Multiphonics (English) - Versionsgeschichte

Heinrich: /* Playing technique */

2021-05-01T20:26:34Z

Playing technique

← Nächstältere Version		Version vom 1. Mai 2021, 22:26 Uhr
Zeile 11:		Zeile 11:
	By using fork fingerings and/or modifying the embouchure inside the mouth, i.e. by making certain changes in the position and shape of the tongue, it is possible to make the gundtone and overtones vibrate at the same time.		By using fork fingerings and/or modifying the embouchure inside the mouth, i.e. by making certain changes in the position and shape of the tongue, it is possible to make the gundtone and overtones vibrate at the same time.

	The clarinetist Haether Roche [http://heatherroche.net/2014/08/11/on-writing-bb-clarinet-harmonics/] also points out the central importance of consciously differentiated tension in the [http://de.wikipedia.org/wiki/\| glottis]. When the glottis is relaxed, only the fundamental tone is heard. If the two adjusting cartilages in the larynx assume a position similar to whispering, it is possible to produce the overtones. Depending on how closely the glottis is positioned, correspondingly higher or lower overtones are heard. This technique, combined with modified [[Breathing#Airflow\|Airflow]] and [[Voicing and Singing]], is also used - consciously or unconsciously - when playing in the high register, when [[Ernesto Molinari#Glissandi as an exercise for support!\|Glissando]] and when playing [[Ernesto Molinari#Flageoletts\|Flageoletts]]. Simultaneous measurements of acoustic resistance in the wind instrument and the vocal tract demonstrate this relationship, see also <ref>Jer-Ming Chen, John Smith and Joe Wolfe:''How players use their vocal tracts in advanced clarinet and saxophone performance''. Proceedings of the International Symposium on Music Acoustics. Sydney and Katoomba 2010. [http://isma2010.phys.unsw.edu.au/proceedings/papers/p24.pdf]</ref>. However, this should be applied with the greatest caution and only with consciously activated [[Breathing#Breath Support\|Breath Support]], so as not to strain the glottis by applying too much pressure. It is just as important not to increase the pressure at the beginning of the breath as a matter of principle. However, a lower position of the [[Embouchure#Flexible Embouchure Line\|embouchure line]] can facilitate the response of multiple sounds by changing the position of the lower jaw.		The clarinetist Haether Roche [http://heatherroche.net/2014/08/11/on-writing-bb-clarinet-harmonics/] also points out the central importance of consciously differentiated tension in the [http://de.wikipedia.org/wiki/\| glottis]. When the glottis is relaxed, only the fundamental tone is heard. If the two adjusting cartilages in the larynx assume a position similar to whispering, it is possible to produce the overtones. Depending on how closely the glottis is positioned, correspondingly higher or lower overtones are heard. This technique, combined with modified [[Breathing#Airflow\|Airflow]] and [[Voicing and Singing]], is also used - consciously or unconsciously - when playing in the high register, when [[Ernesto Molinari#Glissandi as an exercise for support!\|Glissando]] and when playing [[Ernesto Molinari#Flageoletts\|Flageoletts]]. Simultaneous measurements of acoustic resistance in the wind instrument and the vocal tract demonstrate this relationship, see also Jer-Ming Chen (2010)<ref>Jer-Ming Chen, John Smith and Joe Wolfe: ''How players use their vocal tracts in advanced clarinet and saxophone performance''. Proceedings of the International Symposium on Music Acoustics. Sydney and Katoomba 2010. [http://isma2010.phys.unsw.edu.au/proceedings/papers/p24.pdf]</ref>. However, this should be applied with the greatest caution and only with consciously activated [[Breathing#Breath Support\|Breath Support]], so as not to strain the glottis by applying too much pressure. It is just as important not to increase the pressure at the beginning of the breath as a matter of principle. However, a lower position of the [[Embouchure#Flexible Embouchure Line\|embouchure line]] can facilitate the response of multiple sounds by changing the position of the lower jaw.

