The University of Sydney

Board of Studies in Music

RECORDER UNLIMITED

A Preliminary Study
of the Alto Recorder's Multiphonic Resources.

A Thesis submitted to
The Department of Music
in partial fulfilment of the prerequisites
for the Degree of

Doctor of Philosophy (in Composition)

by

IAN LESLIE SHANAHAN.

April 1993.

1993 by Ian L. Shanahan.

 This work is gratefully and wholeheartedly dedicated to

my friend, colleague and supervisor

PROFESSOR ERIC GROSS

and to all of the other composers who have supported my efforts

by creating recorder pieces for me to play.
 ACKNOWLEDGEMENTS

I wish to express my gratitude to the many people and institutions who have assisted me
in the formulation of this work. Without their encouragement and support, this project
could not have been realized.

Since a considerable amount of my research in this area had already been carried out
by the time my undergraduate thesis was submitted, I acknowledge again the same people
and institutions listed therein, without necessarily repeating their names here.

Nevertheless, I would like to thank specifically my family, and the following people,
all valued colleagues and friends, for their assistance in providing source materials and
an impressive input of ideas, as well as further encouragement and aid:

Stephen Adams, Michael Ahearn, Robert Allworth, Newton Armstrong, Ros Bandt,
Michael Barkl, Joanne Beaumont, Kirsty Beilharz, Prof. Anne Boyd, Gerard Brophy,
Paul Brown, Daryl Buckley, Bruce Cale, Ann Carr-Boyd, Laura Chislett, Bill Coates,
Racheal Cogan, Brendan Colbert, David Colwell, Neil Currie, Corinne D'Aston, John
Davis, Chris Dench, Robert Douglas, George Dreyfus, Jon Drummond, Roslyn Dunlop,
Lance Eccles, Ross Edwards, Winsome Evans, Jim Franklin, Ian Fredericks, Prof. Eric
Gross, Elliott Gyger, Prof. Graham Hair, Richard David Hames, Walter van Hauwe,
Matthew Hindson, Anthony Hood, Rosemary Jayes, Vicki Jones, Hans Maria Kneihs, Dr
Leon Lambert, Lorna Lander, Riley Lee, Angela Lenehan, Liza Lim, Michael Lonsdale,
Rafaelle Marcellino, Dr John Martin, Peter MCCallum, Robyn Mellor, Jonathan Mills,
Jun-ichi Miyagi, Andrew Moen, Fred Morgan, Peter Myers, Dawn Nettheim, Dr Eve
O'Kelly, Alan Pert, John Peterson, Peter Petocz, Greg Pfeiffer, Prof. Peter Platt, Mark
Pollard, Claudio Pompili, Jonathan Powles, Vanessa Purcell, Thomas Reiner, Richard
Rijnvos, Dr Mike Ryan, Prof. Peter Sculthorpe, Greg Shapley, Graeme Shilton, Larry
Sitsky, Jana Skarecky, Michael & Maria Smetanin, Andrea Stanberg, Malcolm
Tattersall, Alice Taylor, Dr Benjamin Thorn, Richard Toop, Phil Treloar, Simon Wade,
Rodney Waterman, Belinda Webster, Felix Werder, Nigel Westlake, Michael
Whiticker, Justine Wilkinson, and Robert Zurynski.

I apologize in advance for any inadvertent omissions.

Several of the textual examples were copied by Paul Brown. His musical calligraphy is,
in my opinion, a paragon of beauty and clarity. I am extremely grateful for his assistance
in this regard.

Finally, I offer a special vote of thanks to my brothers, Chris and Dennis, for the
invaluable role they have played in organizing the layout, typesetting and printing of this
thesis. Their unstinting generosity in freely giving me their time and expertise, as well
as permitting me access to the appropriate equipment and providing me with the necessary
materials, is greatly appreciated.

Ian Shanahan, Sydney, April 1993.

 CONTENTS

CHAPTER 1. Introductory Remarks ............. . ....... . . . . . . . . . . . . . . . .. 1

1.1 The New Experimentalism: Aesthetics and Historical Perspectives . ... . ... 1

1.2 "Recorder Unlimited" . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 3

1.3 A Brief Review of Literature relating to Recorder Multiphonics ............ 4

1.3.1 Journal Articles .............. .. ........................... . 4

1.3.2 Books and Monographs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 5

1.4 Some General Remarks concerning Charts of Recorder Multiphonics ....... 9

1.5 On Models and Sizes of Recorder ........... . . . ........... . ... . ..... 10

1.6 Further Remarks to Composers and Performers ........ . .............. 11

1. 7 Pitch Designation ..... . ......................................... 16

CHAPTER 2. Alto Recorder Multiphonics ................ . . . . . . . . . . . . . . . . .. 22

2.1 Some Basic Considerations... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 22

2.1.1 What are Multiphonics? ...... . ...... . . . . . . . . . . . . . . . . . . . . . . . .. 22

2.1.2 The Acoustics of Alto Recorder Multiphonics ....... . . . . . . . . . . . . . .. 22

2.1.3 The Timbral Characteristics of Alto Recorder Multiphonics .......... 24

2.2 Multiphonic Production .... . .......................... . ... . . . ... . . 43

2.3 Spectral Portamenti of Multiphonics .......... . . . . . . . . . . . . . . . . . . . . . .. 5'3

2.4 A Categorization of Alto Recorder Multiphonics .... . . . . . . . . . . . . . . . . . . .. 85

2.4.1 Multiphonics derived from Plain Fingerings ............ . ........ 85

2.4.2 Multiphonics derived from Vented Fingerings ......... . .... . . . . .. 88

2.4.3 Multiphonics with the End of the Footjoint Closed or Covered .......... 92

2.4.4 Multiphonics with Pure or Impure Octaves .................. . ..... 00

2.4.5 Multiphonics derived from Breath-generated Trills . ............... 103

CHAPTER 3. Some Composite Multiphonic Techniques for the Alto Recorder ..... . 122

3.1 Introduction ............... . ..... . .... . .............. . ... . . . . .. 122

3.2 Multiphonic Trills .. . . . ... ... ... . ... . .. . ........................ 123

 3.3 Multiphonic Portamenti and Pitch-Fluctuations ............ ....... . . .. 144

3.4 Multiphonics combined with other Multiple Sonorities ...... . . .. . ... . .. . . 157

3.4.1 Multiphonics mixed with Vocal Sounds .. ..... . .. .. .. ..... ... .... 157

3.4.2 Playing Multiphonics upon two recorders simultaneously . .. ...... . . 167

3.5 Further Articulation possibilities for Multiphonics ..... . .... . .... . .. .. . 170

3.5.1 Multiple-Tonguing and Tongue-Tremolo .. . . .. . .. . . ...... . . . ... 171

3.5.2 Fluttertonguing ... ..... .. ... ........ ...... .... . .... . .. .. .. . 178

3.6 Multiphonic Vibrati: A Selection . ........... .. .. .......... ....... . . 186

3.6.1 Breath-generated Vibrati . ... . ... . . .... ... . .. .. .. ... . . .. .. ... . 190

3.6.2 Fingering-generated Vibrati ............. . ... ...... . . . .. . .. . . 195

3.6.2.1 Fingervibrato . ........... .. . .. ... .. ..... . ......... . . . 195

3.6.2.2 Timbral Vibrato . . . ......... . ... ....... .. . ... ... . .. ... 200

3.6.2.3 Undertone Vibrato . ... ........... . ......... . ... . ... . .. 201

3.7 Multiphonics combined with Air-Noises .. ... ...... . ............ . .. .. 202

3.8 Multiphonics combined with Percussion Sonorities ........ .... .. . ... .. . 208

3.9 Some other Composite Resources... . ........ . . .... . . .. . . .. ....... . . . 210

3.9.1 Multiphonics with Manipulations of the Window . .. .. . . . ... ..... . . 210

3.9.2 Indeterminate Multiphonic possibilities .. .... .... .. ..... . . ... . . . 212

3.10 Multiphonics utilizing Separate Sections of the Alto Recorder ...... .... . .. 235

3.10.1 Headjoint Multiphonics ..... . ......... . ............ . ......... 235

3.10.2 Multiphonics with the Footjoint removed . . . . . .. . . ....... . ... . . ... 241

CHAPTER 4. Compositional Strategies and Applications for Recorder

Multiphonics: Some Miscellaneous Possibilities . .. ... . .... ..... . 256

4.1 Introduction . ..... .... .. . . . . .. . . . . .. ... ... ..... . ..... . . . .. . .... 256

4.2 Multiphonics and Pitch Organization . .. ... . ......... . . . .... . ...... . 2157

4.3 Some Multiphonic Timbral Resources ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

4.4 Multiphonic Textures ......... . . .. . . . ... ..... . . .. . ....... ... ..... 263

4.5 Some Applications for Multiphonic Sidebands . . . .. .. .... . . .. .. .... . . . . 270

4.6 Multiphonics and Indeterminate Structures . . . ......... .. .... . ... . . ... 271
 4.7 Multiphonics and Electronic Sound-Media ........................... 273

Epilogue .................... ...... .. . .......... .... .. .. .. . . ..... .. 278

CHAPTER 5. Final Remarks ... ... .. .................. . ................ 285

Bibliography, with Further References .............. .... ................... 289

A. Articles, Pamphlets and Unpublished Papers ........... .. . .. ........... 289

B. Books and Monographs ............................ . ... . ... ..... ... 302

A List of Compositions utilizing Recorder Multiphonics ...... .. ......... ..... . . 300

Discography .... .. ..... ..... ... ... ..... ... ....................... . ... 316

Appendix . . ............. ... ... ... ............... . ................ . . .. 318

A Comprehensive Summary of the Recorder's Technical Resources

PART 2. Multiphonic Charts for the Alto Recorder

Prologue

Multiphonic Chart Parameters

Alto Recorder Multiphonics

Table of Concordances: Sets of Multiphonics with Identical Fingerings

Recorder

lT111i111ited
 1. INTRODUCTORY REMARKS

1.1 The New Experimentalism: Aesthetics and Historical

Perspectives

Amongst forward-thinking Western mUSICIans of today, the attitude

towards sound and silence as the basic fabric of music has been governed
by a new, post-Modernist aesthetic. All sound-producers are treated as
musical instruments, which are then, in turn, regarded purely as sound-
sources or generators in an attempt to find the full extent of their acoustic
potential. Such a notion usually entails the expansion of instrumental
performance techniques to an absolute limit, where applicable. Musical
instruments are now being scrutinized independently of any particular
musical style, because the formulation of criteria by which instrumental
sounds and playing techniques may be said to be intrinsically musical or
unmusical has been rendered irrelevant. All instrumental capabilities are
now, in themselves, artistically valid, and are freely available to be selected
and utilized by all musicians as they see fit: instruments and sounds have
been "unlimited". 1

The current aesthetic of unlimited sonic availability, as one might

expect, evolved from musical traditions rooted in the first half of the
twentieth century.2 As early as 1912, for instance, Luigi Russolo and
Francesco Pratella of the Italian Futurists were including sounds
traditionally regarded as noise in their compositions. Noise was actually
the fundamental element in the Futurist vision of music. 3 The
compositions of Russolo, for example, were frequently devised for specially
constructed Futurist 'noise instruments' or commonplace 'noisemakers'
such as sirens or automobile parts.
Although the music of the Italian Futurists received minimal
recognition and had no direct, tangible influence upon composers outside
Futurist circles at the time, the significance of this movement lies in its
proposition that noise can be legitimately incorporated into musical
composition. Certainly an historical foundation and precedent had been
laid for other composers.
Several composers working within the radical, experimentalist
American tradition, such as Charles Ives, George Antheil, Henry Cowell,
Edgard Varese and John Cage, also began to broaden their timbral palette
by absorbing the element of noise into their work, frequently in the same
manner as the Italian Futurists. 4 These composers regularly integrated
large batteries of noise-like percussion instruments into their
compositions , which signalled the advent and development of a distinct
genre of music in the 1930s and '40s: the percussion ensemble or orchestra,
a pure homogeneous medium comprised of only percussion instruments.
Varese, who employed instruments such as sirens and anvils in his
music, created one of the first works for percussion orchestra: Ionisation
(1931). Antheil's Ballet mecanique (1924) calls for an aeroplane engine and
doorbells, whilst Cowell contemporaneously originated the percussive

- 1-
piano technique known as the 'cluster' (wherein a number of adjacent keys
are simultaneously depressed). Cage developed the 'prepared piano', a
sound-producer consisting of a normal piano effectively transformed into a
multi-percussion instrument through the insertion of diverse objects
between or upon the piano wires. Cage and others subsequently wrote
many works for percussion ensemble during the 1940s, but it was Cage
alone who took the radical conceptual step, with his composition 4'33"
(1952), of allowing all sonic experiences to be potentially musical.
The notion of making available the full spectrum of sound as a potential
musical resource became a prerequisite with the widespread appearance of
electronic technology in music during the 1950s. A clear manifestation of
this aesthetic was evident in the classical electronic music genre referred
to as musique concrete, in which 'environmental sounds were
electronically recorded and then manipulated on magnetic tape. 5 Within
all of the musics of the post-War Avant-Garde, and specifically in
electronic music, ardent exploration of sonic possibilities became a most
important aim. It was in this context of rapidly widening acoustic horizons
that timbre universally evolved as a prime compositional element.
A crucial development in musical experimentation arose during the
late 1950s when adventurous performers started to carry out intensive, far-
reaching timbral research. Hitherto unemployed sound-resources then
began to be incorporated into instrumental compositions and
performances. At this time and in the early 1960s, jazz musicians such as
Eric Dolphy (saxophone and bass clarinet), John Coltrane (tenor
saxophone), Pharoah Sanders (tenor saxophone) and William O. ("Bill")
Smith (clarinet) became interested in and proceeded to develop a variety of
non-traditional playing techniques, including multiple sonorities, which
then began to be utilized in their improvisations. 6 Smith, who is moreover
an important composer and pioneer of Avant-Garde clarinet music,
worked with composer John Eaton in providing multiple sonorities and
many other unconventional devices for Eaton's Concert Music for Solo
Clarinet (1961). Several outstanding, classically trained instrumentalists
were also concurrently investigating the potential of woodwind multiple
sonorities, often in conjunction with a composer. Sergio Penazzi (bassoon)
and Lawrence Singer (oboe), for example, undertook important research in
this area with the composer and theorist Bruno Bartolozzi. Oboist and
composer Heinz Holliger worked independently to develop multiple
sonorities for the oboe. Luciano Berio requested a number of multiple
sonorities in his Sequenza (1958), written for flautist Severino Gazzelloni,
as a direct outcome of Gazzelloni's early involvement with flute multiple
sonorities. 7
Technical research carried out by explorative performers working in all
musical areas of the 1960s Avant-Garde frequently found its realization in
the works of composers with which they closely collaborated. As such,
these performers have made a permanent contribution of widespread
significance to the aesthetics and composition of music, as well as to the
development of instrumental technique and artistic possibilities:
"In no other period of music history has the performer played such an important role
in the development of new sound resources and instrumental techniques. Many
instrumentalists have, during the past twenty years, created a significant impact in
determining and exploring the sound capabilities of their respective instruments

- 2-
 and have more than justified the claim that this immense potential can be applied as
easily and as constructively as the use of electronic tape."B

The resources of all musical instruments have now expanded to include

conventional and unconventional elements, incorporating many
capabilities which were formerly unknown or unused, as well as those that
may be treated as extensions of established technical resources.
Contemporary, post-Modernist aesthetics permits the view that any
instrumental potentiality is capable of legitimate artistic application:
unconventional sonic devices are now accepted as viable material for
contemporary composition. Well-established concepts regarding the
fundamental nature of musical instruments have consequently required
radical re-evaluation. Since there already exists a substantial corpus of
music utilizing non-traditional performance techniques (which will
doubtless continue to be employed), an attempt to examine and realize their
full potential is both appropriate and timely.

1.2 "Recorder Unlimited"

Amongst the non-traditional acoustic resources that are currently

available, composers have, in particular, displayed considerable interest in
the possibility of producing multiple sonorities upon wind instruments.
When one specifically considers this aspect of recorder technique, it
becomes apparent that multiphonics 9 especially have held a continual
fascination and enchantment for composers working with this instrument,
ever since the technique first materialized in recorder music of the early
1960s. 10 Multiphonics actually appear in contemporary recorder
compositions with such regularity that they could now be regarded as a
common, accepted and established musical resource. 11
Multiphonics, being one of the most interesting manifestations of the
recorder's versatility, fundamentally transform the instrument and
radically widen its expressive potential, even to the extent of underlining its
affinity to the sound-world of electronic music. Recorder multiphonics
therefore considerably extend the instrument's artistic possibilities, and
can in fact be produced with greater facility, uniformity and ease than the
multiphonics of any other wind instrument. 12 Yet it is nonetheless
surprisingly true that, particularly in the case of the recorder, multiphonic
potentialities still require an exhaustive, systematic investigation and
definitive codification. There exists an urgent need to establish and
document specifically those recorder multiphonics which are truly
generalizable, reliable, and universally consistent in behaviour. 13 This
thesis begins to meet such a need, although, being merely a preliminary
study, a thorough examination which fully discusses every technical facet
of recorder multiphonics is clearly beyond its scope.
"Recorder Unlimited" is primarily directed towards composers,
recorder players and teachers. In obtaining the results presented herein, a
systematic, empirical approach has been taken. Pertinent multi phonic
techniques have been researched from the standpoint of Acoustics or
computer music, in which one commences with the very fabric of sound
itself, at a microscopic level. 14

- 3-
 Because this monograph is limited to the multiphonic capabilities of the
alto recorder, the musical excerpts which punctuate the text are generally
restricted to those composed for this size of instrument (although examples
relating to the other sizes will sometimes be given instead, where
necessary or desirable). These excerpts, it should be emphasized, are given
for purely didactic purposes, and have not been chosen on the basis of
possible artistic merit. 1S
It is my sincere hope that those who study this treatise will be
stimulated to apply and think even more creatively about the potentialities
of the recorder, and, by extension, of other musical instruments. 16 A full
documentation and explication of the available resources should then lead
to better Art as composers, performers and teachers explore the
possibilities in a sensitive, intelligent and forward-looking manner.

1.3 A Brief Review of Literature relating to Recorder Multiphonics

Introduction
In comparison with other woodwind instruments (particularly the flute
and clarinet), there is surprisingly little documentation appertaining to the
recorder's multiphonic resources. Much of the published literature treats
the subject in a rather superficial or even useless manner, which militates
against a real growth in technical awareness and prowess by recorder
players as well as an equivalent, parallel development in the artistic
application of recorder multiphonics by composers.
Significantly, most of the material under consideration here has been
formulated exclusively by recorder players, a situation that has
perpetuated ever since the pioneering work in this field was carried out by
Michael Vetter, a German recorder player, during the 1960s. As a
consequence, any serious discussion relating to compositional strategies
for recorder multiphonics is conspicuously absent from the available
source-writings.
Whilst early research into the multiphonic possibilities of the recorder is
fundamentally important, the present monograph develops much of this
research, documents some apparently new multiphonic capabilities, and,
for the first time, proposes numerous compositional procedures that might
be adopted in deploying recorder multiphonics within a piece of music. 17

1.3.1 Journal Articles

There appears to be only a single published journal article, of extremely

limited usefulness, which is devoted solely to the exposition of recorder
multiphonics. 18
Although Vetter's path-breaking corpus of articles 19 are historically
vital, they, and the vast majority of other relevant articles,2o are often very
general in nature and merely outline some of the recorder's multiphonic

- 4-
capabilities without delving deeply into any associated technical concerns:
the possibility of eliciting multi phonics (and related techniques) from the
recorder may only be mentioned, with little, if any, discussion relating to
their production or notation. Usually, only a handful of fingerings at most
are given in any accompanying multi phonic charts, and musical examples
are seldom provided. The inexactitude of such articles, demonstrated by
their cursory treatment of the subject, therefore severely limits their
practicability for both composers and performers.21 (In some instances, an
article's contents may even be somewhat suspect.)22

Reviews of relevant published monographs 23 and specific compositions

that make use of recorder multiphonics,24 on the other hand, frequently
include valuable technical information pertaining to these particular
publications, which might be considered worthwhile by those studying the
works under review.

1.3.2 Books and Monographs

Apart from the two major works which will be examined in detail
shortly,25 all of the criticisms raised in the preceding section may also be
levelled at the paucity of other publications that address, in various degrees
of perspicacity, the multiphonic potentialities of the recorder.26

The first edition of Michael Vetter's Il Flauto Dolce ed Acerbo (2nd

edition, Moeck, 1974), stemming from research initiated in the late 1950s,
was finished as early as 1964,27 and, it seems, comprises the first
completed document to include an extended critique of woodwind
multiphonics . Vetter was responsible for the apparent discovery,
instigation and systematization of much regarding the recorder's technical
capabilities as utilized by the 1960s Avant-Garde. Il Flauto Dolce ed Acerbo
- currently out of print - is a basic, erudite, though highly problematic
source of information in relation to the contemporary resources of the
recorder, with its inclusion of extensive tables of fingerings , technical
discussions and musical examples.

For the sake of concision, various positive and negative aspects of

Vetter's book, directed solely at its exposition of recorder multiphonics, will
be tabulated:

A. Michael Vetter: II Flauto Dolce ed Acerbo, 2nd edition, 1974.

Positive features

1. This edition is bilingual: all information is given in parallel German and

English. (The English translation from the original German is, however,
at times rather quaint.)
2. Clear explanations of all abbreviations and symbols are provided.

3. A few pertinent musical examples are included.

-5-
4. Vetter's document significantly incorporates charts of multi phonics
generated with the end of the recorder's footjoint "closed" or "covered". The
separation of these charts into "closed" and "covered" registers indicates a
thorough awareness of an important acoustic refinement in recorder
technique.

5. The original documentation of "harmonic" multiphonics 28 -

multiphonics with a low dynamic level and a thin, glassy, gentle timbre - is
valuable.

6. The multiphonic charts, arguably the monograph's most worthwhile

contribution, were for many years a mainstay for composers - particularly
those directly associated with Vetter - who utilized the multiphonic
resources of the recorder in their music.
7. Within the charts, the multiphonics themselves are arranged In
ascending order of pitch: a useful, time-saving feature for composers.

Negative features
1. In general, Vetter's work would now be almost completely unsuitable or
insufficient in meeting the extremely specialized requirements and
complex performance demands of certain contemporary composers who
study, in great detail, the playing techniques of instruments for which they
are writing. 29
2. The multiphonic fingering charts were compiled on the basis of research
carried out with a Moeck Tuju Baroque model alto recorder, a wide-bore
instrument originally designed, it seems, for use by schoolchildren and
amateurs. The structural characteristics of this model are therefore
atypical in comparison with those of an instrument ordinarily used by most
(professional) players in the performance of contemporary recorder
music. 30 Consequently, the charts as such are totally obsolete, because
manifold errors arise.

3. Whilst the multiphonic charts are extensive, many of the fingerings

provided therein have been found by users to give results which do not
correspond to the given notations - particularly in regard to the
multiphonics' component pitches. Errors are abundant, for example, in
the "covered register" charts, as well as in the indication of beat-free
octaves as opposed to other multiphonics, such as (supposedly) mistuned
octaves, which incorporate prominent beating phenomena. (Frequently,
such indications need to be interchanged.)
4. The pitch-specifications within the multi phonic charts lack a sufficient
degree of accuracy: pitches are resolved merely to 12-tone equal
temperament, which automatically precludes any microtonaI3 1
multiphonic conceptions that might be employed within a composition
when these charts are used as a source-reference.
5. The multiphonics and/or their fingerings are not categorized within the
charts in any meaningful way.
6. There is a complete lack of detail in Vetter's book regarding the

- 6-
production, acoustical characteristics and other parameters of the
multi phonic sounds themselves as obtained from each given fingering.
Prior to the appearance of this thesis, Martine Kientzy's monograph Les
Sons Multiples Aux Flutes a Bee (Salabert, 1982), published bilingually in
French and English, constitutes the only extensive study directed
exclusively towards the research and documentation of recorder
multiphonics. The work encompasses 1191 fingerings, giving rise to
approximately 775 recorder multiphonics. Although flawed, this admirable
treatise, unfortunately, has not yet received the widespread publicity and
application that it deserves. 32

A brief appraisal of this publication shall now be given in tabular

format, as before:

B. Martine Kientzy: Les Sons Multiples Aux FlUtes a Bee, 1982.

Positive features
1. Kientzy provides separate multi phonic charts for each of the five
common sizes of recorder [sopranino, soprano, alto, tenor and bass], a rare
feature indeed in comparable studies involving other woodwind
instruments. (This laudable feature will doubtless attain considerable
approval amongst both composers and recorder players.)
2. The charts include many technical parameters, which are lucidly
presented, as well as much more necessary technical information
("explanatory notes"), although both of these aspects of the document are
still incomplete, in my opinion.

3. Pitch-specifications within the multiphonic charts are resolved to 24-tone

equal temperament ('quartertones'). Arrows indicate a slight, unspecified
deviation away from the given accidental. This degree of pitch-resolution
adequately meets the needs of most contemporary composers.
4. A useful synthetic musical example is provided for demonstration
purposes.
5. As an extremely serviceable companion to her monograph's charts,
Kientzy has compiled, upon two cassette tapes, high-fidelity recordings of
every documented multi phonic (and the abovementioned musical example
as well). Thus, one is able to actually hear each listed sonority.

Negative featur es
1. The alto recorder multi phonic charts are derived from research carried
out with a Fehr instrument, a rather uncommon brand yielding
idiosyncratic results . (Similarly, a Moeck bass recorder was employed for
the bass recorder charts; this brand is gradually falling into disfavour
amongst many bass recorder players, who now prefer various Japanese
brands instead.) Furthermore, in no instance does Kientzy specify the exact
model of recorder utilized.

-7-
2. Many fingerings within the charts appear to give unreliable or
questionable results. Some multiphonics, for example, are more difficult to
produce than Kientzy's charts claim, whilst other given fingerings yield
constituent multiphonic pitches which are not consistent with those
specified in the charts.

3 . There appears to be no logical order of presentation or categorization of

either the multiphonics or their concomitant fingerings. In particular, the
disarray of multiphonics in terms of their pitch-parameters will cause the
search for recorder multiphonics with a specific pitch-content within
Kientzy's charts to be an unnecessarily arduous and time-consuming
exerCIse .

4. Several important multiphonic parameters, such as the component

pitches' registers, the amount of innate air-noise, and the extent and
character of inherent amplitude modulations, are omitted from the charts.

5 . Unlike Vetter, Kientzy totally ignores those classes of recorder

multiphonics generated with the end of the instrument's footjoint closed or
covered.

6. Beyond the basic production of individual recorder multiphonics (and

their spectral portamenti), the treatise includes no discussion of more
advanced multiphonic usages, such as the constructing of multiphonic
sequences, or even of rudimentary composite multiphonic techniques such
as multiphonic trills or (pitch) portamenti.

7. Kientzy's charts should be viewed as being incomplete, because they

exclude some recorder fingerings that are known to yield reliable and
consistent results .

8. Generally, there is an excessive inclusion of potentially awkward

multiphonic fingerings - particularly within the alto recorder multiphonic
charts - involving the two sets of double-holes, whereby only one of the
upper set is closed (with the right-hand ring finger) but one or both lower
double-holes are closed (with the right-hand little finger).33 This action
leads to a somewhat cramped hand-position which is not at all conducive to
rapid finger-movement.

9. Kientzy's tablature symbol for thumbhole ventage (0 ) is not clearly

defined in terms of the extent of thumb action: is the thumbhole 'half-
holed', 'shaded' or merely 'vented' slightly?

10. Kientzy claims that sets of recorder fingerings exist which yield
identical multiphonic sonorities:
"Synonymous multiple sounds (identical sounds but with different fingerings)" ,

and:
multiple sounds can have ... t he same sound with different fingerings
(synonymous sounds).,, 34

("Multiple sound lists with synonymous fingerings" are appended to the

main charts for each size of recorder.)

-8 -
This notion is completely erroneous: every recorder multiphonic
encompasses different acoustic details. Certainly, sets of recorder
multiphonics exist which are perceptibly very similar, but they are never
identical timbrally, because their precise spectral contents, air-noise
elements, undertones or modulation characteristics will vary - however
subtly. (For example, the synonymous multiphonic set associated with alto
recorder multiphonic no.67 contains diverse modulation phenomena.)
Such nuances may even be positively exploited by composers.35 (If these
sonoric differences are regarded as being compositionally negligible,
Kientzy's "synonymous multiphonics" might also find application in
musical contexts where ease of fingering is an important consideration.)

1.4 Some General Remarks concerning Charts of Recorder

Multiphonics

Although their compilers usually intend them to be all-embracing,

charts of recorder multiphonics may not be universally applicable, and
should never be considered absolute in every detail, as some variation in
the multiphonics' acoustical result or manner of execution might occur
between different instruments when the same fingerings are applied.
One should therefore approach charts of multiphonics with the attitude
of regarding them as a starting point, from which workable multi phonic
solutions may be derived heuristically by varying the provided fingerings, if
necessary. (Fingerings which do not give acceptable results, even when
modified, ought to be rejected.) The same procedure might also be applied
by recorder players when dealing with multi phonic fingerings provided in
scores or parts, if such compromises seem essential or no ideal solution
exists - unless, of course, the composer gives explicit instructions to the
contrary. Here, it is critical that the performer's definitive multiphonic
sonority, in any case, emulates as closely as possible that which is supplied
by the composer, so that the composer's artistic intentions are fully realized
within the particular musical context. 36
A considerable amount of information relating to the production of
recorder multiphonics is also largely unnotatable. Consequently, no
multiphonic chart can contain all of the relevant information for each
recorder multiphonic, or aspire to specifying the fine degrees of parametric
detail corresponding to the nuances involved in their actual performance.
(Recorder players must therefore be totally familiar with their
instrument's idiosyncrasies and the performance requirements for each
multiphonic within its musical context, prior to its definitive realization.)
Charts of recorder multiphonics are nonetheless valuable as technical
archives, despite their inadequacies. Where possible, proposed
multiphonics can be correlated to particular fingerings (and vice versa)
with the aid of multiphonic charts, or they may allow the musical outcome
to be predicted when a recorder multiphonic's technical parameters, such
as its articulation or breath-pressure, are modified.

"Recorder Unlimited" embraces only a fixed number of recorder

multiphonics, although many more are procurable. The accompanying

- 9-
charts include only alto recorder multiphonics, almost all of which are
thoroughly reliable and easy to produce, and display a reasonable degree of
consistency and stability.37 Potential users of these charts can therefore be
confident that the documented recorder multi phonics are reliably playable
by competent performers.38

1.5 On Models and Sizes of Recorder

Introduction
All acoustical research within this thesis focusses upon the alto
recorder, historically and universally regarded as being the central
member of the recorder family.39 Such research into the recorder's
multiphonic possibilities was carried out with an ebony Moeck Rottenburgh
alto recorder, an omnipresent, high-quality model of modern design in the
English/Modern fingering-system. This instrument, tuned to A440 Hz,
possesses an arched, vertically rather wide windway, double-holes for both
the right-hand ring and little fingers, as well as a fairly narrow conical
bore. Amongst the various instrumental models that are currently
available, it also seems to be the one which is most commonly utilized by
both professional and advanced amateur recorder players in the
performance of contemporary recorder music. Uniform results in the
practical application of the multi phonic resources documented herein can
therefore be expected, due to this instrument's ubiquity and a satisfactory
degree of uniformity in modern alto recorder design generally.

The issue of extrapolating data from the alto recorder multiphonic

charts in order that it be applied to other sizes of recorder, is highly
perplexing. One cannot merely transpose the given multiphonic (pitch)
information isomorphically, with the expectation that an equivalent
multiphonic will be correctly emitted from recorders of disparate sizes. One
can, however, propose some general guidelines that might be helpful in
this regard.
It is suspected that the "universal" alto recorder multiphonics in the
attendant charts are precisely that: such multiphonics, with the
appropriate pitch-transpositions, can probably be produced by all recorder
sizes with a reasonable degree of consistency and predictability. One can,
in addition, cite some very general tendencies in multiphonic data
transferral amongst various sizes of recorder relative to the alto
instrument:

1. Smaller recorders (garkleinflOtiein, sopranino and soprano)

The garkleinflotlein recorder is a single-holed Renaissance form with a

gently tapered cylindro-conical bore. Its constructional characteristics are
therefore quite different to those of a modern alto recorder, so that few
useful recommendations can be made.

The sopranino and soprano recorders resemble the alto instrument's

design, and similarly possess some degree of structural uniformity.
Consequently, it is likely that many reliable alto recorder multiphonics can

-10 -
be transferred to these instruments with reasonable success, although it
should also be emphasized that the level of innate multi phonic instability
will often increase as a multiphonic is elicited from progressively smaller
recorders (assuming an invariant fingering-configuration).

Because all of these instruments command a smaller gamut than that

of the alto recorder, those multiphonics which encompass constituent
pitches in very high registers ought probably to be excluded from
consideration.

2. Larger recorders (tenor, bass, great bass and contrabass)

In general, the modern tenor recorder falls into two design-categories:

those with keyes) in place of the lowest double-holes, and keyless
instruments. (The keyless model only will be included here, since it is
preferred by many performers when playing contemporary recorder
music.) Modern keyless tenor recorders are proportionately shorter than
their alto counterparts, and so incorporate a bore which is rather more
conical in profile; a general acoustic corollary is that the intervals between
multiphonic component pitches may, in some instances, be slightly
expanded in comparison to analogous alto recorder multiphonics.
Nonetheless, many alto recorder multiphonics appear to be applicable to
the tenor recorder as well (without any significant intervallic alteration),
although some other parametric deviations are likely.
For the even larger recorders, which are always keyed, valid
generalizations cannot be made because of an almost total absence of
standardization in their structural features. Composers and recorder
players are nevertheless encouraged to experiment with the multiphonic
resources of these instruments, which are profuse.
Ultimately, a successful outcome in adapting alto recorder multiphonic
charts to other recorder sizes for compositional purposes is contingent
upon scrupulous collaboration between the composer and a helpful
recorder player.

1.6 Further Remarks to Composers and Performers

Collaboration between composers and recorder players: additional points

All recorder multiphonics are largely moulded according to each
instrument's constructional features, rather than being an end-product of
the composer's imagination. The instrument itself consequently becomes
the composer's primary stimulus.

It is therefore essential that composers fully co-operate with

conscientious, proficient and sympathetic recorder players, in order to
hear and familiarize themselves with the multiphonic sonorities that they
intend to utilize. Such sounds cannot otherwise be imagined. 4o Moreover,
an intense working relationship established between composer and
knowledgeable performer often provides positive stimulation for the
development of new musical ideas.

- 11-
 The musical context that a recorder multiphonic is placed within
ultimately determines its practicability: a multiphonic that is easily
produced in one situation might be inexplicably difficult to realize in
another. Composers therefore ought to have a collaborative player test
proposed multi phonics within the intended context of the work-in-progress,
rather than just slavishly copying or definitively basing compositional
decisions upon data provided in a technical manual (such as this thesis).
An additional complication arises from the fact that, because of immutable
anatomical characteristics, different players may vary from one another in
their ability to execute certain multi phonic possibilities demanded by
composers. 41

Composers are nonetheless encouraged to adopt a free artistic attitude

in exploring the multiphonic resources of the recorder, whilst being
concurrently aware that the perfection of multiphonic techniques in
performance usually entails an increase in rehearsal time for the player,
particularly if they are not already accustomed to the technical demands of
contemporary recorder music. 42

The documentation of multiphonic technical data in score and parts

Because most recorder players, deplorably, are still unfamiliar with the
many technical developments that have been achieved upon their
instrument since 1960, it is the responsibility of every composer, in utilizing
the recorder's multiphonic capabilities, to provide clear, precise and
exhaustive technical details in a preface to the score - and the players'
parts. Thorough explanations relating to multiphonic notation, fingering-
indications and all other parameters,43 the model of recorder used in the
multiphonic research, as well as further verbal directions ought to be
included in all relevant materials. In addition to supplying tablature
pictographs for multiphonic fingerings within the score and parts,44 it is
also desirable to insert, within the technical preface, a separate,
comprehensive chart encompassing all of the composition's recorder
multi phonics and their pertinent parameters. 45 (This readily allows the
performer to verify the response of each recorder multiphonic upon their
particular instrument.)

