Multiphonics - Extended Techniques for Horn
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- Опубліковано 16 гру 2024
- Demonstrated by Maddy Tarantelli, DMA
Assistant Professor of Horn and Brass Coordinator, Department of Music, Utah Valley University
This video belongs to a micromodule series “Instrument Demonstrations: Micromodules on Extended Techniques for Music Composition Courses” produced for students of The Chinese University of Hong Kong with the support of the Courseware Development Grant Scheme 2020-21 of CUHK.
Principal Supervisor: Prof Lee Wan Ki Wendy (Associate Professor of Department of Music, CUHK)
Research Assistant: Shing Chun Hay
The thing about horn multiphonics is that the sung note is higher than the played note. A good example is the end of the cadenza in the "Concertino" by Weber. For myself, I've somewhat developed "inverted" multiphonics, where the played note is higher than the sung note.
Take for example the very beginning bars of Respighi's "Poema Autunnale" (originally for solo violin and orchestra), it has double notes that go somewhat in a parralel motion, but at one point they go down in separate ways.
I've practiced many, MANY months to really try to imitate those motions on the horn, and I can say that it works, but with a heavy dose of concentration. I've also taken that modified technique on another solo string x orchestra piece, which is "Flos Campi" by Vaughan Williams. Yes, it has mainly monophonic sections (going in the upper limit of the horn when played an octave lower than the viola), but the few polyphonic parts are not just sudden, but they ask you to octaviate some parts so that you don't hurt your throat while playing-singing simultaneously.
I'll upload a video showing that technical proweness in a few days. (all excerpts played will respect copyright laws)
Amazing sounds, thank you.
very helpful. Thank you!
0:07 Multiphonics
0:20 sing below limit
0:52 octave flexible
1:17 pure interval (begin and end)
1:28 parallel and similar motion better
2:24 M10
3:16 Multiphonics with slides?
Way cool!
👍👍👍👍