	[[Kategorie:Fundamentals, English]]		[[Kategorie:Fundamentals, English]]

Heinrich: /* Fingering charts and sound examples */

2021-05-01T20:23:52Z

Fingering charts and sound examples

← Nächstältere Version		Version vom 1. Mai 2021, 22:23 Uhr
Zeile 2:		Zeile 2:
	When playing [http://de.wikipedia.org/wiki/Multiphonics '''Multiphonics'''] the fundamental and certain harmonics sound simultaneously on the wind instrument (see also [https://newt.phys.unsw.edu.au/music/clarinet/index.html clarinet acoustics, University of New South Wales]).		When playing [http://de.wikipedia.org/wiki/Multiphonics '''Multiphonics'''] the fundamental and certain harmonics sound simultaneously on the wind instrument (see also [https://newt.phys.unsw.edu.au/music/clarinet/index.html clarinet acoustics, University of New South Wales]).
	== Fingering charts and sound examples ==		== Fingering charts and sound examples ==
	The pioneer of this contemporary playing technique was the composer [http://en.wikipedia.org/wiki/Bruno_Bartolozzi Bruno Bartolozzi], who in his work ''New sounds for Woodwinds'' (1967) <ref>Bruno Bartolozzi: ''New sounds for Woodwinds''. Oxford University Press, London, New York, 1967 [https://de.scribd.com/doc/251752058/Bartolozzi-Bruno-New-Sounds-for-Woodwind]</ref>provided a compilation of mulitphonics with corresponding fingering charts for woodwind instruments. [https://archive.today/nL3B Philipp Rehfeldt] presents in his work ''New Directions for Clarinet'' (1994)<ref>Philipp Rehfeldt: ''New Directions for Clarinet''. Scarecrow Press, Lanham, Maryland 1994 [http://books.google.fr/books?printsec=frontcover&vid=LCCN92034541&redir_esc=y#v=onepage&q&f=false]</ref> extensive tables for multiphonics on the E-flat, B-flat and bass clarinet, [http://en.wikipedia.org/wiki/Henri_Bok Henri Bok] presents these in his volume ''New Techniques Bass Clarinet''<ref>Henri Bok: ''New Techniques Bass Clarinet''. Rotterdam 2005 [https://de.scribd.com/doc/188330981/New-Techniques-Bass-Clarinet-Henri-Bok]</ref> for the bass clarinet (models by Selmer and Buffet).		The pioneer of this contemporary playing technique was the composer [http://en.wikipedia.org/wiki/Bruno_Bartolozzi Bruno Bartolozzi], who in his work ''New sounds for Woodwinds'' (1967) <ref>Bruno Bartolozzi: ''New sounds for Woodwinds''. Oxford University Press, London, New York, 1967 [https://de.scribd.com/doc/251752058/Bartolozzi-Bruno-New-Sounds-for-Woodwind]</ref>provided a compilation of mulitphonics with corresponding fingering charts for woodwind instruments. [https://archive.today/nL3B Philipp Rehfeldt] presents in his work ''New Directions for Clarinet'' (1994)<ref>Philipp Rehfeldt: ''New Directions for Clarinet''. Scarecrow Press, Lanham, Maryland 1994 [http://books.google.fr/books?printsec=frontcover&vid=LCCN92034541&redir_esc=y#v=onepage&q&f=false]</ref> extensive tables for multiphonics on the E-flat, B-flat and bass clarinet, [http://en.wikipedia.org/wiki/Henri_Bok Henri Bok] presents these in his volume ''New Techniques Bass Clarinet''<ref>Henri Bok: ''New Techniques Bass Clarinet'' (2005). Rotterdam 2005 [https://de.scribd.com/doc/188330981/New-Techniques-Bass-Clarinet-Henri-Bok]</ref> for the bass clarinet (models by Selmer and Buffet).

	In addition to the wealth of information provided by [http://heatherroche.net/about/ Haether Roche] on her [http://heatherroche.net/category/multiphonic/ blog] for instrumentalists and composers, [http://nicolasdelgrazia.com/ Nicolas del Grazia] also offers a comprehensive description with sound examples and fingering charts at [http://www.clarinet-multiphonics.org/clarinet-multiphonics.html clarinet-multiphonics.org].		In addition to the wealth of information provided by [http://heatherroche.net/about/ Haether Roche] on her [http://heatherroche.net/category/multiphonic/ blog] for instrumentalists and composers, [http://nicolasdelgrazia.com/ Nicolas del Grazia] also offers a comprehensive description with sound examples and fingering charts at [http://www.clarinet-multiphonics.org/clarinet-multiphonics.html clarinet-multiphonics.org].

