{"id":30216,"date":"2021-11-18T18:28:06","date_gmt":"2021-11-19T02:28:06","guid":{"rendered":"http:\/\/jasonhall.ca\/music\/?p=30216"},"modified":"2021-11-20T13:08:56","modified_gmt":"2021-11-20T21:08:56","slug":"e1-f2-multiphonic","status":"publish","type":"post","link":"http:\/\/jasonhall.ca\/music\/e1-f2-multiphonic\/","title":{"rendered":"E1-F#2 Multiphonic"},"content":{"rendered":"\n

Continuing from my previous post in the long-awaited documentation of t\u00e1rogat\u00f3 multiphonics, I’m starting with the two multiphonics employed in Jeffrey Ryan’s Arbutus <\/em>for t\u00e1rogat\u00f3 and piano (who incidentally I just discovered was nominated for a Western Canadian Music Award nomination, Classical Composer of the Year 2021).<\/p>\n\n\n\n

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The second multiphonic is considerably easier to sound (i.e., it’s more stable than its predecessor) even though it is fingered quite closely to the other. The upper note is not a true F sharp but is in fact an F quarter sharp (a flat sharp, as it were). Notation-wise, it’s a sharp that makes you think perhaps your printer has dropped a cog or some crawling insect has met its end on your manuscript.<\/p>\n\n\n\n

Once again, the fingering system is the German one although it could work on the French system, I just haven’t tested it. In any case, t\u00e1rogat\u00f3s are hardly systematized so it may not matter at all. For all I know I could be the only benefactor of this documentation. Having worked these past twenty years as a technical writer, it wouldn’t be first time writing documentation for an audience of one \u2014 or none. <\/p>\n\n\n\n

Below is what the multiphonic sounds like, and I’ve also included a link to the recording of Arbutus<\/em> for t\u00e1rogat\u00f3 and piano allowing you also to listen to this multiphonic in context with the composition: Listen to Arbutus on YouTube<\/a> (I’ve cued it up to where the multiphonic is played).<\/p>\n\n\n\n