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Multiphonics on the double bass
An investigation on the development and use of multiphonics on
the double bass in contemporary music
Hkon Thelin
2011
DEFINITIONS Page Introduction to Multiphonics on the Double Bass
2 Left-Hand-Finger Positions 6 Bow 8 Pizzicato Multiphonics 18
MULTIPHONICS ILLUSTRATED Semitonic Multiphonics 18 Quartertonic
Multiphonics 21 Bow-Above-Finger Multiphonics 25 Pizzicato
Multiphonics 27 Colourative Effects 28 Acknowledgements, literature
and list of scores 38 Eivind Buene: Blacklight for two double
basses Charts of multiphonics
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DEFINITIONS
Introduction to Multiphonics on the Double Bass
Introduction Multiphonics in wind instruments has been around
for a while. Nowadays you often hear saxophone players utilizing
the technique in jazz and contemporary music. In brass instruments
the effect probably dates back even longer, and can be found in
music even from the classical period: here the musician sings along
with the lip-controlled pitch, and thus creates a quite audible
series of difference tones. Woodwind players mostly use special
fingering in combination with very precise embouchure. In string
instruments, multiphonics is mainly a filtering technique, where
the potential energy of certain partials of an (in most cases)
open-string fundamental is restrained by a left-hand finger pad
lightly touching the string. This favours the conditions for some
of the remaining partials, separately or in narrow clusters. In
this survey I will keep strictly to the research of clearly defined
and reproducible multiphonic sounds. The vast arrays of sounds that
can be created with prepared instruments or amplification are not
subject to this scrutiny. The article is presented in two main
parts. In the first part called DEFINITIONS I explain the left-hand
finger positions that are used to play multiphonics, present new
concepts of bow placement and describe how to play pizzicato
multiphonics. And I also suggest solutions on how to notate the
different multiphonics. The second chapter called MULTIPHONICS
ILLUSTRATED presents musical examples of multiphonics, from the
basic use to complex colourative effects. What is multiphonics? By
carefully positioning the bow and a lightly touching finger on the
string, the string spectrum can be conditioned to provide narrow
bands of pronounced energy. This leaves the impression of multiple
complex tones with the normal (Helmholtz) fundamental as the lowest
pitch. The phenomenon is seen to be caused by two additional signal
loops, one on each side of the finger, which through the repeating
slip pattern get phase locked to the full loop of the fundamental.
Within the nominal period, however, the slip pulses will not be
uniform like they are during the production of a normal harmonic,
but may vary considerably in shape, size, and timing. For each
string there are large numbers of bow/finger combinations that bear
the potential of producing such tones. There are also two classes,
depending on whether the bow (2.class), or the finger (1.class), is
situated closest to the bridge. Touching the string with the finger
closest to the bridge, as in class-one, will somewhat emphasize the
(Helmholtz) fundamental, a particular audible effect of a narrow
cluster that accumulates around the loudest sounding partial. In
the class-two of multiphonics the partials are (usually) more
spread out in the spectrum. Examples of the respective partial
clusters are shown in figure 1 and 2.
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Fig. 1. A class-one multiphonics where a narrow cluster that
accumulates around the loudest sounding partial. The figure is a
copy of figure 7 in Guettler and Thelins article Bowed-string
multiphonics analyzed by use of impulse response and the Poisson
summation formula. See this article for a precise description of
the figure.
Fig. 2. A class-two multiphonics where the partials are spread
out in the spectrum. The figure is a copy of figure 8 in Guettler
and Thelins article Bowed-string multiphonics analyzed by use of
impulse response and the Poisson summation formula. See this
article for a precise description of the figure.
The position of the bow on the string determines the tone that
is muted in the sounding spectrum, while the left-hand finger
position determines which tones will be prominent in the sound.
Multiphonics is applicable to double bass and cello, while less
practical on shorter-stringed instruments. Historical notes The
first comprehensive description of multiphonics is dated to 1995,
when French bassist Jean-Pierre Robert published his bilingual book
Les modes de jeu de la contrebasse un dictionaire de son/Modes of
playing the doublebass a dictionary of sound in collaboration with
IRCAM (Institut de Recherche et Coordination Acoustique/Musique).
This research, which started in 1985, also made a noticeable impact
on composers working in Paris and at
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IRCAM at the time. A similar description on the production of
multiphonic sounds was later found in the article A personal
pedagogy (2000) by the American bassist Mark Dresser. Dresser has
been further exploring multiphonics, without being much influenced
by the European achievements, and his discoveries where presented
in the article Double bass multiphonics, published in the October
2009 issue of The Strad. The composer Michael Liebman presented a
detailed study on multiphonics on the cello and double bass in a
compilation consisting of his piece Movement of Repose and the
article New Sounds for cello and double bass, which were published
in 2010. His study on new sonic possibilities of string instruments
began in 1998 and manifested itself quickly in the compositions
Movement of Repose (1998) for cello and Sonata for double-bass
(2001), in which the second movement Legato sonore shows multiple
variations of the multiphonic technique, as well as the articles
Multiphonics Neue Moglichkeiten im Cellospiel (Das Orchester
4/2001) and Multiphonics: new sounds for double bass (2001,
unpublished). Multiphonics played with the finger position between
bow and bridge (bow-above-finger multiphonics) was performed by
Italian double bassist Fernando Grillo already during the
1970s.
Fernando Grillo, apparently in action with multiphonics of the
first class. Picture from
http://www.discogs.com/viewimages?artist=Fernando+Grillo Stefano
Scodanibbio was for a short period the student of Grillo and in his
early works e/statico (1980) and Joke from Sei Studi (1981/83) we
find some of the first notated examples of double bass
multiphonics. Bertram Turetzky, author of The Contemporary
Contrabass (1989, rev.ed.) and one of the worlds foremost experts
on 20th century double bass, surprisingly doesnt mention the
bow-above-finger multiphonics in his book but points out that he
knows of no music employing string multiphonics. Nevertheless, he
says, they do exist and, as with most other harmonic techniques,
the contrabass is especially well suited to the task (Turetzky,
p.138). He continuo to shortly describe the production of some
multiphonic sound by giving specific instructions of finger
position, bow pressure and bow placement (p.139). It is unclear
which piece was the first to directly employ multiphonic techniques
other than the bow-above-finger multiphonics. Prior to 1990,
multiphonic sounds have in some cases influenced composers to use
the timbre and chords as generative sound material and concrete
analytical musical tools. In her work Io (1986-87), for ensemble
with live electronics and computer-generated tape, Kaija Saariaho
draws harmonies from double bass multiphonics, whose spectrum is
played on tape and then orchestrated for the ensemble. Saariaho
also used cello multiphonics as generative source for harmonies in
the earlier piece Lichtbogen (1986) for small ensemble and live
electronics. Composed in 1999, the piece Ciel toil scored for
percussion and double bass adopt several multiphonics that is
obtained directly from the research of Jean-Pierre Robert. In the
solo double bass piece Thrust (1989, rev. 1991), by Saariaho fellow
Finnish composer Kimmo Hakola, the whole last part marked Rubato
(Adagio) is dedicated to the exploration of multiphonic sounds.