Heinrich: /* Fingering charts and sound examples */

2021-05-01T20:23:12Z

Fingering charts and sound examples

← Nächstältere Version		Version vom 1. Mai 2021, 22:23 Uhr
Zeile 2:		Zeile 2:
	When playing [http://de.wikipedia.org/wiki/Multiphonics '''Multiphonics'''] the fundamental and certain harmonics sound simultaneously on the wind instrument (see also [https://newt.phys.unsw.edu.au/music/clarinet/index.html clarinet acoustics, University of New South Wales]).		When playing [http://de.wikipedia.org/wiki/Multiphonics '''Multiphonics'''] the fundamental and certain harmonics sound simultaneously on the wind instrument (see also [https://newt.phys.unsw.edu.au/music/clarinet/index.html clarinet acoustics, University of New South Wales]).
	== Fingering charts and sound examples ==		== Fingering charts and sound examples ==
	The pioneer of this contemporary playing technique was the composer [http://en.wikipedia.org/wiki/Bruno_Bartolozzi Bruno Bartolozzi], who in his work ''New sounds for Woodwinds''(1967) <ref>Bruno Bartolozzi: ''New sounds for Woodwinds''. Oxford University Press, London, New York, 1967 [https://de.scribd.com/doc/251752058/Bartolozzi-Bruno-New-Sounds-for-Woodwind]</ref>provided a compilation of mulitphonics with corresponding fingering charts for woodwind instruments. [https://archive.today/nL3B Philipp Rehfeldt] presents in his work ''New Directions for Clarinet''(1994)<ref>Philipp Rehfeldt: ''New Directions for Clarinet''. Scarecrow Press, Lanham, Maryland 1994 [http://books.google.fr/books?printsec=frontcover&vid=LCCN92034541&redir_esc=y#v=onepage&q&f=false]</ref> extensive tables for multiphonics on the E-flat, B-flat and bass clarinet, [http://en.wikipedia.org/wiki/Henri_Bok Henri Bok] presents these in his volume ''New Techniques Bass Clarinet''<ref>Henri Bok: ''New Techniques Bass Clarinet''. Rotterdam 2005 [https://de.scribd.com/doc/188330981/New-Techniques-Bass-Clarinet-Henri-Bok]</ref> for the bass clarinet (models by Selmer and Buffet).		The pioneer of this contemporary playing technique was the composer [http://en.wikipedia.org/wiki/Bruno_Bartolozzi Bruno Bartolozzi], who in his work ''New sounds for Woodwinds'' (1967) <ref>Bruno Bartolozzi: ''New sounds for Woodwinds''. Oxford University Press, London, New York, 1967 [https://de.scribd.com/doc/251752058/Bartolozzi-Bruno-New-Sounds-for-Woodwind]</ref>provided a compilation of mulitphonics with corresponding fingering charts for woodwind instruments. [https://archive.today/nL3B Philipp Rehfeldt] presents in his work ''New Directions for Clarinet'' (1994)<ref>Philipp Rehfeldt: ''New Directions for Clarinet''. Scarecrow Press, Lanham, Maryland 1994 [http://books.google.fr/books?printsec=frontcover&vid=LCCN92034541&redir_esc=y#v=onepage&q&f=false]</ref> extensive tables for multiphonics on the E-flat, B-flat and bass clarinet, [http://en.wikipedia.org/wiki/Henri_Bok Henri Bok] presents these in his volume ''New Techniques Bass Clarinet''<ref>Henri Bok: ''New Techniques Bass Clarinet''. Rotterdam 2005 [https://de.scribd.com/doc/188330981/New-Techniques-Bass-Clarinet-Henri-Bok]</ref> for the bass clarinet (models by Selmer and Buffet).

	In addition to the wealth of information provided by [http://heatherroche.net/about/ Haether Roche] on her [http://heatherroche.net/category/multiphonic/ blog] for instrumentalists and composers, [http://nicolasdelgrazia.com/ Nicolas del Grazia] also offers a comprehensive description with sound examples and fingering charts at [http://www.clarinet-multiphonics.org/clarinet-multiphonics.html clarinet-multiphonics.org].		In addition to the wealth of information provided by [http://heatherroche.net/about/ Haether Roche] on her [http://heatherroche.net/category/multiphonic/ blog] for instrumentalists and composers, [http://nicolasdelgrazia.com/ Nicolas del Grazia] also offers a comprehensive description with sound examples and fingering charts at [http://www.clarinet-multiphonics.org/clarinet-multiphonics.html clarinet-multiphonics.org].

