Multiphonics (English): Unterschied zwischen den Versionen
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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 [[ | 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]] | ||
Version vom 1. Mai 2021, 21:17 Uhr
When playing Multiphonics the fundamental and certain harmonics sound simultaneously on the wind instrument (see also clarinet acoustics, University of New South Wales).
Fingering charts and sound examples
The pioneer of this contemporary playing technique was the composer Bruno Bartolozzi, who in his work New sounds for Woodwinds[1] provided a compilation of mulitphonics with corresponding fingering charts for woodwind instruments. Philipp Rehfeldt presents in his work New Directions for Clarinet[2] extensive tables for multiphonics on the E-flat, B-flat and bass clarinet, Henri Bok presents these in his volume New Techniques Bass Clarinet[3] for the bass clarinet (models by Selmer and Buffet).
In addition to the wealth of information provided by Haether Roche on her blog for instrumentalists and composers, Nicolas del Grazia also offers a comprehensive description with sound examples and fingering charts at 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 [5] also points out the central importance of consciously differentiated tension in the 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 Airflow and Voicing and Singing, is also used - consciously or unconsciously - when playing in the high register, when Glissando and when playing Flageoletts. Simultaneous measurements of acoustic resistance in the wind instrument and the vocal tract demonstrate this relationship, see also [4]. However, this should be applied with the greatest caution and only with consciously activated 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 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. [University of Cincinnati 2011]
- Rehfeldt, Philip (1994). New Directions for Clarinet. Berkeley: University of California Press
References
- ↑ Bruno Bartolozzi: New sounds for Woodwinds. Oxford University Press, London, New York, 1967 [1]
- ↑ Philipp Rehfeldt: New Directions for Clarinet. Scarecrow Press, Lanham, Maryland 1994 [2]
- ↑ Henri Bok: New Techniques Bass Clarinet. Rotterdam 2005 [3]
- ↑ 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. [4]