Hakola lived in Paris and worked at IRCAM during the 1980s, and his
use of multiphonics is directly influenced from the work done by
Robert and fellow musicians, composers and researchers in France
at
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the time. Thrust is the first piece I have found with semitonic
multiphonics, and Hakola also presents one of the most complex
usages of the technique to this date! Philippe Boivin uses
quartertonic multiphonics in the fifth movement Spectral from his
work Cinq algorithmes pour contrebasse seule (1991). Boivin was a
long time collaborator with Jean-Pierre Robert, a working
relationship that already manifested itself in the remarkable piece
Zab ou la passion selon st. Nectaire (1981). In 1996, the Argentine
composer Carlos Mastropietro wrote the piece En una cara for solo
double bass where he uses both semitonic and quartertonic
multiphonics. Mastropietro learned about multiphonics reading
Fingerboards and overtones (1991) by Michael Bach, an artistically
sketched book on contemporary cello technique. He then conducted
his own experiments on a double bass, searching for a good
technique for the left hand and the bow. The result was an
innovative use of multiphonics, presented in his personal notation,
chord analysis and definitions. The piece gained some attention
when it won the first prize at the 2000 International Society of
Bassists (ISB) Composers Competition in the USA. A big leap forward
was done with the research of Michael Liebman. This Russian pianist
and composer, now living in Israel, discovered in 1997 what he
calls the new multiphonic technique for cello and bass, and
identify it as a similar sounding technique to that described by
Bruno Bartolozzi in The new sounds for woodwind (1967). Liebman
conducted his research independently, without any knowledge of the
European and American advances. His thorough study introduces many
new concepts concerning definitions, notation and combinations with
other techniques. The second movement, Legato sonore, of his Sonata
for double bass (2001) is an advanced musical exploration of his
discoveries. Many of my own descriptions of chord colorization and
combined techniques use expressions that are established by
Liebman.
The way forward In the material from Robert, Liebman and Dresser
we find extensive information about the physics, technical
production and timbre variations of multiphonic sounds, together
with chord schemes (spectral analysis) that illustrate the most
known multiphonic sounds. However, the acoustical implications in
terms of string waveforms, etc. was never touched upon by these
authors. And neither Robert nor Dresser has in their research any
reference to multiphonics used in written music. My main aim of
this presentation is therefore to illustrate multiphonics thru
examples from composed works, were I will look at the practical use
of the technique, from the production of single chords to effects
that determine chord coloration. Initially, I compare previous
research and suggest new definitions and suggestions for notation.
And in the article Bowed-string multiphonics analyzed by use of
impulse response and the Poisson summation formula, professor Knut
Guettler presents his research into the acoustical realm
surrounding the production of multiphonic sounds. This article has
been accepted for publication (2011) in Journal of Acoustical
Society of America. Until recently, most research and use of
multiphonics was done independently, without any interaction and
knowledge of the work of others. We see that experiments have been
done by a handful of composers and performers in Europe,
Russia/Israel and America. Still there is an insufficient knowledge
of the technique, if not non-existent, among musicians.
Multiphonics on the double bass is a specialized technique, yet it
carries a great potential for creating new sonorities, expanding
the timbre of the instrument, and forming new theoretical and
practical grounds for compositions. Since 2001 my own experiments
with multiphonics have inspired several composers to explore the
technique as well as incorporating it into my own music. So far, I
have been involved in the creation of ten works where multiphonics
have been used. The rising number of works with multiphonics has
given me the opportunity to get experience with both composing and
performing with the technique. And for the first time, I present a
review of how the technique has been used in more than a dozen
works. I end my survey with presentation of a double bass duo from
the composer Eivind Buene called Blacklight. This duo is originally
part of the larger piece Into the Void (2008) for wind orchestra
(with double bass) and a soloist group of saxophone, accordion,
double bass and drums. In Blacklight he uses a combination of
semitonic, quartertonic and bow-above-finger multiphonics in a
contemplative and calmly breathing piece. The duo is relatively
easy to play and is accessible also for intermediate students or
players. It serves well as an introduction to multiphonic
techniques and sounds.
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Left Hand Finger Positions Semitonic, Quartertonic and
Artificial multiphonics We can organize the second-class of
multiphonics, where the bow is situated closer to the bridge than
the left hand, in three general groups of left-hand finger
positions. Each group is clearly defined through its own
characteristics of sound and playability.
1. Semitonic multiphonics. Played with fingers in a natural
chromatic scale related position. Multiphonics is created by
manipulating bow placement, bow pressure and bow speed. This is the
most common way of producing a multiphonic sound.
2. Quartertonic multiphonics. Played with quartertone finger
position. Multiphonics is either created on the corresponding
harmonic, as with semitonic multiphonics, or by the interference
between neighbouring harmonics. Generally, light bow pressure and
fast bow speed is needed to create this type of multiphonics.
Manipulations of left-hand finger pressure can greatly enhance
certain partials in the cord or make the fundamental tone more
present.
3. Artificial multiphonics. This type can be played both as a
semitonic multiphonics and as a quartertonic multiphonics.
Semitonic artificial multiphonics can be produced with the
artificial harmonics of major seconds, minor and major thirds and
augmented fourths. Artificial multiphonics of major seconds, minor
and major thirds are best performed in the lower positions and they
get gradually more difficult to control in the higher positions
(above the first thumb position). Artificial multiphonics of
augmented fourths is best performed from the 4th or 5th position
and upwards (because of the stretching of the fingers).
Quartertonic artificial multiphonics is produced with the finger
lightly touching the string at a distance of a fourth diminished of
a quartertone from the depressed thumb. The sound is then coloured
by the interference of the neighbouring harmonics/partials.
Glissando is possible with artificial multiphonics.
Notation of finger positions for 2.class multiphonics
(Semitonic, quartertonic and artificial multiphonics) Multiphonics
is always notated with the harmonic diamond sign, in tablature
notation indicating finger positions rather than musical pitches. I
suggest using the symbol M. above or below the note to indicate
that it is a multiphonic sound, together with the indication on
which string to play the note (in Roman numerals). Fig. 1. Examples
of semitonic multiphonics
Fig. 2. Examples of quartertonic multiphonics
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Fig. 3. Examples of artificial multiphonics
Finger pressure The realisation of certain multiphonics demands
a specific left hand finger pressure technique. Variation of finger
pressure can in most cases create small changes in the
colourisation of the sound due to a suppression or reinforcement of
certain overtones. Light finger pressure gives a stronger presence
of the fundamental sound, but at the same time it becomes more
difficult to keep a totally stable sustained chord. I suggest using
the abbreviation l.f.p. (light finger pressure) for specifically
indicating a light finger pressure. Fig.4. Notation of finger
pressure
Bow-above-finger multiphonics For the first-class of
multiphonics, the finger is positioned close to the end of the
fingerboard or beyond the fingerboard, between bow and bridge.
Bow-above-finger multiphonics has generally greater dynamic
potential than other multiphonics, but comes with more limited
possibilities of being combined with other playing techniques.
Notation of finger positions for first-class multiphonics
(Bow-above-finger multiphonics) I recommend using a symbol created
by Stefano Scodanibbio for notating bow-above-finger multiphonics
(see fig. 5). Fig.5. Symbol for notating bow-above-finger
multiphonics
This symbol can either indicate a random finger position as
shown in fig. 6, or a precise finger position as shown in fig. 7
and 8. Fig. 6. Stefano Scodanibbio: e/statico
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Fig. 7. Hkon Thelin: oibbinadocS Fig.8. Eivind Buene:
Blacklight
Bow The placement of the bow is essential to create and control
a multiphonic sound. Michael Liebman defines the bow position into
seven areas of 3.15 cm, with the distance measured from the bridge.