Heinrich: /* Fingering charts and sound examples */

2021-05-01T20:22:46Z

Fingering charts and sound examples

← Nächstältere Version		Version vom 1. Mai 2021, 22:22 Uhr
Zeile 2:		Zeile 2:
	When playing [http://de.wikipedia.org/wiki/Multiphonics '''Multiphonics'''] the fundamental and certain harmonics sound simultaneously on the wind instrument (see also [https://newt.phys.unsw.edu.au/music/clarinet/index.html clarinet acoustics, University of New South Wales]).		When playing [http://de.wikipedia.org/wiki/Multiphonics '''Multiphonics'''] the fundamental and certain harmonics sound simultaneously on the wind instrument (see also [https://newt.phys.unsw.edu.au/music/clarinet/index.html clarinet acoustics, University of New South Wales]).
	== Fingering charts and sound examples ==		== Fingering charts and sound examples ==
	The pioneer of this contemporary playing technique was the composer [http://en.wikipedia.org/wiki/Bruno_Bartolozzi Bruno Bartolozzi], who in his work ''New sounds for Woodwinds''<ref>Bruno Bartolozzi: ''New sounds for Woodwinds''. Oxford University Press, London, New York, 1967 [https://de.scribd.com/doc/251752058/Bartolozzi-Bruno-New-Sounds-for-Woodwind]</ref> provided a compilation of mulitphonics with corresponding fingering charts for woodwind instruments. [https://archive.today/nL3B Philipp Rehfeldt] presents in his work ''New Directions for Clarinet''<ref>Philipp Rehfeldt: ''New Directions for Clarinet''. Scarecrow Press, Lanham, Maryland 1994 [http://books.google.fr/books?printsec=frontcover&vid=LCCN92034541&redir_esc=y#v=onepage&q&f=false]</ref> extensive tables for multiphonics on the E-flat, B-flat and bass clarinet, [http://en.wikipedia.org/wiki/Henri_Bok Henri Bok] presents these in his volume ''New Techniques Bass Clarinet''<ref>Henri Bok: ''New Techniques Bass Clarinet''. Rotterdam 2005 [https://de.scribd.com/doc/188330981/New-Techniques-Bass-Clarinet-Henri-Bok]</ref> for the bass clarinet (models by Selmer and Buffet).		The pioneer of this contemporary playing technique was the composer [http://en.wikipedia.org/wiki/Bruno_Bartolozzi Bruno Bartolozzi], who in his work ''New sounds for Woodwinds''(1967) <ref>Bruno Bartolozzi: ''New sounds for Woodwinds''. Oxford University Press, London, New York, 1967 [https://de.scribd.com/doc/251752058/Bartolozzi-Bruno-New-Sounds-for-Woodwind]</ref>provided a compilation of mulitphonics with corresponding fingering charts for woodwind instruments. [https://archive.today/nL3B Philipp Rehfeldt] presents in his work ''New Directions for Clarinet''(1994)<ref>Philipp Rehfeldt: ''New Directions for Clarinet''. Scarecrow Press, Lanham, Maryland 1994 [http://books.google.fr/books?printsec=frontcover&vid=LCCN92034541&redir_esc=y#v=onepage&q&f=false]</ref> extensive tables for multiphonics on the E-flat, B-flat and bass clarinet, [http://en.wikipedia.org/wiki/Henri_Bok Henri Bok] presents these in his volume ''New Techniques Bass Clarinet''<ref>Henri Bok: ''New Techniques Bass Clarinet''. Rotterdam 2005 [https://de.scribd.com/doc/188330981/New-Techniques-Bass-Clarinet-Henri-Bok]</ref> for the bass clarinet (models by Selmer and Buffet).

			In addition to the wealth of information provided by [http://heatherroche.net/about/ Haether Roche] on her [http://heatherroche.net/category/multiphonic/ blog] for instrumentalists and composers, [http://nicolasdelgrazia.com/ Nicolas del Grazia] also offers a comprehensive description with sound examples and fingering charts at [http://www.clarinet-multiphonics.org/clarinet-multiphonics.html clarinet-multiphonics.org].

			[[Kategorie:Fundamentals, English]]

	In addition to the wealth of information provided by [http://heatherroche.net/about/ Haether Roche] on her [http://heatherroche.net/category/multiphonic/ blog] for instrumentalists and composers, [http://nicolasdelgrazia.com/ Nicolas del Grazia] also offers a comprehensive description with sound examples and fingering charts at [http://www.clarinet-multiphonics.org/clarinet-multiphonics.html clarinet-multiphonics.org].
	== Playing technique ==		== Playing technique ==
	By using fork fingerings and/or modifying the embouchure inside the mouth, i.e. by making certain changes in the position and shape of the tongue, it is possible to make the gundtone and overtones vibrate at the same time.		By using fork fingerings and/or modifying the embouchure inside the mouth, i.e. by making certain changes in the position and shape of the tongue, it is possible to make the gundtone and overtones vibrate at the same time.

