Breath-sonorities.
o Quasi-speech effects: the recorder tube and the player's oral cavity act as a coupled
resonance and filter system.
o Breath-sonority vibrati.
o Timbral possibilities: various degrees of 'breathiness'.
o Air-noises arising from manipulations of the window.
o Inhaled and exhaled breath-sonorities.
o Breath-sonorities are here superimposed upon the instrumental timbre by sustaining fricative
or sibilant articulations (3.1) .
5.3 Wind Rush or 'white noise' [German: nWeifJes Kauschen n] effects (WR) .
o These sonorities can be generated when the player blows the recorder (normally) with the
end of the bore covered (non-airtight), and with most fingerholes closed.
6. Percussion sonorities.
6.1 Fingerslapping.
o Here, the finger(s) are slapped down hard upon the fingerholes in order to produce a
distinctive pitched percussive sound. The pitch of this sound usually corresponds to the 1st-
register pitch of the particular fingering - though higher-register vibratory modes of the
fingering may be educed by slapping the appropriate fingerhole(s). Fingerslapping can be
employed alone, or in conjunction with a normal blown sound, etc. Fingerslap trills,
portamenti, etc. are also feasible.
6.2 Key-slaps (or key-pops), key-clicks and key-rattles {keyed recorders only}.
o Key-slaps (or key-pops) are the keyed equivalent of fingerslapping. Key-clicks occur when
key(s) are released. Key-rattles merely consist of reiterated key-clicks, which mayor may not
be random in nature. Key-clicks and key-rattles can also incorporate fingerslaps or key-slaps
into the overall resultant texture.
o Striking the body of the recorder at various locations with different implements: fingers and/or
fingernails, metal rings, wooden rods, etc.
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7. Further resources involving the recorder.
7.1 Other vocal possibilities, including further resources involving whistling, etc.
7.3 Aleatoric techniques: resources that yield chaotic, random or unpredictable results.
o Non-coordinated techniques.
o Random finger-movement.
o Random air-flow changes.
o Random articulation possibilities: random 'Morse rhythms' - derived from Morse code - of
various degrees of complexity, in which combinations of single- and multiple-articulations
may be randomly interfaced; random combinations of rapid iterations - see 3.4:
fluttertonguing, tongue-tremolo, etc. - and/or other articulations, etc.
o Fingerings that generate (chaotically) unstable sonorities, potentially providing a characteristic
rhythmic structure determined by random - primarily breath-controlled - alternations
between such unstable elements.
o 'Strange attractors'.
o Temporal structures (,chronomorphologies') that are determined by breathing or articulatory
considerations, etc.
o The recorder's sound can be amplified with air microphones - unidirectional, cardioid,
omnidirectional, etc. - aimed at the instrument's window (which should face forwards), or with
contact microphones that are placed at various locations upon the body of the recorder.
Amplification of the recorder's sound may be carried out in order to acoustically reinforce that
sound without effecting any significant timbral transformation; or, more usually, amplification is
applied in order to redefine the timbral profile of the instrument to various degrees (as well as
reinforcing its sound) .
7.4.3 Fully electronic (MIDI) wind instruments derived from or related to the recorder
in some way.
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7.5 Further acoustic considerations.
o Perceiving the recorder player as a versatile performer, and exploiting their individual (musical)
talents : recorder player as (additional) vocalist, percussionist, keyboardist, trombonist , etc.
(Compositions incorporating percussion instruments which are played by non-
percussionists are now particularly common : e.g., a recorder player could quite easily
negotiate, with just one foot, a pedal bass drum or a hi-hat cymbal - both of these common
percussion instruments being found in any standard jazz/rock drum kit.)
o Utilizing other acoustical implements: kitchen devices, body percussion etc.
7.8 Theatrical or visual effects and devices, as well as other performance (or non-
performance!) con texts .
o These can arise directly and naturally out of the employment of non-traditional instrumental
techniques themselves: for instance , visual or theatrical possibilities ensue from playing
several instruments simultaneously, etc.
o The physical character and extramusical image of the recorder itself: the recorder as symbol or
icon. Historical symbols , meanings and usages of the recorder have, so far, included
references to death, the sacred, supernatural or metaphysical, as well as allusions to (and
imitations of) birdsong .
o Placing the recorder player per se into music theatre, multimedia, interdisciplinary, visual art,
radiophonic , recording studio contexts, etc.
o Costume, performance/theatrical gestures and histrionics, musical sounds etc. evoking
artistic, political, theological, or intercultural (etc.) resonances and statements (see also
7.9).
o Physical gestures in performance enhancing or contradicting the musical intent; etc.
7.9 The study - in an ethically considerate and sensitive fashion - of other musical
cultures, philosophies, traditions and aesthetics , and their potential applications.
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B. Techniques concerning the separate sections of the recorder.
Almost all of the possibilities outlined in Part A are applicable here, and
may be categorized and listed accordingly, as above. There are, in addition,
myriad technical resources that are unique to the various sections of the
recorder - as one would expect. However, only those resources which
cannot be readily specified or logically derived in terms of the details given
in Part A will be listed here in Part B.
o 'Cornetto' ('didjeridu') sonorities: blowing with a buzzed-lip embouchure into the bore at the
upper tenon.
o Vacuum and popping ('accordion') sounds with the end of the bore closed (airtight); etc.
o It is likely that these techniques could also be applied to the footjoint alone.
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