He creates this table: Fig.1. Table of bow positions created by
Michael Liebman. Movement of Repose, New sounds for cello and
double bass, 2010, page 30. Molto ponticello 0 cm Ponticello 3.15
cm Ordinare/Ponticello 6.3 cm Ordinare 9.45 cm Ordinare/Tasto 12.6
cm Tasto 15.75 cm Molto tasto 18.9 cm A general area can for
example be marked with Molto tasto while the specific point of
contact can be marked as 19 cm. In cases where a chord can be
performed in adjacent areas, e.g. pont. and ord./pont., bow
position is marked as pont. o/p. The double bass has no standard
size. And string length and length of fingerboard vary greatly
between different instruments although string manufacturers
consider a length of 106 cm to be standard. The areas and positions
indicated in Liebmans table doesnt exactly match all instruments,
and he asks for the player to be aware that minor position
corrections may be required for each individual instrument. Central
harmonic nodes In my attempt to make more precise definitions of
bow placement I followed Liebmans chart of multiphonics, writing
down the exact harmonic node where the bow is placed within the
given areas. I ended up defining the 9th, 11th (22nd in the fifth
octave) and 13th partial as central harmonic nodes on where to
place the bow. The bow position for the creation of semitonic and
quartertonic multiphonics will now be given according to a central
harmonic node, which is similar on all instruments. The resulting
new chart shows precisely where the bow should be theoretically
placed on the string. Once tried and practised, it also gives a
more precise visual image of where to place the bow. It is seldom
necessary to place the bow at any exact given harmonic node, but
usually it is enough to be within the area of the node. For reasons
unclear, some multiphonics require a more precise placement of the
bow than others. Further, the areas (1-2 cm) around the 13th and
11th harmonic nodes on both sides of the fourth octave, can be
found to be the most flexible and available bow positions for
producing multiphonics.
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9
Fig.2. Chart by Hkon Thelin and Knut Guettler. Natural harmonics
to be used for bow positions in multiphonics. Notice that all
harmonics can be found at several places along the string. Vertical
arrows indicate which node to use, starting with no arrow at the
uppermost node. At the bottom of the plot, Liebmans bow positions
are included for comparison. Even though the harmonics positions in
this figure are marked on single strings onlyfor reasons of
claritythey can of course be used on every string. The figure is
based on 106 cm string length and can be scaled up to fit over the
strings.
Fig. 3. Chart by Hkon Thelin that show the harmonic nodes bow
position for semitonic and quartertonic multiphonics on all the
strings. Notice that the vertical arrows indicate which node to
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10
Bow Resistance In his article on Double bass multiphonics (The
Strad, October 2009) Mark Dresser defines bow resistance as a
combination of pressure (bow force) and bow speed. It is difficult
to define any general behaviour of bow resistance, each
multiphonics require a specific combination of pressure and speed
which can only be learned by experience. Michael Liebman (Movement
of Repose, New sounds for cello and double bass, 2010, page 30)
uses four general designations for bow pressure, from light
pressure to drilling pressure (very strong bow pressure). In
multiphonics the pressure is not always in direct correlation to
the dynamics, and the notion is more accurate for portraying the
character of playing chords. In some cases, Liebman also make use
of the designations slow bow and quick bow to describe the bowing
speed. With multiphonics, as with normal (Helmholtz) tones, the
volume of sound is, in most cases, proportional to bow speed. In my
new chart of multiphonics I mark bow resistance only in special
cases, where it is absolutely decisive for the production of the
multiphonics. I suggest using Liebmans designations for pressure
and speed, with a reduced category of pressure and with capital
letters for easier reading: Fig.4: Chart by Hkon Thelin on bow
resistance Pressure: Light pressure - L.pr Normal pressure - N.pr.
Heavy pressure - H.pr.
Speed: Slow bow Quick bow
In an email conversation on bow angle which I had with the
American double bass player Mark Dresser, Dresser describes another
multiphonic effect which is obtained by drawing the bow at a
diagonal angle: with the tip downwards and the bow placed at the
lower third of the string so the angle is transversing several
nodes consistently. With some pressure, and speed, one can get a
warbling phasing multiphonic effect, creating a loop of several
partials phasing. Sounds like a turkey 'gobbling' or a kind of
yodeling effect. Notation systems for the bow The notation of the
left-hand position causes no problem, as a normal note with a
diamond or rectangular head will do nicely, and is readily
understood by the musician. The position of the bow is somewhat
harder to indicate in a concise manner, as the sign should be small
and placed either below or above the fingered note. Liebman
suggests two ways of indicating the bows position: (1) a series of
Italian expressions ranging from molto tasto to molto ponticello.
These ranges are predefined with approximate distances from the
bridge. (2) By describing the distance from the bridge in
centimetres.
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11
Ex. 5a. Example of notation by Liebman (from Legato Sonore). By
playing the lower stave with the bow placed in proper distance from
the bridge; the harmonics (multiphonics) shown in the upper two
staves will be dominant.
However, in this area of the string, the (accomplished) player
will be more familiar with the positions of the highest harmonics
(flageolet tones), and should without too much of a problem be able
to place the bow there, regardless of non-standardised string
lengths and other trivialities. In example 5b, I suggest a notation
for bow position, where the upper-case letters determine the choice
of string, the number gives the harmonic, and the arrow indicates
which harmonic node to use, starting with no arrow at the highest
node. (See Figure 3.) Ex. 5b. Alternative notation of bow position
and string choice based on natural harmonics: E13! and A11! mean
bow positions of the 13th and 11th harmonics, second node, on the E
and A string, respectively. See Figure 1 for explanation.
More examples of this notation are seen in the following
figures. In example 5c there are several different bow positions to
choose from, and the player is free to select from these. In
example 5d, the bow moves from the position 13! to the slightly
lower position 11!, to enable multiphonics on adjacent strings to
be played together.
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II
Legato SonorePerformance Time - 8'
-12-
-
12
Ex. 5c. Glasperlenspiel, Hkon Thelin
Fig. 5d. Glasperlenspiel, Hkon Thelin
Bow position for bow-above-finger multiphonics I find the best
bow position for bow-above-finger multiphonics to be around a
fourth or a fifth above the fingered note. Finger glissando is
possible with the bow-above-finger multiphonics and the bow must be
moved in proportion to the left hand. I didnt find it necessary to
introduce any specific notational systems for the bow-above-finger
multiphonics. Bow position for multiphonics on the 4th-7th natural
harmonics on each string The bow position for bow-above-finger
multiphonics applies also for ordinary semitonic multiphonics
played at the major 3rd, 5th and minor 7th partial of the third
octave, as well as the fourth octave; these special cases are best
played with the bow about a fourth or a fifth below the fingered
note. Bow position for artificial multiphonics Defining bow
placement for artificial multiphonics proved to be a major
challenge. The experiments told me that each finger position
demanded a bow position in equal proportion to the left-hand. For
each half step (semitone) the position of the artificial
multiphonics moves upwards the string, the bow should similarly
rise to the next harmonic node. The bow position is measured in
semitones from the fingered harmonic tone, and two different
distances, of 22 and 29 semitones, can be used. With these
distances as a starting point, the bow can also in theory be moved
to other octave positions, but the practical use limits the
positions to 34 and 41 semitones, an octave higher, when playing
certain artificial multiphonics. Two different combinations of
speed and pressure are also used, either normal pressure and normal
speed (N.pr.) or high pressure (H.pr.) and slow speed (Slow
bow).
