{"id":30211,"date":"2021-11-18T17:42:54","date_gmt":"2021-11-19T01:42:54","guid":{"rendered":"http:\/\/jasonhall.ca\/music\/?p=30211"},"modified":"2021-11-19T19:21:23","modified_gmt":"2021-11-20T03:21:23","slug":"d1-f2-mulitphonic","status":"publish","type":"post","link":"http:\/\/jasonhall.ca\/music\/d1-f2-mulitphonic\/","title":{"rendered":"D#1-F#2 Mulitphonic"},"content":{"rendered":"\n

In 2016 when I commissioned composer Jeffrey Ryan to write a contemporary work for t\u00e1rogat\u00f3 and piano, I discovered the rich world of multiphonics for the t\u00e1rogat\u00f3, none of which to my knowledge have ever been documented. This is numero uno <\/em>in a series of posts to document what I have learned about extended techniques for this instrument.<\/p>\n\n\n\n

Below, I have recorded the first multiphonic, one built on the low D# (1) and which coaxes an F# in the second octave (2).<\/p>\n\n\n\n

I’ve notated it as follows:<\/p>\n\n\n\n

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This isn’t a particularly easy multiphonic to start with. It wants to just give a bland-grey nothing sound, so you need to ensure you play with a slack jaw and focus on the low D sharp. Fortunately, Jeffrey scored his Arbutus<\/a> <\/em>with the instructions “allow lower note of multiphonic to emerge first” (although I may have had a hand in those instructions).<\/p>\n\n\n\n

About the fingering chart: I play a t\u00e1rogat\u00f3 that uses a German (Albert) fingering system, so if you’re playing on a French (Boehm) system, Dieu vous aide<\/em>.<\/p>\n\n\n\n

Here’s a short recording of what this multiphonic is meant to sound like:<\/p>\n\n\n\n