Heinrich: /* Playing technique */

2021-05-01T20:19:39Z

Playing technique

← Nächstältere Version		Version vom 1. Mai 2021, 22:19 Uhr
Zeile 8:		Zeile 8:
	By using fork fingerings and/or modifying the embouchure inside the mouth, i.e. by making certain changes in the position and shape of the tongue, it is possible to make the gundtone and overtones vibrate at the same time.		By using fork fingerings and/or modifying the embouchure inside the mouth, i.e. by making certain changes in the position and shape of the tongue, it is possible to make the gundtone and overtones vibrate at the same time.

	The clarinetist Haether Roche [http://heatherroche.net/2014/08/11/on-writing-bb-clarinet-harmonics/] also points out the central importance of consciously differentiated tension in the [http://de.wikipedia.org/wiki/\| glottis]. When the glottis is relaxed, only the fundamental tone is heard. If the two adjusting cartilages in the larynx assume a position similar to whispering, it is possible to produce the overtones. Depending on how closely the glottis is positioned, correspondingly higher or lower overtones are heard. This technique, combined with modified [[Breathing#Airflow\|Airflow]] and [[Voicing and Singing]], is also used - consciously or unconsciously - when playing in the high register, when [[Ernesto Molinari#Glissandi as an exercise for support!\|Glissando]] and when playing [[Ernesto Molinari#Flageoletts\|Flageoletts]]. Simultaneous measurements of acoustic resistance in the wind instrument and the vocal tract demonstrate this relationship, see also <ref>Jer-Ming Chen, John Smith and Joe Wolfe:''How players use their vocal tracts in advanced clarinet and saxophone performance''. Proceedings of the International Symposium on Music Acoustics. Sydney and Katoomba 2010. [http://isma2010.phys.unsw.edu.au/proceedings/papers/p24.pdf]</ref>. However, this should be applied with the greatest caution and only with consciously activated [[Breathing ~~technique~~#~~Breathing support~~\|~~Breathing support~~]], so as not to strain the glottis by applying too much pressure. It is just as important not to increase the pressure at the beginning of the breath as a matter of principle. However, a lower position of the [[~~embouchure, embouchure shaping~~#~~embouchure line~~\|embouchure line]] can facilitate the response of multiple sounds by changing the position of the lower jaw.		The clarinetist Haether Roche [http://heatherroche.net/2014/08/11/on-writing-bb-clarinet-harmonics/] also points out the central importance of consciously differentiated tension in the [http://de.wikipedia.org/wiki/\| glottis]. When the glottis is relaxed, only the fundamental tone is heard. If the two adjusting cartilages in the larynx assume a position similar to whispering, it is possible to produce the overtones. Depending on how closely the glottis is positioned, correspondingly higher or lower overtones are heard. This technique, combined with modified [[Breathing#Airflow\|Airflow]] and [[Voicing and Singing]], is also used - consciously or unconsciously - when playing in the high register, when [[Ernesto Molinari#Glissandi as an exercise for support!\|Glissando]] and when playing [[Ernesto Molinari#Flageoletts\|Flageoletts]]. Simultaneous measurements of acoustic resistance in the wind instrument and the vocal tract demonstrate this relationship, see also <ref>Jer-Ming Chen, John Smith and Joe Wolfe:''How players use their vocal tracts in advanced clarinet and saxophone performance''. Proceedings of the International Symposium on Music Acoustics. Sydney and Katoomba 2010. [http://isma2010.phys.unsw.edu.au/proceedings/papers/p24.pdf]</ref>. However, this should be applied with the greatest caution and only with consciously activated [[Breathing#Breath Support\|Breath Support]], so as not to strain the glottis by applying too much pressure. It is just as important not to increase the pressure at the beginning of the breath as a matter of principle. However, a lower position of the [[Embouchure#Flexible Embouchure Line\|embouchure line]] can facilitate the response of multiple sounds by changing the position of the lower jaw.

	[[Kategorie:Fundamentals, English]]		[[Kategorie:Fundamentals, English]]

Heinrich: /* Playing technique */

2021-05-01T20:17:11Z

Playing technique

← Nächstältere Version		Version vom 1. Mai 2021, 22:17 Uhr
Zeile 8:		Zeile 8:
	By using fork fingerings and/or modifying the embouchure inside the mouth, i.e. by making certain changes in the position and shape of the tongue, it is possible to make the gundtone and overtones vibrate at the same time.		By using fork fingerings and/or modifying the embouchure inside the mouth, i.e. by making certain changes in the position and shape of the tongue, it is possible to make the gundtone and overtones vibrate at the same time.