-
13
Fig. 6. Bow positions for semitonic artificial multiphonics on
the E-string. Harmonic partial indicate the sounding harmonic
partial, bow node position indicate on which harmonic node to place
the bow on the string, notation indicate the score notation for the
bow, and fingering indicate the score notation for the left-hand. A
general mark on the playability is included below the staffs. The
finger positions for artificial multiphonics are major second,
minor and major third, and augmented fourth.
-
14
-
15
-
16
-
17
Example of score notation of artificial multiphonics An example
of notation, taken from the piece Glasperlenspiel, is shown in
example 7. The bow is placed on the 10th harmonic partial and moved
in parallel glissando with the left hand when the artificial
multiphonics slides up two semitones. Ex. 7. Glasperlenspiel, Hkon
Thelin
-
18
Pizzicato multiphonics Pizzicato multiphonics are easy to
produce, and are most effective and clear from the 3rd-8th partial.
Place the left hand finger over the harmonic with very light
pressure and pluck energetically close to the bridge. As the string
is plucked release the left hand finger from the string. This is
also possible with right hand finger pizzicato technique. Place the
right hand thumb lightly over, or on the side of, the harmonic and
pluck energetically with index finger. Release the thumb from the
string as the string is plucked. This technique was first shown to
me by the Finnish bassist and composer Teppo Hauta-aho, and the
first written description is by Mark Dresser in the article Double
bass multiphonics (The Strad, October 2009). Notation of pizzicato
multiphonics I suggest using the symbol M. above or below the
harmonic to indicate that it is a multiphonic sound, together with
the indication on which string to play the note (in Roman
numerals). In example 1, the multiphonics is played with the right
hand finger pizzicato technique. Example 1. Hkon Thelin:
Glasperlenspiel
MULTIPHONICS ILLUSTRATED
Semitonic Multiphonics Multiphonic sounds are most commonly
produced with the semitonic finger positions, which also provide
the basis for the most comprehensive timbral variation and
combinatory use with other techniques. In Kimmo Hakolas Thrust from
1989 (rev. 1991) we find some of the first examples of semitonic
multiphonics: Example 1: Thrust Ex. 1. Kimmo Hakola: Thrust, page
6, Rubato (Adagio)
-
19
The finger positions of the multiphonics are notated on the
bottom stave while the resulting sounds are notated in parenthesis
on the top stave. In example, 1 all multiphonics are played in the
first octave on the G-string (marked with number I). Hakola uses an
M on the note stem for marking the multiphonics, which works well
within the frame of the piece. There are no markings for bow
placement and bow resistance in the beginning of the line, but it
is to be assumed that the bow should be in an ordinary position
from the beginning. From the middle of the line the bow moves
gradually to sul ponticello (SP) and the three last multiphonic
sounds are played with the bow poco sul ponticello. This suggests
that Hakola either indicates a bowing position that works well for
these multiphonic sounds, or that he will enhance certain overtones
by moving the bow closer to the bridge. Example 2: Foxfire Zwei In
my own transcription of Foxfire Zwei (1993/2007) by Helmut Oehring
(originally written for bass clarinet), I mark the multiphonics
with the M above or below the note head or stem, and the designated
string with numbers (I-IV). Example 2 shows multiphonics on the
third string. This particular multiphonics is very easy to produce,
and I have not indicated bow placement, bow resistance and sounding
tones. My suggestion for bow placement is above the fourth octave,
around the 9th, 11th or 13th central harmonic node. Ex. 2. Helmut
Oehring: Foxfire Zwei (arr. Hkon Thelin)
Example 3: oibbinadocS Generally, I use a simple notation
similar the one used in example 2. As seen in examples 3a and 3b,
from oibbinadocS the first piece in which I used multiphonics, I
didnt find it necessary to notate the placement of the bow, as the
multiphonics is easy to play. Ex. 3a. Hkon Thelin: oibbinadocS
Ex. 3b. Hkon Thelin: oibbinadocS
& 42Contrabass 1 bs.p.arco
molto s.p. s.p.
F sim. air
!" l? p
IIIM.poco s.t.
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multiphonic and fundamental sounds #j
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air sounds
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-
20
Example 4: Thrust Going back to Thrust, the next two examples
show semitonic multiphonics on strings I-III and in the first and
second octave. Ex. 4a. Kimmo Hakola: Thrust, page 6, Rubato
(Adagio)
Ex. 4b. Kimmo Hakola: Thrust, page 7, Rubato (Adagio)
Examples 5-7: Glasperlenspiel Semitonic multiphonics with
markings for bow placement is shown in example 5 through 7. In
example 5 there are multiple possible bow positions to choose from,
and the markings can be viewed as guide to the area in which to
place to bow. I found it convenient to only suggest the bow
positions, since the context of the sound allows for slight
transformations of timbre and dynamics. Ex. 5. Hkon Thelin:
Glasperlenspiel
Examples 6 and 7 display situations where a specific bow
position is preferred for the production of multiphonics. The
transformation from an open string to multiphonics signifies the
first situation. The finger gradually touches the string above the
E-flat harmonic, which helps defining the multiphonic sound more
easily. A precise bow position is marked, and the bow can be moved
towards this position during the transformation of the sound. A
precisely
-
21
positioned bow will help the final establishment of a stable
sound, which gradually fades through a slow decrescendo. Ex. 6.
Hkon Thelin: Glasperlenspiel
In example 7 the bow moves from the position B13! on the
E-string to the slightly lower position B11!, to enable
multiphonics on both the A and E-string to be played together. The
cluster sound of the two chords is particularly difficult to
control, as the distribution of bow pressure between the two
strings, as well as the bow speed, must be practised to find the
optimal combination for a balanced sound. Ex. 7. Hkon Thelin:
Glasperlenspiel
Quartertonic Multiphonics Example 1-3: Spectral The French
composer Philippe Boivin uses quartertonic multiphonics in the
fifth movement Spectral of his piece Cinq algorithmes pour
contrebasse seule (1991). A bowing technique described as spectral
phase difference by Jean-Pierre Robert (Modes of playing the
doublebass, 1995, 42) is employed throughout the movement. This
technique gives the impression of hearing two consecutive attacks
for each bow shift in a rapid flautando movement, thus reinforcing
the harmonic spectrum of the open strings. The multiphonics is
meant to expand the harmonic spectrum, creating even richer
overtone sounds.
-
22
Ex. 1. Philippe Boivin: Spectral, bar 10-17
Ex. 2. Philippe Boivin: From the performance instructions to
Cinq algorithmes pour contrebasse seule
Generally, a fast bow and light finger pressure will help to
produce the wanted effects. The strings are all tuned to D during a
short and improvised prelude, and Boivin stresses the importance of
the players voice in bringing out clear harmonics in the colouring
of the vocals which blend in with the instruments sounds.