It is also crucial that the notated musical result corresponds as

precisely as possible to the actual acoustic object which eventuates from
carrying out the given performance directives. Multiphonic pitch-
designation, for example, must be accurate in this regard - particularly
within a conceived microtonal context - in order to avoid potential
confusion. For recorder multiphonics in general, the abovementioned
correspondence might sometimes be difficult to achieve due to problematic
variations in instrumental behaviour, yet composers should be cognizant of
this factor and must take appropriate, decisive action by perspicuously
informing the player of the procedures to be adopted when difficulties
arise. 46

Two compositional methods for dealing with multiphonics' variability

There are, in essence, two mutually exclusive approaches that can be

- 12-
taken by composers in solving problems appertaining to multiphonic
discrepancies. The performer might, for instance, be instructed to
experiment, if necessary, with different recorder multiphonic fingerings -
usually variants of those provided in the score - in order to achieve a sonic
result which optimally corresponds to the given notation. This procedure is
by far the most common: 47

Ex.I-I. Arne Mellnas: The Mummy and the Humming-Bird. p.2.

(Alto recorder and harpsichord)

Or, ad lib, other but similar types of multiphonic sounds.

M) Oder, ad 1 ib, andere aber ahnl iche Typen von mehrstimmigen Klangen .

Ex. 1-2. Klaus Hashagen: Gesten. Preface. p.5.

(Recorder and tape)

The fingering instructions for varying the tonal quality

and chords are approximative. Should they not be correct
(primarily if they are not logical: a chord in harmonics must
sound in the first place like harmonics; should one of the
given external tones be inexact, then this is unimportant),
then one can interchange them (d. the charts in "n flauto
dolce ed acerbo", Ed. Moeck No. 4009).

The player is here referred to the charts within Vetter's treatise,

discussed previously.

- 13-
 Colin Sterne also states the following In relation to his composition
Meadow, Hedge, Cuckoo:
"Although the exceptional fingerings were tested on recorders from various makers,
there may be an effect that causes problems on a particular performer's instrument,
and some experimentation may be called for. This is particularly true in the Eerie,
sinister section [which includes several multiphonic gestures]. If all else fails, a
substitution may certainly be made."48

(Numerous other examples of this compositional approach also exist.)

Alternatively, the recorder player could be compelled by the composer to
adhere dogmatically to the given multiphonic fingerings, thereby
permitting the player to ignore any possible incongruities that might arise
between the musical notation and the resultant sound. Such a concept,
though logical, is exceedingly rare:

Ex. 1-3. Richard David Hames: Ku. Preface, p.3.

([Alto) recorder, dancer and multiple tape delay)

Harmonics: The. 6oUowhtg haJUnOrUeJ.> Me. Me.d. The. 6htgvUng-6 givm -6hOLL[d be. -6VJ..c;t11j
adhe.lLe.d to. AUe.lLna.:Uve. ILOLLte.-6 Me. atway-6 g..t.ve.n whe.lLe. -6Y-6tem,5 u;t{LU, e. haJl-
morUeJ.> ht 01Lde.1L :that the. pl..a..ye.IL may c.h00-6 e. whe.the.IL OIL not to Me. them M
an htte.gtLai timblLe. dwung the. C.OWL6e. 06 a pe.IL 6OILmaVlc.e.
.. ..
0

.
0
0
..
0

,. T +
(Jl:) 1"" t---
~ 0
0

(ie) j. l'

Ex. 1-4. Tui St. George Tucker: Sonatafor Solo Recorder. Preface.
(Alto recorder)

SOME PERFORMANCE SUGGESTIONS FOR THE SONATA

All rests of a quarter and longer, may be played with a slight fer-
mata. This does not mean that every rest not marked should. be held.
The player must feel his rests and phrases so that they build prop-
erly in actual performance. Since he is ~ot bou~d by co~trapuntal ob-
ligatiOns, they may vary slightly accordrng to hiS own Judgment.
The following fingerings and trills should be observed as notated.
These are the particular sounds intended by the composer.

- 14-
 CD 0 0 (j)

e+
~ .

!
,.
!
...
e+
. .
0
!
! !
.+ .+ 0 e+

.+



e+
0 0
0

0 0 0

@ @
~v ...
~ 1'[ For this trill
~
4>
0 use palm of
! ! band on bole

o. o. o.
=
o. o. o. o. o.
.+
0
0
0
at lower end
of recorder .

! .! .! .! .! . .! . 0

0 0
0
@l-
0 0 0 0
0
0 0
0 0 0 0 0 0 0 0

"The following fingerings ... should be observed as notated."

Numbers 7 and 10 relate to multiphonic trills.

I, too, have taken this unusual course of fixing rigorously the

multiphonic fingerings in my brief etude Helical Ribbon:
"ALL multiphonic fingerings provided within the score are to be strictly adhered to:
absolutely NO fingering modifications are permitted!"

Naturally, it is also feasible that a composer might sanction, within a

single recorder composition, both of these diametrically opposed attitudes
relating to multiphonic fingerings. One approach could be adopted for a
particular set of recorder multiphonic fingerings, or certain clearly
indicated musical passages, whilst the other approach may apply to the
remaining multiphonic fingerings or elsewhere within the same piece.

Some remarks to recorder players

All recorder players who wish to perform contemporary music are now
obliged to explore the full potentialities of their instrument. Yet this task
should not be looked upon by such players as being onerous, for the
determined practising of many post-1960 recorder techniques - whilst they
do require much perseverance - is extremely advantageous in enhancing
the player's traditional technical faculties. The execution of performance

- 15-
subtleties necessary for the realization of most of the recorder's
multiphonic capabilities leads to technical improvement in several areas.
Greater sensitivity of articulation, as well as vastly increased breath-
control and fingering-dexterity result from the repeated production of
difficult multiphonics, the relentless practising of minute or very gradual
multiphonic . spectral portamenti, and the rapid performance of
multiphonic sequences involving awkward fingering-patterns, for
example.

Concluding comments

In order to cultivate the artistic regard and vitality of the recorder, it is

now imperative for every musician who works with the instrument in
contemporary musical life to become fully conversant with the recorder's
extensive capabilities, including its multiphonic resources, and to keep
abreast of any new developments. Indeed, from the outset of the 1960s
Avant-Garde explorations, pioneering and experimental recorder works
were already being written, documented and widely performed. For the
sake of the instrument's future well-being, the healthy tradition that was
then established needs to be perpetuated.

1.7 Pitch Designation

Where pitch-names are provided in the text, they are also labelled
numerically: the given number indicates the corresponding octave within
the recorder's regular tessitura. A zero (0) refers to the first octave below
the standard range (which might, for instance, include certain
combination tones and unorthodox pitches produced when the end of the
footjoint is closed [airtight]).

Within this scheme, quartertones and other microtones are specified as

follows:

1. f denotes a pitch one quartertone higher than ~ .

2. ~ denotes a pitch one quartertone lower than ~ .
(Three-quartertone accidentals are not employed anywhere within this
treatise, or in its multi phonic charts.)

3. Arrowheads upon any accidentals in the text (or within the multiphonic
charts) denote a slight intonational deviation away from the specified pitch
- somewhat less than a quartertone; no more than an eighthtone - in the
given direction.
The following chart outlines this pitch-designation system in terms of
the alto recorder, to which all pitch-names given in the text will refer,
unless otherwise specified:

- 16-
 A\10 rl!.<:.orrAer.
,-, r-l ,---,.--. ~.

I' _ ,. I9'~' f. t. t'i' i.l. ---!' \,. t. Ii' 1\. t. S 9' z

F~O - F"O

Endnotes

1. Hence the title of this thesis : "Recorder Unlimited". The post-Modernist philosophy just
outlined forms the aesthetic foundation upon which "Recorder Unlimited" is based. It arose
from the philosophy of total artistic freedom which was espoused - but in reality not often
practised - by the post-War musical Avant-Garde. "Recorder Unlimited" is therefore not
bound in any way to specific styles or genres of music (although many of the musical
examples provided herein happen to be taken from Avant-Garde compositions, which often
extensively utilized multiphonic capabilities). Historically, the concept of pan-stylistic,
exhaustive research into the sonic and artistic potentialities of musical instruments has no
precedent prior to the Avant-Garde of the 1960s.

2. A detailed historical examination of twentieth-century musical traditions which were

precursors to 'the new experimentalism' is beyond the scope of this thesis. The topic is
adequately discussed by Cope (1984) , Erickson (1975) and Farmer (1982), for example.
More specifically, the history and evolution during the twentieth century of the recorder
itself, as well as the instrument's repertoire, is well documented within O'Kelly (1990) and
Braun (1978) . O'Kelly, however, also makes the following general comments (op . cit. ,
p .82) :

"One of the most significant developments in twentieth-century music has been the expansion in
instrumental techniques that led to a reassessment of the capabilities of all instruments. The
concept of Klangfarbenmelodie ('melody of tone colours'), which made its first appearance in
Schoenberg's Five Pieces for Orchestra of 1908, was further developed in the music of Webern,
Bartok and Messiaen and can be seen as a desire on the part of composers for new sounds and
hitherto unknown possibilities for expression. Since the Second World War, and since the 1960s
in particular, further expansions of instrumental technique have taken place as players and
composers explored the hitherto latent possibilities of their instruments."

- 17 -
3. In view of current musical aesthetics, one may arrive at a workable definition of 'noise' as
being those sounds which have such a high level of aural complexity and transient
phenomena that individual frequencies within the sound can no longer be readily
perceived or determined.

4. It should be understood that there was no connection between these American composers
and the Italian Futurists (whose musical accomplishments and aesthetics are reviewed in R.
Payton (1976)) .

5. There exists a contemporary technological counterpart to musique concrete in the process

of digital sampling [see Appendix 7.4.2], where instead, naturally occurring sounds (for
example) are digitized and recorded, thence controlled, edited and manipulated by
computer. Digital sampling therefore permits extremely fine degrees of control and
precision, surpassing in subtlety and complexity even the sounds themselves. (This
presents a stark contrast to the crude and relatively inaccurate tape editing techniques of
classical musique concrete, grossly insufficient for the building of genuinely interesting
sound-structures with natural acoustic resources that were vastly richer.)

6. Such experimentation by jazz musicians was, naturally, not just limited to the exponents of
single -reed wind instruments, although, amongst jazz performers actively exploring their
instruments, they are perhaps the most prominent and well-documented.

7. A detailed account of early experimentation with instrumental sounds during the late 1950s
and early 1960s may be found in Farmer (1977), pp.31-32. (See in addition Bartolozzi
(1982), acknowledgements.) It is perhaps appropriate to also mention here an important
predecessor and pioneer in this field : harpist and composer Carlos Salzedo, who had, by
the late 19205, already investigated to a large extent and documented in fine detail the
harp's sonic possibilities . Many of the harp techniques and notations that Salzedo
developed, including those with prominent 'noise' elements, were already established
amongst harpists - and some composers - as being viable or even customary musical
resources at the time when analogous research involving other instruments had only just
begun. Salzedo, based in America, was an aesthetic ally and contemporary of those radical
American composers discussed earlier (in particular Edgard Varese, with whom he worked
closely) .

8. Cope (1984), p.89 .

9. The term 'multiphonic', in relation to the (alto) recorder, shall be precisely defined in section
2.1 . (The originator of the word "multiphonic" appears to have been Reginald Smith
Brindle, who created it as a replacement for the obviously unsuitable term "polyphonic" in
his first (1967) edition and English translation of Bruno Bartolozzi's historic New Sounds for
Woodwind. See Bartolozzi (1982), p.2 fn.2 .)

10. Prior to this time, the phenomenon of recorder multiphonics was not customary, being
totally neglected (if not unknown). In fact , the recorder's sonic potential was not actively
researched until the early 1960s, probably as a direct result of the instrument's complete
detachment from the post-War musical Avant-Garde through its ubiquitous association with
amateurs and elementary music education .

11. Historically, research into the recorder's multiphonic possibilities was in fact being carried
out right from the beginning of woodwind multiphonic exploration in general : one should
realize that Michael Vetter's pioneering work II Flauto Dolce ed Acerbo was actually
completed in 1964 [Vetter (1974), p.6], somewhat earlier than that by Bartolozzi [see en.9,
above]. (This fact totally invalidates the popularly held misconception that Bartolozzi was the
pioneer in woodwind multiphonic research.) Furthermore , recorder compositions such as
Jurg Baur's Mutazioni (1962) and Rob du Bois' Spiel und Zwischenspiel (1962), both
written in collaboration with Vetter, rank amongst the earliest acknowledged pieces of
notated music to employ multiphonics. Recorder multiphonics have been continually
utilized in progressively larger numbers of compositions ever since their early appearance in
these historic recorder pieces, thus lending credibility to the proposition that the recorder
multiphonic is, indeed, an established and common resource in post-1960 recorder music.

- 18 -
12 . Daniel Waitzman, for example , supports this view. He states that multiphonics are "a
technique in which the recorder excels all other woodwinds" [Waitzman (1970), p.19] . (See
also Anon . (1969), p.124 and Thorn (1989), p.8 :

"Multiphonics (or chords) are more easily achieved on the recorder than on any other wind
instrument.")

Furthermore , because its simple , keyless anatomy permits supreme versatility through
fluent access to an enormous , inimitable arsenal of technical resources, one could even
readily argue that the recorder is generally better suited to the artistic demands of
contemporary music than any of the structurally more complex , 'perfected' modern wind
instruments. (Consequently, the recorder, despite its structural simplicity , demands the
highest levels of technical mastery in order to fully realize its potential.)

13 . This task is feasibly attainable in the case of the recorder, whereas for most other wind
instruments it is not. We now know, for instance, that wind instruments such as the clarinet,
saxophone, oboe or bassoon, which utilize a reed as a sonic generator, yield highly variable
results from instrument to instrument and from player to player when many multiphonics are
attempted. Because a sound-producing reed is absent from the acoustical mechanism of
the recorder, numerous generalizable, consistent multiphonics exist for this instrument.

14 . Where possible, in presenting and discussing each multiphonic technique, an attempt has
been made to replicate the order of presentation and structure of the Appendix. The data
given in "Recorder Unlimited" has been generated by following the basic procedure of
systematically exploring the multiphonic possibilities which arise from each fingering -
configuration .

15. Whether or not the musical examples represent 'good music' is not a relevant concern here:
the (perceived) musical worth of the examples may in fact vary widely from one to another
when this aspect is considered in isolation. (At any rate , the issue of artistic merit is a
question which can only be resolved by the individual reader: de gustibus non est
disputandum.)

16 . For instance, one could , with appropriate modification, readily apply most of the concepts
discussed in "Recorder Unlimited" to other wind instruments.

17. See Chapter 4 in particular.

18 . Anon . (1969) . This article includes merely a scanty discussion relating to the production,
notation and manipulation of recorder multiphonics, and contains only a few - 18 -
multiphonic fingerings and (unwieldy) multiphonic notations for the sopran ino recorder
alone , many of which are thoroughly impractical. (The multiphonic resources of the
sopranino recorder do not find particularly widespread application amongst composers or
performers , and are translated with some difficulty and inconsistency to the larger sizes of
recorder.)

19 . Vetter (Kontakte No.3, 1966); Vetter (Kontakte No.5, 1966) ; Vetter (Summer 1967); Vetter
(November 1967) and Vetter (1968) .

20 . Such as Baur (1963) ; Anon. (1964) ; Clemencic (1971) ; Margolis (1976) ; Malinowski and
Margolis (1976) ; Hunt (1976) ; Lander (1980) ; Turner (1987) and Thorn (1989) .

21 . However, it must be stated that from the list of articles given in en.20 above , Margolis (1976)
is arguably the most helpful and comprehensive by far.

22 . I find many of the remarks devoted to multiphonics in Thorn (1989) , for example , to be
rather dubious or contentious.

23 . Waitzman (1970) and Clark (1983).

24 . Consult the Bibliography (part A) for an extensive listing.

25 . Vetter (1974) and M. Kientzy (1982) .

- 19-
26 . Relevant books and monographs include: Braun (1978) [contains a multiphonic chart of
reasonable size]; Schmidt (1981) [the topic of recorder multiphonics is intelligently
discussed, and several musical examples are provided] ; Davis (1983) [includes a single
multiphonic etude with some fingerings and a very brief commentary]; Waechter (1983)
[largely duplicates the material in Braun's treatise]; Rowland-Jones (1986); Rechberger
(1987) [as well as devoting a section to the notation of new recorder music, this admirable
handbook presents tables of alto recorder multiphonics which contain examples with the
end of the instrument's foot joint 'closed' or 'covered']; O'Kelly (1990) [incorporates some
discussion of recorder multiphonic acoustics, an examination of important contemporary
recorder repertoire that utilizes multiphonics, several musical examples, and a concise
technical summary - but regrettably, no multiphonic charts]; and van Hauwe (1992) [an
excellent overview of contemporary recorder techniques in general, with an interesting
discourse on multiphonic production (plus some practical exercises) , but only a very small
table of multiphonics].

27. See [Chapter 1] en .11 for further details.

28 . This term is actually a misnomer, for most of the multiphonics in question do not include
constituent pitches that are in a harmonic series ('harmonic') relationship to one another.

29 . I have in mind those composers who have adopted the so-called 'new complexity'. Witness,
for instance, the extreme notational intricacies and performance demands presented
throughout Brian Ferneyhough's Unity Capsule (solo flute).

30 . Vetter himself acknowledges this problem, as well as the consequential discrepancies that
arise between the charts' indications and the observed acoustical outcome when the given
fingerings are attempted upon a high-quality alto recorder of standard construction [Vetter
(1974), p.8].

31 . For the purposes of this thesis, a scale, tone or interval shall be deemed to be 'microtonal' if
its pitch-structure differs perceptibly from that of the chromatic scale (i.e. 12-tone equal
temperament) based upon A440 Hz.

32 . The book's obscurity is marked, for instance, by its deplorable omission from an otherwise
fairly comprehensive annotated bibliographic listing of woodwind multiphonic sources
[Barata (1988)] . (It is also highly probable that few composers or recorder players will be
familiar with the work, either.)

33 . For the sake of brevity and practicality, such fingerings are totally excluded from the
multiphonic charts that accompany this thesis.

34 . M. Kientzy (1982), p.7.

35 . See Ex.4-5 and Ex.4-13, for instance.

36 . It is often the case , for example, that composers give recorder multiphonics' timbral
characteristics a higher compositional priority than their precise pitch-content. When
difficulties arise, the musical context and the composer's wishes dictate the choice of
another recorder multiphonic by the player, which will optimally replicate the specified
multiphonic's timbral profile above all other factors.

37 . (Very) difficult, awkward or recalcitrant alto recorder multiphonics might occaSionally be

included within these charts , when the resultant sonority justifies the effort involved in
attaining it.

38. Recorder fingerings that occur within textual examples, unless commented upon, mayor
may not be reliable or yield sonorities that match the given notations. The reader is
therefore advised to consult the accompanying multiphonic charts and/or a trustworthy
recorder player. (The latter possibility is particularly advisable if the example refers to a size
of recorder other than the alto.)

39. The alto recorder has also achieved the highest level of constructional standardization
amongst members of the recorder family.

- 20-
40. A good partial solution to the experiential problem is to have the collaborative performer
record the multiphonic sonorities on (cassette) tape, in order to ensure that the actual
sounds are readily accessible by the composer at all times during the creative process . This
is the sensible approach that the German composer JOrg Baur - for example - took in
working on his piece Mutazioni with Michael Vetter. Baur chose a dozen recorder
multiphonics from approximately thirty, of various degrees of harshness, that Vetter
recorded on tape [Anon. (1964), p.127]. (The Australian composer Bruce Cale and myself
adopted the same working method for the preliminary research and subsequent
composition of his Cullenbenbong.)

41. Multiphonics produced by fluttertonguing breath-generated trills will, for instance, be

completely unrealizable by a recorder player who finds it physiologically impossible to
fluttertongue. (See the relevant passages in section 2.4.5.)

42 . This latter remark is made purely for reasons of practicality: aside from recorder players'
potential lack of technical familiarity, the fundamental technical difficulties associated with
certain multiphonic resources of the recorder may also exceed those of more traditional
practices.

43. For recurrent multiphonics, one could number the pertinent fingerings and indicate their
repetition with these numbers, instead of duplicating tablature pictographs: see Ex.4-1 -
and also the technical preface to my own work, Helical Ribbon:

"After their initial presentation ... all multiphonic fingerings are merely designated with numbers
beneath the stave; some performers may instead choose to re-draw the appropriate tablature
pictographs at each new occurrence."

Furthermore, certain information provided within multiphonic charts, such as the registers of
constituent pitches, stability characteristics and levels of innate air-noise, need not appear
in the music. Notationally, one should treat recorder multiphonics in a similar manner to
conventional tone production. (As soon as proper multiphonic production is established,
any extra symbolic reminders of the sonority's basic timbral profile usually become
redundant.)

44. Tablature pictographs for the recorder are invariably placed belowthe musical stave.

45. The composer might also consider providing a brief prefatory verbal description of the
intended multiphonic sonorities . This may be beneficial in avoiding any ambiguities and
could assist in the orientation of the recorder player.

46 . If such a consideration is ignored by the composer, it is likely that an intelligent player will be
placed in a quandary as to which alternative is to be adopted in difficult or ambiguous
ci rcu mstances.

47. See also section 1.4, second paragraph.

48. Sterne (1979), pp.74-75 . See also the commentary to Ex.4-12 for another example.

- 21-
 2. ALTO RECORDER MULTIPHONICS

2.1 Some Basic Considerations ...

2.1.1 What are Multiphonics?

Recorder multiphonics demarcate a specific technical region within the

larger, generic class of resources known as 'multiple sonorities '. 1 The
consideration of what precisely constitutes a 'multiple sonority' on the
recorder is, however, somewhat problematic.
Because every sound that a recorder produces is spectrally complex, in
that it contains several, often individually perceptible acoustic elements
(such as various overtones, formants, undertones, air-noises, transient
elements, modulation components or other sound-constituents), all
recorder sounds are, in a sense, 'multiple'. The arbitrary combination of
the recorder's many different technical capabilities may furthermore yield
numerous 'multiple' sounds. 2 Consequently, it is necessary to formulate
an ad hoc definition for recorder 'multiple sonorities'.

One might define 'multiple sonorities' on the recorder, in the context of

this thesis, as being those recorder sounds which arise within the
framework of a single technique, whereby the acoustic outcome contains
two or more clearly distinguishable, separable and/or controllable sonic
elements .3
Recorder multiphonics are simply those multiple sonorities in which
the particular fingering-configuration permits the simultaneous
appearance of two - or more - audible recorder tones associated with
different partials or modes of vibration within the recorder's air-column. 4

2.1.2 The Acoustics of Alto Recorder Multiphonics

The recorder, like every other woodwind instrument, was traditionally

regarded as being absolutely monophonic or melodic in nature, and was
therefore relegated to the position of articulating only linear musical
structures, or monody. Yet because the recorder is quite sensitive to
'overblowing',5 it became apparent that this instrument is also able to
initiate and sustain multiphonics, vertical acoustic structures which
demonstrate that the recorder possesses a complementary
harmonic/chordal dimension as well. (This unprecedented aspect of the
instrument has been systematically exploited only since the early 1960s.)
Every fingering upon the alto recorder seems to be capable of furnishing
at least one multiphonic - with various degrees of facility in their
production;6 indeed, the majority of alto recorder multiphonics are easily

- 22-
generated. In many instances, a single alto recorder fingering can even
provide two or more distinct multi phonics:

Ex.2-1. Sylvano Bussotti & Michael Vetter: RARA {dolce}. p.l. no.7.
(Alto recorder)

...

Here, the specified recorder fingering supports two completely different

multiphonics. A sudden decrease in breath-pressure causes the initial
multiphonic to collapse into another multiphonic whose analogous
constituent elements lie in lower registers. The gesture is naturally
achieved without adjusting the fingering-formation. (In this example's
numerical tablature, 1 corresponds to the thumbhole of the alto recorder.
Also, the first multiphonic's lowest pitch is actually notated one semitone
flat in relation to its real sound.)
What are the acoustic mechanisms that cause multiphonics to occur
upon the alto recorder? In the light of previous remarks pertaining to their
ubiquity and technical feasibility, this is certainly an intriguing question
which deserves to be answered. Yet the stated aims and limitations of this
monograph 7 preclude a detailed acoustical analysis or exegesis of
multiphonic phenomena, so that the following discourse merely provides
an elementary, cursory introduction in which only basic acoustical
properties or tendencies relating to alto recorder multiphonics are
expressed.8
Every alto recorder fingering determines an acoustic pipe-length and an
air-column which can maintain several modes of vibration. These
vibratory modes manifest themselves as tones on the recorder that are
placed within corresponding registers of the instrument. 9 As the jet-
veiocity 10 is progressively increased by the player, higher vibratory modes
are instigated: it is often the case with alto recorder fingerings that a range
of jet-velocities exist within which two (or more) modes of vibration
resonate together. A very weak acoustic coupling between the relevant
vibratory modes is the probable cause for this multiple resonance condition,
and so, rather than locking into a harmonic relationship, the generated
component tones and their harmonics, with an appropriate articulation,
interact nonlinearly, thereby giving a multiphonic. The amplitude
modulations and phase variations which also occur within this nonlinear
acoustic system create multiphonic sidebands. Alto recorder multi phonics
therefore regularly incorporate various resultant 'beats' and/or
'combination tones' - apprehensible summation and difference frequencies

- 23-
- in addition to their basic constituent pitches. 11 Moreover, multiphonic
stability upon the alto recorder appears to be essentially connected with the
range of jet-velocities that are able to produce such an acoustical state from
a particular fingering. When this range is wide, a stable recorder
multiphonic emerges; conversely, a narrow jet-velocity range renders a
multiphonic unstable. 12
For recorder fingering-configurations in which an open fingerhole is
located somewhere between two closed fingerholes (or the thumbhole itself
is open), 13 the open fingerhole may serve a dual acoustic function in
establishing a multiphonic, both as an effective termination point of the
pipe, and as a vent-hole or 'speaker' - creating a pressure node - for modes
of vibration above the fundamental mode within the air-column. The
position of this vent-hole along the effective pipe-length presumably limits
the modes of vibration that may prevail within the multiphonic (by
inhibi ting the resonance of certain vibratory modes whilst enhancing
others), and so fixes the registers of the multiphonic's constituent tones. 14

2.1.3 The Timbral Characteristics of Alto Recorder Multiphonics

Introduction
It could be posited that most recorder multiphonics are timbrally
unpleasant or odious in comparison with the more traditional sounds of
Western music. Yet within a post-Modernist context, in which every sonic
resource is considered purely on its own terms (independently of the tenets
of Western functional harmony and the major/minor tonality system, or its
parallel, conventional notions of timbre), recorder multi phonics can strike
a listener as being aesthetically pleasing simply because they are quite rich
in acoustic information. This novel technical capability therefore greatly
expands the instrument's tonal palette by providing a thoroughly relevant
expressive medium for composers and recorder players alike: the singular
timbral nature of recorder multiphonics, when deliberately and artistically
cultivated, might, for instance, invest the music with particular substance
by underscoring extra-musical associations that a composer has
consciously linked to a piece.

The pitch-content of alto recorder multiphonics

The substantial majority of alto recorder multiphonics are (multiple)
sonorities which encompass only two prominent or audible component
tones each, as many of the examples throughout this treatise - and its
associated multiphonic charts - illustrate. 15
It is exceedingly rare for any of the remaining recorder multiphonics to
include more than three perceptible constituent pitches, and even those
comprised of precisely three recognizable instrumental tones in different
registers are uncommon. For such multiphonics, the inner component
pitches are invariably somewhat softer than the multiphonics' extremities,
and may indeed tend towards inaudibility. These inner elements also
appear to be largely inextractable (in legato) from their multiphonics, so
that they cannot ordinarily be used as allied monophonic resources which

- 24-
are smoothly elicited with the same fingering-formations - although
sometimes, such single pitches may be separately obtained, quite apart
from the multiphonic.

In the following example, Mellnas requests a multi phonic that contains

three constituent elements. Because Mellnas does not provide any
fingerings whatsoever for multiphonics in his composition, a plausible
fingering-configuration is given next to the example. 16 Even so, amidst the
multiphonic that arises from this fingering, the inner pitch, B-natural, is
certainly rather indistinct. (The extreme tones are, however, duplicated
with sufficient precision in regard to pitch.)

Ex.2-2. Arne Mellnas: The Mummy and the Humming-Bird. p.3.

(Alto recorder and harpsichord)

f
-======= f
I

I: -4

o
o

00
(e o )

Notationa l considerations

Composers, in specifying alto recorder multiphonics, are recommended

to notate the entire audible sonority using conventional symbols for all
discernible pitches. (Any soft inner pitches could perhaps be placed in
parentheses, or alternatively written with a smaller notehead.) 17 Other
symbols may be implemented where necessary, but for those that augment
basic notational practices, a codification of the symbology and universal
consensus is still required, in order to avoid any potential confusion.

- 25-
Furthermore, as a helpful reading aid for the performer, every fingering-
indication - preferably supplied as a tablature pictograph - ought to be
consistently placed below the stave, the corresponding fingering being
provided whenever each multiphonic appears (unless an obvious repetition
or pattern exists ). 18 The following examples, in which all multiphonic
pitches are supposedly resolved to the nearest semitone, typify this
notational approach:

Ex.2-S. Wolfram Waechter: Neue Technische Ubungen. Study 15.

(Alto recorder)

(5)
#~
4t r~ ,. r' rr!1,"f #
I r r' f Fir
9
rT F r.2
v
I

Ex.2-4. Rob du Bois: Spiel und ZwischenspieL bar 69.

(Alto recorder)

Ex.2-5. Gerhard Braun: Monologe I. letter A

(Alto recorder)

- 26-
Ex.2-6. Klaus Hashagen: Gesten. p.14, letter M.
(Alto recorder and tape)

6 1't5"

------=4-- N
~ schneU .#:e:.,.....
-. ~~~ nacb It..
STJ.
wechseLIl 55
II
E 1~3:)67

-===
-===
!

(In the above examples' numerical tablature, 1 denotes the alto

recorder's thumbhole.) Ex.2-6 also exploits 'proportional notation' , in
which conceptually, a certain length-segment on the score page
corresponds to a stipulated duration. 19 This non-metric, mensural
notational format is otherwise employed, on occasion, within deliberately
undefined or indeterminate chronomorphoiogical 20 contexts:

Ex.2-7. Ryohei Hirose: Meditation. p.3.

(Alto recorder)

. L - - - - - - >. #>.
f IT r t~t
> >

I, .
( 01 3 45 )

- 27-
 Hirose's fingering tablature here designates the instrument's
thumbhole with a 0 instead of a 1. 21

In Ex.2-8, Braun regrettably - and atypically - gives no fingering-

indications or other technical data from which the multiphonics ("MK"
[Mehrklang]) might be realized. It is, nonetheless, not difficult for a
competent and inventive recorder player to find, either through direct
heuristic experimentation or by consulting charts, adequate fingerings for
multiphonics within this composition. 22

Ex.2-S. Gerhard Braun: Schattenbilder. No.1, p.5.

(Alto recorder)

9';

The inharmonic and microtonal nature of alto recorder multiphonics

The complex acoustical processes which are associated with
multiphonic phenomena ensure that pitches within alto recorder
multiphonics do not normally fall into a harmonic relationship.23 This
intrinsic inharmonicity entails several other distinctive timbral attributes,
and guarantees in the first instance that most recorder multi phonics are
naturally 'microtonal': the inherent pitch-structure amongst such acoustic
entities differs perceptibly from that of 12-tone equal temperament. 24

Ex.2-9. Werner Heider: Katalog. Spiel, 2nd system.

(Alto recorder)

- 28 -
 The arrow above the multi phonic denotes an "intonation somewhat
lower (up to a quarter tone) than notated". This microtonal inflection
occurs automatically whenever the prescribed multiphonic fingering is
engaged. 25
In order to accurately reflect each multiphonic's specific timbral
personality and internal - usually microtonal - pitch-structure, pitches
throughout recorder multi phonics ought to be punctiliously notated, where
applicable, to within approximately an eighthtone of their actual sound. 26

Amplitude modulation within alto recorder multiphonics

Amplitude modulation, which is an innate and universal acoustic

phenomenon of alto recorder multiphonics , establishes discernible
sidebands in the form of 'combination tones ' and/or 'beats' within all
multiphonics. 27 These sidebands consist of various linear combinations -
sums and differences of integer multiples - of a multiphonic's constituent
tones' (and their harmonics') frequencies. Multiphonic sidebands, as well
as any cyclical variations in phase, consequently play an important role in
determining each recorder multiphonic's timbral quality.

Beats are detected within a recorder multiphonic when one of its

sideband frequencies falls below approximately 15 Hz; beats - which cause
the multi phonic to audibly rattle, pulsate or shudder - are even more easily
perceived when this frequency is lower than about 10 Hz. (If an alto
recorder multi phonic incorporates any mistuned consonances, prominent
'second-order beats' occur when the degree of mistuning is sufficiently
small.)28 As a sideband's frequency is raised above 15 Hz, a characteristic
multiphonic 'roughness ' appears as a coalescent timbral or
psychoacoustical attribute. With further increases in frequency, a sideband
is eventually heard as a discrete 'difference tone'.29

(a ) Beats
The prevalence of inharmonic multiphonic intervals assures that
mistuned consonance s are quite common amongst alto recorder
multiphonics, so that beats are arguably their predominant modulation
feature:

Ex.2-10. Nicolaus A. Huber: Epigenesis I. p.ll.

(Alto recorder)

- 29-
 ~~
'f. .-
.1
ria. ~o

r-
V
.J"
.-
r- ..,
o'ri.
..,
:! ~~
~
I
~
..
1000-
lOo<'V
...,
-

f -If f r--I J>-mJ l"~f

o
o
00

"Chord with beating."

Huber does not specify any fingering; a workable configuration IS

therefore provided adjacent to the example.

Ex.2-11. Werner Heider: Katalog. Spiel, 1st system.

(Alto recorder)

12345678

The multiphonic accumulates and fades away in a rhythmically precise

manner. Its upper tone, which is notated approximately a quartertone too
sharp, "is subordinate in the sound of the chord". The vertical waveform
given here is the standard graphic symbol for indicating the presence of
conspicuous beats within recorder multiphonics.

- 30-
Ex.2-12. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.l, no.IO.
(Alto recorder)

If f-=~====

Ex.2-13. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.2, no.19.
(Alto recorder)

,I
'\9 ...:lI~
=~
-I- ~~ t:
~
~

I,.,
JI( ..

'.J~~
~

-I..Q;;) RS"

Schwe bung i m Akkord

"Beats in the chord."

The uppermost written pitch in both of these examples actually fails to

sound as an audible multiphonic element. In Ex.2-13, the recorder's two
pairs of double-holes - 7 and 8 in this numerical tablature - also ought to be
closed completely for beating to eventuate.
Although the four preceding examples reveal significant beating effects
that occur within alto recorder mUltiphonics which encapsulate only
mistuned Cimpure') octaves, prominent beats are not necessarily excluded
from multi phonics based upon other mistuned consonances:

- 31-
Ex.2-14. CoHn Sterne: Meadow, Hedge, Cuckoo. p.4.
(Alto recorder)

1
- T
............:;:

mp 1
2 ----~==========~~==========ff
3
6

This multiphonic's notation, like that of several previous examples, does

not divulge its truly microtonal essence. Moreover, for Sterne to suggest the
presence of noticeable beats by employing the pictograph normally used in
requesting fluttertongue articulation, is mystifying: such a practice should
be avoided. (There is also no logical or tenable reason for notating the
multiphonic's upper constituent tone in crotchet durations.)

Unless a very slight (unnotatable) deviation in a recorder fingering

eliminates the beats within a multiphonic, or such beating is integral to the
conception of the work, it is ordinarily inessential to notate multiphonic
beats:

Ex.2-1S. Alan Davis: Treble Recorder Technique. Study 6e, p.122.