	The clarinetist Haether Roche [http://heatherroche.net/2014/08/11/on-writing-bb-clarinet-harmonics/] also points out the central importance of consciously differentiated tension in the [http://de.wikipedia.org/wiki/\| glottis]. When the glottis is relaxed, only the fundamental tone is heard. If the two adjusting cartilages in the larynx assume a position similar to whispering, it is possible to produce the overtones. Depending on how closely the glottis is positioned, correspondingly higher or lower overtones are heard. This technique, combined with modified [[~~Breath Technique~~#~~Air Direction~~\|~~Air Direction~~]] and [[~~Vocalizing~~ and Singing]], is also used - consciously or unconsciously - when playing in the high register, when [[Ernesto Molinari#Glissandi as an exercise for support!\|Glissando]] and when playing [[Ernesto Molinari#Flageoletts\|Flageoletts]]. Simultaneous measurements of acoustic resistance in the wind instrument and the vocal tract demonstrate this relationship, see also <ref>Jer-Ming Chen, John Smith and Joe Wolfe:''How players use their vocal tracts in advanced clarinet and saxophone performance''. Proceedings of the International Symposium on Music Acoustics. Sydney and Katoomba 2010. [http://isma2010.phys.unsw.edu.au/proceedings/papers/p24.pdf]</ref>. However, this should be applied with the greatest caution and only with consciously activated [[Breathing technique#Breathing support\|Breathing support]], so as not to strain the glottis by applying too much pressure. It is just as important not to increase the pressure at the beginning of the breath as a matter of principle. However, a lower position of the [[embouchure, embouchure shaping#embouchure line\|embouchure line]] can facilitate the response of multiple sounds by changing the position of the lower jaw.		The clarinetist Haether Roche [http://heatherroche.net/2014/08/11/on-writing-bb-clarinet-harmonics/] also points out the central importance of consciously differentiated tension in the [http://de.wikipedia.org/wiki/\| glottis]. When the glottis is relaxed, only the fundamental tone is heard. If the two adjusting cartilages in the larynx assume a position similar to whispering, it is possible to produce the overtones. Depending on how closely the glottis is positioned, correspondingly higher or lower overtones are heard. This technique, combined with modified [[Breathing#Airflow\|Airflow]] and [[Voicing and Singing]], is also used - consciously or unconsciously - when playing in the high register, when [[Ernesto Molinari#Glissandi as an exercise for support!\|Glissando]] and when playing [[Ernesto Molinari#Flageoletts\|Flageoletts]]. Simultaneous measurements of acoustic resistance in the wind instrument and the vocal tract demonstrate this relationship, see also <ref>Jer-Ming Chen, John Smith and Joe Wolfe:''How players use their vocal tracts in advanced clarinet and saxophone performance''. Proceedings of the International Symposium on Music Acoustics. Sydney and Katoomba 2010. [http://isma2010.phys.unsw.edu.au/proceedings/papers/p24.pdf]</ref>. However, this should be applied with the greatest caution and only with consciously activated [[Breathing technique#Breathing support\|Breathing support]], so as not to strain the glottis by applying too much pressure. It is just as important not to increase the pressure at the beginning of the breath as a matter of principle. However, a lower position of the [[embouchure, embouchure shaping#embouchure line\|embouchure line]] can facilitate the response of multiple sounds by changing the position of the lower jaw.

			[[Kategorie:Fundamentals, English]]

	== Literature ==		== Literature ==
	* Danard, Rebecca J. (2011): ''Études in Performing Extended Techniques. Twelve Newly-Commissioned Canadian Works for Solo Clarinet''. DMA Document, Cincinnati 2011. [[https://etd.ohiolink.edu/!etd.send_file?accession=ucin1321368757&disposition=inline University of Cincinnati 2011]]		* Danard, Rebecca J. (2011): ''Études in Performing Extended Techniques. Twelve Newly-Commissioned Canadian Works for Solo Clarinet''. DMA Document, Cincinnati 2011. [[https://etd.ohiolink.edu/!etd.send_file?accession=ucin1321368757&disposition=inline University of Cincinnati 2011]]