-
23
Ex. 3. Philippe Boivin: Spectral, bar 35-36
The multiphonic sounds are often played in combination with
ordinary harmonics or multiphonics on adjacent strings. The second
and third string is tuned in octaves, thus reinforcing the tonal
harmonic spectrum. The sound is very open and free, assisted by the
resonance of the open strings. Example 4: oibbinadocS Playing
simultaneously on adjacent strings can dramatically transform the
multiphonic sounds. In my own composition oibbinadocS (2004), a
quartertonic multiphonics on the A-string is played in combination
with a natural harmonic trill on the D-string. The effect is very
much the same as in the similar examples from semitonic
multiphonics; a stable chord coloured by the interweaving roll of
overtones. Ex. 4. Hkon Thelin: oibbinadocS
The technical challenge in this particular example is to keep
the first finger steady on the precise point of the multiphonics on
the string while the second and fourth finger do a fast trill on
the higher string (this involves a rather big stretch for the
fingers). At the same time, the bow must be positioned in a way
that both the multiphonics and the harmonics in the trill speak out
clearly. This demands a bow position close to the bridge, and the
position that works best, in my experience, is around the 18th
harmonic partial. Example 5: Foxfire Zwei In the transcription of
Foxfire Zwei (1993/2007), I used a multiphonics that has similar
sound qualities as the quartertonic multiphonics, which is,
however, not included in the chart. The finger is positioned close
to the nut and the indicated bow position is poco sul tasto, a
lower position than for most quartertonic multiphonics. An airy
oscillation between adjacent harmonics and the fundamental is the
wanted effect, aided by the gradual change of left hand pressure.
The bow position (poco sul tasto) brings out a deep, rumbling
fundamental sound on top of which the high harmonics can
mingle.
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-
24
Ex. 5. Helmut Oehring: Foxfire Zwei (arr. Hkon Thelin)
Example 6: Thrust A similar multiphonics to the one displayed in
example 5 appears in Kimmo Hakolas Thrust (1989), where the finger
position is very close to the nut (slightly above the open string).
Here again the effect is an oscillation between adjacent harmonics
and the fundamental. Contrary to the previous example, the
expression here is strong, almost wild, with an intense mingle of
high and low frequencies. I would suggest the bow position(s) to
remain between ordinario and molto sul ponticello. Ex. 6. Kimmo
Hakola: Thrust, page 8, rubato [andante]
Example 7: Sonata for double bass Only a few instances of
quartertonic multiphonics appear in Michael Liebmans Sonata for
double bass (2001). Liebman uses the technique of gradual
transformation as an input to the multiphonic sound; coming from a
single flageolet in a quartertone finger position, with a very
light bow pressure (L.pr.), the gradually intensified pressure
(N.pr.) carefully transform the flageolet sound into a chord
effect. These occurrences are shown in examples 7a and 7b. In
example 7b, the transformation from a flageolet into a chord effect
happens towards the middle of the system (the accidentals applying
to the whole system). Ex. 7a. Michael Liebman: Legato Sonore, page
1, third system
& 42s.p.
arcomolto s.p.
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sim.air
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one of these flageolets will result
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II Legato Sonore
Performance Time - 8'
-12-
-
25
Ex. 7b. Michael Liebman: Legato Sonore, page 3, first system
Bow-above-finger multiphonics Bow-above-finger multiphonics
generally more easy to play than class-two type multiphonics, but
doesnt offer as many variations in sonority. Since most of the
multiphonics are produced with the finger is positioned close to
the end of the fingerboard or beyond the fingerboard, between bow
and bridge, they require some preparation time unless being used in
phrases where the left-hand is already playing high up on the
strings. It is possible to play relatively loud and violent with
bow-above-finger multiphonics, but also extremely soft with a
smooth, even sound. Example 1: e/statico Stefano Scodanibbio
composed e/statico in 1980 as one of his first pieces for the
double bass. The piece investigates isolated sonorities, in which
various sound shapes, usually separated by pauses, seem to be
juxtaposed without any meditation. In example 1, the finger is
places somewhere beyond the end of the fingerboard on the D-string,
between bow and bridge, and the multiphonic sound lives its own
short life during the two bow strokes that are indicated. Ex. 1.
Stefano Scodanibbio: e/statico
"
%
16.5-18.5 cm.
v sul D
sul A
t.-m.t.
DO 7
7
7 lightest possible touch
D
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Dn. pr.A
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n. pr.
[
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l. pr. n. pr.DA
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"
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16.5-17.5 cm.
3
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3 sul Esul A
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one of these flageolets will result
sul D pont.
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O
P P
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Gliss. Graspby two fingers
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`
`
-14-
-
26
Example 2: Joke A loud, noise-like gesture surprise us in
Scodanibbios Joke, the first movement from his Sei Studi (1981-83).
The double bass really screams through this rather swift glissando
of bow-above-finger multiphonics, performed on strings one and two.
Ex. 2. Stefano Scodanibbio: Joke, from Sei Studi
Examples 3-4: oibbinadocS In oibbinadocS (2004) I use a
technique where I combine bow-above-finger multiphonics with a
natural harmonics. The sounds are played on each side of the bow:
The harmonics is fingered with the thumb above the bow (closer to
the nut), while the multiphonics is fingered below the bow (closer
to the bridge). The position of the left-hand is being anticipated
though double-stops of harmonics, and only a slight movement is
needed to bring the bow into the new position between the fingers.
Examples 3 and 4 are from the very beginning and end of the piece.
Ex. 3. Hkon Thelin: oibbinadocS Ex. 4. Hkon Thelin: oibbinadocS
& 42s.p.
arcomolto s.p.
s.p.
Fb
sim.air
!
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l?
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multiphonic and fundamental sounds
#
j
?#
IIM.
. R#Change gradually between multiphonic, harmonic and air
sounds
p U
?M.
III As even multiphonics as possible# U
&I
IIp F
Rubato espressivo
q = 54
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II
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-
27
Pizzicato multiphonics
Pizzicato multiphonics is used extensively in all of the
two-hand flageolet pizzicato passages in my piece Glasperlenspiel
(2010). I wanted the effect of loud, ringing tones to equal the
tones that are being hammered by the left hand on the fingerboard.
A passage is shown in example 1, where pizzicato multiphonics can
be studied in bar 90 and bar 92-95. The left-hand flageolet
pizzicato and hammer-on is notated with upward stems, while the
right-hand pizzicato is notated with downward stems. Ex. 1. Hkon
Thelin: Glasperlenspiel
-
28
Colourative Effects In the following, I will present effects
that determine the colouration of multiphonic sounds. There are
multiple combined techniques that are used in a great number of
works, and my aim has been to provide a thorough presentation of
existing techniques and their practical utilisation in a selection
of composed works. The multiphonic technique is still in its early
stages of development, and there are many more sounds to be
discovered. This general presentation can be seen as a first
excursion in to the field of multiphonic sound effects and will
hopefully serve as an impulse or inspiration for further
explorations into this technique, by both performers and composers.