(Alto recorder)

~ = 69-76
{.\

~ j (1)
G"E' :1

(1) 0 1 2 3 - - 6 7

- 32-
Ex.2-16. Alan Davis: Fifteen Studiesfor Treble Recorder. No.14.
(Alto recorder)

o
f
2
3
6
7

Since the beats in these multiphonics arise naturally when played with
the stipulated fingering, there is no real need for any extra multiphonic
notations here. However, should it prove to be desirable in other
circumstances to signify multi phonic beats, the vertical waveform notation
ofEx.2-10 or Ex.2-11 is preferred. 3o

(b) Combination tones

When amplitude modulation within an alto recorder multiphonic

generates a palpable combination (difference) tone, it is often extremely
difficult to promptly, or even leisurely, evaluate its precise pitch, which
may yet change with variations in breath-pressure. 31 (Occasionally, the
identification of the octave that a difference tone appears to lie in is aurally
ambiguous as well.)

Combination tones can exhibit divergent spatial characteristics - at least

from the performer's perspective - relative to those of their multiphonic's
component pitches; this acoustical phenomenon is probably a result of
phase differences (or phase inversion) between these two types of
multiphonic tone. Under such conditions, a combination tone might
appear to originate from behind or even to one side of the instrumentalist,
creating a pseudo-stereo effect. (It is, nevertheless, questionable whether
this rather scarce phenomenon is really perceived by an audience.)

There are various classes of combination tones which can be discerned

in alto recorder multiphonics , including the so-called 'cubic difference
tone':32

- 33-
Ex.2-17. Kazimierz Serocki: Arrangements. No.5.
(Alto recorder)

2
3
5
6

QtE~~
.II
: 17"
b

Serocki refers to the diamond-shaped noteheads as "harmonics",

although the lowest of these is in fact a (cubic) difference tone lying below
the other multiphonic elements that are elicited from the indicated
fingering (thumbhole = 1). These 'cubic difference tones' actually appear
with inexplicable and surprising regularity in alto recorder multiphonics,
as one will soon gather from a careful study of this treatise's multiphonic
charts. 33

Ex.2-1B. Jiirg Baur: Mutazioni. 2.Ia, p.4.

(Alto recorder)

(Again, 1 represents the alto recorder's thumbhole in this example's

numerical tablature.) Both multiphonics here yield apprehensible
combination tones. The first multiphonic's lowest written pitch (E-flat) is,
in reality, forced upwards by a semitone to E-natural, due to the high levels
of breath-pressure that are required to sustain this multiphonic. It also
embraces at least one very strong difference tone, which seems to be

- 34-
 q
pitched around F 1(2?). The second multiphonic's upper pitch ("G-flat") in
practice sounds virtually a semitone higher than written; this
multiphonic's pronounced (cubic) difference tone, as expected, lies near
E VO, in accordance with acoustic theory.
In specifying a recorder multiphonic, it is obligatory to notate a
combination tone - which will be automatically produced anyway - only in
musical contexts where its pitch is compositionally crucial, especially if
this pitch is variable and dependent upon the player's breath-pressure. The
symbology of indicating a combination tone with an open rectangular
notehead (as in the multiphonic charts, Ex.4-5, Ex.4-9 and below), is
proposed.

(c) Inflecting alto recorder multiphonics' amplitude modulation features

A composer, understandably, might be curious to know whether an alto
recorder multiphonic's modulation characteristics may be controllably
altered whilst maintaining the multi phonic. The answer to this question is
often affirmative for both combination tones and beating phenomena,
provided that the multiphonic is sufficiently stable. 34
The alteration of a recorder multiphonic's sideband attributes is
achieved, wherever possible, through a very slight or virtually undetectable
inflection of interval between two of the multiphonic's constituent tones,
without necessarily changing these tones' perceived pitches. 35 This process
is enabled either through minute fluctuations in breath-pressure (which
may affect the multiphonic's spectral balance), or with subtle deviations in
multiphonic fingering 36 - perhaps involving the manipulation of the right-
hand double-holes, or the shading and/or venting of certain other
fingerhole(s). The instrumentalist can thereby control the rate (frequency)
of multi phonic beating, or shift and regulate the pitch of a combination tone
within the multiphonic:

Ex.2-19. Multiphonic sideband phenomena modified with the breath.

(Alto recorder)

\' b""ts 1"11\.

~...Q.. -~-~
't'

'}" I~;t"
peo..ts ",c.c.e.I.

I'(~~ l
-
- - - .- - - -- -- - ~

II~
=-
vN~T"IBLf j f,,',d)" o\;-f{-;c.L.>It
o


o o

oC>
00
00

- 35-
 II
o-====== ==------=- tl====:
0.
~ =
o
o

0"
o
00
o 0
00
00 00

Composers may specify variations in breath-pressure through ordinary

dynamic markings or with 'breath-pressure contours' that are identical to
those used in indicating multiphonic spectral portamenti. 37

Ex.2-20. Multiphonic sideband phenomena modified with fingerings.

(Alto recorder)

(h' _b~~ ~~\. ___ ~

~~l t-B-}
1$ I~ () r )f () II


0 0
0 0
00 00
00----- -- -

II
0--------)25
o
o- - - - - - - -j5
0

o--------C)
o
-
o
~

0


0 o

D




00
00
00
00 - - - - - - - -. 0 00 00

- 36-
 Additional examples can be found amongst examples of multiphonic
portamenti instigated by varying the aperture size of the recorder's
thumbhole. 38

Alto recorder multiphonics perceived as non-chordal, unified sounds

Since nearly all alto recorder multiphonics are cardinally microtonal
and embrace inharmonic spectra, significant modulation characteristics
as well as other underlying sound-colorations, they are acoustically rather
sophisticated, and so cannot normally be described as 'chords' in the usual
sense. As with the sound of a bell, a listener is often able to differentiate
individual frequencies throughout a recorder multiphonic,39 although the
overall sound is, in general, unitary or 'fused' into a single complex,
homogeneous sound-amalgam. 4o

Air-noise within alto recorder multiphonics

Together with amplitude modulation sidebands, transients, formants
and (in some cases) undertones, extraneous air-noises form an important
feature amongst the aforementioned sound-colorations that assist in
globally defining a recorder multiphonic's acoustic and timbral profile. 41
The amount of air-noise present with an alto recorder multiphonic is, as a
rule, vaguely commensurate to the breath-pressure requirements and air-
flow which is necessary to procure the multiphonic's constituent pitches:
as a general tendency, loud alto recorder multiphonics encompass
prominent or appreciable air-noise, whereas air-sounds are frequently
rather subdued or imperceptibly embedded within softer alto recorder
multiphonics.

The timbral and dynamic diversity of alto recorder multiphonics

The timbral palette of the alto recorder, even when confined to its
multiphonic potentialities, embodies an amazing variety of multiple
sounds, some of which are indeed capable of simulating, to an impressive
degree of resemblance, certain electronic sonorities (such as those that
spring from ring-modulation processes).42 The set of alto recorder
multiphonics, considered as a whole, likewise possesses quite a wide
dynamic range: soft, delicate, fragile or ethereal multiphonics are
represented in the set, as well as the more common varieties which are
loud or robust. 43

Alto recorder multiphonics' internal hierarchy: timbral implications

A recorder multiphonic's colour and measure of acerbity seems to be
primarily dictated by what else lies below its uppermost pitch-component.
However, when the multiphonic's spectral balance cannot be effectively
varied, it is this top note which tends to predominate within the aggregate
sonority. Even in multi phonic contexts where spectral balance is actually
somewhat variable, a (loud) alto recorder multiphonic's upper pitch,
particularly if it is rather high within the instrument's tessitura, will

- 37-
sometimes overshadow the lower multi phonic elements. This tendency has
meaningful compositional implications for the perception of musical
sequences comprised entirely of consecutive recorder multiphonics: their
highest (instead of their lowest) constituent tones may define the dominant
'melody' of the progression. 44

Onset time (speech) of alto recorder multiphonics

An extremely valuable - perhaps unique - property of nearly all alto

recorder multi phonics lies in their extraordinarily brief onset times: 45 they
have the ability to be established and projected in their entirety almost
immediately, or indeed instantaneously, by the performer. Hence, with an
appropriately strong articulation and/or breath-support, very rapid
multiphonic speech can usually be attained, even for many of those alto
recorder multiphonics that are typically a little resistant or sluggish in
their attack characteristics. (Under these circumstances, the highest
multiphonic element may nevertheless be heard initially, just prior to the
other component(s); this is certainly always the case where the strategy for
obtaining a specific recorder multiphonic dictates an obligatory use of the
multiphonic's uppermost pitch as the sonority's initiator.)

Fast-speaking alto recorder multi phonics can often achieve remarkable

concision in occupying only very short time-spans, if desired.
Consequently, they might appear as grace notes - 'acciaccature' - or during
other brief durations, be repeated quickly (with single- or multiple-
tonguing, etc.), or be deployed in swiftly moving multi phonic progressions:

Ex.2-21. Malcolm Tattersall: Franklin River. section 3d.

(Alto recorder)

1 :jPH

Although the tempo at this point is only crotchet = ca.69, the rate of
multiphonic repetition (in quavers) nonetheless demands, if the whole
gesture is to be musically successful, a choice of multiphonics that
establish themselves promptly and reliably. (As with most of the following
examples, the multiphonic notation is microtonally inaccurate.)

- 38-
Ex.2-22. Eric Gross: ''Ians Shenanigan" No.1. p.I. letters A & C.
(Alto recorder)

,. ...

-.-
o
.-o
.-
00

~o
r e.
.

T
-

-0
.f,
CH)

Both fragments here involve alto recorder multiphonics that are

generated instantly, but which only last for approximately 0.25" and 0.125"
respectively.

Ex.2-23. Rob du Bois: Pastorale VH. p.S. no. I.

(Alto recorder)

1256

This multiphonic (thumbhole = 1 in the numerical tablature) may prove

to be slightly troublesome for the player within this context: the
accomplishment of its full, immediate speech here is quite delicate and it is
sometimes reluctant to be emitted from my instrument. (Over such a
fleeting moment, the lowest multiphonic pitch is likely to be transitory in
the extreme anyway, if it is even perceived at all.)46 In the following
example from the same composition however, it poses no such difficulty.
(du Bois is apparently aware of this multiphonic's speech characteristics to
some extent, and suitably accommodates it here. The other multiphonic is,
of necessity, very fast-speaking;47 I append, to the right of the example, two
workable fingerings for it):

- 39-
Ex.2-24. Rob du Bois: Pastorale VB. p.lO. no.7.
(Alto recorder)

0
or
0
0 0
- -
--- -

00

00

Ex.2-2S. Amieo Dolei: Nuovo Ricercare 5. p.3.

(Alto recorder)

p
mp
ifz ppp

This multiphonic speaks without any hesitation when strongly attacked,

and so works well in the given context.

Ex.2-26. Reinhard Febel: Sechs Bagatellen. No.n.

(Alto recorder and piano)

II 3

Langsam , frei

pp.L

[un g o L.H.
1':\

T Soba ld ~n f~verkfunge~ied~nschfag e n~e i _

pp ~. li egenlassen

- 40-
 ,.,

rit.

1.~~~~~~~
(....)- - - - - - - - - - - - - - - - - -

kur zer werden bis

pp
~ ~ ~ -L ....
----
.. ~ #~ ~ ~ ~ .L
------

( ....)- - - - - - - - - - - - - - - - - -

"
verklingen
lassen

~-----------------

In Febel's Bagatelle II, there is a progression of multiphonic duration

from sustained to short: the multiphonics become increasingly ephemeral
("kiirzer werden bis" ... ), to the point of being merely grace notes ("secco").
All of the multiphonics which end this movement are very brief, isolated
grace notes, as indicated.

The next two excerpts also portray recorder multiphonics whose speech
attributes permit them to appear as grace notes:

- 41-
Ex.2-27. Ryohei Hirose: Meditation. p.2.
(Alto recorder)

~.~f#~f~#f~#f~~ '#E~,~'t""ung, .
f --.:......",======= ===ff
: 0 1 23 5 67 i ( "11 1 :2356 7)

Ex.2-28. Colin Sterne: Meadow, Hedge, Cuckoo. p.3.

(Alto recorder)

>
[w'" ".tMaYfU!!
1-, ~ If
P IT p I
2
3
4
5
6
Violent 7

fc&[rrrn" f"
II 6 '--6----'

For clear, unhesitant speech, this particular multiphonic requires quite

an intense plosive attack.

The final example of this section provides an instance of yet a further

profitable application for recorder multiphonics that may be
instantaneously generated:

- 42-
Ex.2-29. Jun-ichi Miyagi: Aion-m. p.3.
(Soprano recorder)

Ret,' ~~e~f-q~: \
\
\
\
A 7\
7\1\
J\/~
\v~
/\

\1
I
7

(01'23561)
f

"Tongue as fast as possible, moving right- and left-hand fingers according to the
illustrated instruction (pitches accord approximately to the illustrated instruction)."

By commencing the second figure, an indeterminate contour, with

rapid iterations - tongue-tremoli - of the previous accelerando multiphonic,
these two disparate activities may be smoothly melded together, provided
that the rate of multiphonic articulation actually accelerates in a
continuous fashion to the velocity of the tongue-tremolo.

In general, such multiphonics may therefore serve an invaluable

transitional or connective function between various musical events.

2.2 Multiphonic Production

Introduction
The technical exactitudes and difficulties associated with the production
of alto recorder multiphonics are, fundamentally, no different to the many
demands that are put upon a player's technique in artistically performing
the traditional recorder repertoire. However, numerous elaborative
comments are still required, as potential hindrances do exist for both
composers and executants in successfully integrating recorder
multi phonics into a piece of music. 48

Owing to the totally in-built but immutable structure of the recorder's

basic sound-production mechanism,49 the concept of forming an
embouchure in order to effectuate a normal acoustical response from the
recorder does not arise as an axiomatic principle, since the performer
merely initiates an air-stream in the recorder and the instrument itself
forms the sound to a large degree. Thus, in generating alto recorder
multiphonics, the player's embouchure is not a pertinent factor. In large
part, the recorder itself, as well as the performer's manipulation of breath,
micro-articulation and fingering, are primarily responsible for
multi phonic tone production and control. 50 Details of these latter technical
parameters are provided throughout the multiphonic charts themselves,

- 43-
which therefore become the principal source of information appertaining to
the performance of each listed alto recorder multi phonic.

As a preliminary remark to qualify further discussion, it should also be

understood that to formulate global 'rules' for playing recorder
multiphonics is truly impossible, as every instrument and all multiphonics
behave differently to one another in response to identical stimuli. One is
obliged, then, to consult comprehensive charts in order to discover the
relevant technical procedures for engendering each particular recorder
multiphonic, as well as their specific behavioural inclinations.
On the other hand, it is just feasible herein to itemize a number of
tendencies or generalities that apply to the production of alto recorder
multiphonics.

Basic procedures for the production of alto recorder multiphonics

Even with a fingering-configuration which results in the facile
appearance of a certain recorder multiphonic (because the fingering
acoustically enhances the prospect that this multiphonic sonority will
eventuate),51 setting up a fingering-pattern alone is never completely
adequate for a multiphonic's faithful realization. The performer must be
able to achieve the desired outcome by skilfully and sensitively
manipulating the air-stream in various ways with pulmonary action
and/or micro-articulatory control, just prior to the air entering the
recorder's windway.52 Where some leeway exists here, any micro-
articulation - or breath-pressure - can be chosen from the menu of available
possibilities, provided that it is actually compatible with procuring the
multiphonic:

Ex.2-30. Konrad Lechner: Varianti. I.Thesis, section 2, p.5.

(Tenor recorder)

4~11rf~.ttri ~ Tj",J JJbJ JJJaHJ HJ]] ~

accelerando _ _ _ _ _ _ _ f P .. h" It
h" ,.
h" -S-'
.}~~
Q
II
-) Das etwas zu [iere a durch starkes (nicht forciertes) Blasco anheben r
The somewhat low-pitched a to be boosted by blowing strongly but without force
o .5

Although it is not quite clear, Lechner apparently expects an aspirant

attack Ch' phoneme) for each multiphonic. Such a micro-articulation,
though perhaps a little awkward in this context, is perfectly practicable;
however, both of these multiphonics are also versatile enough to withstand
a plosive attack Ct', 'd', 'k', 'p', [etc.] phonemes),53 which can instead
project them with far greater ease as well as guaranteeing absolute
dependability. (Lechner states in the score's prefatory "key to symbols" that

- 44-
"it might prove necessary to adapt the given fingering to the instrument
employed". From this remark, one could logically deduce that he
authorizes a performer to alter the example's suggested fingerings in
order that the multiphonics' reliability of speech might be maximized in
conjunction with the desired aspirant attack.)54

Alto recorder multiphonics command sensitive, precise breath- and

finger-control from the player, as well as a careful or occasionally delicate
execution of articulation. All of these critical factors may essentially
deviate in detail from the corresponding technical requirements for the
recorder's conventional monophonic output. 55 For instance, assuming an
apposite fingering and micro-articulation,56 in order to secure a
multiphonic, the recorder player must often overblow steadily and correctly
with a frequently heightened level of breath-pressure and a jet-velocity
which focusses somewhere between that needed to extract the
multiphonic's extreme single pitches.
Aside from this multiphonic technique of "between-blowing",57 medial
to two states of (over)blowing, in certain other circumstances the player
could be compelled to gain, where possible, a multiphonic's extremities,
thence attune the air-stream to an intermediate intensity for the
multiphonic proper. These alto recorder multiphonics - shown explicitly in
the appended charts - normally cannot be invoked unless preceded by one of
their component tones. The performer is constrained with such acoustic
entities either to 'tongue' hard, and with boosted breath-pressure initially,
make the uppermost constituent tone speak alone, then decrease breath-
pressure for the multiphonic itself to appear; or, begin with the
multiphonic's lowest prominent pitch, then augment the breath-pressure
accordingly:

Ex.2-31. Colin Sterne: Meadow, Hedge, Cuckoo. p.3.

(Alto recorder)

mp 1
2
4
5
6

Although these multiphonics can be easily produced in many ways, the

composer restricts the player here to instigating the multi phonics from
their 1st-register elements only (the tied grace notes), followed immediately
by a surge in breath-pressure to yield from each fingering a well-balanced,
stable multiphonic. (This method of multiphonic production proves that

- 45-
these particular multiple sonorities can also arise instantaneously from an
aspirant attack.)58

Some alto recorder multiphonics may instead require special,

compulsory micro-articulations in order to be established. Intense or lax
plosive attacks, or aspirant attacks in various degrees of strength could
provide the only means of projecting a particular recorder multiphonic.
With a constant fingering, radical changes in micro-articulation and/or
air-flow might even result in quite distinct multiphonic sound-events. 59
The next musical excerpt illustrates all of these possibilities:

Ex.2-32. Bruce Cale: Cullenbenbong. p.7.

(Bass recorder and 7 Japanese Temple Bells [Rill): 1 player)

~---- bls (MP)

--,
r- ------% - . - (NIP)
-
r-

17
i I r ;In r ~

--
1 Jlli I
~
~

~
-n.l
~ '~

~/~~'
o
Il" ..
f
...
0
.!..!.. 7

L----
I 'f "-ij] }...r.

~. eMP.)
r-------- 7/e
> "

MULrlPHONICS (left hdnd only)

~ ~~
b~,)
ut.
~-tr
~

l+) J th) ....tt&ek s:I" ... bIClS.

@ ""."" .. 1 f.;..~~~I ... ,.
! = -t>.~ "c .. of b~ ...t'.

- 46-
 From each of the two standard 1st-register fingerings and pitches - as
given on p.5 of the piece's "technical information", annexed to this example
- Cale extracts two very dissimilar bass recorder multiphonics. The
carefully executed alveolar plosive 't' in each instance yields a rather
unstable 'pure' octave, whilst an aspirant attack 'h' with an instant rise in
jet-velocity permits another multiple sonority to emerge from the 1st-
register pitch, creating quite a different acoustical effect. The given "attack
syllables" should always be observed by the executant, lest the wrong
multiphonics develop. (Notice that the composer himself miscalculates the
articulation requirements for the octave D-natural multiphonic in this
example: the tie really ought to be ignored by the performer here, as
otherwise the succeeding multiphonic will arise instead. This octave
multiphonic must be cautiously 'tongued'.)
For awkward, obdurate or notoriously difficult alto recorder
multiphonics whose fingering-patterns involve a closed thumbhole, a
potential means exists whereby the problems of multiphonic production
may sometimes be alleviated, to some extent. If it is advocated that the
recorder player commence such a multiphonic with its top note - although
even this condition is not at all binding upon the technique about to be
outlined - this note (or indeed the whole multiphonic) might be more easily
procured with a marginally vented thumbhole, which is then immediately
closed in conjunction with a highly controlled change in breath-pressure
as the multiphonic's complex vibratory mode is established. 6o A composer
could indicate this fingering resource within the score's tablature
pictographs, as in the following examples, if it is known that this ingenious
technical possibility is helpful for expelling a specific recorder
multiphonic. (The method of multiphonic production should otherwise be
left to the instrumentalist's own devices and initiative, where applicable.)

Ex.2-33. Momentary thumbhole ventage to assist multiphonic

production.
(Alto recorder)

~!~~
~ 19t~~! I
I~ - hi:
,.~. ~-?
II

0

-
0
0
0

0
00

- 47-
Ex.2-34. Richard Rijnvos: Zahgurim.. bars 86-87 & 90-91 (pp.24-25).
(Amplified bass recorder)

--;1 .

z-'
l~'q 0
t/\'t~,
IJ. If
~,.ijW?
z-. ~
0


0 0

.-
0

e'
0
"
"
.-.'

.-


0

.-
0 0

0
0

.-




.-
0


0
0

" " " " " "

" " " " " "

z ~.= transition from half closed hole t o entirely closed

Here, the thumbhole's temporary ventage seems to benefit in achieving

these altissimo bass recorder multiphonics, whose lowest pitches lie well
above the instrument's 1st register, (Rijnvos apparently expects the
multiphonics to speak with minimal delay.)
Perhaps this useful idea of transitory thumbhole ventage could even be
extended - regardless of a given multiphonic's fingering-pattern or its
production limitations - into a fundamental principle of technique for
easing the difficulties of performing, in general, recalcitrant and
problematic recorder multiphonics: in addition to considering the
thumbhole, the player might be encouraged, in the same manner, to
experiment also with an introductory transient action of shading and/or
venting any available fingerholeCs) before moving on promptly to the
established multiphonic's main fingering-configuration. 61

- 48-
Multiphonic breath requirements

Unless an alto recorder multiphonic is intractably unstable or 'circular

breathing'62 is resorted to, its longest sustainable duration is ordinarily a
single, full breath-length. This duration may well be shorter than expected,
since the recorder's intake of air in maintaining a typical multiphonic is
frequently greater than that associated with most of the instrument's
single pitches. 63

Multiphonic facility, speech and stability

There also seems to be some mysterious correlation, at least amongst

alto recorder multi phonics , between their ease of production, rapidity of
speech, and stability. It has already been noted that the vast majority of alto
recorder multiphonics enjoy extremely brief onset times 64 and, moreover,
are obtained with remarkable facility as well. 65 Unluckily, the remainder,
being comparatively slow-speaking and/or unstable recorder multiphonics,
are often correspondingly difficult to initiate. This connection has
substantial repercussions. Alto recorder multiphonics which speak
quickly, are stable, pliant, and readily attainable, can easily tolerate rapid
repetitions derived either from single- or multiple-tonguing as well as the
higher-frequency micro-articulatory iterative processes of fluttertonguing
and tongue-tremolo (etc.).66 However, repetitions involving difficult,
unstable and/or slow-speaking recorder multiphonics, if at all possible,
seem to have a lower maximum rate, and must be made with the utmost
care and subtlety; many of these multiphonics, evidently, are also unable to
endure the abovementioned iterations.

Technical exercises
It is probably an opportune moment now to direct some remarks
towards recorder players specifically, including a few suggestions and
ideas for multi phonic practice regimens that hopefully will prove to be
beneficial in assisting performers with the task of producing multiphonics
dependably.

On account of their concomitant, highly sensitive tone production

mechanisms, alto recorder multiphonics entail, as a prerequisite from the
instrumentalist, an advanced level of aural imagination. From the outset,
it is essential that executants develop the ability to imagine a multiphonic's
sound, to actually hear it in the mind, before attempting to communicate
it. 67 Furthermore, a recorder player should (eventually) know, in minutest
detail, every parameter for securing a multiphonic 68 prior to its execution:
performers must gain sufficient flexibility of multiphonic tone production
so that, subject to their own physical attributes and their instruments'
quirks, the specific production processes and requirements can be provided
instantly and exactly for each multiphonic.

As one might expect, the consistent and controlled manifestation of alto

recorder multiphonics is not acquired by performers quite so easily as the
analogous procedures of conventional recorder playing: multi phonics often
call for a greater degree of manipulation and balancing of their respective

- 49-
tone production elements. By repeatedly working through the following
practice routines however, instrumentalists will soon continually develop
their skills in this area, and so find it progressively easier to elicit such
sonorities: 69

A. Exercises to enhance breath-control In recorder multlphonlcs

1. With an invariant fingering-formation, practise linking a suitable

multi phonic's extractable single pitches - both upper and lower notes - to
the multiphonic proper, in legato. This is achieved solely through the
judicious adjustment of breath-pressure and jet-velocity. Finally, attain an
intermediate, constant breath-pressure so that the multiphonic is well-
balanced spectrally. 70 (To begin, the recorder player might well choose one
of the standard 1st-register 'forked fingerings' as a foundation for this
routine, since they yield particularly resilient, accommodating
multiphonics. Thenceforth, with each attempt at this exercise, one could
progress through the whole set of such fingerings, moving on later to every
other fingering-type.)

2. Working in parallel fashion to the previous exercise, through breath-

pressure modifications, practise a wide variety of 'spectral contours' that
shift the internal balance of a multiphonic's components in myriad ways.71
The resultant 'spectral portamenti' should move in as many directions as
possible, and embrace a large array of gradations and gradients. (It is
particularly rewarding to practise exceptionally slow- or fast-moving
spectral portamenti, although other, less extreme portamento speeds must
not be forgotten here.)
3. As a worthwhile adjunct to the second exercise, select a high 1st- (or low
2nd-) register pitch/fingering and, in the same comprehensive manner,
construct 'breath-pressure contours' that create (monophonic) breath-
pressure portamenti. 72 (Supremely slow, inexorable portamenti are again
beneficial. )
4. At different dynamic levels each time, repeatedly practise - within
miscellaneous durations - the immediate onset of a single multiphonic,
gradually covering its entire dynamic and spectral range by the end of the
exercise. For each discrete onset however, maintain an absolutely constant
air-flow. (Once this segment of the exercise has been finished, the various
levels of uniform breath-support that have been, on each occasion, instantly
generated by the instrumentalist, will have caused a spectrally pliable
multiphonic to promptly appear, outspread eventually over every
proportion of balance amongst its primary tones.) Now continue the
exercise with another befitting multiphonic. (This routine is also salutary
in acquiring greater articulatory control.)

B. Exercises to enhance articulation-control in recorder multlphonics

1. As in exercise A.4, given above, practise rapid multiphonic speech and

repetition at every available dynamic level. A sizeable cross-section of
multiphonics with highly diverse characteristics should be employed for
this exercise. (For versatile multiphonics, practise securing them with a
large variety of micro-articulations.)

- 50-
2. Practise obtaining and reiterating sets of (very) difficult multiphonics
that engage many articulation-types in various intensities.

c. Exercises to enhance fingering-control In recorder multiphonlcs

1. In order to ameliorate fingering-dexterity, it is suggested that recorder

players practise obscure, tricky and elaborate multiphonic sequences in
assorted tempi. These can be found in the repertoire; alternatively,
performers may devise their own intricate sequences, which should in any
case comprise unusual, complicated and arduous fingering-progressions,
as well as individually awkward multiphonics.

2. Both in isolation, and embedded within larger musical structures,

practise multiphonics that call for critical shadings and/or ventages of
fingerholeCs).

To summarize: as a general maxim, it is probably valid conceptually to

state that a conspicuous involvement of immoderately difficult
multiphonics during practice regimens ought to be encouraged, in order to
make every pertinent aspect of a performer's technique sensitive enough
for the wholly reliable production of more common - or easier -
multiphonics within the stringent contexts of live performance and
recording sessions.

Alto recorder multiphonics within musical sequences

The discourse throughout this section has, so far, almost exclusively
concentrated upon the output of recorder multiphonics at the architectonic
level of the individual sound-event. It is, however, not surprising that the
issue of multi phonic placement within a larger-scale musical hierarchy
comprised of many sound-events is rather more sophisticated: a closer
inspection of this topic is justified.

In principle, there are generally no extra technical problems which

accrue to alto recorder multiphonics when they arise within the context of
a musical phrase or sequence:

Ex.2-35. Amieo Dolei: Nuovi Ricercari. No.m, p.15.

(Alto recorder)

15

,
p ===- pp ====-

- 51-
 Posizioni
per Ie doppie note:
Doppelgriffe:
Fingering:
.va ~. . "j. . . .";j". .]. . . . . .;
~ ~

~ (q)
112 112 112 112 112 11- 112
3333333
4 4 4 4 4
5 5 5 5 5
6 6 6 6 6
7 7 7 7 7 7
8 8 8 8

(Dolci supplies these multiphonic fingerings in the introductory

"performance notes".)

Nonetheless, several factors - chiefly relating to multiphonic

articulation - need to be considered for the successful integration of
multiphonics amidst consecutive recorder sonorities.
Somewhat inexplicably, details or limitations of recorder multiphonic
production may change according to the phraseological context. 73 Perhaps
on account of air-column inertia associated with certain pre-existent
vibratory modes, when a particular recorder multiphonic is immediately
preceded by another sonority, in different situations it could, for example,
demand an entirely new set of performance parameters in order to be
projected correctly. Aside from its obviously bothersome and unpredictable
aspects, this state of affairs carries more positive musical implications as
well: multiphonic attack phonemes and/or breath requirements (etc.)
which would ordinarily be insufficient to establish a given multiphonic,
might, on the contrary, work well enough for its production in various
other circumstances: 74

EX.2-36. Amieo Dolei: Nuovi Ricercari. No.mt p.15.

(Alto recorder)

- 52-
 The multiphonic notated as B~ 1, A b 3 in this example normally
succumbs to a strong plosive attack only - as is compulsory, for instance, in
articulating Ex.2-36's final multiphonic pair. However, upon its earlier
appearances here, it speaks perfectly in legato (with an aspirant attack),
probably because the two paired multiphonics' registers match (1st and 4th
registers), so that the air-column's prerequisite complex mode of vibration
has already been set up in the previous - initial - multiphonic, and remains
intact for this multi phonic due to acoustic inertia.

This same type of inertial property, arising from the selfsame pair of
fingerings, instead causes some performance problems in the following
example:

Ex.2-37. Wolfram Waechter: Neue Technische ii'bungen. Study 16.

(Alto recorder)

1 cm = ca. 1 sec. N = Norma/griff

RRR--_____ vibrato
*-- I~
CWC(Cw-
#*---

o II

Again, there is an acoustical propensity for the second fingering in both

legato multiphonic passages to retain the complex vibratory mode
instigated at the start of the phrase, and, alternatively, yield multi phonic
component tones in the 1st and 4th registers of the instrument, precisely as
before. Unfortunately, this condition is at odds with the composer's artistic
intent. The multiphonic under critical gaze here (which Waechter has
written as B ~ 1, D ~ 2: 1st and 3rd registers) is therefore rather awkwardly
slow-speaking in this context. The executative difficulty can be resolved
either by gently tonguing the second multiphonic only - the remaining two
multiphonics can sustain legato articulation with appropriate breath-
support - or by dropping the breath-pressure (in legato) at the beginning of

- 53-
the second multiphonic to such an extent that, at first, its lowest
constituent pitch (B-natural) transiently appears alone, but is immediately
followed by a swiftly heightened air-flow which secures Waechter's
multiphonic, as written, in a spectrally well-balanced fashionJ5

The importance of heeding multiphonic chart parameters

Although it should now be evident that, ultimately, an instrumentalist
must verify each recorder multiphonic's practicability within its proposed
setting - after composers have initially consulted accurate multiphonic
charts - those composers who ignore delimiting data contained in such
multiphonic charts appertaining to multiphonic micro-articulation (as
well as the other parametric details), often do so at their own peril:

Ex.2-38. Hans-Martin Linde: Musica da camera. No.3, letter D, p.14.

(Alto recorder)

>
.....
1-%' ,
r 0123467
f
267 +5
ff P

Ex.2-38 portrays a bad evaluation of a multiphonic's speech

characteristics. In any circumstance, the second multi phonic always calls
for an intense plosive attack so that the high C-natural is drawn out as the
multiphonic's uppermost audible element: this phrase's legato articulation
is simply useless. 76

Legato sequences of alto recorder multiphonics

Despite the blunders of former examples, provided that one undertakes
sufficient research in advance, most legato (slurred) sequences
incorporating recorder multiphonics pose no especial obstacles for the
executant. Although the technical exigencies associated with the
performance of a whole set of recorder multiphonics in legato do vary
widely in difficulty from case to case, many legato sequences of recorder
multiphonics may nevertheless be acquitted quite fluently. As an overall
guideline for ensuring the playability of this type of musical sequence,
composers are advised to correlate the multiphonics' register-numbers and
speech characteristics in particular: if the chart parameters for the
relevant multiphonics match fairly closely in general, composers can
probably be reasonably confident that such legato sequences may be
realized. 77

- 54-
Ex.2-39. Alan Davis: Fifteen Studiesfor Treble Recorder. No.14.
(Alto recorder)

o o
t I
2 3
4 4
;:, f;
-e- -e--

(The multiphonic pitch-representation, as with most of these examples,

is microtonally inaccurate.)

Ex.2-40. Amieo Dolei: Nuovi Ricercari. No.m, p.14.

(Alto recorder)

- J

Observe that the top note of each multiphonic remains more-or-Iess

constant: only the lowest pitch shifts. (Rhythmically, the upper tone could
even be notated, with high fidelity, as a semibreve.)

Ex.2-41. Kazimierz Seroeki: Arrangements. No.2.

(Alto recorder)

- 55-
 The multiphonic legato oscillation here gradually accumulates into a
trill.

Ex.2-42. Richard Rijnvos: Zahgurim.. bars 158-161 (p.42).

(Amplified bass recorder)

158

.-
.- 0 0
0

o
o
.'
0
.'
" '-
,
.' "

0 0

.-

::=1 0

.0
0

00
.-

"00
.0 ,0

Measured oscillations - 'slow trills' - of slurred bass recorder

multiphonics are deployed herein. Although by no means do the register-
sets of all of the multiphonics ' component tones conform (when the
multi phonics are considered in separate legato-groupings), Rijnvos worked
extensively with a Dutch recorder player in investigating the bass
recorder's multiphonic capabilities for this composition, thereby
corroborating his assertion that such passages are totally reliable. 78

The linking, in smooth (legato) succession, of monophonic - single-

pitched - recorder sonorities with some of the instrument's multiphonic
possibilities, as well as their alternation, provides myriad examples of
arguably more interesting artistic applications that epitomize the
recorder's multiphonic potential.l9 As was the case for homogeneous

- 56-
legato passages of recorder multiphonics, musical context, register and
articulation are important considerations for this generic area. Once again
though, there should, in principle, be no real performance impediments if
the composition is technically well-conceived and carefully researched, as
before.