Heinrich am 1. Mai 2021 um 20:06 Uhr

2021-05-01T20:06:02Z

← Nächstältere Version		Version vom 1. Mai 2021, 22:06 Uhr
Zeile 1:		Zeile 1:
			[[Kategorie: Fundamentals, English]]
	When playing [http://de.wikipedia.org/wiki/Multiphonics '''Multiphonics'''] the fundamental and certain harmonics sound simultaneously on the wind instrument (see also [https://newt.phys.unsw.edu.au/music/clarinet/index.html clarinet acoustics, University of New South Wales]).		When playing [http://de.wikipedia.org/wiki/Multiphonics '''Multiphonics'''] the fundamental and certain harmonics sound simultaneously on the wind instrument (see also [https://newt.phys.unsw.edu.au/music/clarinet/index.html clarinet acoustics, University of New South Wales]).
	== Fingering charts and sound examples ==		== Fingering charts and sound examples ==

Heinrich am 1. Mai 2021 um 20:04 Uhr

2021-05-01T20:04:22Z

← Nächstältere Version		Version vom 1. Mai 2021, 22:04 Uhr
Zeile 1:		Zeile 1:
	When playing [http://de.wikipedia.org/wiki/Multiphonics '''Multiphonics''']~~, also called '''cleft''' or '''multiphonics''',~~ the fundamental and certain harmonics sound simultaneously on the wind instrument (see also [https://newt.phys.unsw.edu.au/music/clarinet/index.html clarinet acoustics, University of New South Wales]).		When playing [http://de.wikipedia.org/wiki/Multiphonics '''Multiphonics'''] the fundamental and certain harmonics sound simultaneously on the wind instrument (see also [https://newt.phys.unsw.edu.au/music/clarinet/index.html clarinet acoustics, University of New South Wales]).
	== Fingering charts and sound examples ==		== Fingering charts and sound examples ==
	The pioneer of this contemporary playing technique was the composer [http://en.wikipedia.org/wiki/Bruno_Bartolozzi Bruno Bartolozzi], who in his work ''New sounds for Woodwinds''<ref>Bruno Bartolozzi: ''New sounds for Woodwinds''. Oxford University Press, London, New York, 1967 [https://de.scribd.com/doc/251752058/Bartolozzi-Bruno-New-Sounds-for-Woodwind]</ref> provided a compilation of mulitphonics with corresponding fingering charts for woodwind instruments. [https://archive.today/nL3B Philipp Rehfeldt] presents in his work ''New Directions for Clarinet''<ref>Philipp Rehfeldt: ''New Directions for Clarinet''. Scarecrow Press, Lanham, Maryland 1994 [http://books.google.fr/books?printsec=frontcover&vid=LCCN92034541&redir_esc=y#v=onepage&q&f=false]</ref> extensive tables for multiphonics on the E-flat, B-flat and bass clarinet, [http://en.wikipedia.org/wiki/Henri_Bok Henri Bok] presents these in his volume ''New Techniques Bass Clarinet''<ref>Henri Bok: ''New Techniques Bass Clarinet''. Rotterdam 2005 [https://de.scribd.com/doc/188330981/New-Techniques-Bass-Clarinet-Henri-Bok]</ref> for the bass clarinet (models by Selmer and Buffet).		The pioneer of this contemporary playing technique was the composer [http://en.wikipedia.org/wiki/Bruno_Bartolozzi Bruno Bartolozzi], who in his work ''New sounds for Woodwinds''<ref>Bruno Bartolozzi: ''New sounds for Woodwinds''. Oxford University Press, London, New York, 1967 [https://de.scribd.com/doc/251752058/Bartolozzi-Bruno-New-Sounds-for-Woodwind]</ref> provided a compilation of mulitphonics with corresponding fingering charts for woodwind instruments. [https://archive.today/nL3B Philipp Rehfeldt] presents in his work ''New Directions for Clarinet''<ref>Philipp Rehfeldt: ''New Directions for Clarinet''. Scarecrow Press, Lanham, Maryland 1994 [http://books.google.fr/books?printsec=frontcover&vid=LCCN92034541&redir_esc=y#v=onepage&q&f=false]</ref> extensive tables for multiphonics on the E-flat, B-flat and bass clarinet, [http://en.wikipedia.org/wiki/Henri_Bok Henri Bok] presents these in his volume ''New Techniques Bass Clarinet''<ref>Henri Bok: ''New Techniques Bass Clarinet''. Rotterdam 2005 [https://de.scribd.com/doc/188330981/New-Techniques-Bass-Clarinet-Henri-Bok]</ref> for the bass clarinet (models by Selmer and Buffet).