Transformation Semitonic multiphonics can be transformed into
harmonics, ordinary tones or other sounds. In Foxfire Zwei, I use
the gradual change between multiphonics, harmonics, fundamental and
air sounds, to create living sounds, constantly changing the colour
of the multiphonics. In example 1, the sounds change gradually
between multiphonic, harmonic and air sounds (created by damping
the string with the left hand and playing with a light bow). The
changes between multiphonic and harmonic sounds are caused by small
changes in bow position, pressure and speed. Ex. 1. Transformation
between multiphonic, harmonic and air sounds. Helmut Oehring:
Foxfire Zwei (arr. Hkon Thelin)
Transformations from harmonic to multiphonics are possible
through changing the spot at which the bow touches the string and
by applying additional pressure to the string (Liebman, Movement of
Repose, New sounds for cello and double bass, page 31). The bow
must be moved to a central harmonic node, which facilitates the
creation of the multiphonic sound. A smooth transition can be
controlled by manipulation of bow pressure and bow speed. Usually
this means applying more pressure to the string and bowing with a
slightly reduced speed. Illustrations of this effect are shown in
example 2 and 3. In example 2, the bow should move to the central
harmonic node position 13 when modulating into the multiphonic
sound. Ex. 2. Transformation from harmonic to multiphonics. Hkon
Thelin: Light
& 42s.p.
arcomolto s.p.
s.p.
Fb
sim.air
!
"pIIIM.poco s.t.
l?
? Gradually change left hand pressure, going in and out of
multiphonic and fundamental sounds
#
j
?#
IIM.
. R#Change gradually between multiphonic, harmonic and air
sounds
p U
?M.
III As even multiphonics as possible# U
&I
IIp F
Rubato espressivo
q = 54
# I
II
IP f
U
# .#
III
# . b b .3
# # # 3 3 3
&II I
IIIIV
# # . #
3
# # .
3I
IIp bb#
III
I II j 3
J#3
III
IV
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p
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-
29
Ex. 3. Transformation from harmonic to multiphonics. Michael
Liebman: illustration from Movement of Repose, New sounds for cello
and double bass
In Thrust, Kimmo Hakola makes use of sound transformations by
alternating multiphonics and ordinary tones. The effect is a rather
quick in-and-out transformation of the sound. The bow pressure must
be precisely synchronised with the left hand movement in order to
get the full effect of the changing sounds. Ex. 4. Transformation
between multiphonics and ordinary tones. Kimmo Hakola: Thrust, page
7, Rubato (Adagio)
The transformative process seen in example 5 shows an artificial
multiphonics on the E-string, to be played together with the open
A-string. This artificial multiphonics dissolves into an open
string, which again is gradually converted into a multiphonic sound
as the finger slowly dampens the string over the E-flat harmonic.
The bow position indicated above the stem (B E22! and B13) is
notated in accordance to figure 3 and example 5b in the chapter on
Bow placement.
-
30
Ex. 5. Transformation from artificial multiphonics, via open
string, to semitonic multiphonics. Hkon Thelin: Glasperlenspiel
Tremolo Tremolo is possible on most multiphonics. The effect is
usually a noisy, complex, and often, unstable sound. The types of
multiphonics that are easy to play, give the most stable noise-like
sounds when playing tremolo. Example 6 includes this effect with
tremolo multiphonics on the second and third strings, the sounds
being initiated by slightly accentuated grace notes. All the
multiphonic sounds in this example are rather easy to play. Ex. 6.
Tremolo. Hkon Thelin: Shared moments
Example 7 illustrates ordinary multiphonics going into tremolo
multiphonics and vice versa. Ex. 7. Going in and out of tremolo.
Helmut Oehring: Foxfire Zwei (arr. Hkon Thelin)
When applying tremolo on multiphonics that are more difficult to
play, careful attention must be given to finger pressure, bow
position and bow pressure, for the sound generally fluctuates more
randomly between the overtones. Multiple variations of the tremolo
effect are possible, e.g., changing bow speed (slow or fast
tremolo), changing bow pressure (greater pressure creates a harder,
more noisy sound while less pressure gives a brighter, airy sound),
and changing bow position (this can enhance certain overtones of
the cord as well as the overall timbre of the cord). Vertical
vibrato, hammer-on multiphonics and legato tremolo Michael Liebman
employs what he calls a vertical vibrato to multiphonics: By
rapidly varying the amplitude of finger pressure on a string from
slight to deep (almost, but not actually touching the fingerboard),
we achieve the vertical vibrato[...] (Movement of Repose, New
sounds for cello and double bass, 2010, page 35). Hitting the
string against the fingerboard creates a variant of this technique.
Liebman writes [] in such cases, in addition to the multiphonic
chord, a "flickering" tone is produced corresponding to the point
where the finger
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31
touches the fingerboard (Ibid., page 35). The presence of the
stopped note in the sound can also be controlled by how hard the
finger hits the fingerboard. I will refer to this technique as
hammer-on multiphonics. Liebman further describes an open string
tremolo where the player rapidly alternates between touching the
string and raising the finger. An effect I would describe as a
legato tremolo between the multiphonics and the open string. It is
possible to control the presence of the fundamental tone through
the force of the finger that pulls the string; contrary to the
faint fundamental sound that is perceived when the finger is only
lifted (and not pulled) from the string. In example 8, the first
action is a vertical vibrato (where the finger does not touch the
fingerboard), followed by a legato tremolo between the multiphonics
and the open string. I would interpret this particular legato
tremolo as to be performed only with a slightly lifted finger, so
that the change of timbre is only scarcely audible, and led
naturally on from the vertical vibrato. The third action in example
8 is a rhythmical vibrato, the effect being created when the finger
softly hits the harmonic a half note above the multiphonics. Make
sure that the multiphonic sound is kept constant throughout the
action. Ex. 8. Vertical vibrato, legato tremolo and rhythmical
vibrato. Michael Liebman: Sonata for double bass, 2.movement Legato
sonore
The different types of vibrato, legato tremolo and hammer-on
multiphonics are relatively idiomatic techniques. They open up a
wide area of rhythmical possibilities as well as means of colouring
multiphonic sounds. In Shared moments (2009), I use hammer-on
multiphonics, which, during the course of interpretation was played
as a sound that rapidly alternates between and blends the
multiphonics, stopped note and open string. The notation in example
9a and 9b, however, is still the same as with hammer-on
multiphonics. The techniques can be seen in the context of the
longer musical line in example 9c. Ex. 9a. Hammer-on multiphonics.
Hkon Thelin: Shared moments
Ex. 9b. Hammer-on multiphonics. Hkon Thelin: Shared moments
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32
Ex. 9c. Hammer-on multiphonics. Hkon Thelin: Shared moments
Example 10 shows a legato tremolo on the A-string with a
flageolet trill on the F on the D-string, while a variation is
shown in example 11 where a legato tremolo on the A-string is
combined with an artificial harmonic on the D-string. The two
multiphonics used in these examples are easy to play and most bow
positions work well. The occurrence of artificial harmonics,
however, calls for a placement of the bow somewhere towards the
bridge, although not necessarily sul ponticello. Ex. 10. Legato
tremolo combined with artificial harmonic trill on the adjacent
string. Hkon Thelin: Light
Ex. 11. Legato tremolo combined with artificial harmonic on the
adjacent string. Hkon Thelin: Light
In a passage from Glasperlenspiel, shown in example 12, I use
legato tremolo and hammer-on multiphonics in a play with timbre and
harmonies. The first action is a legato tremolo on the D-string,
where the multiphonic sound blends with the opens string. A
crescendo brings
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33
the sound into a hammer-on multiphonics on the E-string. The
hammered C perceives as a fundamental, with intermingling partials
of the E-string multiphonics. The open strings, plucked as
appoggiaturas with the left hand, resonate with the legato tremolo
multiphonics, which is now stripped from the C fundamental. The
sound again rises through a crescendo into hammer-on multiphonics
on the A-string, where the E-flat fundamental intermingles with the
A-string partials, sounding together with the appoggiaturas of the
E and G-strings. Ex. 12. Legato tremolo and hammer-on multiphonics.