Fast passages incorporating alto recorder multiphonics

How fast might a phrase containing alto recorder multiphonics
legitimately be played? Common sense dictates that rapid passages cannot
use inordinately slow-speaking multiphonics - that is, if they are expected
to be heard at all in their fully developed state. 80 However, because most
alto recorder multiphonics speak almost instantly, this query is largely
answered on the basis of finger-activity (subject also to the technical
limitations of any other surrounding sonorities). Typically, the fewer the
number of fingers in motion between successive events, the more quickly
and elegantly such a multiphonic phrase may be accomplished: under
ideal conditions, it should be easy, from one sound to the next, to connect
each sonority at high speed. 81

Alto recorder multiphonics: fingering considerations

The final matter to be addressed within this section, merely an

amplification of the above, is aimed solely towards composers. The issue of
recorder multiphonic fingerings - only touched upon in earlier discussions
- requires, on the part of composers, a familiarity with the recorder's
fingering-mechanisms and procedures somewhat beyond that needed for
more traditional recorder composition. This level of knowledge is neither
arcane nor at all difficult to acquire. 82

In both uniform musical sequences that consist entirely of multi phonic

chains, as well as heterogeneous passages encompassing mixed varieties
of multiphonic and other resources, (subject to tempo indications)
composers should at least consider avoiding clumsy fingering-successions
and cramped hand-positions, which could be potentially impractical in
performance. 83 Such fingering-demands, if implemented, always
necessitate highly intelligent and adroit compositional handling: they
usually need some performance time to set up and/or require much extra
practise time by the player.
If either of the player's hands or any finger(s) must be put into an
unusual or non-standard position, such as for manipulations of the
recorder's window or the end of the footjoint (the latter with an index
finger) ,84 sufficient time will also be needed both to position and return the
hand to its normal placement. Within a continuous passage of music, one
compositional solution might be to draw only upon sound-events intended
to be adjacent to those using abnormal hand- or finger-positions, which
utilize fingerings that are completely independent of the hand or finger(s)
in question.

- 57-
2.3 Spectral Portamenti of Multiphonics

Introduction
For the purposes of this monograph, a recorder multiphonic's
'spectrum' is defined to be the agglomeration of frequencies - and their
amplitudes - within the multiphonic. 85 I have also coined the expression
'spectral portamento', which herein designates a continuously dynamic,
sweeping variation of the aforementioned amplitudes (only), in particular
those that are heard as being united with the recorder multiphonic's
primary pitch-elements. Therefore, in terms of the aural cognition of
recorder multiphonics, 'spectral portamenti' are just perceived as
continual shifts in the dynamic levels of, and balance between, a recorder
multiphonic's audible component tones.
The spectral portamenti of recorder multi phonics circumscribe a rather
precious, quite versatile technical region of the instrument, absolutely
fundamental to its multiphonic capabilities. Hence, a thorough
understanding of the technique is of utmost importance to composers and
recorder players alike.

The production and notation of spectral portamenti

A tightly interdependent relationship, in fact one of direct
correspondence, exists between the player's breath-pressure and a
recorder multiphonic's spectral balance (as well as its overall dynamic
level). Given a single compliant multiphonic, when the breath-pressure -
and global dynamic level - is altered whilst the fingering is held constant, a
spectral portamento occurs in which the proportion or loudness of each
multiphonic component tone changes: one pitch is attenuated whilst the
other is magnified. For instance, with progressively increasing quantities
of air-flowlbreath-pressure , the multiphonic's aggregate dynamic builds,
its uppermost constituent tone is increasingly favoured (while its lowest
pitch-element gradually fades away), and the multiphonic's timbre
becomes brighter and more penetrating. 'Spectral contours' are generated
merely by combining or linking various spectral portamenti which
fluctuate at different rates and in different directions - again, according to
breath-pressure changes. 86
Many diverse spectral portamenti and contours are available for every
(stable and easily produced) recorder multi phonic that speaks with any
breath-pressure/articulation between those required to establish the
multiphonic's extremities alone . Because they are capable of being secured
with any mixture of constituent elements between these sole extremities -
in other words, over every degree of spectral balance - and so react
predictably and continuously to connective modifications of breath-
pressure, one could therefore refer to such responsive multiphonics as
being (spectrally) 'flexible'.87 Below are some examples of 'flexible'
recorder multiphonics being subjected to spectral portamenti:

- 58-
Ex.2-43. Jiirg Baur: Mutazioni. 2.18, p.4.
(Alto recorder)

S Z
1236

"The curve by the side of the chords indicates in which order the sound as well as its
spectrum should appear (to be achieved through dynamic alteration)." {tr. I. S.}

This archetypal example portrays the standard and recommended

notation for multiphonic spectral contours (within conventional metric
durations). The player, in exact temporal accordance with the graphic
indication (a waveform), varies the multiphonic's spectral balance through
appropriate rates or gradients of change in breath-pressure over the
specified duration. Each point on the waveform precisely corresponds to the
balance - i.e. ratio of prominence - between the multiphonic's component
tones at a particular instant: the closer a point is to the notated horizontal
level of a component tone, the more that component tone is favoured within
the multiphonic's spectrum; the point's horizontal location fixes that
instant in analogue fashion within the given metric duration. (If points of
the contour actually reach or exceed the horizontal level of one of the
multiphonic's notated extremities, the curve then simply becomes an
indication of a breath-contour pertaining to that extractable monophonic
resource only.)

Ex.2-44. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.3, no.46.
(Alto recorder)

"Dying down and swelling up of chords (air-pressure variations!)." {tr. I. S.}

- 59-
Ex.2-4S. Rob du Bois: Pastorale VH. p.S, no. I.
(Alto recorder)

OJf.\ f.\
,
(presto) (presto)
..... ...--.....
:6
1256
-4{~t[ ~ f b*= /
1H56
(~~ ~.

F
f -= ll' =

EX.2-46. Hans-Martin Unde: Amarilli mia bella. No.2, p.S.

(Soprano recorder)

Presto

#Jp Q
012Jt56 sjz

Ex.2-47. Hans-Martin Linde: Amarilli mia bella. No.3, p.IO.

(Bass recorder)

/1
8
V: ::z
...........
:os::

-------------~------------------~--------

"Chordal sound [dynamics to correspond to graph],"

(Observe also the waveform underneath the stave in both of Linde's

excerpts, indicating both the frequency and amplitude of a breath-
generated vibrato. In Ex.2-47, the fingering is, of course, that for low F-
natural.)

- 60-
 For spectrally flexible recorder multiphonics, considerable control can
be brought to bear upon spectral balance. (Very) slowly changing contours
may be executed, in which, perhaps, the multiphonic infinitesimally 'fades
in' and/or 'fades out' to or from its extremities:

Ex.2-48. Reinhard Febel: Sechs Bagatellen. No.IV, p.5.

(Alt o recorder and piano)

(Iangsam
Oberblasen )

3 3 3 --,
.
~

~ ~

verklingen
~ lassen
~.

.
(~)*

The final recorder sonority is "slowly overblown" from the fundamental

F-natural into the multiphonic, which thereafter disappears gradually as
breath-pressure is increased and the highest tone asserts itself alone.

EX.2-49. Jiirg Baur: Tre studi per quattro. No.3, p.12 (bars 48-54).
(Soprano. Alto . Tenor and Bass recorders)

48 1\ "\ .I. . n 't . ___

b..l
mo rendo (Geriilsch)
'"'
It.!
1\ J ~.quasi uOhOrb~r l-
eInsetzen j I, - I ~ ~PPP I I r.-.
-
It.!
. 1\ -=---- I I unmer,lich In Akkord iibergenen
0) ~.L I ~dPPP [ I r.-.
-
t.! unmer~ich in Akkord ii bergehen I PPP
1\ I I I I I r.-.
' tJ o r;, -.. .";J~. "';J .Q .
~e ";' 7~JTI c/ . . . .
p
71...-- . -u,..pp
*) Akkorde
-73
Wh.1318
Druck: . Pirol" M lnoen (Westf.)

- 61-
 "*)Multiphonics: an almost inaudible entry" [soprano recorder),

and:

"Change imperceptibly into a multi phonic" [alto and tenor recorders).

As a natural corollary to the above, (flexible) recorder multiphonics of

various dynamic levels exist in which a highly unequal balance between
the constituent pitches can be sustained. Such lopsided multiphonic mixes
could best be described acoustically as (very) subtle or slight colorations of a
single recorder pitch by a second, physically related, instrumental tone.
Thus, either the highest multiphonic element acts as the pp(p) timbral
coloration - the multiphonic proper has barely 'faded in' - or, with
somewhat louder effect, the lowest multiphonic element is only just
audible: 88

Ex.2-50. Werner Heider: Katalog. Spiel, 4th system.

(Sopranino recorder)

(td)
~

' - - 5 :3-=..J F356 4:3

mf

(The relatively soft D-natural sounds approximately an eighth tone

sharper than written.)

Ex.2-51. Werner Heider: Katalog. Spiel, 5th system.

(Alto recorder)