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When playing [http://de.wikipedia.org/wiki/Multiphonics '''Multiphonics'''], also called '''cleft''' or '''multiphonics''', the fundamental and certain harmonics sound simultaneously on the wind instrument (see also [https://newt.phys.unsw.edu.au/music/clarinet/index.html clarinet acoustics, University of New South Wales]).
== Fingering charts and sound examples ==
The pioneer of this contemporary playing technique was the composer [http://en.wikipedia.org/wiki/Bruno_Bartolozzi Bruno Bartolozzi], who in his work ''New sounds for Woodwinds''<ref>Bruno Bartolozzi: ''New sounds for Woodwinds''. Oxford University Press, London, New York, 1967 [https://de.scribd.com/doc/251752058/Bartolozzi-Bruno-New-Sounds-for-Woodwind]</ref> provided a compilation of mulitphonics with corresponding fingering charts for woodwind instruments. [https://archive.today/nL3B Philipp Rehfeldt] presents in his work ''New Directions for Clarinet''<ref>Philipp Rehfeldt: ''New Directions for Clarinet''. Scarecrow Press, Lanham, Maryland 1994 [http://books.google.fr/books?printsec=frontcover&vid=LCCN92034541&redir_esc=y#v=onepage&q&f=false]</ref> extensive tables for multiphonics on the E-flat, B-flat and bass clarinet, [http://en.wikipedia.org/wiki/Henri_Bok Henri Bok] presents these in his volume ''New Techniques Bass Clarinet''<ref>Henri Bok: ''New Techniques Bass Clarinet''. Rotterdam 2005 [https://de.scribd.com/doc/188330981/New-Techniques-Bass-Clarinet-Henri-Bok]</ref> for the bass clarinet (models by Selmer and Buffet).

In addition to the wealth of information provided by [http://heatherroche.net/about/ Haether Roche] on her [http://heatherroche.net/category/multiphonic/ blog] for instrumentalists and composers, [http://nicolasdelgrazia.com/ Nicolas del Grazia] also offers a comprehensive description with sound examples and fingering charts at [http://www.clarinet-multiphonics.org/clarinet-multiphonics.html clarinet-multiphonics.org].
== Playing technique ==
By using fork fingerings and/or modifying the embouchure inside the mouth, i.e. by making certain changes in the position and shape of the tongue, it is possible to make the gundtone and overtones vibrate at the same time.

The clarinetist Haether Roche [http://heatherroche.net/2014/08/11/on-writing-bb-clarinet-harmonics/] also points out the central importance of consciously differentiated tension in the [http://de.wikipedia.org/wiki/| glottis]. When the glottis is relaxed, only the fundamental tone is heard. If the two adjusting cartilages in the larynx assume a position similar to whispering, it is possible to produce the overtones. Depending on how closely the glottis is positioned, correspondingly higher or lower overtones are heard. This technique, combined with modified [[Breath Technique#Air Direction|Air Direction]] and [[Vocalizing and Singing]], is also used - consciously or unconsciously - when playing in the high register, when [[Ernesto Molinari#Glissandi as an exercise for support!|Glissando]] and when playing [[Ernesto Molinari#Flageoletts|Flageoletts]]. Simultaneous measurements of acoustic resistance in the wind instrument and the vocal tract demonstrate this relationship, see also <ref>Jer-Ming Chen, John Smith and Joe Wolfe:''How players use their vocal tracts in advanced clarinet and saxophone performance''. Proceedings of the International Symposium on Music Acoustics. Sydney and Katoomba 2010. [http://isma2010.phys.unsw.edu.au/proceedings/papers/p24.pdf]</ref>. However, this should be applied with the greatest caution and only with consciously activated [[Breathing technique#Breathing support|Breathing support]], so as not to strain the glottis by applying too much pressure. It is just as important not to increase the pressure at the beginning of the breath as a matter of principle. However, a lower position of the [[embouchure, embouchure shaping#embouchure line|embouchure line]] can facilitate the response of multiple sounds by changing the position of the lower jaw.
== Literature ==
* Danard, Rebecca J. (2011): ''Études in Performing Extended Techniques. Twelve Newly-Commissioned Canadian Works for Solo Clarinet''. DMA Document, Cincinnati 2011. [[https://etd.ohiolink.edu/!etd.send_file?accession=ucin1321368757&disposition=inline University of Cincinnati 2011]]
* Rehfeldt, Philip (1994). New Directions for Clarinet. Berkeley: University of California Press

== References ==
<references />