Hkon Thelin: Glasperlenspiel
A technique that is not shown here, but waiting to be explored
later on, is the legato tremolo between multiphonics and either an
open string, harmonic or stopped note on an adjacent string.
Richochet Example 13 illustrates the opening of Shared moments. The
musical gesture of this opening is repeated several times during
the entire piece and can be seen as a play with timbre and
resonance between the four strings. Each note is coupled with a
unique attack: the short notes are played with left hand pizzicato
and with the tip of the bow, while the long notes are played with a
bouncing bow. A ricochet on a multiphonics then establishes the
first extended tone with an accentuated and quick bouncing bow in
order to release the multiphonic sound. This sound leads to the
second attack where a (quick) ricochet transforms into a vertical
bouncing bow, called rimbalzo verticale by Stefano Scodanibbio,
which is characterised by a soft, flickering sound. Ex. 13.
Richochet. Hkon Thelin: Shared moments
Playing simultaneously on two adjacent strings By adding the
additional tone of an adjacent string new colours may be added to a
"tonal" sounding multiphonic chord. This change may vary from a
slight coloration, to dissonance, and even to a complete
transformation of the colouring. 1. Multiphonics with an open
string In example 14 we see an artificial multiphonics played
together with an open A-string. The bow position for the artificial
multiphonics is assigned to the 10th harmonic partial on the E-
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34
string. The added open A-string darkens the sound and gives a
slight perceptible harmonic feel in the minor third interval
between the fundamental tones (G-A). Ex. 14. Artificial
multiphonics played together with an open A-string. Hkon Thelin:
Glasperlenspiel
The static sound that we meet in the previous example comes to
life through trills and glissando movements of the multiphonics in
example 15. A rumbling, full sound is heard when the glissando
slowly moves towards the sound of the open string. The fundamental
and the overtones in the multiphonics create a complex, constantly
changing, set of interference tones with the open string drone. As
in the previous example, the bow can be placed on the 10th harmonic
partial on the E-string, but must be moved proportionally with the
left-hand glissando up the string. Ex. 15. Artificial multiphonics
trill played together with an open A-string. Hkon Thelin:
Glasperlenspiel
2. Multiphonics with a natural harmonic Ex. 16. Multiphonics
with a natural harmonic. Maja S. K. Ratkje: On Wombs and Vowels
In her piece On Wombs and Vowels, Maja S. K. Ratkje uses a
combination of multiphonics and natural harmonics. This does not
change the bright sounding colour of the overtones but
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35
adds a dimension to the harmonic spectrum. The notation is
practical and easy to read: In the first bar, the harmonics (top
notes) are played on the first string while the multiphonics
(bottom notes) are played on the second string. In the second bar,
the multiphonics are the same as in the previous bar but with the
harmonics played on the third string. In bar three, we have a new
set of multiphonics on the third string that is played together
with harmonics on the fourth string. The gradual descent from high
to low strings creates a change of colour from bright to dark. On
the low strings the cords have a full sound with much resonance,
while the brighter sounding chords on the higher strings sound more
restrained and are also more difficult to play. Bow placement is
left to the decision of the performer. There are multiple options,
in order to bring out the sound of the harmonic, however, a
placement relatively close to the bridge is preferable. Examples 17
and 18 are taken from the double bass solo that opens Giants of
jazz (1999-2001), a piece by the Norwegian composer yvind Torvund.
The top stave indicates the rhythm of the bowing as well as the
sounding note of the harmonics, which is notated on the lower stave
and played together with normal tones or other harmonics. Towards
the end of the system, the phrases are closed with combined sounds
of chords consisting of multiphonics and natural harmonics. The
multiphonic chords are not notated, but are marked as a cluster
sound. Ex. 17. Multiphonics with a natural harmonic. yvind Torvund:
Giants of Jazz
Ex. 18. Multiphonics with a natural harmonic. yvind Torvund:
Giants of Jazz
3. Multiphonics with a natural harmonic trill As illustrated in
example 19, this combination lets us play multiphonics together
with a trill of natural harmonics on an adjacent string.
-
36
Ex. 19. Multiphonics with a natural harmonic trill. Hkon Thelin:
oibbnadocS
Here we move from a flageolet trill on the second string,
coloured by the gradual movement of the bow, into a multiphonics
together with a natural harmonics trill. The effects of both sounds
are similar, the multiphonics functions as a stable summary of the
floating overtones of the previous action while the additional
trill continues the established action and enrichens the harmonic
spectrum. Michael Liebman includes the same technique in his Sonata
(example 20), but uses a different notation. He classifies this
technique as chord and harmonic with tremolo, and describes: []such
a tremolo effect produces a variety of additional overtones. In
ponticello, even a slightest shift of the bow gives a new overtone,
thus varying slightly the effect on each repetition. (Movement of
Repose, New sounds for cello and double bass, 2010, page 38). The
variety of additional overtones creates a strongly fluctuating
sound, which can be differentiated even more by moving the bow
towards the bridge. Ex. 20. Multiphonics with a natural harmonic
trill. Michael Liebman: Sonata for double bass, 2.movement Legato
sonore
In example 21, I have used a sustained multiphonic sound
together with a trill between a flageolet and the open string on
the adjacent string. The combination shown here is easy to play
because I use one of the most stable semitonic multiphonics on the
fourth string the augmented 4th in the first octave. In this case,
it is, therefore, not necessary to notate a specific bow position.