J =co. 50 (max.) > sft

Ttd) ____ (o"i) rrr > (hd)
p~\>

> ~
~~~ . rt ,,--.,
m
>,
~ '. ) ... .;--. ~-
ii(+)
>

'--- 5' ----"
~ .ff 456 P
fp f L-3---l

'--J---.J

- 62-
Ex.2-52. Werner Heider: Katalog. Spiel, 8th system.
(Alto recorder)

J) I
tt
= Eingeklammerte Tonstufe (oder 0 ) tritt im Akkordklang zuruck I Bracketed
note (or 0 ) is subordinate in the sound of the chord

In these three quotations, Heider demands a specific imbalanced mix

within the multiphonics' spectrum, in which either the lowest component
tone is favoured (Ex.2-51), or the upper tone dominates (Ex.2-50 and Ex.2-
52).89 Naturally, the verbal directives that clarify his notations are not
nearly as accurate in spectral specification as a (graphic) waveform or
contour.
Of course, other, perhaps less extreme, multiphonic spectral
proportions may be requested verbally instead, albeit imprecisely:

Ex.2-53. Mauricio Kagel: Musikfiir renaissance-instrumente. pp.lO-

11.
(2 Sopranino recorders)

b(..d.{' .I>k.;..../ : 1/.,f~..rUI To ..

J.:.j' A"<c.-.f<.f 6t:~' el) 7~fltu

- 63-
 "Both recorders: ~ tone of the multiphonics somewhat [etwas] louder",

and then in the next bar:

"~tone of the multiphonics somewhat [etwas] louder."

(In both cases, no fingerings are supplied by the composer: the players
will have to find their own technical solutions for interpreting this
passage,)

Should it instead prove desirable to indicate a recorder multiphonic's

internal balance of pitches with much greater fidelity - even one whose
spectrum, however imbalanced, is nonetheless in an apprehensible 'steady
state' of equilibrium - this can be achieved either with conventional
dynamic specifications alone,9o or, more typically, with a waveform
contour,
'Steady state' multiphonics, for instance, are perceived as being static,
and could easily be characterized by a simple 'flat line' (or horizontal line)
contour vertically placed according to the intended degree of spectral
(dis)proportion; or their spectral stasis could, alternatively, be notated with
a mere single dynamic marking:

.'
e.~. :
0

0
=-
0

P
t-- ~.
O'lf
f~ .'
t

Aside from the usual graphic contour notation, spectrally non-static

recorder multiphonics, on the other hand, could be exactly defined by the
normal dynamic letters in conjunction with especially contoured dynamic
'hair-pins' , which the recorder player would then dutifully follow in
performance: 91

e,~, :
0/\ o

- 64-
 The notation of recorder multiphonic spectral portamenti within a
normal metric durational framework has already been dealt with
comprehensively in connection with Ex.2-43. The few examples that follow
herein illustrate some other possible notations for spectral portamenti or
contours demanded within a proportional or analogue system of temporal
organization instead:

Ex.2-54. Wolfram Waechter: Neue Technische Ubungen. Study 19.

(Alto recorder)

,
1
1234/568
ad libitum

Waechter's 'tempo' is given initially by the time-space relation "1 cm =

ca. 1 sec. ".92 Furthermore, within his technical handbook [Waechter
(1983 )], Waechter also offers several didactic exercises, covering a wide
range of contour possibilities for spectral portamenti (Ex.2-55 ). This
manner of analogue multiphonic notation - also utilized amongst some of
the forthcoming examples - is, however, of questionable calibre, since the
precise specification of spectral balance always remains unclear within the
contour, most particularly when the second multiphonic pitch is properly
attained in the notation:

Ex.2-55. Wolfram Waechter: Neue Technische Ubungen. p.12.

(Alto recorder)

Beispiele:

/~---
/
~ ~. I
1 z'

;t-
, 1:23/56-1-

- 65-
 t

, '*
hi
124/5 78
~~
tr( ~ )
~ \ I :/ -
1 3~
#'*
>
sfz
(Atemsto{3)
#~

>
'*
>
sfz sfz
#~

>
sfz
II

In his brief composition, aptly entitled Joke, Waechter again employs

the same proportional notation, identically:

Ex.2-56. Wolfram Waechter: Joke.

(Alto recorder)

10
Fiir Sabina Newezersal

Joke
fur Altblockflote
)rWolfram Waechter (1977)
Tranqui llo
)J p
, :on vlbr - >-
~.
= non vibr a.
- ..
I /B. 24/578. l'

3
'fr o

mf
decresc.
124/5

Vivo ~~giOCOSO b' "~ . /~

, tr f trnt f t b[g+" 1234/578 1234/568 124/568
sub. l'
l'

iF ;on
Tranquillo
vibr b
:
~ .. ~~
=======
~---

III/
124 23
~ ... - - - -
..
slIb. i f sub. P ''if frull.
1 234/5678

- 66 -
 no n vibr.

f1._'
mj' sub.p
123 / 568 123 /567
Tranquillo, molto liberamente
vibr.

5 (j 7
<F.~-
11 ......---....:. - - b.
23 234 234/5

/I
.!.23/S l'
MC MLXX X by Otto Heinrich Noe tzel Verl ag, Wi lh elmshave n Vervieltaltigun ge n, seien sic abschriftlich he rges teLi t oder fo to-
Ed it ion Heinr ic hshofen. Ams te rdam kop iert od er in einem so nstigen Ve rfahren abge li cht et, werden ,
auch wen n sic fOr wisse nschaftliche Zwecke odee den Schul- ode T
N-340 1 Unterrich tsge brauch vo rgeno mmen wurde n, als Verletzu ng. des
U rheberrechts rcchtH ch ve rfolgt.

Zeichenerkliirung zu WAECHTER: JOKE

---- ----- Space notation (Abstandsnotation . Das SekundenmaB sei

mehr Orientierungshilfe als Vorschrih)

MOglichst schnell spie len

Fingerglissando (Finger iiber die Locher schieben ,

bzw. von den Lochern abziehen)

~- Atemglissando (durch Anschwe"en bzw . Nachlassen d es

- Atemdrucks; keine Griffveriinderung)

Oberen Ton a"miihlich einblenden (Atemglissando);

(bei Doppeltonen Luhstrom gegen Kernspalt abknicken)

Unteren Ton a"mahlich ausblenden

(Atemglissando)

Triller mit dem 4 . Finger

:s Flatterzunge (fru"ato)
fru" .

- 67-
 Allmahlicher Auf-und Abbau eines Vibratos
(Atemvibrato)

Labialvibrato (rechte Hand uber dem Labium)

mit nahtlosem Obergang zum Fingertrilier

1234/567.
Numerierung der Finger
(8. Finger hier teilgedeckt)

(Those prefatory entries appertaining to multiphonics [the 5th, 6th and

9th items] respectively translate roughly as follows:
"Upper note gradually fading in (breath-glissando); (at the double-tone, the air-
stream breaks up against the edge)",

"Lower note gradually fading out (breath-glissando)",

and:
"Gradually building and receding a vibrato (breath-vibrato)".)

Ex.2-57. Gerhard Braun: Schattenbilder. No.1, p.5.

(Alto recorder)

r::w:=-~

-'- 0

mf
. ,
frull.
Randp~

- Mehrklang (langsam einblenden)

"Multiphonic (slowly building up)."

9
(Assuming the fingering to be that for F 1, the multi phonic really
should read as F~ 1 and F-:f2.)

- 68-
Ex.2-58. Will Eisma: Wonderen ZUn schaars. bars 67-68.
(Alto recorder)

J ::
~~

f
cCl
12%
=

The recorder player's performance material for Wonderen zijn schaars,

written in quasi-traditional notation, consists of Michael Vetter's edition
and realization of Eisma's partly abstract, at times seemingly arbitrary
graphic score . Vetter's particular interpretation of the matching score
fragment that has been selected for this example CEx.2-58, left) is presented
on the right. (The pitches which actually eventuate from Vetter's fingering
here sound much closer to the nearby E-natural and D-natural, just above
the respective notated pitches.)

Finally, two examples of related - and similarly deficient - notation from

the reuvre of Kazimierz Serocki: 93

Ex.2-59. Kazimierz Serocki: Arrangements. No.5.

(Soprano recorder)

-= :::::==- -= t

after introducing initial note, proceed to fade in chord

by gradually increasing the pressure of breath

i~. fade out the chord by gradually reducing the pressure

of breath until only the initial note remains

.p-"I~. continuous series of fade-in and fade-out processes as

described above
~

J ~))~;JJ apply double (or triple) tonguing, gradually increasing

the pressure of breath until multi-tone sounds emerge

- 69-
Ex.2-60. Kazimierz Serocki: Concerto aUa cadenza. No.32.
(Tenor recorder)

fla u totenore=i:=:J
a becco ~
solo ===-- -===

In lieu of continuing to legitimize the preceding symbologies, I urge

composers in future to endorse the following alternative type of analogue
multiphonic notation instead, because it is considerably more accurate -
and hence superior - in terms of denoting spectral balance:

e.~. :
e.tc..

Linking a recorder multiphonic to its extractable single pitches

Already, in the last section and elsewhere, we have met with several
examples of a rather commonplace multiphonic phenomenon whereby a
single recorder pitch is linked (in legato), without any changes of fingering
whatsoever, to an affiliated multiphonic.
Two related possibilities manifest themselves: either the transition
between the monophonic and multiphonic acoustic states may be made
gradual and obscure, allowing the recorder multiphonic to accumulate or
dissipate slowly or ambiguously as part of an intelligible sonic continuum;
or, the transition can instead be executed quite abruptly, creating a
musical emphasis or juxtaposition of distinct acoustic events. Both effects,
being entirely dependent upon the executant's air-flow, are a natural
legacy of the recorder's generic ability to furnish multifarious spectral
portamenti and contours . One could, for example, cite the latter possibility
as being merely a specific - perhaps extreme - case wherein the recorder
player's breath-pressure lurches radically.
Two parallel notational variants therefore emerge in response to this
circumstance. The first possibility could be represented simply and

- 70-
comprehensively by a written multiphonic with an appropriate contour
indication; the second possibility is best notated by tying the extractable
single pitch's notehead to one of the multiphonic's (and/or vice versa),
which again ought to incorporate a contour waveform for the meticulous
stipulation of the multiphonic's moment-to-moment spectral balance -
despite the fact that most composers, unfortunately, have by now developed
an annoying habit of omitting such graphics:

Ex.2-61. Jiirg Baur: MutazionL 3.1, p.6.

(Alto recorder)

-=f=-mp

The multiphonic's uppermost constituent pitch In practice sounds

closer to G q 3.

Ex.2-62. Jiirg Baur: Concerto da camera. n, bars 51-53.

(Alto recorder)

The multiphonic is labelled "enstranged" by the composer. Here, the

player should maintain the standard fingering for G ~ 3 throughout, but
with the thumbhole closed (not vented); this closure also guarantees an ff
dynamic level.

-71-
Ex.2-63. Richard David Hames: Kit. p.5, 3rd system.
([Alto] recorder. dancer and multiple tape delay)

n
NV. rvv
r 5:4- I+ ~
p~ ~':\-
- h

Ex.2-64. Amico Dolci: Nuovi Ricercari. No.ill, p.14.

(Alto recorder)

- 72-
Ex.2-65. Amieo Dolei: Nuovo Ricercare 4. p.8.
(2 Alto recorders)

8
> >

.J .. 1+."-,,;
~
..
, (~ ::--
-
~
~
f--
~
t=
~
t=
~
t=
~.

= . ,,
~

J
mf

,..,-----,..,~
sff
~rr
,~
mf
-"
~
~
if
--------=~
-----e
~, ==
-
~
.----~
"- f--
~
i-=-

\ eJ
mf 8 iff mf =

Note that in Ex.2-65, when each multiphonic's uppermost pitch is at last

isolated, it is also fluttertongued immediately. (Dolci, himself a virtuoso
recorder player, provides a fingering, within the score's preface, for every
multiphonic.)

Crucially, one should make a clear aural distinction between a recorder

multiphonic's component pitches and its extractable monophonic
resources, as has been done within the multiphonic charts. 94 By
comparison with the constituent tones of a well-balanced recorder
multiphonic, (with some exceptions) the upper and lower extractable single
pitches might even be up to a quartertone sharper and a semitone flatter
respectively, than their elemental multi phonic counterparts obtained with
the selfsame fingering. Moreover, it is almost always assured that any
monophonic sound extracted from the majority of recorder multiphonics
will possess a timbre quite unlike that belonging to a matching single pitch
procured from a 'standard fingering'.95
Returning now to the linking process itself, the slowest durations or
rhythms over which a multiphonic/extractable monophonic link might
occur are limited only by the performer's breath constraints. Furthermore,
apart from certain unstable sequences, repetition of this linking process is
normally unlimited, and so can often take place in either direction -
extractable single pitch to multiphonic and/or vice versa. In fact, the
possibilities here are frequently combinable. Maintaining a constant
fingering throughout, one could precede a given amenable recorder
multiphonic with a particular extractable monophonic tone, thence simply
reverse the procedure or follow it instead with another such monophonic
sound:

-73 -
Ex.2-66. Jiirg Baur: MutazionL 2.m, p.5.
(Alto recorder)

~r:'I
t ~ ~

@.,
123567
----
f/Zt

(When performed with Vetter's proposed fingering, the multiphonic's

written D-natural in actuality sounds much closer to the E-flat a semitone
above.)

Upon reaching the final monophonic element, one could then - for
instance - at last change fingerings, if desired. Certainly, the whole linking
process here carries a lot of potential for making elegant, perhaps even
musically significant, enunciations. 96 For example, linking a carefully
selected recorder multiphonic's highest and lowest extractable single
pitches via a maximal-range spectral portamento, provides an engaging
general method of connecting, legatissimo, two recorder tones that lie in
different registers. This fascinating type of single-pitch legatissimo-
coupling is perhaps more interesting than the ordinary monophonic
legato-leap, due to the (possibly surprising) transitory presence of the
interposed multiphonic, whose continually shifting spectral balance
stunningly yields extra timbral and harmonic dimensions :

Ex.2-67. Gerhard Braun: Monologe I. letter A.

(Alto recorder)

?:'\ c==~
... ~
~o ;to

(Braun's fingering delivers a somewhat flat E-natural.) The intervening

multiphonic is not explicitly notated, although the breath-pressure contour
(which is implied by the dynamic wedges) causes this fragment's

- 74 -
timbrallharmonic spectrum to proceed from the bottom extractable pitch
alone to the top through the multiphonic.

Ex.2-68. Jiirg Baur: Mutazioni. 1.1, p.3.

(Alto recorder)

II
ifz
(*
124567 )

In this example, the modus operandi and musical outcome is identical

to that of Ex.2-67, but here, the multi phonic and spectral contour are
expressly notated instead, whilst the extractable single pitches that frame
the whole event are implicit only. (With Vetter's fingering, the
[multiphonic] pitches genuinely sound very close to A b 2 and D ~ 3,
respectively.)97

On the (alto) recorder, if a gradual contoured merging from

monophonic to multiphonic states, for instance, is attempted as a (partial)
spectral portamento, the changeover, thankfully, will seldom be abrupt.
There are, nevertheless, some exceptions. 98 For example, whenever one
endeavours to elicit a smooth, slow 'fade-in' of the unstable 'impure octave'
9
multiphonic F~ 1, F;f 2 from the single pitch F 1 [standard fingering], by
carefully increasing breath-pressure only, thIS particular multiphonic
instead 'switches in' suddenly, so that the merging process ineluctably
happens quite quickly.99

In conclusion - as has already been tabled towards the beginning of

section 2.1.3, but is nonetheless absolutely relevant to the current topic -
some multiphonic elements can more easily be isolated, in the form of
extractable single pitches, than others. Usually, the most prominent
multiphonic components may be sequestered most readily of all. 1oo
Concentrating our attention here briefly upon the uppermost prominent
component of recorder multiphonics, whenever an executant's breath-
pressure is high enough such that a loud r!f(f)] single pitch is extracted
alone - derived, of course, from this abovementioned upper multiphonic
extremity - it is invariably shadowed below, faintly, by an 'undertone'.101
These ghostly 'undertones' will receive a superficial examination in the
next subsection.

- 75-
Undertones and their notation

Recorder undertones, best notated with an inverted triangle (as in the

multiphonic charts of part 2), are an often audible 1st-register 'shadow'-
pitch beneath a higher-register primary tone. They are, notably, most
prominent of all when this primary tone lies within the recorder's high
2nd register or above, and particularly when, as part of the fingering-
configuration, the instrument's thumbhole is closed. These soft, 'foggy',
'hollow' and airy undertone sonorities correspond in pitch to that of the
fingering's fundamental mode of vibration. As such, they form an
important parameter in defining the timbral signature of a high recorder
pitch, or of a recorder multiphonic that is an accretion of high pitches.
Moreover, owing to the ubiquitous inharmonicity of vibratory modes drawn
from a single recorder fingering, an undertone may create a discordant
intervallic relationship with respect to this high pitch (or multiphonic).

It is a paramount necessity to understand that the tangible acoustic

combination of high recorder monophonic sound together with its
attendant undertone should never, on any account, be classified as a
'multiphonic': although every criterion in the provisional definition of
'recorder multiphonic' which was given at the opening of this chapter is
ostensibly satisfied here, 102 the radical and enormous dynamic and timbral
gulf that exists between an undertone and its higher monophonic
counterpart, rightly prevents the foregoing categorization. 103 (Such an
acoustical assemblage really exists somewhere within that chordaVtimbral
continuum on the recorder between 'single pitch' [the recorder's
'monophonic' zone] and 'multiphonic' [its 'harmonic' sector].) 104

Ex.2-69. Kazimierz Serock.i: Arrangements. No.2.

(Alto recorder)

-1 -1

=--
~ 22
!5 5
6
7
5"
6
7

a~,tHin~4
l-j-.~~ I~----------------------------
,9"
I

Although Serocki's notation in this excerpt implies the performance -

with the indicated fingerings - of two normal alto recorder multiphonics in
legato alternation, the second sonority which thereby emerges is, in fact,
not a true multiphonic at all, but merely a 2nd-register single pitch (G b 2)
underpinned by an undertone (C ~ 1).

- 76-
 At this juncture, it might be advantageous to clarify precisely what the
relationship is between an undertone and an associated multiphonic
component, if any. So long as a recorder multiphonic's lowest constituent
pitch falls within the instrument's 1st register, there will normally be a
corresponding undertone at that same pitch; this undertone, however,
materializes only after the multiphonic's highest extractable pitch is
attained on its own. Thus, an undertone usually can be transmuted,
smoothly, into such a multiphonic component, with a mere decrease of
breath-pressure - which also shifts the multiphonic's highest extractable
single pitch into the multiphonic proper - along a spectral contour. (This
process could even be carried out, perhaps repeatedly, in a rhythmic
fashion: the rhythmicization of spectral portamenti, as well as other
complex multiphonic spectral phenomena, are discussed within the
forthcoming subsection.)

Applications of spectral portamenti within more complex musical events

Beyond the relatively uncomplicated practice of substituting, at an
opportune moment, one multiphonic fingering for another - particularly
for the purpose of moving away from a recorder multiphoniC/fingering that
cannot manage certain spectral portamenti (or, at best, only does so under
duress) - every other multiphonic implementation's raison d'etre
hereinafter hinges upon the fact that air-flow alone regulates a recorder
multiphonic's spectrum, quite independently of the other production
parameters: fingering and articulation. So, composers can (if they wish)
devise musical structures - from the absolutely rudimentary to the most
exquisitely labyrinthine - in which the primary multiphonic features of
spectral profile, attack and fingering operate as autonomously networked
strata.

Ex.2-70. Wolfgang Witzenmann: Bordun m. bars 29-31.

(Soprano recorder)

With a staccato (macro-)articulation, the player is tacitly directed -

roughly in accordance with the vector-like contour - to overblow the
repeated A-flat into the multiphonic of bar 30. (See also, in bar 31, the more
typical analogue waveform contour which then carries this multiphonic
away into its top extractable pitch, B-flat.) This succinct quotation
eloquently portrays the possibility of constructing rhythmic and
articulatory designs not connected in any way whatsoever to the concurrent

-77 -
vicissitudes of breath-pressure and multiphonic spectral balance. The
following example is also comparable:

Ex.2-71. Gerhard Braun: 5 Miniaturen. No.IV.

(Soprano recorder)

~ 7- 11

,;.,A ,...
f ..
ii( Jll il l JJJJJJJJJ11 , Q
> ')
_:. "-"'.
,,"_;'1.1;.1.. ; _ _ ~\....,. 4"'~"" .4. __ 04 ..._

IA~-~ ..zt._

The normal F-sharp fingering is implicit here, and above that reiterated
pitch, the multi phonic is progressively 'faded in':
"Gradually push harder, with an increase in the overblown tone" {tr. Prof. Eric
Gross}.

Again, spectral balance is shown to be a function of breath-pressure

rather than articulation (or fingering).
The important logical principle behind these examples may, of course,
be extended considerably beyond the simple repetition of a single pitch upon
which independent spectral portamenti are superimposed. Why, for
instance, be confined in this process to just one particular pitch and
fingering when it can be applied perfectly well to more protracted recurrent
patterns that muster a larger set of fingerings (Ex.2-72 and Ex.2-73)? And
why not then go one logical step further by discarding the 'ostinato'
premise altogether and admitting any figures and fingering-sequences -
recursive or non-recursive - beneath a self-sufficient, unrelated spectral
contour (Ex.2-74)?

Ex.2-72. Kazimierz Serocki: Arrangements. No.9.

(Bass recorder)

-78 -
 CSerocki's instructions regarding his slightly whimsical multiphonic
contour notations, as depicted in Arrangements [and elsewhere] are
appended to Ex.2-59.) The repeated scalar 'riff here is gradually
overblown, as in the next example: 105

Ex.2-73. Kazimierz Serocki: Concerto alla cadenza. No.249.

(Great Bass recorder)

25~
I I I I
,
2 1
I J J
1 3
I
2 2 2 2
3 3 3 3
.4. 4
5 5 5 5

.-t
6 6 b '

fbgb~ . ~;1J ':J.~, '

JJ JJ
,' ,
-
I
PPP I'':''__-===============fff I

The introductory performance notes state the following:

"Overblow the indicated sounds, gradually increasing the wind-pressure, so as to
obtain unspecified composite overtones; after the change of fingering shift the right
hand along the pipe of the instrument upwards, up to the bevel; at the very moment of
stopping the bevel (in 250), shift the right hand quickly upwards and conclude this
passage with a sharp, whistling sound produced by an abrupt opening ofthe bevel. "

Ex.2-74. Kazimierz Serocki: Impromptufantasque. Nos.139-141

(pp.32-33).
(Tenor. Bass and Great Bass recorders)

... 'ca 3" :

I
J

I *) ~

fbtm:~i
ppp --=====:=111 ppp-====:III

-79 -
 140~ 141~
I
I

.--.--.
~~}
buiWdWdWdI v
I
ppp--====fff pppl~=====fff

Here, Serocki specifies aleatoric sequences instead of well-defined

patterns (as before):
"*) Change constantly the notes chosen ad libitum within the indicated range."

Also pertaining to this excerpt, in the score's preface he declares:

"Overblow any sound within the indicated range gradually from ppp to fff so as to
produce composite overtones; double (triple) blowing [sic: = double-tonguing; triple-
tonguing], staccato."

The choice of multiple articulation-type is, in fact, strongly suggested by

the internal rhythmic groupings. Once again, the contour for 'overblowing'
is utterly independent of any articulatory or fingering morphology.
If one desires to give a punctilious designation for spectral portamenti
under any hypercomplex technical or musical conditions - which might,
for instance, evolve from the separate (pre)compositional organization of
breath, articulation and fingering - then within the score's resultant
calligraphic complex, a problem immediately arises whereby the usual
waveform contour notation in these situations frequently becomes
ambiguous, confusing or downright unreadable, Richard Rijnvos,
however, has proposed, within his work Zahgurim, an innovative
symbology that I advocate as an adequate notational alternative for
multi phonic spectral contours in such cases: 106

Ex.2-75. Richard Rijnvos: Zahgurim.. bars 28-30 (p.8).

(Amplified bass recorder)

- - - - - - - - _ . r. __________________________________ ~~.--------------

~ ~ h
~1)'
~l @)
(J!, -)

511
r----3---, (. )
jill ft l ~ It ) : . ) If !
,-3-,
ill')

0-
0 0- 0- o
0 0 o 0--
0 o

0 0 o o
0 0 o
" " " "
" " " "

- 80-
 _____ = inc r ease air pressur e up t o gi ven note

....- = dec r ease a ir pressure down t o given note

Beyond the trilling and fluttertonguing accoutrements within this

passage, the balance between the multi phonic components themselves
fluctuates - and they also, at key points, break into different registers in
response to breath-pressure changes. The aural outcome in toto is certainly
quite complex. Hence, instead of the regular practice of denoting spectral
contours by placing a curve amongst the notated pitches, which here could
be visually obstructive, air-flow is specified by the solid black contoured
wedges underneath the stave. Their pictographic resemblance to ordinary
dynamic 'hair-pins' ought not to be lost upon the reader: the close
concordance between multiphonics ' global dynamic level and the
executant's breath-pressure makes this notational variant singularly
apt. 10l

The final class of sophisticated musical possibility issuing from the

controlled alteration of multiphonic spectral balance by the recorder
player 's air-flow alone , falls under the umbrella-phraseology of
'rhythmicized multiphonic spectra' (in which the spectral contour merely
develops in a fundamentally periodic, metrical fashion) . This situation
becomes particularly engrossing when the rhythmic changes of spectral
balance are so large that single pitches alone are extracted from the
recorder multi phonic proper, to the point that a unique type of interlocking
polyphonic texture , characterized solely by a rhythmic i nterplay of
extractable pitches joined through the multiphonic, might ensue: 108

Ex.2-76. Jiirg Baur: Pezzi Uccelli. No.1, letter D, p.l.

(Sopranino recorder)

V rapide 12457 rapide 12

aeee!.

123667 123
6
123467

- 81-
 (And again, in the following movement of the same composition):

Ex.2-77. Jiirg Baur: pezzi UccellL No.2, letter D, p.3.

(Sopranino recorder)

bj" J f bJ, n, bJ f J,
I~ e=st2Jc=,-=
f (poco accel.)
j r'-= I~
123567

The final bar of this phenomenon in Ex.2-76 - as well as the next

example, on the face of it 109 - shows that not only can the upper extremity of
the multiphonic be 'rhythmicized' and superimposed against a single
continuously sustained lower (multiphonic constituent/extractable) tone,
but that the process in fact may also be inverted by exchanging the roles of
these upper and lower multiphonic components/extracted single pitches:
i.e., it is also perfectly reasonable that an uninterrupted highest
multiphonic element (together with its extractable monophonic equivalent)
might be underlaid by a lower 'rhythmicized' recorder tone.
Baur's notational approach within these last two quotations is quite
good, in that it traces an unmistakable picture of the musical intent. In
terms of detailing the minutiae of spectral balance, however, it is still
utterly insufficient. A waveform contour therefore needs to be added amidst
the multiphonic, in conjunctive agreement with the specified rhythms;
moreover, this graphic addition is absolutely imperative whenever breath-
pressure fluctuations are slight enough such that a multiphonic's
spectrum is internally 'rhythmicized' without any of its constituent
elements ever disappearing entirely.
How, precisely, is this attractive spectral contrivance carried out then?
Given that the performer necessarily possesses accurate knowledge of the
multiphonic's breath-pressure needs and limitations, it is readily achieved
with diaphragmatic thrusts, 110 which very rapidly increase or decrease
air-flow as required, in order to define the multiphonic's inner spectral
rhythm. These thrusts of air ought to be executed quite speedily, so that
adjacent durations within any rhythmic figuration - such as the paired
quavers of Ex.2-76 - can be perceived to be detached from one another, as
well as to secure overall rhythmic cIarity.111

- 82-
Ex.2-78. Erhard Karkoschka: Floten-/I'onband-Spiele 1978. No.ll/2.
(Soprano or Tenor recorder [Recorder in CIl

Flzg

(The fingering-configuration here is the normal one for F ~ 1 [recorder in

C].) Within Karkoschka's multiphonic analogue notation, the three medial
accents - signalled by >'s - suggest diaphragmatic thrusts, a somewhat
uncertain method of portraying the top part cutting across alone, thrice.

Some further examples of rhythmic spectrum-alterations within

recorder multiphonics shall now be furnished, as an unceremonious coda
to terminate this section:

Ex.2-79. Werner Heider: Katalog. Spiel, 4th system.

(Sopranino recorder)

The parenthetical G ~ 3, "subordinate in the sound of the chord", is

quickly brought in and out through sudden changes in the level of air-flow,
as described above, their timing being in rapport with Heider's prescribed
rhythm. The same may also be said ofEx.2-80: 112

- 83-
Ex.2-S0. Werner Heider: Katalog. Spiel, 7th system.
(Bass recorder)

~ ---
,--5---,
(
+
~-- ~\ I :fl
~
l
~
-- --:-
B. ....., 0
0

.
~ t7;~__ ~__"1 o ~ .._ .. "--"'Co 0

-
123567
1234578
(6)
~

Ex.2-Sl. Helmut Bornefeld: Concentus. no.lS, p.12.

(Alto recorder)

5 V' V''''f v9 0 Sv ~ 5 ::<

.f -

~
,I
@) l- ~f~
-----..
.......
... " ,

_ _ t{ 0
.

0
-
0
0
'---

After the (single pitch) E-natural is reached, the multiphonic -

symbolized by the insertion of its high component tone, G-sharp, into the
notation here - enters exactly three [quaver] beats later, with a sudden
'sforzando' augmentation of breath-pressure.

- 84-
2.4 A Categorization of Alto Recorder Multiphonics

Introduction
Any attempt to create a multiphonic typology, to separate the complete
corpus of alto recorder multiphonics 113 into various mutually exclusive
'equivalence classes', or instead, to subsume them under a number of
overlapping categories, is essentially subjective and arbitrary. No method
of multiphonic categorization, of which there are indeed many, is
intrinsically superior to any other - although some perhaps could be more
apropos for certain purposes than others. At any rate, one can, as one
wishes, easily classify and encode all alto recorder multiphonics, which
are then clustered as desired into subsets according to some aspect(s) of
their respective technical data: similar levels of ease and manner of
production; pitch-relationships and other identifying acoustical
characteristics; comparable (average) dynamic levels; broadly related
fingering-configurations; production parameters held in common;
intervallic and timbral profile, and sonic flexibility, encompassing a wide
scale of colouristic possibilities.
The criteria chosen for establishing a multiphonic taxonomy within this
monograph 114 in my view reflects widespread compositional
preoccupations. Composers themselves, both within scores' preliminary
technical schedules as well as within the music itself, often seem to nest
recorder multiphonics according to the following groupings, based upon a
mixed consideration of fingering-types and sonoric properties.

2.4.1 Multiphonics derived from Plain Fingerings

These recorder multiphonics, of which numerous specimens are

already found to be in evidence amongst the textual examples, might be
regarded by composers and recorder players alike as belonging to a basis
category, from which all others spring. 115 The titular appellation 'plain
fingering' here merely denotes that enormous class of recorder fingering-
patterns wherein each fingerhole is either open, closed or - particularly in
the case of the thumbhole - shaded, the end of the bore remaining open.
Plain fingerings, then, may be divided into 'forked fingerings' and 'open
fingerings'. 116 As we have seen before, on the recorder, forked fingerings
in particular produce multiphonics with great facility. Forked fingerings
are therefore extremely rich in multi phonic possibilities and usually
engender the easiest, most flexible and stable multiphonics of all. 117
Nonetheless, because the recorder in general supplies multiphonics far
more readily than any other woodwind instrument,118 even those
multiphonics issuing from open fingerings are relatively compliant and
easy to obtain. 119
Apart from the provision of a few extra examples of this multi phonic-
class planted within the context of a musical work, no more need be added
here to what has already been said.

- 85-
Ex.2-82. Nicolaus A Huber: Epigenesis I. p.g.
(Alto recorder)

o
o
o 00
- thef)-

f~
! ====== ff f --+=====::. If
00
00

00
00

Although Huber at this point omits these multiphonics' fingerings, he

does state at the end of the score's prefatory explanation of symbols that
"this piece lies within the new developments of recorder technique based
upon Michael Vetter's research" {tr. 1. S.}. Thereupon, having consulted
Vetter's foundational treatise Il Flauto Dolce ed Acerbo,120 two suitable
(forked) fingerings were found . These are now given to the right of this
excerpt.

EX.2-83. Herbert Nobis: Contrasts. No.V, p.g (bar 13).

(Alto recorder)

ff
*

"* = Multiphonic (B ~ 1 [standard fingering] overblown)" Itr. I. S.}

Ex.2-84. Wolfram Waechter: Neue Technische Ubungen. Study 15.

(Alto recorder)

1'231!/G7

- 86-
Ex.2-85. Malcolm Tattersall: Franklin River. section 2e.
(Alto recorder)

, .
'>
> f;r

EJ]} It
12../.f-S"
~ ?! J I,.,Fhr') ::;::>"
.
j I@
01'114-'-7

Ex.2-86. Hans-Martin Linde: Amarilli mia bella. No.1, p.7.

(Alto recorder)

~
~
f-
~
=
~
~
- t:'! ~.
Adagio
i
I- -
~
I--
. f- II:;:'

11 I I 01'2:"b 0131tSi!
dolce} espr.

With Linde's fingering (01-3/452-),121 the second (minim) multiphonic's

lowest pitch-element in fact sounds at D ~ 1; this particular multiple
sonority also encloses a soft inner resonance near AQ2 as well.

Ex.2-87. Amico Dolci: Nuovi Ricercari. No.IT, p.g.

(Alto recorder)

- 87-
 This multiphonic pair is drawn from the standard fingerings for Ist-
register B-natural and B-flat, both of which are forked. (Dolci duly provides
them within the introduction to his score.)

2.4.2 Multiphonics derived from Vented Fingerings

Vented fingerings, merely a sub-class of the aforenamed plain

fingerings, are subject to the additional proviso that at least one fingerhole
must be vented slightly. This ventage can, in practice, apply to any of the
recorder's fingerholes, although the multiphonic-type under particular
scrutiny here is characterized by a vented thumbhole. 122

Within the confines of traditional recorder technique, a vented

thumbhole acts acoustically as a 'speaker' that facilitates the sounding of
tones above the fundamental register. Multiphonics derived from those
fingering-formations which engage a vented thumbhole and are normally
assigned the task of high-register pitch-production, often result from the
utilization of a practice that is actively discouraged in the teaching of
conventional recorder techniques: the multi phonic might be allowed to
appear by means of 'underblowing', with an attenuated - or 'insufficient' -
breath-pressure.

Venting the thumbhole in many instances has the effect of rendering a

plain-fingered recorder multi phonic (with initially closed thumbhole)
softer,123 and possibly more unstable, spectrally inflexible and/or difficult to
establish as well. Significantly, the multiphonic's pitch-elements - in
particular the lowest extremity - might also be raised to some extent: it is
the vented thumbhole's aperture size which precisely dictates multiphonic
pitch, and again, in this regard, the pitch of the lowest component tone is
by far the most sensitive to thumbhole aperture variation. In terms of the
multiphonic's timbral profile, however, by comparison with its plain-
fingered counterpart, thumbhole ventage may cause only minute
colouristic variations, although, probably due to its lower overall dynamic
level, any inherent combination tone(s)'24 that are audible within the
multiphonic could become somewhat more noticeable to the listener.
Furthermore, in its internal balance, such a multiphonic might also
become top-heavy, with perhaps only small prospects for significantly
altering its spectral balance.

I regret to say that within the current recorder repertoire, most

implementations of this multiphonic-type are rather problematic, because
either the multiphonic is displayed inaccurately by the composer, or the
fingering provided by them yields an unreliable outcome. Consequently,
suitable portrayals of recorder multi phonics drawn from the class of vented
fingerings are, as yet, still quite hard to come by:

- 88-
Ex.2-88. Wolfgang Witzenmann: Bordun H: on its own set of tones. p.5.
(Tenor recorder)

-..a.-----
-. II
attacca

The fingering given here by Witzenmann is the regular one for (tenor
recorder) B ~ 2. This multiphonic, simply generated by carefully
'underblowing' that pitch, is nonetheless a little awkward in one technical
respect: in order to tune its lowest constituent pitch - A-natural - properly,
it immediately demands, from the outset, a very precise thumbing. (From
the executant's vantage-point, it is otherwise perfectly practicable.) In
terms of its notation, the thumbhole's critical hair-line crack is,
thankfully, well represented within Witzenmann's tablature pictograph.

Ex.2-89. Will Eisma: Wonderen zijn schaars. bar 195.

(Alto recorder)

(This example quotes only Vetter's interpretation - as given within the

recorder player's performance materials - of Eisma's score, which is
rather less determinate at this point.) Again, both ventages, but
particularly the thumbhole's, control this multiphonic's precise
intonation.

- 89-
Ex.2-90. Rob du Bois: Spiel und ZwischenspieL bar 113.
(Alto recorder)

In order that the E-natural does not sound flat here, the thumbhole
must be half-opened. Since this pitch projects rather weakly with this
fingering-configuration, the upper multiphonic tone, F -natural, tends to
prevail within the aggregate multiple sonority.

Ex.2-91. Richard Rijnvos: Zahgurim.. bars 103-104 & 107 (pp.28-29).

(Amplified bass recorder)

tr. ,. ... ... . . ...

,
~{~Jt ~HJ ,ij ~~
~J G~J
~>r
N+) J ~lllf '~:
,/

0
0
0
0
0
z .- .-
0 0
::::.=--
J

0 0 0 0 0

.- .- .-
0

0 0 0

0

0
0
0
.0 .0 o' .0 .' 0
.' .0 00 o' .' .0

The effect that the thumbhole's almost complete occlusion has upon
multiphonic pitch is made clear within the first excerpt of Ex.2-91, a
phrase which is comprised entirely of multi phonic trills (bars 103-104). For
instance, observe, by comparing the multiphonic in question with those
contiguous to it, the more pronounced impact that the thumb action exerts
upon the intonation of the lower multiphonic elements.

- 90-
 In bar 107 here, the quite slender thumbhole ventage actually raises the
multiphonic's bottom component (only) by as much as a minor third, to E-
flat: with a fully closed thumbhole it would sound much nearer to C ~ 1 -
'middle C' - in the multiphonic.

Ex.2-92. Kazimierz Serocki: Arrangements. No.1.

(Soprano recorder)

~~a
2 I
, I

5 I

~---"

Once the high F-sharp is gained (with "quarter of thumb-hole to be

uncovered"),125 the (next) multiphonic appears by simultaneously lowering
the breath-pressure and further opening the thumbhole - "half of thumb-
hole to be uncovered" - gradually. Then, whilst the pitch of the uppermost
tone in the multi phonic still remains absolutely unchanged, its low B-
natural slides a semitone upwards as a result of opening the thumbhole yet
more: "three-quarters of thumb-hole to be uncovered". Owing to heightened
instability through use of the soprano recorder, the whole operation must
be executed with great care.

Ex.2-93. Hebnut Bomefeld: Concentus. no.13, p.9.

(Tenor recorder)

- 91-
 As is almost always the case, instantly finding the precise amount of
thumbhole ventage is crucial for attacking the multiphonic with accurate
tuning, even more so when it is as brief as this. Later, Bornefeld
automatically exploits the same intervallic relationship by calling for the
equivalent multiphonic - with identical fingering - on sopranino recorder
(at no.23, p.15). On both occasions, the upper multiphonic extremity in
practice sounds a quartertone higher than written. 126

2.4.3 Multiphonics with the End of the Foot joint Closed or Covered

Introduction

The act of occluding in various ways the end of the recorder's footjoint,
as a permissible technique to enhance the instrument's expression still
further, is, perhaps surprisingly, by no means 'new'. Indeed, during the
seventeenth century, Sir Francis Bacon, the Lord Chancellor of England,
wrote the following within his Sylva Sylvarum, or A Natural History (1627):
"Trial was made in a recorder after these several manners. The bottom of it was set
against the palm of the hand; stopped with wax round about; set against a damask
cushion; thrust into sand; into ashes; into water (half an inch under the water); close
to the bottom of a silver basin; and still the tone remained. But the bottom of it was set
against a woollen carpet; a lining of plush; a lock of wool (though loosely put in);
against snow; and the sound of it was quite deaded, and but breath."127

Such obstruction of the recorder's endhole, because it radically changes

the acoustical nature of the instrument,128 thereby gives rise to myriad rich
new multiphonic possibilities. As such, this extra resource ought now to be
rightly regarded as a legitimate, or even orthodox, recorder technique. 129

Of the two basic methods of stopping the end of the recorder's footjoint in
order to elicit certain multi phonics - by bringing about either an airtight
closure, or a non-airtight covering, of the bore's endpoint - only the former
operation can be comprehensively dealt with herein: the introductory
nature of this thesis, and its constraints upon space, unfortunately
precludes any deep investigation of the latter method as well as the
inclusion within the appended charts of any resulting multiphonics.
Moreover, this infinitely fertile technique of producing recorder
multiphonics, in which the end of the instrument's footjoint is lightly
pressed against some variety of porous cloth, is, even now, not at all
standardized, so that the consequent class of multiphonics - though
without question musically worthwhile - is still unacceptably nebulous and
inconsistent. 130 It is perhaps feasible and helpful, nevertheless, to mention
here, on the subject of "covered register" recorder multiphonics,131 a few
vague tendencies which are hardly conclusive and amount simply to a
general comparison with characteristics of their "closed register" 132
counterparts.

'Covered register' multiphonics

Assuming that the performer's fingering-configuration stays

unchanged, the substitution of a non-airtight cloth covering of the

- 92-
recorder's footjoint for an airtight closure often achieves the effect of
making a 'closed register' multiphonic softer (in dynamic level), somewhat
windier (i.e., with more conspicuous air-noise), or timbrally 'foggier'.
Stability characteristics could also be modified; on the whole, 'covered
register' recorder multiphonics tend to be quite stable. Furthermore,
endhole coverage may, in rare instances, eliminate the multiphonic
sonority altogether, or, with much less disruptive result, generate (minute)
deviations away from the specific micro-tuning of a 'closed register'
multiphonic's internal pitch-elements, thereby altering the original
multiphonic's modulation parameters at the very least: what was once a
'closed register' recorder multiphonic that incorporated strong beating
effects might now become a beat-free 'covered register' multiphonic with a
noticeably different intonation.

In summary, perhaps the best advice that can be offered to those

composers who are interested in exploiting this resource, is to commence
with the 'closed register' multiphonics which are listed within part 2's
charts, thence, by working in conjunction with a good recorder player, take
note of the acoustic transformations that occur for each individual case
whenever the end of the bore is merely covered with cloth instead of being
blocked entirely. An apposite notational system must also be found , with a
view to distinguishing between different cloth-types, densities and
thicknesses, which themselves have to be carefully specified. 133

It shall suffice now to complete this part of the current subsection by

providing two concrete examples of 'covered register' recorder
multiphonics:

Ex.2-94. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.l, no.l.
(Alto recorder)

SyLvano .Bussolti - Michael Vett~r

RARA (dolce) perflauto diritto

~<':-~-S-'-b----------------------------!!:'" ,

The solid line sitting immediately above Vetter's number tablature in

this extract denotes a footjoint, the end of which is "covered with a soft
cloth" {tr. I. S.}. The 'covered register' multiphonic in actuality sounds
microtonally sharper than its pitch-notation suggests.

- 93-
Ex.2-95. Rene Clemencic: Chronos-Studien. (where?) 134
(Alto recorder)

"Ged." is merely an abbreviation for "gedeckt", meaning "covered

[register]" in English. Typically, the dynamic level for these two quite
gentle multiphonic sonorities is "pp". (Note that the cloth covering must
not be too thick here, lest multiphonics arise which differ completely from
those demanded by the composer.)

'Closed register' multiphonics

An airtight closure of the end of the recorder's bore 135 - perhaps
analogous to the practice of 'muting' a clarinet by blocking its bell with a
Bf
well-fitting cork - introduces pitches on the alto recorder down to 0, more
than a perfect fifth below the traditional range of the instrument. This
stopping technique, as forthcoming examples will amply demonstrate,
therefore permits unusually low-placed alto recorder multiphonics to
sound.

Moreover, although in most other respects the whole class of 'closed

register' multiphonics can readily interact with (and so could even be
assimilated into) the generic families of recorder multiphonics which were
outlined in sections 2.4.1 & 2.4.2, it does seem, on the other hand, that a
preponderance of alto recorder multiphonics with more than two audible
component tones lies within the bounds of this specific multiphonic-
category:

Ex.2-96. Will Eisma: Wonderen zijn schaars. bar 334.

(Alto recorder)

sec.
~1 ~"'I:
T
1'1'A
... V

X
~ c;-
= -'13'*5

- 94-
 Yet again, this multiphonic is taken from Vetter's edition of the
performer's part, instead of Eisma's full score (which at this point
indicates a totally unrealizable recorder multiphonic). (Note also that, for
prescribing the fingering, Vetter's tablature system in this excerpt is,
rather misleadingly, identical to that employed within Ex.2-94: the
tablature's superscripted line in Ex.2-96 is supposed to signal an airtight
closure of the bore's endpoint, not its cloth coverage.) Aside from its prime
chronological role, the analogue notation here implies that the recorder
player should allow this slightly unstable tri-pitched 'closed register'
multiphonic to break down eventually, so that its soft inner pitch emerges
alone.
An effective airtight obstruction of the recorder's endhole demands a
fairly flat, non-porous surface. Either of two fundamentally different
approaches can be taken in order to achieve this: 136 the instrument may be
appropriately 'prepared' beforehand, or, when required, the executant
might instead block the recorder's bell tight against a vinyl pad (for
example) or - more usually - against some part of their own body.

An airtight 'preparation' of the recorder's footjoint can be effectuated by

inserting an object such as a cork or a rubber plug into the very end of the
bore, or by affixing a thick wad of some malleable gummy substance like
"Blutack", "Bostik" or "Plasticine" over the bell's endhole; alternatively,
pieces of sticky tape could be carefully cross-adhered there instead
(although it is, in fact, a moot point as to whether or not this method of
endhole blockage creates a quite distinct acoustical sensation, including
vibratory membranous resonances - buzzing - within the tape itself). In any
case, it is a significant advantage that no physical limitation is imposed
upon the performer's playing position: they are perfectly free to move
around with the instrument from place to place, at will. However, since
recorder 'preparations' of this nature, as well as their removal, are
somewhat time-consuming, they are probably best engaged over whole
extended passages rather than for single, isolated events: 137

Ex.2-97. Richard Rijnvos: Zahgurim. bars 195-233 (pp.51-60).

(Amplified bass recorder)

'Mute' the rec orde r!

Rijnvos's wedge-shaped symbol - not actually shown within Ex.2-97 - is

almost identical to my own tablature pictograph's square black box, and
visually intimates that the end of the bass recorder's bore should be stopped

- 95-
 with a tight-fitting plug or cork: it is not unreasonable to construe that such
an act is closely akin to muting a brass instrument by placing a specially
designed 'mute' inside its bell. This 'muting' of the bass recorder in
Zahgurim, from the end of bar 198 (where the first 'closed register' sonority
- a multi phonic - is heard), remains in force for the rest of the work.

When the instrumentalist is, on the contrary, expected to perform a

'closed register' multi phonic on the alto recorder by shutting the end of the
bore at the required moment (rather than formally 'preparing' the
instrument as described above), a number of useful possibilities present
themselves. If the multiphonic's particular fingering-formation utilizes
only one hand to regulate the fingerholes, the palm, or - better still - the
index finger of the free hand 138 can be summoned to obstruct the endhole.
(Again, the executant's physical position is unrestricted in performance. )
If, conversely, the multiphonic's fingering-pattern calls for both hands and
so does not allow for this, the recorder player can instead carry out the
endhole obstruction by lowering the instrument's footjoint onto their thigh -
though they are then confined to a seated position, unfortunately. 139

Ex.2-98. Martin Giimbel: Fwtenstories. V/2.

(3 Recorders of equal pitch: notated in C)

v
------p
II I
, - -+---+--.....- -

V
V ..... .---~ .,
P ~
==J=

II I r r r i II V
7
\. J
-J4 .------
~

{
,

Each movement of Gumbel's pedagogic composition concentrates upon

a specific aspect of (contemporary) recorder technique. The fifth study, sub-
headed "Kaleidoskop", is entitled "Akkorde und multiphone Klange mit
gestopfter FlOte" [i.e ., "chords and multiphonic sounds with stopped
recorder"]. Within the score's prolegomena, Gumbel states that:

- 96-
 "In studies 2, 3 and 5 'stopping' is called for. This requires the orifice (i.e. lower
sound exit [endholeD to be sealed with a small plug or strip of adhesive tape. This
brings about an essential increase in compass and tonal spectrum, although the
player will discover that such treatment will cause standard fingerings to produce
irregularly pitched notes (higher, lower or 'off-pitch' i.e. notes not conforming to the
tempered system)."

Gumbel then provides some further "notes on the various studies":

''Y. Chords and multiphonic sounds produced by stoppin~. In the course of this study,
the instrument required to be stopped is provided with fingering notation throughout.
Where the actual pitch of the stationary note deviates considerably from that of the
standard fingering indicated, the note actually sounded is written above the
fingered [note] on a separate staff to facilitate the process of reading and
intonation."

Hence , the constituent tones of these 'closed register' soprano

recorder 140 multiphonics, written precisely as they sound, are simply
placed above the normally fingered pitches (notated here as semibreves),
which function only in the capacity of fingering tablatures. Furthermore,
because this work was admittedly composed for young recorder players, 141
it is very likely that the ubiquitous 'school recorder' will be employed for its
performance. This type of recorder possesses a bore which is rather more
cylindrical than usual, thus accounting for the low E-natural - instead of a
slightly flat F -natural - within the multi phonic of the top recorder part.

Ex.2-99. Rob du Bois: Spiel und ZwischenspieL bar 257.

(Alto recorder)

o=~n

f =h~'.f - ope ....

=c.lo~ed..

Michael Vetter is , once again, editorially responsible for all of the

technical data within this composition; not unexpectedly, his tablature
system in this quotation exactly matches that of Ex.2-96. The multiphonic
itself, however, is notated inaccurately: its true component pitches are Af 1
andB ~ 2.

- 97-
 The three remaining examples of this subsection (which will then serve
to finish it), each make use of what is, among composers, arguably the
most popular 'closed register' alto recorder multiphonic of all, a
particularly attractive, clear, but gentle sonority - with latent implications
of triadic tonal harmony - that straddles the lower end of the instrument's
conventional gamut. It can only be obtained when every fingerhole on the
recorder, as well as the endhole of the footjoint, is closed, airtight:

Ex.2-100. Rene Clemencic: Chronos..studien. (where?)142

(Alto recorder)

f'F
I
f ff

"Geschl." stands for "geschlossen", or "closed [register]" in English.

Ex.2-101. Rob du Bois: Pastorale VU. p.ll, no.ll.

(Alto recorder)

- P 1234~? _ _ _ _ _ _ _ _ _ 12345678 _ _

pp .........::=::::::::=== ======~===---~

Observe also the multiphonic's gently undulating spectral 'vibrato',

caused by slow, periodic and tiny fluctuations in air-flow.

- 98-
Ex.2-102. Gerhard Braun: Schattenbilder. No.1, p.5.
(Alto recorder)

- , gedackt
~

&l MK ,9%9 1

. 'G!_MK_ _ __~~II

Although Braun consistently omits every multiphonic's fingering

throughout Schattenbilder , in this instance, the particular fingering-
pattern - as well as the need to block the end of the recorder's bore - should
be quite obvious to most players. (This multiphonic's unequal dynamic
levels - "mp " and "p" - signify, presumably, two distinct static(?) spectral
balances. )

2.4.4 Multiphonics with Pure or Impure Octaves

Introduction
Even from the early 1960s, when composers first began to capitalize on
the multiphonic sound-world of the recorder, they affirmed already a
predilection for those recorder multi phonics based upon the interval of an
octave. 143 Such multiphonics, many of which are somewhat unstable and
require a plosive attack in most contexts,144 frequently can be obtained from
'open fingerings'145 (associated with certain 1st-register pitches), and their
closely related derivatives:

Ex.2-103. Kikuko Masumoto: Pastoralefor Recorder Solo. pp.14-15.

(Tenor recorder)

sern pre fort e e con accen t o ------~

- 99 -
 3 4_ 50
2 3-
15 2-
~ 1-

Despite the fact that Masumoto actually provides very few fingering-
indications within this excerpt, it is recommended in the score's preface,
rather vaguely, that certain of these "multiple-sound[s] (octave )" are
"available by closing some of [the] finger-holes insufficiently" , instead of
using a normal 1st-register fingering. Thus, some fingerhole(s) - but not
the thumbhole - are to be shaded or vented precisely so that the octave
multiphonic is secured with the correct intonation: the octave A-flat
multiphonic, for example, can be played with the open fingering 012aJ----
(0 = the thumbhole; 3 is 'half-holed', approximately), rather than with the
tenor recorder's standard forked fingering for (lst register) A-flat,
012-/45(6)- .

Ex.2-104. Eric Gross: 'fans Shenanigan" No.n. p.4.

(Soprano recorder)

p "
('rip " f, , '0 ~
0

.-,
0

,., ,
.2-


,. l+- to
00
'0
00

We now direct our attention in particular to the second sonority - an

'impure' octave - within the above multiphonic sequence. The exact micro-
tuning, as well as the overall character of the pronounced beating
phenomenon within this quite sensitive multiphonic (which, in addition,
must be carefully attacked with a plosive 'tongued' articulation), is
controlled, somewhat precariously, by the critical amount of shading given
to the right-hand middle fingerhole in the specified open fingering-
configuration. (Likewise in this ascending sequence, the opening and
closing multiphonics ' similar intervallic structure could perhaps be
described, rather loosely, as an 'impure octave'; again, beats eventuate.)

- 100 -
Multiphonics with 'impure' octaves
In reference to recorder multiphonics, the epithet 'impure octave'
denotes the emergence within a multiphonic of an octave interval that is
(microtonally) mistuned to some extent: a near-octave or 'pseudo-octave'.
This inharmonicity between the frequencies of such a multiphonic's
component tones, automatically gives rise to strong amplitude modulation
in the form of trembling beats,146 itself a potent timbral feature which is
arguably the foremost characteristic of the multiphonics that fall into this
particular category:

Ex.2-10S. Nicolaus A. Huber: Epigenesis I. p.3.

(Alto recorder)

~"
:1"
~ ~
l$=-
I pr tf
I

The beating behaviour here is depicted in the usual manner (with a

curly vertical waveform). The multiphonic's upper "harmonic" - actually a
misnomer - sounds, in reality, a quartertone sharper than notated: truly a
mistuned octave. As one would expect, the fingering is simply that for
F ~ 1.14 7

Ex.2-106. Sylvana Bussotti & Michael Vetter: .RARA (dolce). p.l, no.15.
(Alto recorder)

This soft and unstable multiphonic, with vented thumbhole and innate
beating, is rather difficult to produce. Its intonation - particularly that of
the lowest pitch-element - is controlled by the extent of thumbhole aperture.
(Again, the multiphonic's true pitches sound microtonally sharper than
written.) 148

- 101-
Multiphonics with 'pure' octaves
Within members from this class of recorder multiphonics, their 'pure'
octaves are perfectly in tune (i.e., intervallically 'harmonic'), so that the
aggregate sonority is, ipso facto, beat-free. Therefore, in the sonoric
continuum which connects timbral and harmonic/chordal acoustic objects,
'pure octave' multiphonics are psychoacoustically somewhat ambiguous:
human auditory processes often tend to classify such sonorities, fused into
an exact harmonic series relationship, as rich monophonic timbres (or
complex single tones).149

Ex.2-107. Eric Gross: '7an~ Shenanigan" No.H. p.4.

(Soprano recorder)

The ('pure') octave G-natural multi phonic must be 'tongued' here.

Ex.2-10S. Klaus Hashagen: Gesten. p.g. letter C.

(Alto recorder and tape)

. /{1'tS'

--_. ------

r
-102 -
 (Number tablature: 1 = the thumbhole.) Although Hashagen indicates
beats within the octave A-sharp multiphonic, it is normally 'pure' and
beat-free in most circumstances. 150 (Yet again, 'tonguing' is necessary.)
Moreover, Hashagen's fingering for the subsequent E-natural, 12--1-678,
also yields a 'pure' octave multiphonic upon that pitch, though it is in fact
unclear as to whether this possibility is really intended at this point. 151

Ex.2-109. Kazimierz Serocki: Arrangements. No.9.

(Bass recorder)

The recorder player is instructed to "apply double- (or triple-) tonguing,

gradually increasing the pressure of breath until multi-tone sounds
emerge ". 152 As progressively higher multiphonic ingredients 'fade in'
through overblowing, a 'pure' octave E-natural multiphonic - isomorphous
to that mentioned in relation to the last example - is liable to be heard, at
least as an evanescent episode.

2.4.5 Multiphonics derived from Breath-generated Trills

Introduction: 'breath trills'

This totally disparate category of recorder multiphonics, hitherto
unheard of, stems directly from some monophonic resources first referred
to and documented, it seems, by J. W. F. Juritz in 1960. Juritz, who is in all
probability their discoverer (but at the same time dismisses them outright
as a mere acoustic curiosity), called these quite delightful sonorities
"breath trills":
"In the course of a systematic investigation of all possible fingerings I came across
the following, which are of interest as showing how far current acoustical theory is
from accounting for the behaviour of the recorder: [Juritz then lists four (alto
recorder) fingerings: ---3/-567, -1-3/-567, --2-/-567 & -1--/-567 (thumbhole =
0).] On blowing alternately gently and more strongly these all give an alternation
between an f#" [Ff-2, high 1st register] and a g#" [G:jf:2, low 2nd register] of
varying intonations. We thus have here two successive partial tones separated by an
interval of only a tone. While they are not useful musically, it is amusing to attempt
the performance of a 'breath trill' - and also to test the regularity of one's
vibrato ." 153

-103 -
 On account of their high degree of instability, such recorder tones
(associated, in pairs, with special fingerings) can be fairly readily trilled
through undulatory manipulations of breath-flow alone: in the same
manner as a throat vibrato,154 the modulated air-stream is subjected to
glottal and laryngeal control. Rather remarkably, these recorder 'breath
trills' lay untapped as a viable compositional device until 1988, apparently:

Ex.2-110. Eric Gross: 'fans Shenanigan" No.H. p.l.

(Soprano recorder)

~~~~--=t~~~il~m~ !'.~)
(nf ...~ f ??~ of p-
I

Ex.2-111. Eric Gross: 'fans Shenanigan" No.H. p.4.

(Soprano recorder)

bo?~ANO &~. .... VI~A"e .~.

. f-"l~~1'1f==~~~~~~g=l:jlW~i "'=
fr o~
....

f .

00

"Ian's Shenanigan" No.1I, to date the only known recorder composition

to make use of 'breath trills', therefore provides this technique's
eponymous examples. The work's introductory technical information
conveys the following (p.3):
"Breath trill : a trill carried out WITHOUT FINGER-MOVEMENT, through rapid
oscillations in breath-pressure (with appropriate throat control). The fingering is
always given. Breath trills are always soft, and may be slow-speaking, with
irregular oscillations initially before a stable oscillation is achieved."

The recorder's 'breath trills', whilst being superficially analogous in

their sonic guise to the 'lip trills' of brass instruments, are, paradoxically,

-104 -
altogether different from them in essence. Whereas brass instruments' 'lip
trills' engage two high adjacent partials within the harmonic series, every
'breath trill' on the recorder - and its multiphonic derivative - involves only
soft, (highly) unstable tones that lie unusually close together within the
instrument's 1st and 2nd registers respectively,155 spanning an interval
much less than an octave, quite unlike the intervallic pattern of the
harmonic series as defined by its fundamental and first overtone. 156

The production of recorder multiphonics derived from 'breath trills'

These unprecedented recorder multiphonics, well worth the effort
involved in producing them, are attained by fluttertonguing, very carefully,
while sustaining the appropriate gentle, steady air-flow with a fingering
capable of generating a 'breath trill'. 157 Their unique timbre, an attractive
and delicate colour (with a low dynamic level), reminds one somewhat of
the sound of a cooing dove.

The quintessential fingering-formations here spring from the matrix of

forked fingerings with several right-hand fingerholes shut, in which either
the thumbhole is open, or, if it is closed, there are several closed
fingerholes adjoining one another somewhere beneath it. All such recorder
fingerings furnish, pairwise, lst- and 2nd-register pitches that are quite
unstable - some more so than others. Consequently, the resultant
multiphonics themselves tend to be at least as unstable, and their (often
extreme) instability demands from the performer very fine breath-
control. 158

For the proper realization of these extraordinary recorder multiphonics,

the player also must have perfected already the articulatory technique of
fluttertonguing, in terms of both its production and management.
However, even though either type of fluttertonguing 159 should always be
compatible with the multiphonics' performance requirements here,
lamentably, not every instrumentalist can in fact fluttertongue (purely on
the grounds of capricious anatomical disability). For those unlucky
individuals who cannot fluttertongue at all, this multiphonic-class is
therefore totally unavailable; intelligent compositional strategies or
compromises will have to be found in order to circumvent such an
obstacle. 16o
The generative process of fluttertonguing seems to cause the recorder's
'breath trill multiphonics' to be highly unstable, owing to the fact that each
mode of vibration - originally a single component tone of a 'breath trill' - is
itself unstable to start with. These multiphonics often experience irregular
dynamic micro-fluctuations between their two 'breath trill' constituents, so
that the multiphonic's aggregate dynamic level and internal balance is
heard to shift unpredictably and chaotically. Such subtle, complicated
inner behaviour is probably due to minuscule non-uniformities within the
fluttertongue (and pulmonary) action of the performer. 161

Some acoustical considerations

In evoking a recorder multi phonic from a 'breath trill' fingering by
fluttertonguing, the iterative activity of this articulation gives the

-105 -
impression of diminished stability from the multiphonic's two pitches: the
air-column does not specifically lock into either of these vibratory modes,
but rapidly oscillates between them instead - in a random, chaotic
fashion. 162 This physical behaviour is comparable to that of a fluorescent
light tube, which continually switches on and off at a rate of 50 Hz (in
Australia) due to the electricity mains' Alternating Current [AC], or to that
of a cinematographic film which flashes 24 individual shots (,frames') at
the viewer per second in order to give the optical illusion of continuous
motion. Yet in both cases here, the scanning eye perceives the resultant
images as consisting of a continuous and unbroken vision: a false optical
continuity. Similarly, in hearing these fragile fluttertongued sonorities, an
'auditory illusion' of a quasi-continuous sound-image is created, because
psychoacoustically, the brain's central auditory processor is tricked into
acting as a kind of Digital-to-Analogue Converter [DAC]: both 'breath trill'
pitches are interpreted by the listener to be continually present, when in
reality, they are not. 163 Their repeated interruption is in fact a direct
outcome of the fluttertonguing, which induces amplitude modulation
within the air-stream 164 at a frequency of approximately 30 Hz (the
fluttertonguing's rate of iteration), certainly fast enough to achieve an
overall effect of continuity. 165
It is important to understand that, for (pseudo-)multiphonics derived
from the fluttertonguing of breath-generated trills, the evaluation of their
timbral nature is definitely context-dependent: when grouped together,
they are liable to be apprehended as bona fide multiple sonorities by the
listener; otherwise , one may construe the sound produced as being a
particularly 'dirty' fluttertonguing of a single tone, rich in noise content
and transient phenomena.

