Dyad Multiphonics Explained

[@fstover5208]

When Bruno Bartolozi's book on multiphonics came out in the 60's, I was all over it as a developing composer. (That might give an indication of my age). I was also very involved in electroacoustics, so multiphonics complimented electronic sounds, so I thought. Seeing how extremely difficult it has been to get musicians to look at anything I write, inclusion of multiphonics is just another reason for musicians to pass on my music.

[@exeromusic]

Love these extended technique videos you give. Is there a way to reliably play "multiphonic power chords" on a bass clarinet or soprano clarinet? In other words, is there a way to play both a root and a fifth above it simultaneously in a reliable way?

[@RichardElliotHaynes.clarinet]

Hi Exero, it’s very tricky to isolate the fundamental and the 12th (it’s not a fifth) in a spectral multiphonic power chord. I assume by "power" you mean loud. The most secure way of doing this is going for (=voicing) the fundamental + 12th + major 6th. Look for some kind of stable spectral multiphonic here. So as an example, on Bb clarinet, finger a low E3 but voice the G5. On bass clarinet finger low C3 and voice the E5. Apply this method to other chalumeau pitches.

[@exeromusic]

@@RichardElliotHaynes.clarinet Thanks for the reply. When I mean power chord, it's just a non technical term used to mean a root-fifth-octave "chord". I was actually hoping just to play a root plus a fifth or twelfth at a reasonable volume.

[@RichardElliotHaynes.clarinet]

What you're referring to is actually a spectral multiphonic. By playing the fundamental and adjusting your tongue and embouchure to produce a spectral multiphonic, it might be possible to isolate the 12th. In my experience this is the lowest possible voicing of a spectral multiphonic and very difficult. Practice producing spectral multiphonics (see my other video on this) and making them glissando up and down. You'll find that the lowest point may be very consonant, and powerful, but it takes practice to control it.

[@joeg46Highlands]

Try singing while playing. I do this routinely when playing bass clarinet. The best examples I could give come from the late trombonist Albert Mangelsdorff: kzbin.info/www/bejne/mp6mmpmXqLKBbNU

[@RichardElliotHaynes.clarinet]

My experience with singing whilst playing spectral multiphonics hasn't been particularly enjoyable, but if you can do it, great. Singing whilst playing regular pitches can sound really good, particularly when in clear harmony or beating dissonance, but I can't imagine it could match the volume of a block chord spectral multiphonic.