Ex. 21. Multiphonics together with a trill between a flageolet and
the open string on the adjacent string. Hkon Thelin: Shared
moments
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-
37
Example 22 shows the same technique as used in the previous
example, yet shifted to the higher strings (second and third
strings). Ex. 22. Multiphonics together with a trill between a
flageolet and the open string on the adjacent string. Hkon Thelin:
Light
4. Two multiphonics together It is generally very difficult to
play sustained chords of two multiphonics together. Even though the
same bow placement applies for both multiphonics, the bow
resistance (speed and, most often, pressure) differs from string to
string, making it difficult to avoid slips that break the sound. In
Glasperlenspiel I made an attempt of combining two multiphonics,
with a defined bow position moving from B13! on the first single
multiphonics, to the slightly lower position of B11! for the
combined multiphonics. The bow position one octave higher (B13 to
B11) also works well with these multiphonics, although the bow
speed and pressure react differently when changing octaves with the
bow. Ex. 23. Two multiphonics together. Hkon Thelin:
Glasperlenspiel
5. Noise-like multiphonic sounds Glissando between semitonic and
quartertonic multiphonics, combined with the open E-string in a
noisy passage are found in Kimmo Hakolas Thrust (1989). The
objective here is not to bring out clearly defined multiphonics,
but to create as much noise and sound as possible! Ex. 24:
Noise-like multiphonic sounds. Kimmo Hakola: Thrust, page 2,
Allegro
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38
Acknowledgements I wish to thank Knut Guettler for his
significant contribution to this work. The whole section of
Definitions is written in close collaboration with Guettler, and he
kindly shares his own research on the physics of multiphonics
through the article Bowed-string multiphonics analyzed by use of
impulse response and the Poisson summation formula. The work of
Michael Liebman, Mark Dresser and Stefano Scodanibbio has been an
invaluable source and inspiration. In addition they have given me
feedback and answered my many questions. I have been in contact
with almost all composers represented here. Their works are all
very important in incorporating double bass multiphonics into the
repertoire of contemporary music. Litterature Anderson, Julian:
Seductive solitary, article (p.616-619), The Musical Times,
December 1992 Bach, Michael: Fingerboards and overtones, Edition
Spangenberg, Mnchen, 1991 Bartolozzi, Bruno: The new sounds for
woodwind, Oxford University Press, 1967 Dresser, Mark: A personal
pedagogy, Arcana: musicians on music, John Zorn (ed.), Hips Road
and Grananry Books, 2000 Dresser, Mark: Double bass multiphonics,
article (Masterclass, p.72-75), The Strad, Vol. 120 No. 1434,
October 2009 Guettler, Knut and Thelin, Hkon: Bowed-string
multiphonics analyzed by use of impulse response and the Poisson
summation formula, article accepted for publication (2011) in
Journal of Acoustical Society of America Liebman, Michael:
Multiphonics: new sounds for double bass, unpublished article, 2001
Liebman, Michael: Movement of repose, New sounds for cello and
double bass, Kompozitor Publishing, 2010 Robert, Jean-Pierre: Modes
of playing the doublebass, Editions Musica Guild, 1995 Turetzky,
Bertram: The Contemporary Contrabass, rev. version, University of
California Press, Berkely and Los Angeles, California, 1989 List of
scores Philippe Boivin: Cinque Algorithmes pour contrebasse seule,
1990, Editions Salabert Eivind Buene: Bass duo from Into the Void,
2008, Norwegian Music Information Centre Lars-Petter Hagen: Hymn,
2008, Norwegian Music Information Centre Kimmo Hakola: Thrust,
1989, Fazer Music Inc., Finland Michael Liebman: Sonata for
double-bass, 2001, manuscript from composer Carlos Mastropietro: En
una cara, 1996, manuscript from composer Helmut Oehring: Foxfire
Zwei, version for solo double bass by Hkon Thelin, 1993/2007,
manuscript from composer Maja Solveig Kjelstrup Ratkje: On Wombs
and Vowels, 2003, Norwegian Music Information Centre Maja Solveig
Kjelstrup Ratkje: Rondo-Bastard-Overture-Explosion, 2004, Norwegian
Music Information Centre Kaija Saariaho: Ciel toil, 1999, Chester
Music Stefano Scodanibbio: e/statico, 1980, manuscript from
composer Stefano Scodanibbio: Sei studi, 1981/1983, manuscript from
composer Hkon Thelin: Glasperlenspiel, 2010, manuscript from
composer Hkon Thelin: Light, 2008, manuscript from composer Hkon
Thelin: oibbinadocS, 2004, manuscript from composer Hkon Thelin:
Shared moments, 2009, manuscript from composer Hkon Thelin: Krma,
2010, manuscript from composer yvind Torvund: Giants of Jazz,
1999-2001, Norwegian Music Information Centre
-
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Blacklight(bass duo from 'into the void',dedicated to Hkon
Thelin)
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diamond headed notes are multiphonics on the e-string. Touch
string with normal flageolette finger pressure except where
indicated. b-numbers refer to harmonic node for placement of bow.
the resultant pitches are shown approximated on upper staff below
(suoni reale), some with alternative results in paranthesis. all
mulitphonics have a more or less pronounced e sounding from the
fundamental of the string. when played as a separate piece (not in
the context of 'into the void'), the piece ends in bar 61 (with
repetitions)
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-
Charts of Semitonic and Quartertonic Multiphonics The charts
show the finger positions of the most usable semitonic
multiphonics, on each string up to the 4th octave. The central
harmonic nodes (9, 11, 13 and 22) indicate possible placements of
the bow, and the general numbers shown in the charts include all
positions explained in figures 1 and 2 in the chapter on the bow.
Bow positions that are practically unusable, and even impossible,
are listed in the parentheses after the indication of the general
central harmonic node. These exceptions may vary from player to
player and between instruments, but my listings provide anyway a
well-tested and general foundation for the use of multiphonics. The
consideration of the playability of multiphonics quickly becomes an
intimately personal matter. The instrument set-up, choice of
strings, and the performers own style of playing, are all decisive
qualities. Yet, I try to implement a general comparison between the
different multiphonics and make an overall division in difficulty.
Most multiphonics has one or several contact points for the bow on
the string where it is easier to play the multiphonics than on
other contact points. Consequently, a multiphonics that is
classified as difficult may also have a contact point for the bow
where it is easier to produce the chord. The maj3, 5th and min7 of
the third octave, as well as the fourth octave semitonic
multiphonics are played in a similar way, and with a similar type
of bow resistance, as bow-above-finger (first-class) multiphonics.
They also sound similar, but are slightly more difficult in
controlling the stability of the cords. Quartertonic multiphonics
is more difficult to play than semitonic multiphonics. It is at
this time not appropriate to include more quartertonic multiphonics
in the table due to the difficulties of placing the finger at the
exact point on the string, and thus bring out the defined overtone
in the given position. In the prescription of the bow positions for
quartertonic multiphonics, I add also the levels above the main
central harmonic nodes to the chart. For example, the levels above
the 11th central harmonic node are notated as 22 and 33 (indicating
the 22. and 33. harmonic node). This comes in addition to the level
below the central harmonic node, notated as 11!, which is also used
for the semitonic multiphonics. The bow node positions for
quartertonic multiphonics are illustrated in figure 1. Descriptions
of the bow node positions are given the chapter on the Bow. Only
the central harmonic nodes are indicated in the chart of
quartertonic multiphonics, but all bow positions in figure 1 apply.
Within the first position (for quartertonic multiphonics) on each
string it is possible, by very small changes in the finger
position, to bring out the 7th, 8th or 9th harmonic partial.
Different bow placements must be used to create multiphonics on
each of these harmonic partials, which is indicated in the chart.
The 8th and 9th harmonic partials are situated very close to the
precise placement of for example a quartertone above A on the
G-string. By moving the finger slightly closer to the perfect A,
the 7th harmonic partial can be established as the sounding
harmonic partial. It is relatively easy to play all quartertonic
multiphonics, provided that the finger and bow positions are exact.
It becomes more easy to play the multiphonics as the bow moves
closer to the bridge, as it is usually more difficult to hit the
exact node for the bow in the lower positions. Fig. 1. Bow node
positions for quartertonic multiphonics
27 33 18 22 26 9 11 13 9! 11! 13!
-
Semitonic multiphonics
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Sem
itoni
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tipho
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-
Semitonic multiphonics
-
Semitonic multiphonics
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2