Variant applications for 'breath trills '; a brief introduction

The set of recorder fingerings that engender 'breath trills' are indeed
replete with musical possibilities. For instance, once a composer has
cultivated an intimate knowledge of this fingering-set's acoustic properties,
alternations - or chains - of 'breath trill' sonorities can be constructed
whereby one pitch remains perceptibly the same from one sonority to the
next, whilst the other pitch moves. 166 This is, however, a relatively crude
structural device. Much more fecund and elegant resources, it seems to
me, lie within the province of musical indeterminacy. 167
If, rather than fluttertonguing, one instead superimposes some form of
tongue-tremolo or multiple-tonguing 168 upon unstable 'breath trill'
recorder tones, then tiny, elusive and uncontrollable deviations in the
intensity of the executant's iterative articulation - owing to a human
being's characteristically imprecise, non-mechanistic physiology - will
decide which of the vibratory modes is to be favoured at any given moment,
thereby causing a random, utterly unpredictable alternation (at a
maximum rate of approximately 20 Hz) between the two 'breath trill'
pitches. In this case , there is, furthermore, a weaker sense of pitch-
simultaneity than with fluttertonguing: the sensation of musical linearity
is heightened. (It is also likely that, on the recorder, various types of
tongue-vibrati 169 are able to engender such random trills as well.)

-106 -
 Voluntary, throat-controlled micro-fluctuations within the player's
breath-flow can also be used here, without any overlay of tongue activity
breaking up the air-stream, to give (slower) aleatoric oscillations - ranging
from semiregular trills to extremely irregular undulations - between the
elements of a recorder 'breath trill'. Pulmonary action therefore dictates
the sound-object's internal rhythmic construction, an idea which holds
truly profound implications as a universal organizational principle for
musical time. 1lO Moreover (together with local articulation intensity), air-
pressure as a controlling parameter governs the statistical weighting of
appearance for each 'breath trill' tone over the entire aleatoric sonority.

Endnotes

1. See Appendix 2. Also, for definitions of basic terms from Acoustics that are utilized in the
ensuing text, such as 'fundamental', 'harmonic', 'spectrum', 'formant', 'phase', 'transient',
'partial', 'mode of vibration ', 'resonance' and 'node' etc., the reader is referred to Rossing
(1982). (Martin (1985) and Martin (1987) are also useful and informative.)

2. For instance, one could execute a fingerslap on the recorder (Appendix 6.1) concurrently
with a fingernail rap to the body of the instrument (Appendix 6.4), thereby combining two
different technical possibilities in order to generate an audible multiple-percussion sonority.

3. It must be admitted that this definition is not entirely satisfactory. In fact, it is demonstrably
impossible, on psychoacoustical grounds, to contrive a totally adequate definition for
recorder 'multiple sonorities', because the 'Single' and 'multiple' sound-worlds of the
recorder are not separate (mutually exclusive) and contiguous to one another, but
interpenetrate according to contextual circumstances . The recorder's sonic universe is
therefore a continuum, within which certain indefinite acoustic regions exist whose
elements are ambiguous in terms of their timbral or harmonic disposition: an alternative
fingering for a given recorder pitch may, for instance, generate a timbre that incorporates a
spectrum with a particularly prominent, individually distinguishable overtone, yet the
spectral components are fused together sufficiently for the pitch/timbre to be regarded as a
single sonic object in most contexts. (See also, for example, sections 4.3 & 4.7, in which
the 'timbral-harmonic duality' [chord/timbre dualism] of recorder multiphonics is discussed.)

4. This definition shall be amplified in the next section.

5. The technique of 'overblowing' consists of eliciting modes of vibration above the

fundamental mode from an air-column within a pipe-length , as defined by a particular
fingering-configuration. This process, achieved through merely increasing breath-pressure
and jet-velocity, yields recorder pitches that lie within progressively higher registers, based
upon the given fingering(s) . [See also section 3.9.2 and Appendix 1.6.7.]

6. It is difficult to identify why some alto recorder fingerings seem to be more successful than
others in readily attaining multiphonics. (The acoustical outline that follows herein does not
address this question in sufficient depth to achieve a detailed answer.) At any rate, recorder
players and composers usually adopt a pragmatic approach in music-making, so that this
particular problem of Acoustics is not really a significant issue for them. (For their purposes,
it is satisfactory merely to pinpoint which multiphonic fingerings are troublesome.)

-107 -
7. See section 1.2.

8. For instance, highly detailed spectrum analyses - which can be done aurally to an adequate
degree of specificity for current purposes anyway: see the charts that accompany this
thesis - and oscilloscope readings of alto recorder multiphonics are omitted. In this section,
textual comments and suppositions are derived primarily from direct performance
experience (in which practical observation of instrumental behaviour is made within
multiphonic contexts) and speculation as to how certain acoustical situations occur.
Consequently, no decisive or definite scientific conclusions can be reached. However, the
information that does appear here unquestionably merits presentation, since it is my belief
that recorder players and composers need to possess at least a basic understanding of
recorder acoustics in circumstances involving multiphonics, in order to perform or compose
for them effectively. For example, the ability to predict , with reasonable accuracy, the
acoustical outcome for a recorder multiphonic when its fingering is altered slightly, could be
a valuable resource that arises from a knowledge of recorder acoustics.

9. That is, the register-number matches the mode of vibration's number. (The modes of
vibration are numbered in ascending order of their vibratory frequencies .)

10. Jet-velocity is closely correlated to breath-pressure.

11. See Martin (1987), p.25. Interested readers may be pleased to learn that John Martin has
submitted a Ph .D. thesis to the University of New England, Armidale NSW, Australia,
dealing with the acoustics of the recorder. (The cited article derives from research
associated with his monograph.) It is likely that Martin's thesis will become the major source
of information in this field .

12. (Highly) unstable alto recorder multiphonics are almost always static timbral objects, in that
they can very rarely endure the superimposition of other technical possibilities, such as
breath-generated vibrati or spectral portamenti, without disintegrating. (Stable recorder
multiphonics, on the contrary, are usually adaptable, and so are often able to readily support
various composite multiphonic techniques.)

13. Fingering-patterns of this type are normally referred to as 'forked fingerings'. (OccaSionally -
but, in connection with other woodwind instruments, quite often - they are also called 'cross
fingerings' .) When one examines the complete set of possible recorder fingering-
configurations , as well as the multiphonic charts that accompany this thesis , it soon
becomes evident that the overwhelming majority of alto recorder multiphonics stem from
forked fingerings .

14. It is worthwhile to observe that these forked fingering-patterns often engender alto
recorder multiphonics with a high degree of stability and technical flexibility.

15. One might also mention that the lowest component pitch - excluding sidebands - of many
alto recorder multiphonics lies within the instrument's 1st register, although this is by no
means always the case. The initial multiphonic of Ex.2-1, for instance, as well as several
other textual examples, depict lowest component tones which fall within higher registers .
(The reader will also encounter many similar cases amidst the accompanying multiphonic
charts.)

16. The proposed fingering could actually be the only suitable possibility for realizing this
multiphonic! It seems, lamentably, that adequate fingerings are unavailable for producing
many of the other tri-pitched recorder multiphonics which appear in Mellnas's composition .

17. Again , it should be emphasized here that any two recorder multiphonics (obtained from
different fingerings) which command identical notations, certainly do not sound exactly the
same, as microscopic - perhaps inaudible - pitch-variations and differences in modulation
characteristics, stability and/or air-noise (etc.) will exist. (This is borne out within the
multiphonic charts ; and I have already made this point, within section 1.3.2, in my criticism of
"synonymous fingerings" in M. Kientzy (1982) .) Accordingly, the multiphonics' primary
component pitches alone might be perceived as being equivalent.

18. See also section 1.6 and Chapter 1, ens.43 & 44.

- 108 -
19. See section 4.6 and Chapter 4, en.41.

20. It seems that, whilst there is ample musical jargon appertaining to pitch and pitch-relations,
there is actually a dearth of terminology for the discussion of musical time and time-relations.
I have therefore found recourse to create the - admittedly rather cumbersome - neologism
"chronomorphology", which equates generically to 'the morphology of time' , or, more
specifically herein in regard to a piece of music, to ~he formal/structural organization (at and
between various architectonic levels) of the time-domain within a musical composition'. (I do
apologize beforehand if the reader finds this coinage to be somewhat bewildering; yet on
the other hand, it is not untypical of my idiolect. With luck, anyhow, the context will always
serve to clarify my intended meaning.)

21. There are, accordingly, two divergent numerical tablatures for the recorder that are currently
in use . This awkward situation frequently disorients recorder players, particularly when
composers do not clarify which tablature system is operating throughout their pieces.
Furthermore , whilst it must be conceded that numerical tablatures do fulfil a constructive
role in the designation of recorder fingering-patterns mid-text (where tablature pictographs
would result in excessive textual fragmentation), numerical tablatures lack sufficient detail in
accurately specifying finely vented or shaded fingerings; they often cannot be fluently read
or convey data quickly enough to the performer, nor can they incorporate complex finger-
actions for techniques such as trilled portamenti. Tablature pictographs avoid all of these
deficiencies, and so are recommended to composers instead.

22. When the fingering for a recorder multiphonic is omitted, and the multiphonic's lowest
constituent pitch appears to belong to the instrument's 1st register - as is the case for both
multiphonics in Ex .2-8 - an instrumentalist, working empirically, might commence research
with the normal fingering for this lowest pitch (or its standard variants). Luckily, such an
approach often yields satisfactory results, as in this example . Composers , however, are
advised to include fingerings always, ideally for every recorder multiphonic throughout the
composition. (Alternatively, a lack of a multiphonic fingering could deliberately signify that
prospective performers are to find appropriate fingerings for themselves , a ploy which may
be efficacious for generating musical indeterminacy.)

23 . That is to say, the pitch-relat ionship is 'inharmonic': these pitches' frequencies are not
(perceived as) whole-number multiples of a basic, 'fundamental' frequency .

24 . This definition assumes a baSis-pitch of A440 Hz. (Some applications for microtonal
recorder multiphonics are examined in section 4.2.)

25 . Numerous other microtonal recorder multiphonics are located amongst the textual
examples, and in the multiphonic charts of part 2.

26 . This is the same degree of resolution for multiphonic pitch-specification that was adopted
by M. Kientzy (1982). It is similarly employed throughout this thesis : see section 1.7 and the
multiphonic charts. This pitch-system is accurate enough to fulfil the requirements of most
contemporary composers, whilst being sufficiently imprecise to accommodate microtonal
deviations which might occur when a particular recorder multiphonic is attempted upon
different instruments.

27. Because the acoustical mechanisms of amplitude modulation apparently permit the
multiphonic sidebands to interact amongst themselves and with the multiphonic
component tones' harmonics as well, these modulation characteristics are in fact not
mutually exclusive: beats and assorted combination tones can therefore coexist within the
same multiphonic. See, for instance, the soprano recorder II part of Ex.4-5; the identical
fingering also yields equivalent results from an alto recorder. Beats and combination tones ,
as well as variations of phase , are fully elucidated in Rossing (1982) , pp.131-144.

28 . Rossing (1982), pp.143-144. (In a multiphonic with a mistuned consonance, a harmonic of

its lowest component tone may also beat normally against its upper constituent pitch's
fundamental.)

29 . Whilst 'summation tones' are also present , they are not usually heard as individual
combination tones in recorder multiphonics.

-109 -
30 . The notation for multiphonic beats in EX.2-12 and Ex.2-13 is not recommended, since the
waveform pictograph's placement therein is identical to that of the almost indistinguishable
symbol for chord arpeggiation.

31 . Consequently, the accompanying multiphonic charts provide only approximate pitches for
combination tones.

32. Rossing (1982), pp.135-136. If a recorder multiphonic that comprises only two constituent
pitches at A Hz and B Hz (with B > 2A) also incorporates a 'cubic difference tone', then this
cubic difference tone's frequency will be (B - 2A) Hz.

33. My hypothesis for the cubic difference tone's common manifestation in alto recorder
multiphonics derives from the observation that the second harmonic is apparently rather
prominent within the (alto) recorder's acoustic spectrum [Martin (1987), p.24]. Perhaps
these 'cubic difference tones' are merely simple difference tones arising from the nonlinear
interaction within recorder multiphonics of their lowest component tones' second harmonic
(frequency 2A Hz in the definition of en.32) with their uppermost constituent pitches'
fundamental (frequency B Hz)?

34. A detailed explication of this potentially fruitful multiphonic resource cannot be attempted
within the bounds of this thesis. Some textual examples will instead be provided, although
they are by no means exhaustive and merely serve as a scanty introduction. Whilst the
parameters in the multiphonic charts of part 2 also overlook this possibility, composers are
nonetheless encouraged to investigate, with a sympathetic recorder player, each relevant
multiphonic's potential in this regard.

35 . Of course the pitch(es) will in fact change, although the perception of this can be
minimized, if desired. Usually, it is the recorder multiphonic's lowest component pitch, in
particular, that has the greatest proclivity to change . (At any rate, the sideband modification
is likely to be the multiphonic's dominant timbral feature if its component pitches are not
radically altered.)

36 . As stated in Chapter 1, the various fingerings involved here do warrant separate entry in
ostensibly full multiphonic charts, since their diverse modulation traits give rise to essentially
different - and useful - recorder multiphonics. (cf . M. Kientzy's attitude: see the final
paragraph of section 1.3.2.)

37 . Multiphonic spectral portamenti are discussed in section 2.3 .

38. See section 3.3.

39 . In fact, pitch-discrimination within alto recorder multiphonics is usually quite easy, even
when they are totally divorced from a musical context which contains (many) clear pitch-
references .

40 . This timbral 'fusion' is attained, in the case of most recorder multiphonics, almost certainly as
a result of the internal acoustic processes and features just mentioned: their inharmonic
spectra , specific colorations (noise elements), and, above all , their definite inner
modulations and 'roughness', presumably contribute to the perception of each recorder
multiphonic as a complex but unified sound-mass. (However, upon comparison with the
highly complex, chaotic multiphonic sound-amalgams of the oboe and bassoon, which
regularly encompass numerous sonic ingredients, recorder multiphonics are nevertheless
relatively simple, since the majority of them include only two audible component pitches.)
Other acoustical factors which contribute to a recorder multiphonic's overall timbral profile
are the presence of formants and transients, phase variations, as well as the recorder's
sound-radiation properties. (Furthermore, in all sustained tone production under human
control, the sustained sound's spectra is always dynamic: the internal balance between
spectral elements changes from one moment to the next.)

41 . Although such air-noise is indeed external in provenance (all air-flow emanating from the
instrumentalist's pulmonary operation), air-noise is nonetheless innate to the production
mechanism of alto recorder multiphonics. These air-sounds, one might conjecture , occur
because the requisite volume of air entering the alto recorder's windway per moment is

-110 -
 excessive in relation to the windway's limited constructional dimensions, so that the large
quantity of escaping air subsequently introduces detectable fricative (frictional) noise which
inextricably mingles with the multiphonic.

42 . Ring-modulation is outlined in Rossing (1982), pp.513 & 521; it is also defined lucidly and
studied at some length in Emmerson (1977). On the basis of aural similarity, it perhaps
comes as no surprise that the timbral transformations of ring-modulation are not acoustically
unrelated to the amplitude modulation processes that a recorder's air-column undergoes in
eliciting a multiphonic.

43. These remarks are exemplified within the multiphonic charts of part 2. An important
observation in relation to the perception of recorder multiphonics should also be inserted
here: psychoacoustically, a loud recorder multiphonic is often able to give the impression of
greater volume than a loud single pitch or chord that contains the same constituent pitches.

44 . I certainly found this to be the case in my own terse multiphonic etude, Helical Ribbon: all of
the multiphonics' uppermost pitches determine the piece's foreground 'tune'.

45. It appears, on the basis of my own experience , that, with few - if any - exceptions, the
frequency components of (alto) recorder multiphonics can generally be made to speak
synchronously, or virtually so, with far greater speed than those within the multiphonics of
other woodwind instruments.

46 . As a general rule , slow-speaking recorder multiphonics ought not to be placed in 'fast'

passages, particularly if an audience is expected to apprehend the completely formed
multiple sonority.

47 . See also Ex .2-4 - tempo: crotchet = 72 - for another example of an instantly propagated
multiphonic from a different work by du Bois. (My own work, Helical Ribbon, is also replete
with such multiphonics.)

48. As stated in section 1.6, this situation necessitates some close collaboration between
these two parties in positively bringing the work to its final fruition.

49. That is, a fixed block, windway, labium, edge, chamfer, 'cut-up' and 'voicing'.

50. Consequently, whenever the other considerations of multiphonic production remain

unchanged, variation in construction between different recorders is the sole factor that
causes variability of sonic result for a given multiphonic, rather than diverse embouchure or
anatomical characteristics amongst different executants.

51. By now, the reader will appreciate that ease of multiphonic production may vary slightly from
recorder to recorder (but very much less so from player to player, because the instrumental
characteristics are, in general, thoroughly dominant over technically competent performers'
anatomical disparities in this situation) .

52. One can define (micro-)articulation on the recorder as being the process whereby air-flow is
initiated, sustained and terminated in the instrument by the player's various articulatory
organs. The character or manner of articulation is therefore principally determined by the
way in which the air-stream is modified or affected by these articulatory organs: they all
exercise considerable control over the air-column. (The articulatory organs are either
stationary or movable articulators. The movable articulators consist of the lips, jaws, tongue,
glottiS and vocal cords, all of which adjust the breath-flow from the lungs; the stationary
organs are the teeth, the alveolum, the hard palate, the velum [soft palate] and the uvula.)

53 . Aspirant articulation, defined here in terms of the characteristic attack phoneme, is

pulmoniC, non-plosive, as well as non-glottal, in that the air-flow is not stopped in any way, or
impeded by the glottiS (with a subsequent accumulation of air-pressure). The player's throat
is open and the breath is instead pushed out voicelessly through the glottis and oral cavity
by the lungs (and diaphragm), without resistance. Hence, the aspirant articulation is not
'tongued'. Plosive articulations, on the other hand, are those in which the air-stream is
egressive and pulmoniC, being initially stopped completely.

- 111-
54 . Anyway, within both of these multiphonics - as evoked from the specified fingerings - the
written A-natural certainly sounds somewhat flat (always), in accordance with Lechner's
footnote(?), but the second multiple sonority's highest given pitch is actually much closer to
F-sharp.

55 . Notwithstanding, the perfection of these technical parameters for the purpose of

multiphonic production naturally enhances the performer's armoury of technique for more
conventional musics.

56 . Again, unless otherwise specified by the composer, the most suitable micro-articulation is
usually found heuristically, by performers' 'trial and error', subsequent to consulting the
appropriate details within a reliable multiphonic chart - which then serves as a starting point.

57. This neologism, or rather, its German counterpart "Zwischenblasen", was coined by Michael
Vetter [in Vetter (1968), p.468].

58 . Within Ex.2-31, the multiphonic production constraints have of course been imposed
artificially by the composer, since these specific multiphonics are, in reality, highly supple, in
that they can be realized in myriad ways . Some of the other textual examples, as well as the
multiphonic charts themselves, contain numerous 'genuine' cases where the recorder
multiphonic must always be promulgated 'from the bottom up' because no other production
method suffices .

59 . Yet again, the interested or curious reader is advised to seek the relevant information within
the multi phonic charts of part 2.

60 . Under these circumstances , the breath-pressure most often falls slightly, although,
according to the individual multiphonic's air-flow requirements , it need not change at all and
may even rise , as necessary.

61 . Throughout the multiphonic charts, some attempt has been made to reveal this technical
capability (or clever artifice) for expediting difficult multi phonic production.

62. A cursory mention of the circular breathing technique appears in Appendix 1.6.10.

63. This contingency concerning recorder multiphonics' durational maxima is , of course,

subject to considerations of overall dynamic level: it could be the case that a loud single
pitch from the alto recorder's third or fourth octave can only be prolonged for a fraction of a
soft multiphonic's maximum duration, when played upon the same instrument. It is also
pOintless to incorporate data appertaining to breath-length into the multiphonic charts ,
because this parameter is utterly dependent upon the individual performer's physique .
[See also sections 3.9.2 & 4.6.] A composer simply needs to use common sense in this
regard, though for some further information, a composer can gain a rough indication of a
multiphonic's greatest time-span after collaborating with various sympathetic recorder
players.

64. This timbral attribute was expounded in the previous section. [See also Ex.2-21 to EX .2-29
inclusive.] It is usually prudent to 'tongue' - Le ., give a plosive attack to - fast or instantly
speaking alto recorder multiphonics, if speed or immediacy of speech is demanded .
(Although a plosive attack may not even be obligatory, this is certainly the best approach to
take when such a multiphonic is the first event of a sequence or is solitary; in other
contexts, it could be more reasonable to aspirate the multiphonic.) With an aspirant attack,
multiphonic onset times can sometimes acquire unwanted delays owing to the air-column's
inertia, which automatically manifests itself in aspirant micro-articulation. Some aspirated
recorder multiphonics , then , may be relatively slow-speaking, though this is by no means
always the case.

65 . This claim was made in section 1.2 and Chapter 1, en .12.

66. See also sections 3.5.1 & 3.5.2, as well as Appendix 3.4. (In addition, the more generalized
statements of [Chapter 2] en.12 , above, are most pertinent here.)

-112 -
67. This concept greatly facilitates multiphonic production . The notion comes from traditional
playing practices, where performers produce and connect tones in a musically effective
fashion because they already have a clear mental image of the sound in advance of its
actual realization.

68 . i.e. fingering, breath and articulation requirements.

69. Imaginative instrumentalists will naturally invent other relevant practice drills, aside from
those mentioned here. (To cultivate their musicality, every recorder player is, in fact, invited
to do this.)

70. That is to say, its constituent elements are perceived as being equally prominent, or
thereabouts .

71. This technique will be more fully scrutinized in section 2.3.

72. See Appendix 1.4.

73. For this reason , as stated previously in section 1.6, it is imperative that composers establish
the performance viability of each multiphonic within its intended context, by working and
experimenting directly with a co-operative, assiduous recorder player who will test them
thoroughly in each passage of the work-in-progress.

74 . Illustrations of this happy phenomenon can be found - for example - amongst numerous
multiphonic trills [see section 3.2]: a multiphonic from one of these trills, which might
normally be elicited in isolation with a plosive attack only, will readily appear within the trill in
legato (aspirant attack). (Such is the case with certain trills of 'pure octave' recorder
multiphonics, for instance.)

75. Of course, as Waechter gives no advice on the matter whatsoever, one could even modify
his suggested(?) fingering.

76 . I am genuinely amazed at Linde's technical oversight here, as he is a world-renowned

interpreter of contemporary recorder music and a significant composer in this field as well.
(Maybe this particular sequence is totally feasible as written upon certain models of
instrument that Linde himself has employed?)

77 . This seems to be true even when complicated finger-movements are involved, although it
is then quite possible that such a connected multiphonic sequence will be technically tricky
to bring off well.

78 . Many more analogous legato phrases of bass recorder multiphonics appear in Zahgurim.
(Details of Rijnvos's intensive 18-month research/collaboration are given in personal
correspondence with the author.)

79. One facet of this field will be discussed at some length in the next section.

80 . Put another way: slow-speaking recorder multiphonics ought not to be coupled with rapid
finger-movements, unless their perception at an incipient stage of formation is intentional or
acceptable to the composer.

81 . If the finger-movements utilize one hand only, so much the better.

82. The (alto) recorder's keylessness considerably simplifies this topic. Apart from some
infrequently encountered , exceptional circumstances, all of the necessary details are
provided within the "Multiphonic Fingerings" subsection of the "Multiphonic Chart
Parameters" in part 2.

83 . I have in mind , for example, fingerings that engage only one of the upper pair of double-
holes normally controlled by the right-hand ring finger, whilst the lowest double-hole(s) are
also being activated simultaneously with the right-hand little finger. [See, too, my critique of
M. Kientzy (1982), "negative feature" no .8, section 1.3.2 .] Furthermore, any fingerings
which entail some shading or venting of fingerhole(s) other than the thumbhole , are, sadly,

- 113-
 still non-customary, and so could be found unduly awkward to manipulate by many recorder
players not altogether au fait with these techniques.

84 . See Appendix 1.5 and Appendix 1.1, respectively.

85 . As already noted in section 2.1, these attributes are largely responsible for giving each
multiphonic its characteristic timbral signature.

86. There is actually a close acoustical analogy between the realization of a multiphonic spectral
contour on the recorder, and a particular filtering process of electronic music, whereby the
resonance peak of a bandpass filter is moved continuously over the frequency domain.

87 . For rather inflexible (or unstable) recorder multiphonics, it is considerably less feasible - or
even impossible - to construct spectral contours, on account of their inherent instability: the
charts of part 2 provide sufficient data in relation to each multiphonic's spectral portamenti
capabilities.

88 . This second possibility reveals a timbral resource essentially different - though related - to
the 'undertone', discussed later in this section .

89 . See also Ex.2-9, Ex.2-11 and Ex.4-12, as well as their associated commentaries. (As a
passing observation, why Heider chooses to deploy two quite distinct notations for identical
multiphonic spectral effects in Katalog is, I find, rather puzzling .)

90 . Perhaps the composer might equate discrete (relative) dynamic levels to 'steady state'
multiphonic spectral balances as follows : upper notated multiphonic extremity only = fff;
lowest notated multiphonic extremity only = pp(p) ; other intervening dynamic levels
correspond to equal increments of spectral balance between these two limits. (Unless
crescendi and/or diminuendi are provided, an audible multiphonic state of spectral stasis is
always assumed.)

91. Specific directives regarding multiphonics' spectral balance are usually preferred by
executants , so that these suggestions ought really to be adopted by composers as strong
recommendations.

92. See also Ex.2-37, 2nd and 4th systems.

93 . See also the first event of EX.2-41.

94 . In practice, this seldom occurs: most composers' notations give the fallacious impression
that these quite distinct acoustic objects are essentially the same.

95 . .. . if indeed a 'standard fingering' is even available for the pitch in question, let alone the
notion of 'standard fingering' being a relevant concept for what will, in all likelihood, be a
microtone.

96 . For apposite, flexible recorder multiphonics that can be (easily) approached from either
extractable single pitCh, it is, in principle, inherently no more difficult to connect with the
multiphonic from the highest such pitch than it is from the lowest, although the exact
outcome and facility of execution will doubtless vary from specific case to specific case.

97. For yet another example of a legatissimo registral shift which results in the coupling of
extractable single pitches via an interceding multiphonic - coincidentally from the same
composition - see Ex.2-43.

98. If listed, such exceptions will be cited verbally within the appended multiphonic charts,
wherever possible .

99 . In certain musical contexts, such unavoidable multiphonic behaviour can , of course, be an

annoyance (as within Ex.2-57); elsewhere, it can be a boon. Anyway, this sometimes
unhappy phenomenon seems to be most common amongst those multiphonics which
exhibit a fair degree of instability and (spectral) inflexibility.

-114 -
100. Th is assertion is germane, in particular, to those handful of (alto) recorder multiphonics
possessing more than two prominent tones, wherein their inner - least overt - multiphonic
tone is indeed, for reasons as yet unclear, most ticklish , or often even impossible , to
segregate as part of the aforesaid (legato) linking process. One perplexing reverse
tendency, moreover, warrants special mention here. When this linking process is
commenced with a monophonic sound, usually somewhat difficult to produce, whose pitch
is intermediate to those of the multiphonic's extremities (so that it might even match a third ,
inner multiphonic component) , a legato connection to this identically fingered multiphonic -
if such a connection is available at all - seems to be possible only with an augmentation of
breath-pressure, in which case the multiphonic invariably 'switches in' rather hastily.

101. Often, this uppermost pitch extractable from a multiphonic is, purely in terms of instrumental
technique (but not necessarily in terms of acoustical theory) , equivalent to a 'natural
harmonic' on a stringed instrument (or indeed the transverse flute) . The accompanying
'undertone' - amongst various coteries working in Acoustics or flute pedagogy, sometimes
called a 'residual tone' - always, it seems, appears in the recorder's 1st register, and so could
be deemed equivalent, in the above sense, to a 'fundamental'. (ct. the analogous situation
of the flute.)

10 2. See section 2.1.1.

103. As a further simple justification for its taxonomic preclusion from the general field of
'muttiphonics', the combination of recorder undertone and high single pitch also delivers a
total aural effect or resonance vastly different to that of the ordinary recorder multiphonic.

104. See [Chapter 2] en.3.

105 . Such a device is obviously akin to the process of grafting a spectral contour onto a
(muttiphonic) trill : this technique is covered in section 3.2.

106. I also have in mind here circumstances such as extended, intricate multiphonic sequences
subsumed under a single arc or curve governing the multiphonics' spectral balance , as well
as a number of dazzling composite multiphonic techniques (an array of which will be studied
in Chapter 3) , like multiphonic portamenti or trills with spectral shifts ; and , most of all , the
fantastically complicated but quite amazing technical procedure involving the simultaneous
combination of recorder multiphonios trilled whilst being subjected to a portamento [pitch-
contour] as we" as a spectral sweep [spectral contour]: this technical intermixture is truly
nightmarish and awesomely problematic to notate - let alone execute - with any degree of
specificity (although the effort here is unimpugnably justified by the virtuosic sonic impact
springing from its performance , which, in its transcendence , almost demands a suspension
of belief).

107. A number of refinements to this symbology by Rijnvos are also possible. Delimiting
horizontal (parallel) dotted lines could be added above and below the wedges,
corresponding to the attainment of the multiphonics' extractable single pitches alone (or
some other extrema of breath-pressure); the wedges themselves may be more subtly
contoured and, like the standard waveform contour, they could be orientated about the
minimum breath level (rather than being made symmetrical about a centralized mid-level).

108. Seen in this light, such a device is simply a complex manifestation of a multiphonic spectral
contour/portamento possibility examined earlier: the linking of a recorder multiphonic to its
extractable single pitches. Or, put another way, the technique just involves a quick,
rhythmic 'fading-in' and/or 'fading-out' of multiphonic elements. It could, therefore, be seen
as an analogue to double-stopping upon bowed string instruments, where a mere change
of bow ang le will cause one pitch to promptly sound or be quelled while that of a
neighbouring string is sustained continuously.

109. Notably, in section 2.111 of another of JOrg 8aur's recorder compositions, Mutazioni, this
'spectral rhythmicization' phenomenon is rendered 'aleatoric'. That is to say, exact details of
any multiphonic's internal rhythm ic profile are left entirely to the discretion of the recorder
player. (This indeterminate procedure will be studied in the appropriate place within Chapter
3, viz., section 3.9.2. )

- 115-
110. See Appendix 3.7.

111. This is particularly crucial where internally notated rests or caesurae are concerned: within a
recorder multiphonic, they actually denote an instantaneously delivered spectral
portamento .

112. See also Ex.2-11, as well as other excerpts from Katalog et seq.

113. This body of recorder multiple sonorities truly is enormous and acoustically diverse, for
there exists a wide range of possibilities for overblowing different types of 1st-register
tones.

114. Notice that in comparison with section 2.4, however, the multiphonic charts of part 2
themselves are organized quite differently, being ordered solely by resultant pitch
(although the comparatively small class of recorder multiphonics derived from breath-
generated trills - see section 2.4.5 - is separated from the other multiphonics therein) .

115. Via key modifications in fingering-formation.

116. 'Forked fingerings' are defined and discussed in section 2.1 .2 et passim. [See also ens.13
& 14 (etc.).] 'Open fingerings' are simply their complement: those 'plain fingerings' which
are not 'forked'. (The terms 'open fingering' and 'non-forked fingering' are thus
synonymous.) On the recorder, forked fingerings - and hence their associated multiphonics
- outnumber their open counterparts by far.

117. So much so , that all of the "universal" multiphonics listed in the charts of part 2, being most
flexible, fall into this sub-category. (Conversely, the most flexible [etc.] multiphonics are
often - in the sense given within part 2's "Multiphonic Chart Parameters" - "universal".)

118. See the assertion given in the second paragraph of section 1.2, as well as other authors'
endorsement of it in Chapter 1, en.12.

119. Regarding their intervallic make-up, such multiphonics, in which the fingering-pattern
contains no internal gaps of open, shaded or vented fingerholes, are regularly comprised of
octaves or near-octaves: see section 2.4.4.

120. Vetter (1974) .

121 . Within numerical tablature systems, an underlined number ordinarily denotes 'half-holing'
(or some other degree of ventage) . Whenever this underscoring refers to either of the two
sets of double-holes, as it does here (6 = the right-hand ring finger), only one of the
double-holes is to be closed - an obvious equivalent of 'half-holing'.

122. On the recorder, a thumbhole ventage causes any resultant multiphonics to acquire certain
technical and acoustical traits that can be readily enumerated, so that , taken collectively,
such multiphonics then give rise to a clearly discernible, quite separate multiphonic class.
The relatively clear-cut nature and behaviour of these multiphonics therefore justifies their
singling out here; however, due to limitations upon space within this document, a detailed
consideration of the larger, generalized class of vented-fingering recorder multiphonics
must, unfortunately, be postponed.

123 . For this reason, such recorder multiphonics are sometimes called 'harmonic multiphonics' -
strictly speaking, an acoustic misnomer that is perhaps still acceptable owing to their
relatively gentle, harmonic-like timbre - or just 'soft multiphonics'.

124. See the discourse in section 2.1.3 devoted to amplitude modulation within alto recorder
multiphonics. (See also section 2.1.2.)

125. Kazimierz Serocki: Arrangements, "Abbreviations and Symbols", p.6.

126. From among the other applications of this multiphonic-type that are scattered throughout
the text of this thesis, two more workable examples may be cited here for further
examination by the interested reader : Ex.1-4 (fingerings 7 & 10 - the actual sonorities

-116 -
 themselves should be located within the multiphonic charts of part 2), and Ex.2-68.

127. Century II, 159; quoted from Martin (1987), p.22, and Montagu (1841) , Vol.lI, p.31 . It must
be acknowledged that, rather than studying the acoustical nature of the recorder itself,
Bacon, at this point in his experimental research , was simply making use of the recorder in
order to investigate the sound-absorption properties of diverse materials. In other words ,
Bacon's wayward speculations here were experiments in the name of Science, and not
forays into musical proto-Modernism.

128. From being a length of pipe which is open at both ends (Le., the window and foot joint), the
recorder is here acoustically transformed into a length of pipe that is now open at one end
but blocked in some way at the other. We of course know from the science of Acoustics that
this simple modification holds enormous repercussions in terms of the instrument's
elementary acoustical behaviour.

129. In fact, closing the end of the recorder's foot joint in an airtight fashion, has been utilized by
the 'Dutch Schoo l' of recorder players at least since the early 1960s - within every style,
period and type of recorder music. Moreover, as a widely accepted means of obtaining , on
the alto recorder , the vexed note F~ 3 (deriving it from the standard fingering of Fl:j 3
or, more usually, G ~ 3), there is plentiful evidence to suggest that this same blocking
technique has actually been in circulation among recorder players and other woodwind
exponents for a good deal longer. See, in particular, Waitzman (Winter 1968), as well as all
of Waitzman's other writings appertaining to the 'bell key' that are listed in the Bibliography
(part A) .

130. The sheer heterogeneity of cloth-types , densities and thicknesses utilized for this non-
airtight covering procedure, already suggested by the miscellany of substances used in
Bacon's experimentation, is the culprit here. Therefore, in order to guarantee a musical
outcome which is both predictable and re liably repeatable, composers really need to be
much more exacting in the specification of materials for generating recorder multiphonics in
such a manner.

131 . ... as Vetter calls them in /I Flauto Dolce ed Acerbo (1974), p.48.

132 . See Vetter (1974), p.36, for the origin of this nomenclature.

133. Personally, I would recommend, as a suitable symbology for a non-airtight, cloth occlusion
of the recorder's endhole, the employment of some related sets of graphic variants based
upon the (filled-in) tablature 'boxes' that are used within the multiphonic charts to indicate
an airtight endhole closure or blockage: whereas the opposite case of an utterly blank
tablature 'box' denotes a totally open endhole , such a 'box' WOUld, of course, be tessellated
with different patterns according to the type, thickness and density of material utilized in the
end hole's non-airtight coverage - a thoroughly logical and practical notational solution which
accurately reflects the physical situation.

134. Ex .2-95 is quoted verbatim from Clemencic (1971) , p.225 [Example 30]. (Within th is
important article, it is rather irritating that Clemencic neglects to indicate the precise location
of his examples within their cited composition.)

