Multiphonics and the Oboe
Multiphonics and the
Oboe
supplementary notes Paul Archbold
&
Christopher Redgate
2
Multiphonics and the Oboe: supplementary notes
1. What is a multiphonic?
2. Different types of multiphonics
2.1 Spectrogram of a consonant multiphonic and a dissonant multiphonic
2.2 Spectrogram of a beating multiphonic
2.3 Spectrogram of an emerging multiphonic 2.4 Spectrogram of five multiphonics, created with a modification to the top b key
3. Different instruments, different multiphonics
4. Commentaries on music extracts:
Roger Redgate
Ausgangspunkte
Edwin Roxburgh
Antares
Paul Archbold a little night music
Heinz Holliger
Studie über Mehrklänge (Study in Multiphonics)
5. Notation strategies 5.1 Some observations on the various methods of notating multiphonics
6. Some general advice for composers
7. Bibliography
3
1. What is a multiphonic?
A multiphonic is a sonority produced on a wind instrument, which is perceived as a mixture of several tones.
When a wind instrument produces a note perceived as a single pitch, a spectral analysis1 of the note will reveal several partials. The frequencies of these partials will be regularly spaced and will form part of a harmonic series: i.e. the frequencies of the partials will all be integer multiples of a
‘fundamental’ frequency.
With a multiphonic, the sonority is perceived as several pitches.
In the case of a dissonant multiphonic, a spectral analysis will reveal several partials, the frequencies of which are not integer multiples of a common fundamental frequency. The ear groups the partials, with each group suggesting a different fundamental frequency. So a dissonant multiphonic with say 20 prominent partials may be perceived as a mixture of three distinct pitches.
In the case of a consonant multiphonic, a spectral analysis will reveal several partials, the frequencies of which are integer multiples of a common fundamental frequency. However, the amplitudes of
Oboe
supplementary notes Paul Archbold
&
Christopher Redgate
2
Multiphonics and the Oboe: supplementary notes
1. What is a multiphonic?
2. Different types of multiphonics
2.1 Spectrogram of a consonant multiphonic and a dissonant multiphonic
2.2 Spectrogram of a beating multiphonic
2.3 Spectrogram of an emerging multiphonic 2.4 Spectrogram of five multiphonics, created with a modification to the top b key
3. Different instruments, different multiphonics
4. Commentaries on music extracts:
Roger Redgate
Ausgangspunkte
Edwin Roxburgh
Antares
Paul Archbold a little night music
Heinz Holliger
Studie über Mehrklänge (Study in Multiphonics)
5. Notation strategies 5.1 Some observations on the various methods of notating multiphonics
6. Some general advice for composers
7. Bibliography
3
1. What is a multiphonic?
A multiphonic is a sonority produced on a wind instrument, which is perceived as a mixture of several tones.
When a wind instrument produces a note perceived as a single pitch, a spectral analysis1 of the note will reveal several partials. The frequencies of these partials will be regularly spaced and will form part of a harmonic series: i.e. the frequencies of the partials will all be integer multiples of a
‘fundamental’ frequency.
With a multiphonic, the sonority is perceived as several pitches.
In the case of a dissonant multiphonic, a spectral analysis will reveal several partials, the frequencies of which are not integer multiples of a common fundamental frequency. The ear groups the partials, with each group suggesting a different fundamental frequency. So a dissonant multiphonic with say 20 prominent partials may be perceived as a mixture of three distinct pitches.
In the case of a consonant multiphonic, a spectral analysis will reveal several partials, the frequencies of which are integer multiples of a common fundamental frequency. However, the amplitudes of
Bibliography: (ISMA2004), Nara, Japan Bartolozzi, Bruno The Oboe London: Yale University Press, 2004 Milan: Rugginenti Editore, 1994 van Cleve, Libby Oboe Unbound: contemporary techniques Lanham, Md: Scarecrow Press, 2004 Method per Oboe Edizioni Suvini: Zerboni, 1969 Contemporary Music Review Volume 26 Part 2, 2007, pp 219-230 Redgate, Christopher ‘Re-inventing the Oboe’ in Contemporary Music Review Volume 26 Part 2, 2007, pp 179-188 Contemporary Music Review Volume 26 Part 2, 2007, pp 141-149 Veale, Peter & Mahnkopf, Claus-Steffen London: Bärenreiter, 1998 Web Article: accessed 5th February 2009 (originally published in Interface. Vol. 10 (1981), pp 113-136) a little night music (2004) (available from the composer or http://eprints.kingston.ac.uk/528)