135. The notation of this technical device is explained fully within the "Multiphonic Fingerings"
subsection of the "Multiphonic Chart Parameters" in part 2. (Consult also the charts
themselves, and en .133, above .)

136. In generating 'closed register' recorder sonorities, the use of a 'bell key' does not merit
serious consideration whatsoever - for not only is it simply unnecessary, it is, in actuality, a
downright hindrance. Firstly, unless the 'bell key' is to be activated by the instrumentalist's
left-hand little finger (which is otherwise not engaged , ordinarily), fingering possibilities will
be artificially limited: the chosen finger plainly cannot operate a 'bell key' and close some
other fingerhole(s) at the same time; and any such key mechanism is itself ungainly and, in
terms of the recorder's external appearance alone, aesthetically displeasing as well. Worse
still, the entire class of 'covered register' recorder sonorities would be dispensed with
completely if a 'bell key' was tacked on to the recorder, gratuitously robbing composers of
an invaluable musical resource.

- 117-
137. Of course, this is not to say that any of the other methods of closing the end of the
recorder's foot joint cannot be applied continuously over long musical sequences as well.
Such a possibility could, in fact, proffer one of the more idiomatic applications for 'closed
register' recorder sonorities in general. (At any rate, a rapid interchange between an open
and occluded end hole risks injury to the recorder player's teeth, particularly when the
occlusion is carried out against their own body or some other independent surface.)
Moreover, there is nothing to stop a recorder player from utilizing, instead, a second
instrument which has been 'prepared' in advance, swapping to it from the regular non-
prepared instrument, thence back again, at the appropriate moments; indeed, this may well
prove to be the best and most flexible solution of all.

138. Blocking airtight the end of the foot joint with the pad of an index finger, is by far the best
option under these circumstances, as it admits much greater control and agility, and
minimizes the aforementioned risk of physical injury to both player and instrument. (Thus,
the bore's endpoint - the end hole - is treated just like any other fingerhole on the recorder.)

139. To account for every executative possibility here with regard to mobility in performance, if
the recorder's bell is to be pressed instead against a non-porous pad (which is laid either
upon the recorder player's thigh or, alternatively, is mounted upon a stand of some kind) ,
the player is again fixed to a certain performance location.

140 . Gumbel also mentions in his introduction that "although all six studies are written for three C
descant recorders, they can be appropriately sight-transposed to render them playable by
three treble or tenor recorders".

141 . Martin Gumbel: Fl6tenstories, Preface.

142 . See en .134, above . (Ex.2-100 is quoted directly from Clemencic (1971), p.227 [Example
32].)

143. For instance, both of the major publications (reviewed in section 1.3.2) that focus upon
recorder multiphonics, Vetter (1974) and - to a lesser extent - M. Kientzy (1982), specifically
acknowledge 'octave multiphonics' and discriminate between the two sub-types mentioned
in this subsection's title .

144. 'Octave multiphonics' that, in order to sound at all, ordinarily compel the recorder player to
deliver a plosive attack, might not necessarily need this type of (micro-)articulation under
certain other circumstances, however: on account of acoustic inertia, it could instead be
sufficient just to aspirate such multiphonics within specific (multiphonic) trills or legato
sequences, for instance. [See, too, the commentary in section 2.2 on alto recorder
multiphonics within musical sequences - particularly en.74 - and, by way of contrast, the
(mis)treatment of the 'pure' octave multiphonics in Ex.2-32 (as noted within its succeeding
textual remarks).]

145. For further clarification of the various recorder fingering-types, see the second paragraph of
section 2.4.1, as well as the appropriate endnotes above. (en.119 in particular refers to
'octave multiphonics'.)

146. We have already encountered this acoustical notion amongst the paragraphs and examples
of section 2.1.3, concerning amplitude modulation within alto recorder multiphonics. (See,
also , section 2.1.2.)

147. This particular ('impure octave') alto recorder multiphonic is specifically singled out for
further consideration in the second paragraph after Ex.2-68.

148. For further illustrations of 'impure' octave alto recorder multiphonics, see also EX.2-10 to
Ex.2-13, inclusive - as well as EX.2-104 (on soprano recorder) .

149. Rossing (1982), pp.121-122. [See also Erickson (1975), Grey (1975), and Slawson
(1985).]

150 . But see Ex.2-19.

-118 -
151. According to both Schmidt (1981), p.48 , as well as the fairly abstruse "Explanation of
Signs" that prefaces Nicolaus A. Huber's Epigenesis I, the rather curious, recondite
rectangular symbol which appears here - and is not explained anywhere within Hashagen's
score - means ''to give an increase in the upper frequencies" {tr. I. S.}: certainly an equivocal
definition. Since this fingering (in EX.2-1 08) can also support just a rich, 'reedy' single pitch -
see Appendix 1.6.2 - on E-natural (as notated), thus pointing up the dual timbral-harmonic
nature of 'pure' octave recorder multiphonics, the instruction is therefore quite ambiguous
in this context.

152 . Kazimierz Serocki: Arrangements, "Abbreviations and Symbols", p.6. This excerpt, which
makes use of the same E-natural fingering as that in Ex.2-108 (i.e ., 12--1-678, but on the
bass recorder here), is comparable to those examples analysed towards the end of section
2.3 - Ex .2-70 through to Ex.2-74, inclusive - wherein articulation, fingering and air-flow (the
last-named regulating the multiphonics' spectral balance) operate quite independently of
one another.

153. Juritz (1960), p .92.

154. See Appendix 4.2.2 .

155. It must be pOinted out that any statements-of-fact or forthright claims within section 2.4.5
are made purely in reference to 'breath trills' - and their multiphonic precipitates - arising from
fingering -configurations for which the endho/e is open. Whilst some of their 'closed
register' counterparts will indeed react in the manners described (and possess similar
technical attributes) , this certainly does not hold true in all cases: the disruption to the
recorder's normal acoustic system that is caused by fully occluding the bore's endpoint is
simply too great to permit global generalizations here. For instance, one will (in due course)
discover within part 2's multiphonic charts quite a number of 'closed register' multiphonics
generated from 'breath trills' which contain three unstable component tones lying in the 1st,
2nd and 3rd registers - in total contradistinction to Juritz's archetypal bipartite sonorities .
(Two specific examples should suffice: the alto recorder fingering .0.-23/4--7/8 yields a
'breath trill' multiphonic with constituent pitches Et: 1, Gd 2 and Sf 2 in these
respective registers; likewise, comparable results may be obtained on the alto recorder from
the fingering --2314--118 [thumbhole = 0; the bell's endhole, shut airtight = 8] .) [See also
Shanahan (May 1991 ).]

156. Juritz has already alluded to this rather bizarre acoustical anomaly. Has anybody put forward
a satisfactory explanation for this family of fingerings' strange behaviour yet, or for their 1st-
and 2nd-register pitches' unusually compressed intervallic structure (wherein the tones'
frequency ratio is much less than 2)?

157. This entire multiphonic-class is given a discrete listing within a separate section of part 2's
multiphonic charts; a general proposal for their notation is included there, at each
occurrence .

158. This is certainly the case for those extremely unstable 'breath trill multiphonics' on the alto
recorder in which the bottom (1 st register) tone is rather soft relative to the multiphonic's
upper (2nd register) tone . (For example, consider the multiphonic in this sub-category with
fingering --23/4567 [thumbhole = 0] - the reader is referred to the multiphonic charts of
part 2 for its full details.) Whenever isolated, it can be very difficult to detect the interval that
is contained by such a multiphonic, because the pitch of the lower multiphonic element
itself might vary with changes in breath-pressure - creating a complex internal 'pitch-
portamento' - or it could just be difficult to perceive clearly the pitches themselves (so that a
listener may not even apprehend the total sonority, if segregated, as a 'multiphonic' per se).
Accordingly, these multiphonics might be more effectively deployed within the context of a
multiphonic sequence consisting solely of 'breath trill multiphonics'.

159. That is, 'alveolar fluttertonguing' or 'uvular fluttertonguing': the tongue's vibratory fluttering
action takes place either at the tongue-tip (against the area of the teeth-ridge [alveolum]), or
towards the back of the tongue (against the back of the throat [uvula] , similar to gargling) ,
respectively . These iterative articulation-types are often distinguished from one another
colloquially by the terms 'tongue' or 'throat' fluttertonguing ; see also Appendix 3.4.2.

-119 -
160 . Composers should also remember that in this situation, there are actually other limiting
performance possibilities which they could be arbitrarily confronted with as well. For a
certain recorder player, only one type of fluttertonguing might be ruled out whilst the other
is perfectly feasible; instead, another executant could merely find one fluttertonguing
method somewhat easier to execute than the other, for instance. These unpredictable and
unavoidable physical restrictions or impediments also place the composer in a quandary,
and impose obvious prerequisites upon their compositional options.

161. See also the final paragraph of section 4.6.

162 . One can thus draw a fairly interesting - and topical - analogy here, which perhaps holds
widespread and deep musical ramifications. This unstable acoustic system strongly exhibits
properties not unlike those of the complex 'strange attractors' of Chaos Theory, wherein
highly intricate switching occurs between two component-states of the attractor (cf. the so-
called 'butterfly wings' of the Lorenz attractor) : the two unstable 'breath trill' tones that
define the multiphonic each can be seen to function like a 'strange attractor'. Moreover, this
whole class of quivering multiphonic sonorities can be regarded metaphorically as musical
equivalents to 'fractals' (as I have already pointed out in the introduction to my composition-
kit based upon this multiphonic SUb-category [Shanahan (May 1991)]):

"If one accepts the premise that any piece of music for solo melodic instrument - such as
Varese's flute solo Density 21 .5 - is essentially uni-dimensional, whereas an example of
Renaissance polyphony - such as John Taverner's Western Wynde Mass - is bi-dimensional
(because it places equal importance upon musical line and simultaneity), then the sounds
proposed in the following [,breath trills' and their various technical relatives] may be regarded as
'fractal'. They fall somewhere within the continuum between purely linear (uni-dimensional) and
harmony + melody (bi-dimensional) musics. That is to say, their perceived acoustic dimension is
greater than one but less than two: genuinely fractional-dimensional or 'fractal' (as Benoit
Mandelbrot would have it)."

163. Nor can they ever be. No 'breath trill' tone is anywhere near stable enough to be
continuously sustained as a component pitch of some normal, non-fluttertongued (but,
alas, merely hypothetical) recorder multiphonic made up of paired 'breath trill' tones alone,
because with 'breath trill' fingerings, the air-column's lowest two vibratory modes - being far
too unstable themselves - are simply not able to interact or resonate together in the way
other, more stable, modes of vibration do for regular multiphonic generation on the
recorder. Strictly speaking then, such cognitive legerdemain to create the psycho acoustical
simulacrum of pitch-simultaneity (brought about by fluttertonguing), implies that these
flickering fractal-like recorder sounds might best be described as 'pseudo-multiphonics'.

164. One must understand that this type of multiphonic amplitude modulation, being generated
entirely by an external agent (Le. fluttertonguing), is therefore quite distinct from the usual
innate amplitude modulations accruing to recorder multiphonics in the other categories.

165 . The remaining varieties of iterative articulation, such as tongue-tremoli - see Appendix 3.4 -
are either incompatible here, on account of an excessive intensity of breath-pressure (as is
the case for 'flutterlip' and 'buzzed-lip' articulations), or, instead, their rate of iteration
(maximum: approximately 20 Hz for tongue-tremoli) is simply not fast enough to give the
aforementioned psychoacoustical impression of simultaneity. Fluttertonguing thus affords
the only articulatory method quick enough in its reiteration, and sufficiently gentle, to
provoke these pseudo-multiphonic sonorities into sonic existence. (In general then, it
seems that any extremely unstable recorder sonority could be applicable to this
fluttertongued multiphonic-category.) Applying tongue-tremoli to the unstable pitches that
arise from the recorder's 'breath trill' fingerings yields an altogether different resource,
which will be briefly examined within the next, and final, subsection.

166. This particular implementation is eminently practical, for the set of all alto recorder 'breath
trills' lies within a rather narrow compass on the instrument (bounded by the high 1st and
low 2nd registers); moreover, the intervallic structure of most 'breath trills' is quite similar, if
not identical, thus ensuring a considerable duplication of pitch within the full set: recall, for
example, the nearly coincident pitches which arose from Juritz's discovery of the four
original 'breath trill' fingerings .

167. See also sections 3.9.2 & 4.6, as well as Appendix 7.3 (etc.).

- 120 -
168. Appendix 3.4.1.

169. Appendix 4.4.

170. On wind instruments, the performer's manipulations of breath-flow usually have no

connection whatsoever with the primary definition of rhythmiC material: this is normally
determined by the immediate action of the performer's fingers and tongue (or other
articulators). (This radical chronomorphological concept might even be applicable to
numerous other techniques of indeterminacy.)

-121-
 3. SOME COMPOSITE MULTIPHONIC TECHNIQUES FOR
THE ALTO RECORDER

3.1 Introduction

Just like the recorder's monophonic resources, its multiphonics also

can be combined and coloured with various other musical contrivances
from the instrument's vast technical armoury; 1 composite multiphonic
techniques for the recorder evolve from this synthesis of instrumental
capabilities. Whether or not a certain effect, however, can be applied in
practice to a given recorder multiphonic, depends upon the flexibility,
production, stability and fingering characteristics of that particular
multiphonic: generally, stable recorder multiphonics allow quite a
generous overlay of procedural possibilities. 2

Chapter 3 of "Recorder Unlimited" focusses especially upon those

composite techniques - such as multiphonic trills and multiphonic
portamenti 3 - which are predicated on the underlying manipulation of
(alto) recorder multiphonics; supplementary composite techniques - like
the merging of percussion sonorities with multiphonics, and multiphonic
vibrati 4 - that are perhaps less sophisticated, and instead (through the
superficial lamination of some extra musical element) simply enhance the
acoustical surface of a plain multiphonic sonority, are not overlooked either
herein. This chapter even incorporates advanced, complex multi phonic
phenomena and technical usages - indeterminate multiphonic
possibilities, as well as the employment of separate sections of the alto
recorder in multiphonic production,S for example - which are not obviously
or strictly 'composite', thereby entailing a clear-cut separation of approach
that differentiates between these three fundamentally distinct and
mutually exclusive categories of recorder multiphonic implementation. 6
Yet it must be confessed that their treatment within this monograph is - on
the grounds of its preliminary nature - necessarily incomplete, in terms of
both the breadth and depth of ambit: certain composite multiphonic
techniques are excluded altogether, whilst others are merely glossed over,
unfortuna tely.
Many composers, it seems, simplistically think of any elementary
'extended technique' in general - and multiphonics in particular - as being,
in concept, a 'single on/off switch' or digital device that adds (thence
removes) some extra, merely ornamental, parameter or dimension to and
from their variegated musical soundscape. Composite techniques involving
recorder multiphonics - in the above sense, homologous to a 'multiple
switch' - are relatively rare within abstract compositional thought. I am
astounded that very few instruments' technical treatises actually discuss,
or even mention, composite techniques at all - undoubtedly an appalling
omission which has surely contributed to their current state of neglect and
abuse. Their absolute integration into the core structure of a composition 7
(either in the conceptual form of digital 'switch' phenomena or complex
analogue 'envelopes'), as opposed to only a cosmetic or decorative role, is,

-122 -
moreover, an exciting and challenging - if rather cerebral - policy that I
espouse. But because composite techniques in regard to recorder
multiphonics are not common enough yet under any pretext, it is my aim
that this chapter shall at least help to assuage the present sorry situation.

3.2 Multiphonic Trills

Introduction
Although other hybrid types do exist, in its purest or most general
format, a 'multiphonic trill' is - quite simply - comprised of a periodic
(legato) alternation between two multiphonics:

Ex.3-I. Kazimlerz Serocki: Arrangements. No.5.

(Alto recorder)

0-10-1 . . . . . . . . . .
1+
5
7
8

:9"
,

However, according to established musical wisdom, a 'trill' between two

pitches is called a 'tremolo' whenever the interval spanned in the repetitive
undulatory process exceeds a major second; and, along with this
nomenclature, the notational symbology changes entirely, too. 8 Thi s
distinction - though correct and unassailable within traditional usage -
has, however, become increasingly pedantic, artificial and convoluted with
the advent of microtones, and so nowadays ought to be overthrown
completely. 9 The conventional terminology has also been complicated even
further with the engaging of multi phonics and other multiple sonorities in
oscillatory woodwind figurations, whereby at least two intervals-of-
alternation are involved (one perhaps less than a major second, another
greater). In such cases, then, it would appear that the terms 'trill' and
'tremolo' are indeed interchangeable , thus necessitating some
clarification. So, because the physical actions required of the executant in
performing them are essentially the same in character, for the sake of
consistency, it is proposed to invariably refer to these tremulous
figurations, henceforth within this study, as 'trills' alone, irrespective of
any intervallic considerations ; similarly, a uniform symbology will
likewise be adopted for all of these 'multiphonic trills'.

-123 -
 Besides having the potential to be highly effective musically, the average
multiphonic trill is also relatively easy to perform on the recorder. This
instrument's wealth of multiphonic trill possibilities - including the
superimposition of spectral portamenti - is truly astonishing: subject to
certain technical constraints, one is perfectly able to combine individual
multiple sonorities (plus fingerings) from amongst those of part 2's
extensive multiphonic charts and, in conjunction with an agreeable
recorder player, experiment with likely alternatives in order to construct a
plethora of multiphonic trills. to

The notation of recorder multiphonic trills

The following pictographic symbology is archetypal, in that it conveys

most efficiently to the performer all of the vital information needed for the
proper execution of multiphonic trills on the recorder:

(t )
o
e . ~.'. o (e )

It is a most efficacious notational representation of this technical

resource. One may analyse it in terms of three basic elements, thus:

1 . The multiphonic trill's primary pitch-component(s)

This merely consists of a normally notated recorder multiphonic - as

given above - or maybe a single tone instead, which the instrumentalist
plays first of all within the oscillation process.

2. The multiphonic trill's secondary pitch-component(s)

These are each written as a smaller-than-usual notehead placed

between parentheses, and indicate the sonority with which the multiphonic
trill's primary component alternates. (As before, the secondary pitch-
component in the multiphonic trill might be comprised of either a single
pitch only, or a multiphonic's set of constituent tones. Obviously, it is
preceded by the multiphonic trill's primary component.)

3. The multiphonic trill's triangular waveform contour

Drawn above the pitch-indications, the common triangular waveform

contour which follows the tr sign - clearly an abbreviation for 'trill' (and
'tremolo') - can be deemed to graphically suggest the (relative) speeds of

-124 -
trilling motion over the whole event, in direct accordance with changes in
the contour's wavelengths. 11 Such a notational system is therefore
extremely handy for depicting modifications in the velocity of trilling
activity (as carried out by the player's fingers), wherein the multiphonic
trill acquires an accumulation or dispersal of impetus. 12

Within the attendant tablature pictograph (which should always be

provided beneath this notation-complex), the specific trilling finger-
movement is designated by placing, to the right of the appropriate
fingerhole symbol(s), a dash and another fingerhole symbol that portrays
succinctly an alternation between the two fingering-states of the
multiphonic trill. 13
Unless a composer is deliberately seeking to indicate, in shorthand, a
steady measured legato alternation of multiphonics that have brief
rhythmic values, the old-fashioned - and rather uneconomical - tremolo
notation is usually to be avoided:

Ex.3-2. Alan Davis: Fifteen Studiesfor Treble Recorder. No. 14.

(Alto recorder)

,,-wj
0
t
2
0
t
2
fJ,
Tremolo
#J~1

r
0
t
2
0
t
2
~
r
~

111

3 3
4
2 3
, 5 5
"6 6 .
7 7

Within both of the multiphonics in question here (marked "Tremolo"),

their uppermost pitch-elements sound approximately a semitone higher
than written. Also, the lowest tone of the subsequent multiphonics is by no
means constant, as the notation misleadingly implies: its pitch actually
fluctuates over an interval of about a quartertone. It is worthy of remark
that even this latter quaver oscillation could itself be regarded as a slow,
measured multiphonic trill.
Finally, it ought to be mentioned that this proposed notation-system for
multiphonic trills is, in addition, fully able to cope with any non-metric
temporal designs and analogue mens ural notations. Indeed, as an even
more general statement, multiphonic trills can always be readily
accommodated within such time-frameworks, whatever their durational
symbology might be: 14

-125 -
Ex.3-3. Erhard Karkoschka: FlOten-/l'onband-5piele 1978. No.I/I.
(Soprano or Tenor recorder [Recorder in C] and piano)

Flotenschlange urn Saulen

1em entsprieht ea . 1 Sekunde = J
I-----i
.... >
rI ~ *=.t
Fl .
p ..-
Ii g-: - - - - - - - -- '1;
.--
0

0

Klav.
Il
mj 6
, r~
~
DIe vo rgeschlagenen Gnffe sInd ggf.

"1 cm corresponds approximately to 1 second." {tr. I. S.}

(In practice, the secondary multiphonic's written high E-natural

sounds virtually one semitone lower, at E-flat.)

The production of multiphonic trills upon the alto recorder

Once the prerequisites for multiphonic production are satisfied, a
multiphonic trill is accomplished by repeatedly opening and closing one (or
more) of the recorder's fingerholes . 15 In fact, if a recorder player
arbitrarily wiggles a finger when a multi phonic is already sounding, it is
probable that a homogeneous multiphonic trill will result; otherwise, the
trilling will occur between a multiphonic and some single pitch on the
recorder. At this juncture, then, for the possibility of producing recorder
multi phonic trills in a consistent and predictable fashion, more specific
yardsticks must be laid down.
In principle, a multiphonic trill provides no especial problems for the
performer to negotiate if, subject to other criteria, the multiphonic itself
can be elicited in the first place. 'Rules' regarding multiphonic
articulation, however, are particularly difficult to pin down. 16 As a general
rule-of-thumb, if a recorder multiphonic can be generated at all with an
aspirant Ch') attack, then it is usually compatible with some other
multiphonic within a trill, functioning as either the trill's primary or
secondary component:

-126 -
Ex.3-4. Tui St. George Tucker: Sonatafor Solo Recorder. pp.4-5.
(Alto recorder)

@
Fl.- - .,
tr I

#~
-
II

All multiphonics here, whether they be primary or (unnotated)

secondary trill-components, are attainable through an aspirated attack:
both multiphonic trills, with vented thumbhole - see Ex.1-4 (nos.7 & 10) for
the composer's fingerings - are completely practicable. The fluttertonguing
infuses an extra quality of roughness into the overall sound; moreover,
these multiphonics' written Fif3 is, in both cases, pitched much nearer to
G~ 3. 17

Very often, trills are possible between recorder multiphonics that have
homologous sonic characteristics and production parameters. In this
regard, an important qualification is that the registers of the multiphonics'
constituent pitches correlate with one another. 18 If they do not, then either
the hypothetical trill will not work in practice as intended, or instead -
though performable - its timbre will be rather 'dicky', because the recorder
player must slur across a register-break somewhere within the trill:

Ex.3-5. A 'clicky' multiphonic trill.

(Alto recorder)

t
".......

o~.)

~ i:; (,-;) II
o

o


00-

-127 -
 Whilst both Ft3s belong to the 4th register, the 1st-register Dif 1 snaps
up to a 2nd-register E~ 1 with a click whenever the lowest set of double-
holes is shut. (Another click occurs when this finger-operation is reversed,
and the 2nd-register tone breaks downwards.) Consequently, this trill is
imbued with a popping quality.
Unfortunately, without a comprehensive multiphonic trill chart, it is
still not really feasible to foresee the outcome of allying, within a trill, two
recorder multiphonics (each chosen separately from a standard
multiphonic chart) that embrace identical - let alone diverse - register-sets.
Rather than trying to anticipate the results, a composer is much better
served through having the multiphonics in question tested as a trill-pair by
a willing performer. Nevertheless, another useful principle to keep in
mind here is that progressively larger trill-intervals (especially those
which lie fairly high within the [alto] recorder's tessitura) increase the
likelihood that corresponding tones within the trill's primary and
secondary multiphonics will fall into different registers of the instrument,
in which case - even if the multi phonic trill is attainable - its execution is
somehow liable to be clumsy. A corollary of this observation which can be
deduced immediately is that, in general, the higher the registers engaged
within a workable multiphonic trill, the narrower its trill-intervals are
likely to be (in order to avoid any conflicting registers between alternating
tones).

To summarize: for some guarantee that a recorder multiphonic trill

will function reliably, after checking the multiphonics' articulation
requirements, one ought to ensure that the registers of each multiphonic's
constituent tones correspond, so as to make a matching register-set
between the trill's primary and secondary components 19 (at the same time
recalling that, when one gradually ascends through the recorder's range,
adjoining registers possess smaller and smaller gamuts, and so come ever
closer together).
It is perhaps opportune now - at the very end of this subsection - to make
the comment that, for certain (alto) recorder multiphonic trills, the
secondary component can be very difficult to procure as a multiphonic in
its own right, though it speaks perfectly well within the trill. As an aid for
producing it individually, one could therefore resort to the neat trick of
momentarily venting a fingerhole which is subsequently closed,2o or
approaching it, in legato, from some other given multiphonic (usually one
that is closely related in terms of its fingering-pattern and/or its pitch-
elements' register-numbers, and thus institutes the air-column's
complicated vibratory mode beforehand).21

Musical sequences involving recorder multiphonic trills

On the recorder, those multiphonic trills which are spectrally flexible

and quite easy to produce often connect readily - in either non-legato or
slurred articulations - with other sonorities (whether they be multiphonics
or not), thereby engendering larger-scale phraseological structures or
sequences:

-128 -
Ex.3-6. Richard Rijnvos: Zahgurim. bars 107-108 & 110-111 (pp.29-
30).
(Amplified bass recorder)

tel' .... ~

~L-- 3 ~

z


o.

0
.-

.-

.-

0

0 0

o
o

0 -
0
00
.-

0
00

0
0
00

0
.'

0
.'

0
0
00


. 0 .'
0 0 00 00 0 0 00
.' 00
0
0
.'

110
tr.,. .. .. .. .. ... .. ... .
I ( ( , '\ I I I' \ (, '\ ( II \ '\ \
!'ass
Rec.
I -J< \' -; -q-"" \ '-J l ~"j ~; l qT) tFi IF)
t~; t .~

.- .- .-




.-
0 0

0 0

00
.'.0 o'
00
.'
0
.'-
00

~ indicates t he fi nger wi th which to trill ;

(always as fast as possible; the res ulting t rill no t es
are given between parentheses )

Both quotations here form homogeneous legato phrases of linked bass

recorder multiphonic trills, each of which can be promptly secured on its
own without any trouble. In actuality, little more need be said, except to add
that precisely the same 'rules' apply in this situation as they do for the
linking of ordinary multiphonics .22

-129 -
Ex.3-7. Benjamin Thorn: Pipistrelli gialli. ... No.m, p.S [edited].
(Bass recorder)

~---;I ;:. \ se.cono\ .

tr~ tr/VVVVVVVV tr/VVVVVVV'oN tr/VVVVVVVV tr ~

14~t'(~::__~~:; i~:: :~t: ~~t:

elc

o
0

.-0
.-0
.-0
.-0
00 - - - - - - - - -
.-0
-00
0 0
00 - - - - - - 00
.-0
00

Thorn has cunningly conceived a sequence of bass recorder multiphonic

trills whereby the trill-intervals expand systematically. With the help of a
smearing portamento, the musical effect is of a single, ever-widening
multiphonic trill.

Fingering considerations
For the facile performance of multiphonic trills on the recorder, their
relative ease of execution in regard to the fingers' trilling manreuvres is
quite an important factor. If the multiphonic trill's 'primary' and
'secondary' fingerings themselves are superficially similar to one another -
and, the multiphonics' registers, stability and data for their other
performance parameters are comparable as well - few obstacles should be
encountered.
Of course, inherent physical limitations upon the rate of trill-speed do
exist. The basic maxim here is that the more intricate or tortuous the
fingers' operation is in carrying out the multiphonic trill, the slower the
maximum velocity of the trill itself will be. Or, to reverse this argument,
the smaller the number of fingers moving (in independent motion -
particularly on one hand), the quicker the recorder player can make the
trilling action. Yet the anatomy of the human hand dictates that certain
movements of the fingers, regrettably, are always going to be rather
sluggish or awkward: for instance, contrary motion of fingers upon the
same hand, wherein some of these fingers are uncovering their
fingerholes whilst others are simultaneously closing theirs, can be
notoriously difficult (most notably when a fast rate of operation is
demanded):

- 130 -
 - 0
0- .
-00

- 00
e+c..
00 00-

At the same time however, it must be admitted that disjunctive finger-

motion between the instrumentalist's two hands instead, is certainly less of
a problem in performance, though precise manual coordination here is
still an executative rigour which definitely should be conquered with
complete technical mastery in order to ensure a successful musical
outcome. 23
Beyond the consideration of fingering practicalities, composers should
be alerted to the fact that, if any multiphonic trill makes use of some
contrary motion between trilling fingers (whether it be confined to one
hand, or split between the two), then a unique, idiomatic 'choppy' or
'slurpy' quality will be imparted to the trill as a direct consequence of these
inverse finger-movements . This popping effect - virtually a fingered re-
articulation - takes place regardless of whether the multiphonics' register-
sets tally or not.

Variou s types of recorder multiphonic trills

So far, the bulk of our discussion within this section has dealt purely
with 'homogeneous' multiphonic trills, in which every trill-component is a
recorder multiphonic. But can we not, if we so desire, replace one of these
trill-components with some other type of recorder sonority? The answer is
that it is certainly possible (under most acoustical conditions , in fact) to
make such a substitution and create 'heterogeneous' multiphonic trill-
types, an obvious example of which is the 'multiphonic-monophonic trill'.
As the appellative itself suggests, the trilling effect does not involve an
alternation of two recorder multiphonics, but instead, a multiphonic and
some single pitch:

Ex.3-S. Hans-Martin Linde: Musicfor a Bird. No.5.

(Alto recorder)

, ,
Ed 013462:
pp II pp
P

- 131-
 When the recorder player carries out a "trill with the finger specified",
an oscillation between the notated multi phonic and a single 2nd-register
tone, G'& 2, occurs.24 (According to the score's preface, Linde also requests
a contoured spectral portamento throughout this event:
"Chord with crescendo (ending on the highest note of the chord)."

This extra resource renders the overall gesture somewhat more

sophisticated sonically than if the performer's air-flow was merely steady.)
As is often the case for such trills, an interesting psychoacoustical
phenomenon unfolds here, in that the highest pitch-element of the
multiphonic - the primary trill-component in Ex.3-8 - appears to be
sustained right across into the monophonic portion of the trill (the
secondary trill-component), thereby creating an aural illusion of timbral
uniformity: one gains a false impression that the multiphonic trill is
actually 'homogeneous', and maintains continuously a prolonged, high,
unchanging pitch. 25

This mixed variety of multi phonic trill arises when the monophonic
segment's fingering supports an unstable mode of vibration whose
register-number equals that of one - nearly always, it seems, the lowest - of
the multiphonic's vibratory modes. But the breath-pressure needed to
project the multiphonic in a spectrally well-balanced manner within the
trill, causes the abovementioned unstable mode to overblow into a stable
higher mode alone (rather than another multiphonic). Thus, in Ex.3-8, the
multiphonic's 1st-register E ~ 1 should, theoretically, alternate with a soft
(1st register) C$l off the fingering 01-3/4561. However, the breath
requirements of the multi phonic trill are indeed too strong for this unstable
tone to appear in practice, and the more stable 2nd-register G $ 2
materializes instead as the multiphonic trill's secondary component. All
such multiphonic trills, furthermore, are timbrally 'choppy', 'slurpy' or
'clicky', since a register-break is being crossed repeatedly, back and forth,
in legato.
Although they may regularly incur a second, sometimes weak,
multiphonic (occasioning, in consequence, an ordinary multiphonic trill),
typical fingering-conformations for these hybridized multiphonic trills on
the recorder involve some trilling finger-activity in the vicinity of the lower
part of the fingering 's effective tube-Iength. 26 When one of the trill-
components from such a fingering does turn out to be a single pitch, it may
tend to be somewhat subdued; or, at the opposite extreme, a prominent
monophonic trill-component might perhaps be shadowed beneath by a faint
undertone accompaniment.

I shall now conclude the study of this particular recorder multiphonic

trill-category by providing two more instances, in abstract:

-132 -
Ex.3-9. 'Multiphonic-monophonic' trills.
(Alto recorder)

p~NWWWW

I~ f e ~;: e.
II
(cnP )

0-. o (f] :. "I ~oft LJ "J.~r'rol\~ .

,.


00 00-"

Each secondary trill-component (monophonic in both cases) lies within

the 2nd register, whereas the multiphonics' lowest constituent pitch-
element belongs to the 1st register. Both trills, therefore, take on a rather
'choppy' quality. Note that the second trill, with the endhole closed, starts to
become a homogeneous multiphonic trill - in which the high E-natural is
smoothly and constantly sustained - whenever the recorder player's air-
flow is fortified beyond the level defined by the given horizontal line (of
spectral balance): this trill's heterogeneity is preserved only up to a ceiling
dynamic of about mp .
There are also other multiphonic trills that the recorder is capable of
producing, which, in their acoustical complexity and uniqueness ,
seemingly defy categorization. They may, ostensibly, display certain
features in common with both homogeneous and heterogeneous
multiphonic trills; or, they might fall into some kind of sonic continuum
between 'multiphonic trill' and a fingered 'multiphonic vibrato' . As such,
they are probably best treated as 'unclassifiable':

Ex.3-l0. An 'unclassifiable' multiphonic trill.

(Alto recorder)

+r~
~) o
(9-' )
I~
;It e
II
qO
0-.

-

.,
00

-133 -
 The secondary trill-element - omitted from the notation here because it
is far too elusive - is unstable to the point that any attempt to sustain it
alone (and so permit identification) fails, for the sound instantly
disintegrates. 27 Could it be just a single pitch? Does it possess an undertone
patently dissimilar to any 1st-register resonances within the multiphonic?
It is hard to tell for sure, although it can be said that the sonority as a
whole is somewhat akin to a smorzato-like fingered vibrato which has been
superimposed upon an already rather rich-sounding recorder
multiphonic.
Returning now to the mainstream of the recorder's multiphonic trills,
several composers have demonstrated a partiality towards a
'homogeneous' sub-class hinted at previously: multiphonic trills which
embrace a pitch that does not change, despite the oscillations of fingering.
Whenever such a trill induces this constant pitch to be held absolutely
steadily, without even the slightest hint of interruption to its sound,28 the
pitch in question is always the uppermost constituent element of the
multi phonic - so long as neither trill-component is a 'closed register'
sonority.29 The musical effect, then, is of a high 'inverted pedal'
underpinned by a pair of lower, alternating tones:

Ex.3-11. Hans-Martin Linde: Musicfor a Bird. No.6.

(Alto recorder)

2
tr ... ... ... ... ... ,."

0 13 467 0 1234 57

Ex.3-12. CoHn Sterne: Meadow, Hedge, Cuckoo. p.3.

(Alto recorder)

> > >

.-
4-

~ ~ )1 -
\
-== ---- .......
~.~.
;>
\

'~
< - 'I'
T f' p
'I

fp fp p if

- 134 -
 "*Overblow until 'G' gradually emerges above [the] tremolo, then reduce pressure
until it vanishes."

In reality, the constant high tone referred to above comes out pitched as
a microtonally flat G-sharp. Moreover, although they have been omitted
from Sterne's score, it is obvious that the composer envisages the standard
fingerings for B ~ 1 and C ~ 1 being employed in this trill. (Sterne's notation-
system for the contoured spectral portamento more-or-Iess duplicates that
of Richard Rijnvos in Ex.2-75, coincidentally.)

Ex.3-13. Richard Rijnvos: Zahgurim. bars 164-165 (p.43).

(Amplified bass recorder)

tr" '4 tr.. ..

1-

.-





0

0 0

.-
..
0

.. ..
00 0 0 00

"" ."

Ex.3-14. Jiirg Baur: pezzi Uccelli. No.2, letter D, p.3.

(Sopranino recorder)

br~ ~
~~JF=~I~ p
123567
t

Whilst the high E-flat is fixed, the C-sharp trills in conjunction with a
D-natural one semitone higher. (In Baur's number tablature, the

-135 -
recorder's thumbhole is designated by a 1; an arrow indicates the trilling
finger, in this case 5 [the right-hand index finger].)

Ex.3-15. Gerhard Braun: Monologe I. letter A.

(Alto recorder)

A 'tongued' attack is advisable for expediting this multi phonic trill. (The
numerical tablature here is identical to Ex.3-14's, incidentally.)

If, for such trill-sonorities, a composer is interested in utilizing my

multi phonic trill symbology (as expounded earlier in this section), then it is
recommended that they tie the uppermost notated pitches of both primary
and secondary trill-components together with a ligature, in order to reflect
its smooth, invariant legato nature: 30

+r~

Prior to rounding off this subsection (at last), it is incumbent on me to

look briefly at a generic type of recorder multiphonic trill which, in my
opinion, deserves special, separate attention: multi phonic trills, wherein
the recorder's endhole is alternately vacated and occluded against either a
hand, finger or thigh,31 have been grossly under-represented in the
contemporary recorder repertoire and technical literature to date .32
Precisely as before, in order to achieve at least a modicum of practical
success, the paired multiphonics here ought to encompass similar
production characteristics and performance parameters, with the added
proviso that, again, the registers of the multiphonics' constituent pitches
should match (Ex.3-16(a . Notwithstanding, these multiphonic trills will
sometimes work reliably even when the above criteria are not fulfilled

-136 -
(Ex.3-16(b)). It is therefore the composer's responsibility to verify their
efficacy through having them tested by a recorder player well in advance of
setting them definitively within the music.

Ex.3-I6. Multiphonic trills: one component from the 'closed register'.

(Alto recorder)

tr~ tr~ t r /VV\NVVVvV

(C\ ) t ~ t~+-) ~ -&(9.L.)

+r~
~ -& (9..!- )
~ ~(~ ) ....
-(! . . . . ) -Cd.l

I~'~ ~, rZi,:', ~ 3 e ) W8j;( II

a 0 0


5 't- 5
4- tone. .

0 ,_ ~ ( ~vbi c.? ) d~~,, <.~

I 1 I 2.
0
0

0 0
00
f; ,,~t ,... lt~ 00
\e~
0-.
00
0-.
00
0-.
le'3 00
0-.

fro /V-oIVVYVVv tr /VVVVVWv' +. . ~

(b) qQ..(fL ) b-e-(~+ ) ~ -&(1' )
- - - -
~!:2 > (~. J e cr t2
0 EO(~, )

II
1
j

~ tt-
4-4-

34
I I
0
0 \ I 0 I 2

-
0

0
00
00 Ie':)
le~
00
0-.
1e.'3
0-. 0-.

The register-numbers of all multiphonic pitch-elements within both

trill-components are listed, in vertically correspondent order, next to each
respective tablature pictograph. Everyone of the three multi phonic trills in
Ex.3-16(b), it will be found, also entails the crossing of a register-break, and
so they all have a rather 'dicky' timbral character. Notice that - as
predicted earlier 33 - some of the multiphonic trills in Ex.3-16 contain a
lowest constituent 'pedal' tone which is sustained continuously, unbroken;
where applicable, this circumstance is reflected among their notational
graphics through a tying ligature. Physically, in regard to the trilling
motion itself, only the initial multiphonic trill of Ex.3-16(a ) is able to be
carried out by repeatedly blocking, thence opening, the endhole with a

-137 -
(right hand) finger: all other trills here - because their fingering-patterns
engage both hands - must be executed by pressing the end of the footjoint
against the seated performer's thigh, and jiggling the recorder up and
down.

Recorder multiphonic trills with spectral portamenti

It should be said immediately that every single issue raised within
section 2.3 (concerning spectral portamenti of recorder multiphonics in
general), is - without any need for extra qualification - equally applicable to
the current topic, which concentrates specifically upon this instrument's
multiphonic trill resources. Further elaboration, then, is largely
unnecessary at this point, although a few additional or supplementary
remarks would not be amiss.
In playing an ordinary monophonic trill, one is very often able to
overblow it, effectuating, via a spectral contour, a continuous
transformation into a multiphonic trill:

Ex.3-17. Kazimlerz Serocki: Arrangements. No.3.

(Tenor recorder)

1 ~
2 2
3

...
:~!lO"
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .-

(Serocki's rather idiosyncratic notation for overblowing is explained in

connection with Ex.2-59.) Under the control of the present excerpt's initial
fingering, incidentally, the pitch of the high A-sharp is, at first, constant -
but unnotated - within the spectrally evolving multiphonic trill. Observe
that, once a well-balanced(?) multiphonic trill is extracted from this
semitonal trill (G-sharp/A-naturaD, the trilling finger is then changed at
once to 7 (thumbhole = 1), although the primary fingering-formation itself
remains the same. At this point also, the abovementioned A-sharp starts to
trill semitonally with a high B-natural, as the notation proclaims: the
multi phonic trill is subtly altered.

-138 -
Ex.3-1B. Richard Rijnvos: Zahgurim. bars 119-124 (pp.32-33).
(Amplified bass recorder)

ti _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

i\)

~ u~ . .
/ ..... --- .'-/ :____ ;----- '~---::::::::;;;;;;;;~iiiiiiiiiii.
.-
\ -------- ... '--' \"

.-



.-

-



.-



0 0 0

.' .' .' .' .'

.' .' .' .' .'

-- .-

-

- .-

0


0


-
0

.'
.' .' .'
.' .' .' .'

Rijnvos's useful wedge-like symbology for multiphonic spectral contours

is discussed in relation to Ex.2-75, yet another quotation from his Zahgurim
which - like Ex.3-I8 - offers an excellent illustration of consecutive bass
recorder multiphonic trills, in legato, that are subjected to spectral
portamenti (and fluttertonguing). The surging and ebbing of the
performer's breath-flow, both here and in the other cited example from
Zahgurim, forces some of the multiphonic trills' constituent tones to break
upwards or downwards through various registers, or to disappear
altogether; such overblowing and underblowing on the recorder establishes
a tangible link, or continuum, between the instrument's trilled
monophonic and trilled multiphonic sound-worlds. 34 Usually, one is able to
move quite freely within this sonic trill-continuum, thereby permitting the
realization of a galaxy of spectral contours or portamenti. At the behest of
the composer, the recorder player can, in fact, perform any designated
contour by adjusting their breath-pressure in direct compliance with the
contour of some graphic waveform. 35 In this manner, it is frequently
possible, therefore, to link a multiphonic trill to its extractable
(monophonic) trill-pitches :

-139 -
 Ex.3-19. Jiirg Baur: Mutazioni. lorn, pp.3-4.
(Alto recorder)

~~ ~,. '6r '6r ~Fq!l-

I
I ~~r~
tl ~ ~ I

III.
tJ .... --..J .... ~: I 55 (1234578)
i

The pitch-notation in this example's final multiphonic trill-event, is

somewhat misleading. It suggests a constant upper pitch (G~ 3), the
constancy of which, in practice, proves to be totally fictitious: the highest
secondary component of this multiphonic trill actually lies much nearer to
Gt3, and so defines an upper trill-interval of approximately a semitone. 36

Ex.3-20. Eric Gross: '7an~ Shenanigan" No.1. p.2, letter F.

(Alto recorder)

"Gradually overblow the trill."

The 1st-register trill-tones that spring from the stipulated fingering are
joined (in legato) to their 3rd-register trill-counterparts, by overblowing
through the intervening multiphonic trill. As a musical complement to

-140 -
this trilled episode's spectral development, its oscillatory motion is
decelerated just as soon as these 3rd-register extractable monophonic trill-
tones are isolated, in response to the composer's notation of elongated
wavelengths within the trill-phrase's quasi-triangular waveform-
contour.37

The two previous examples display alto recorder multiphonic trills that
are linked, within a single continuous gesture, to both their upper and
lower sets of extractable monophonic trill-pitches. Wherever the highest of
these monophonic trills is attained, not unexpectedly, a 1st-register trilling
of undertones may be heard. If, as in - for instance - Ex.3-B, the
multiphonic trill instead metamorphoses into a smooth, expressive
fingered vibrato effect upon the highest note (whose pitch never varies
within the trill), this resultant sonority is best classified as an 'undertone
vibrato'. 38

Naturally, rather more complex applications of spectral portamenti

could be devised, and persuasively implemented, in conjunction with
recorder multiphonic trills. Of all of these potent spectral devices (which
are explored towards the end of section 2.3), however, only one will be
mentioned here, in passing, without any textual exemplification: in
'rhythmicizing' the spectral balance of a multiphonic trill, various
associated trill-tones from different registers - whether single or multiple -
can be superposed or underlaid rhythmically, to weave a compelling
texture which teems with inner life. (As we shall see from Ex.3-121 [within
section 3.9.2], this delightful process of spectral 'rhythmicization' may even
be brought into play indeterminately.)

Some more sophisticated schemes involving recorder multiphonic trills

Ever more beautiful and significant musical utterances can be achieved
through the intelligent compositional organization of recorder multi phonic
trills into larger-scale architectonic structures and sequences. Within this
final subsection, I shall sketch out just a few of the numerous
possibilities.39
Progressions of multiphonic trills upon a solo recorder might be
constructed in order to project an authentic two-part polyphony, wherein
one sonority - a constituent tone of a multiphonic - is either sustained or
trilled as a kind of (inverted) pedal point, against which some other part
moves. Alternatively, whilst the basic fingering-configurations of a
multiphonic trill sequence may shift continually, the finger(s) that are
actually engaged for the trilling activity itself could remain in that capacity
during the entire affair, their oscillatory motion unperturbed throughout.4o

From these ideas, one can then go on to mention the performance of

recorder multiphonic trills among which foreign sounds have been
interjected: 41 from an abstract compositional perspective, this is equivalent
to presenting, simultaneously, two quite distinct musical materials - a
sustained multiphonic trill, against a stabbing succession of some other
recorder sonorities - which may then proceed independently, each line
flowing in completely different directions. Anyway, the cardinal principle
for production here, is that either some fingerhole(s) are to be opened
transiently, or, contrariwise, one (or more) fingers fleetingly obstruct

-141-
fingerholes which - being open initially - are part of the set of fingerholes
that are complementary to the multiphonic trill's main fingering-pattern
and trill-action: 42

Ex.3-21. Multiphonic trills, with foreign tones inserted momentarily.

(Alto recorder)

./
J

0 - . 0-. 0

0


-
0 0
0
- - -


0 0 0 0
I
'-00 00 I.
00 00 00

It can be readily ascertained from this example's tablature pictographs

that the finger utilized to generate the ephemeral alien sonorities in each
case is, respectively: the left-hand ring finger (3, with thumbhole = 0); the
right-hand middle finger (5); and the thumb (which, in Ex.3-21(c), opens
the thumbhole instead). Two transitory sonorities per multiphonic trill are
given here, one corresponding to the trill's primary component, the other
corresponding to its secondary component. Furthermore, depending upon
the breath-pressure or volume of exhalation from the player - and
consequently, the multiphonic trill's spectral balance - the second foreign
sonority in both Ex.3-21(b) and Ex.3-21(c) could be either a well-balanced
multiphonic, or a single pitch with a prominent (1st register) undertone;
and for exactly the same reason, the interruptive acciaccature in Ex.3-21(a)
might be either 'octave multiphonics', or ordinary 1st-register tones.
We now reach the culmination of this subsection, a synopsis for an
exotic musical scheme in which the usage of recorder multiphonic trills
occupies, beyond the composition's surface, a deeper level within its
structural hierarchy.43 It is most simply described as a 'trill between
multiphonic trills'. Such a device engages at least two multiphonic trills,
and the alternation processes can be internally randomized,44 or specified
in an orderly, precise, thoroughly notated fashion instead; somewhere
between these extremes of composerly control, one could even assign a
statistical weighting to a particular component-sonority within the trill-
complex by requesting its overall quota of appearance, thus governing the
event, to some extent, through having certain trill-tones predominate.

- 142 -
 In many instances, one can evolve these complex, multiply trilled
sonorities from regular multiphonic trills which use more than one
trilling finger for their performance:

Ex.3-22. Random multiphonic trills with three or more trill-

components.
(Alto recorderls

(1 ) (i; i ) \2.q"ci. .
t rANVWVWV +r ~

~ -(7-(:f .... ) ~ -e-(! ) ~ -e- (Z--- {:+ ~. )

It
-
II
-
(re ) ; k!5 <,. " k"
=(~.=t= t' \, = )
II
e._ o
o
e-o
o
o ~-O l
-0 e lI.~tlcl .

o o
,.
.-0
o
-0
o
,.
J

,.
.,

(\ ) ci i) (ii i ) R... ~c\ .

tr-'VVVVVV +r /VVVV\NV' tr V'/VVVVvV tr ~
(b)
c:l Q l:f_!.J <J Q...[f..!_.l q...o... ~ ...Q... (-;f.!...f.!...
- -

14 4 0 ( ~. ) 140(\1'} ; 40=:; ! G ( ~. l' {: ; 1II

e
.-0 .-0
-
/1,p,,,cA .
0-. 0 0-. -0-.
-o J
.,.,

The procedure for deriving, from one of the recorder's ordinary

multiphonic trills (with finger-activity as described above), a complex,
multi component multiphonic trill, is illustrated in Ex.3-22 - which also
displays the intermediate step of the process. Given a suitable multi phonic
trill that serves as a starting point (i), the movements of its trilling fingers
are sequestered, thence reactivated individually, to yield a number of
auxiliary multi phonic trills (ii), which are then amalgamated into the final

-143 -
sound-image - a dense, randomly flickering multiphonic texture (iii). It is
worth noting that in Ex.3-22(a), the already heightened level of sonoric,
technical and compositional complexity may be magnified even further by
trilling with the (left hand) thumb as well, if so desired; yet another
multiphonic ingredient - with pitch-elements G \72 and Al3 - would then be
added to this extraordinary trill-melange .)

Within the milieu of recorder multiphonic trills, therefore, it is easy to

see from a study of Ex.3-22's end products, that this transmutative practice
assuredly has the potential to raise the merely mundane or routine into
something which is much more profound musically. 45

3.3 Multiphonic Portamenti and Pitch-Fluctuations

Introduction
There appears to be an almost universal imbroglio amongst present-day
musicians as to the correct meanings of, and distinctions between, the two
terms 'glissando' and 'portamento'. In some circles, these terms are
treated synonymously; between others, their definitions are reciprocated.
Clearly then, an urgent need exists to alleviate promptly the confusion
arising from this situation. Without any further ado, I shall therefore state
immediately the case as it applies throughout this dissertation.

The expression 'glissando' herein designates a (legatissimo) connection

of tones through direct chromatic, diatonic - or microtonal - pitch-
movement. Thus, despite the performer's attempts to internally 'smear'
pitches as much as possible, some discrete intervallic gaps or jumps in
pitch can still be apprehended within a glissando, so that certain pitches
between its extremities will prove to be omitted. On the other hand, we
define a 'portamento' to be comprised of a smooth, gliding connection of
tones which is perceived to pass through every intervening pitch.
Consequently, within a portamento, there is a complete absence of audible
pitch-discontinuity. Section 3.3 examines only those resources generically
called 'multiphonic portamenti', gained by employing this latter technique
in conjunction with alto recorder multiphonics. 46
Apart from the representative musical quotations interspersed among
the following textual commentary, several detailed, abstract examples of
alto recorder multiphonic portamenti which I feel satisfy the criteria for
inclusion within part 2's multiphonic charts 47 shall appear there, under
the heading "Other Multiphonic Resources" . It should be understood,
however, that this collection of examples is by no means intended to be
comprehensive, since the research that "Recorder Unlimited" documents
is merely introductory.

Recorder multiphonic portamenti - which can be splendid musical

devices indeed (if used sensitively) - are truly plentiful, although it ought to
be said that their potentialities are probably not as bounteous as those of
recorder multiphonic trills .

-144 -
The notation of recorder multiphonic portamenti
Whether or not the chronomorphological contexts for recorder
multiphonic portamenti are governed by analogue or (traditional) metrical
principles, their notation is derived directly from that of conventional
portamenti involving single pitches: 48 the duration of a pitch-portamento,
taken as a whole, is precisely determined by the note-length that is
assigned to the portamento's initial pitch(es); a contour - graphically
identical to one which regulates multiphonic spectral balance - provides
moment-to-moment information regarding any undulation of pitch within
a portamento. Beyond such a waveform dictating the localized behaviour of
pitch, all macro-articulations (legato, tenuto, non-legato, staccato, etc.),
together with any patterns of accentuation, need to be specified explicitly as
well. 49

In the notation of recorder multiphonic portamenti, similarly shaped

(or topologically equivalent) pitch-contours should be ascribed to each
multiphonic component that slides within the portamento:

>

." ... ~~ .

e . ~.:
(~~ .~ .~ \
e.t c. .

For the indispensable portrayal of all finger-activity which is necessary

to accomplish a recorder multiphonic portamento, a smooth transition
from one fingering-state to the next is shown between consecutive tablature
pictographs by drawing a series of dashes to the right of each relevant
fingerhole symbol. 50 The point on the page where these dashes start can be
used as a flag to signal the commencement of a particular finger's gliding
motion. With certain multiphonic portamenti, moreover, it is often
peremptory for composers to indicate, very carefully, the correct order and
timing in which the fingers that generate the portamento will move or
stop.51

The production of multiphonic portamenti upon the alto recorder, and their
various attributes
Assuming that the recorder player has fulfilled every condition for a
suitable multiphonic's production, that multiphonic may then be subjected
to a portamento by implementing a characteristic finger-action: 52 often
with a slight turn or roll of the wrist, the appointed finger(s) are slid
sideways across their fingerhole(s), perpendicular to the bore-line of the
instrument. A lateral sliding motion which gradually removes a finger

-145 -
from its fingerhole yields an ascending portamento, whereas one that
slides a finger onto its fingerhole has the opposite effect. At all times, the
performer ought to use the lightest possible finger-pressure. A closed
fingerhole, for instance, should receive the minimum amount of finger-
pressure such that the closure is just airtight.53 For a (multiphonic)
portamento which entails a gliding finger-movement upon either of the
right hand's pair of double-holes, I sometimes find it best to slide the
finger(s) vertically, parallel to the recorder's line of (single) fingerholes, in
order to avoid any unwanted 'bumps' or pitch-discontinuities that are
prone to occur otherwise. Although this fingering-solution is, admittedly,
rather hard to master, it is preferable for performance contexts which
especially feature slow portamenti, where undesirable breaks would be
particularly obtrusive. As stated elsewhere, if the precise order of sliding
finger-activity is important, then it should be indicated unambiguously by
the composer.

Ex.3-23. Makoto Shinohara: Fragmente. No.9.

(Tenor recorder)

"/' /rem ,
.
._---1',
~,
"'l888.
~'-~------~.~============:::
....,
~ ~

multitonal sounds produced by overblowing of a lower fingering; the reali:lation is left to the player
nlUlliphonische Kliinge durch iiberblasen eines lieferen Griffesj die Realisalion iSl dem Spieler
iiberlassen

The indeterminate multiphonic "gliss.", which - according to the

score's endnotes - "should be continuous ... " (and so is really a
portamento), demands that whatever multiphonic is selected to commence
the gesture, the recorder player should smoothly slide some fingers onto
their (initially open) fingerholes in order to create a descent of multiphonic
pitches, in keeping with the character of the graphics.
If a gliding, transitional finger-action (as described above) which links
one recorder fingering-configuration to another, can actually sustain a
multiphonic portamento, then it is usually possible to carry out this
portamento in either direction. With only a few exceptions - these are noted
within part 2's listing of multiphonic portamenti - the accomplishment of a
recorder multiphonic portamento in one direction ought to be inherently no
more difficult than its reversal. 54 Therefore, by freely mixing multiphonic
portamenti that rise and fall at various rates, meandering pitch-contours
can be created: 55

-146 -
Ex.3-24. Will Eisma: Wonderen zijn schaars. bars 193-195.
(Alto recorder and prepared piano)

195

~::il.'1!:=-& I
13 --1 --l3'f5
1-
-t. '

to; t
sf sf!, Sf

'Ped. _ _

(As with Ex.2-58, Michael Vetter's rendition of this fragment from

Eisma's score is annexed to the right of this example; similarly, it is taken
from the recorder player's performance material.) Eisma's sweeping
sinusoidal graphic is realized by Vetter through a linking together of three
different alto recorder multiphonic portamenti. In the absence of any
information regarding the articulation of this conjoint portamento contour,
one can assume that it is to be executed in legato throughout.
When one overviews the internal behaviour of multiphonic portamenti
on the recorder, it soon becomes evident that the component pitches of each
multiphonic portamento always slide in the same direction, in parallel
motion. The interval between a multiphonic portamento's extremities,
however, rarely remains constant. This intervallic state of flux conveys
significant ramifications for the evolution of sidebands in recorder
multiphonic portamenti, which give rise to some striking acoustical
phenomena: mUltiphonic beats gradually mutating into difference tones
(and vice versa); shifting multiphonic beat-frequencies; and difference
tones that slide in contrary motion relative to their multiphonic
portamenti's constituent pitches. 56

The range of pitch traversed by each component tone of a recorder

multiphonic portamento is usually not large: the interval that is spanned
by any pitch-element within the multiphonic portamento rarely exceeds a
minor third (although, if the recorder's endhole is closed, this may be
surpassed in some instances). Furthermore, because of the shrinking
gamuts of successive registers on the recorder, the interval covered by the
uppermost pitch-component of a mUltiphonic portamento will be less than
that of its lowest counterpart. 57 Most importantly though, in all cases, no
register-break is to be crossed - without exception. In other words, for every
recorder multiphonic portamento, the component portamenti must fall
entirely within a single register:

-147 -
Ex.3-25. Hans-Martin Linde: FiirifStudien. No.IV.
(Alto recorder and piano)

IV

tr

012:.14::;7
f non vz'brato
Klav,
~r

The initial and final multiphonics of this portamento - along with every
multi phonic in between - embrace constituent pitches that lie within either
the 1st or 4th registers. The finger-action which is demanded here is,
nevertheless, rather awkward to negotiate. I suggest that the performer
gradually slide 5 [the right-hand middle finger] onto its fingerhole,
removing 6 [the right-hand ring finger] in a normal fashion only at the last
possible moment. (Consequently, Linde's linear contours do not accurately
reflect the acoustic situation, if this multiphonic portamento is executed in
the manner just described; moreover, although Linde has written the
highest tone of this portamento's terminal multiphonic as F-4f 3, in practice,
it sounds approximately a quartertone sharper, near G ~ 3.)

If this 'rule' (of forbidding a traversal over any register-break, thereby

confining each component portamento to a single register) is violated, then
the multiphonic portamento will definitely incorporate some pitch-
discontinuity - at the point where a register-break occurs:

Ex.3-26. Will Eisma: Wonderen ZUn schaars. bars 107-110.

(Alto recorder and prepared piano)

, 110
-. 'b:~ I , I
...... ~

sf

-148 -
 (This example is presented in exactly the same way as Ex.3-24.) Vetter's
multiphonic portamento contour disintegrates twice towards the end of bar
109, somewhere between the third and fourth notated multiphonics, and
then again as the multiphonic portamento is retrograded: with these
fingerings, it is impossible to achieve a continuous portamento which links
E ~ 2 to G~ 3, for a break between the alto recorder's 3rd and 4th registers
would have to be crossed.
Given the dearth of workable examples of recorder multiphonic
portamenti (both in the repertoire and within this monograph), the
provision of some extra guidelines for their derivation is timely. In
proposing two recorder multiphonics that are to function - hopefully - as
the endpoints of a multiphonic portamento, what are the principles which
will guarantee their successful connection in this way? The precept of
fixing a multiphonic portamento's register-set, one might find reminiscent
of certain criteria for the secure production of recorder multiphonic trills;
indeed, this is the key - these two technical regions are quite closely
interrelated.
Aside from the identical notion of equating the multiphonics' various
production parameters and acoustical characteristics,58 a further general
formula is that if one can trill the multiphonics in question, then a
connective portamento between them could be feasible as well. 59 So rather
than asking for their oscillation, one attempts a smooth coupling through
all intermediate frequencies instead:

Ex.3-27. Multiphonic trills converted into multiphonic portamenti.

(Alto recorder)

(,,\") (bJ lc)

trNVVVV
+r /VVV'VVV n-rvvwv ~
(fQ. (~ . . . . ) ~~~-e- (t ' (t' ~
~-e-(9 .) 9-&-~.n.. ~.n. (~~~.) q~ (.Q...
- - -
Iiji!~} )((. )bff;l== 40 I ~j)dj.) ~\) ~o 14 0 (~. ) 40 -~o II


0 0 e-o -.- - -- - -0
0
-


-


0 0 0 0 0 0

0 0 0
'.-00
-00
- - -00
- - - - - -00
00
00
00
00
00
00 "-00 -------00

Contrariwise, a multiphonic portamento may yield a number of

multi phonic trills. Subject to the viability of the intended trilling finger-
movement, many of the fingerings which support recorder multiphonic
portamenti can be directly applied to generate commensurate multiphonic
trills within the range of each portamento. It is only a question of difference
in finger-action : the basic idea is that one merely lifts, or drops, the
operative fingers (in preference to sliding them).

-149 -
 Within the maximal range of every multiphonic portamento, shorter
portamenti and pitch-contours can also be extracted. Thus, a multi phonic
portamento's medial points spawn a whole constellation of discretely
separable multiphonics, multiphonic 'windows' which themselves are
fully capable of serving as termination points to smaller, 'subset'
multiphonic portamenti. 6o An implication here is that the fingerings of
multiphonics which bound a multiphonic portamento might include some
partially closed fingerholes: 61

Ex.3-2B. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.l, no.7.
(Alto recorder)

The final - somewhat unstable - multiphonic in this multiphonic

portamento is attained by sliding the left-hand ring finger onto its
fingerhole so that it is roughly half-open. 62 (Notice, too, the expanding air-
column vibrato contour, which cumulatively aggravates this multiphonic's
stability, thereby increasing the likelihood of it breaking apart.)
Indeed, recorder multiphonics with vented thumbholes - although
spectrally rather static, at a low dynamic level - seem more amenable to
(and stable under) an ordinary fingered portamento than many of their
closed-thumbhole correlatives, and so can nearly always be subjected to a
short-range portamento:

Ex.3-29. A multiphonic portamento with vented thumbhole.

(Alto recorder)

(bi
t~-D--
( 0,)

~~~ -&--
-

I'
I$!)= i9-'-l
~ u;" 0 fo -~Ij
II
P,,-
~ 0 0
0 0
-
.-------0
00 00

.-------0
00

00
00 00 00 00

-150 -
 An equivalent portamento with a thumbhole that is shut - Ex.3-29(b) -
proves to be impossible; it fails because one of the multiphonic constituents
there ineluctably skips across two register-breaks.

Various types of recorder multiphonic portamenti

Within section 3.2, recorder multiphonic trills that accommodate a
sustained, constant pitch (the trills' uppermost element) were perused.
There is a closely related - indeed, analogical - class of multiphonic
portamenti, also, which evince the selfsame behaviour:

Ex.3-30. Wolfgang Witzenmann: Bordun m. bar 26.

(Tenor recorder)

Flz.
~~
ItM AMAH"
ov v0 QldX3M
f gliss. '

"Normal fingering 123-/56-- for A flat (tenor recorder) [thumbhole = 1];

simultaneously sounding partial tone B~ 2 by means of overblowing; everything
played in flatter-tonguing [sic]; gradual glissando descending by means of slow
closing of the fourth finger-hole [left-hand ring finger]; here only a glissando of
Ab 1 is achieved, whereas the B92 remains at a constant pitch."63
The "gliss." here is open-ended. Witzenmann does not indicate the
extent to which the fourth fingerhole is to be occluded by the end of this
gesture: should it be half-closed, or eclipsed still further, until it is vented
slightly?

Ex.3-31. Kikuko Masumoto: Pastoralefor Recorder Solo. p.13.

(Tenor recorder)

FLZ . - - - - - - - -

G.P.
--==-
25
0--
04

- 151-
 For softer specimens of this type of multiphonic portamento, the
executant should take extra care to compensate with breath-pressure by
reducing it appropriately, lest the portamento's low sliding tone overblow
undesirably (leaving the constant upper pitch to sound alone) at
intermediate points of fingerhole closure. 64 Moreover, any prominent
difference tones here will always glide in the opposite direction to that of the
sliding tone, due - obviously - to the portamento's continually evolving
intervallic design.
Another kind of recorder multiphonic portamento consists of those
which are effectuated by varying the size of the thumbhole's aperture - a
mannerism, it seems, among composers who have collaborated with
Michael Vetter:

Ex.3-32. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.l, no.7.
(Alto recorder)

,7~!'=~7=~============================J

From being initially half-open (~), the thumbhole's gap is slowly

widened until it is covered by only a small area of the thumb (fj); the
process is then reversed, and the event concludes with the thumbhole
nearly closed (f/). (The portamento's interior pitch, written here as an E-
natural, is inaudible.)

Ex.3-33. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.2, no.30.
(Alto recorder)

This multiphonic portamento - including a soft inner resonance around

G:;f 3 - reveals a typically dazzling metamorphosis of multiphonic
sidebands. Its widest interval is best projected with a thumbhole that is

- 152 -
fully closed; at its narrowest (central) point, however, the thumbhole
should be shaded - as in Ex.3-32. Both of these examples from RARA (dolce)
also display a constancy of pitch for the topmost portamento component, a
recurring phenomenon with this particular genus of multiphonic
portamenti. 65
Another generic tendency amongst such multiphonic portamenti is that
they may be susceptible to instability if attempted with an even spectral
mix: a recorder player often has to reinforce their air-flow in order that the
highest element of the portamento predominates without any risk of it
'falling off through underblowing. 66 With stunning effect, though, many
of these portamento sonorities embody extraordinarily dynamic sidebands -
difference tones shifting in contrary motion relative to the portamento, etc.,
in response to subtle changes of aperture size - imposing a quasi-electronic
patina upon their timbral signature.
Multiphonic portamenti can even be found on the recorder whereby one
of the portamento's multiphonic peripheries belongs to the 'closed register'
(the other periphery stemming, in a regular fashion, from a fingering with
an unobstructed endhole). Focussing now solely upon these frontier
multiphonics , whenever the 'closed register' sonority's normal fingering-
configuration requires only one hand, the index finger of the remaining
hand can be used to carry out the portamento by gradually sealing over the
endhole; otherwise, the instrument's endhole will have to be closed
carefully, by degrees, against the player's thigh - or some other suitable
surface : 67

Ex.3-34. A multi phonic portamento: one end from the 'closed

register'.
(Alto recorder)

II
o
o
D~ APi'(1.Ol<Il'lAn: p;kh "f+>,e ( "\J b;c. ?)
o\ ;~er<1.t>c.e +One .


o o

00

00
0---------

- 153 -
 Note that the characteristic intervallic development of Ex.3-30 is inverted
here, and it is the portamento's lowest component tone (aside from the
difference tone) which stands rooted upon the one pitch. This method of
obtaining recorder multiphonic portamenti could, therefore, be fruitful
wherever a composer desires a similar outcome. 68

Section 2.4.5 provides a detailed narrative of a unique class of recorder

multiphonics which are derived from breath-generated trills (through
fluttertonguing). The fact that nearly all of these quivering sonorities lie
within the 1st and 2nd registers, gives a broad hint that they may be prime
candidates as materiel for assembling galaxies of recorder multiphonic
portamenti:

Ex.3-35. Portamenti of multiphonics drawn from 'breath trills'.

(Alto recorder)

(0.')

Hz. - - - - - - - - - -"""1

II
o
0 0 o
o
o




- - - - --co
- - - - - 00 _ _ _ _ _ _ _ _ _ _ 00
- - - - - - - --Oll

Doubtless, many other examples will be compiled in future from pairs of

comparable multi phonics encountered within the charts which accompany
this thesis. 69

Further miscellaneous possibilities involving recorder multiphonic

portamenti: an abridged menu
Besides the immediately obvious ploy of overlaying a recorder
multiphonic pitch-portamento with a controlled development in its tones'
relative balance (via a spectral portamento contour),70 brief multiphonic
portamenti can be thought of and utilized as micro-articulatory devices in
order to attach a 'portamento release' and/or a 'portamento attack' to a
suitably ductile multi phonic sonority:

-154 -
Ex.3-36. Richard David Hames: Ku. p.3, 2nd system.
([AltaI recorder. dancer and multiple t ape delay)

,
:5V.
: ~.- . -.-{)

0
...'o
,
'
,
11
:r-
,
:1t-

1 I, :-,:~
0
e,
1 00 '

, (,)
'"' 1\ ,. .. ,
-1
-~

:~.
, -,i ( )
; -
,
..
,

=< {f= 0
\.
fTID
I
..
,
L_ .J
f ::: \

The release characteristic of the sustained multiphonic here consists

merely of an abrupt rising portamento, terminating as indicated. Its
attendant dynamic 'flare' is, perhaps, inappropriate - if the composer
actually wants the multiphonic portamento release to stay well-balanced.

Within a previous subsection, it was mentioned that (in terms of

performance technique) a difference in finger-action might be the only
factor which distinguishes between a recorder multiphonic trill and a
multiphonic portamento which involves the same multiphonics and
fingerings . This property can be put to constructive artistic use, for it
readily permits the gradual - albeit furtive - transmutation of one of these
musical resources into the other:

Ex.3-37. Gerhard Braun: Schattenbilder. No.1, p.5.

(Alto recorder)

d
I \ : ' - MK
I I.. L tr
~,_---o.'--~~...-v ,.,.p.-':JIO-'-""""---"""" .. gedackt
~
1. taUJU
::::=- p pp

e. e

o -
o o

. 0


o - - -- -_. ' 00- - - . 0 .. 00' ''0''00 . . 0 - 00

-155 -
 Once the multiphonic ("MK") is 'faded in', an undulating multiphonic
portamento - more correctly classified as an oscillatory 'slide trill'71 - is
called for, which progressively accelerates into a normal multiphonic trill.
Braun provides no information whatsoever as to how this passage is to be
fingered; underneath the example, then, I propose a workable fingering-
sequence (which is, in all likelihood, that originally contemplated by the
composer), wherein the right-hand little finger initially slides to and fro,
the principal fingering-states being cleanly alternated, in a disjunctive
fashion - i.e. with an ordinary trilling movement - only at the point where
the trill proper ("tr") commences. This transition of finger-actions ought to
be hidden as much as possible by the performer, leaving the impression of
a smooth metamorphosis. If a recorder player decides to apply my
fingerings here, they will find that Braun's written pitches are
microtonally inaccurate. Moreover, whilst it is true that the upper
portamento/trill element does traverse the widest interval, Braun's
notation still misrepresents the situation: the lowest multiphonic tone is
not at all steady, but fluctuates, slightly - over an interval of approximately
an eighthtone.

Finally, in what promises to be the most intricate musical refinement of

all involving recorder multiphonic portamenti, they may be amalgamated
with multi phonic trills to form a "multicomposite" multiphonic technique -
which often can be elaborated even further through the inclusion of a
spectral portamento contour as well.12 Pitch-portamenti of recorder
multiphonic trills constitute a very special technical area that seems to
exclude all but the most stable, reliable and flexible multiphonics.

If one chooses to regard a regular multi phonic trill as a flickering

harmonic field containing several pitch-elements, then a portamento of
such a multiphonic trill should be viewed as a sliding harmonic field in
which the perspective continually vibrates:

Ex.3-3S. Pitch-portamenti of multiphonic trills.

(Alto recorder)

lOl) Co) (e)

tr~ tr~ 1-f'~
~ -r(Z ) - -t-&-(~ I ~ -B-(:f~) l~(i ) ~ -G-(i~) l-&(~ )
- - - - - - - - 1. (~+)
lijto(lrTl ~()(~T)I&\I({) ;~"li')ltCi(Joj') il~ II
.-0
o .-0.
0 .-0
0
. .-0
.-0
0
.-0 0
.-0
.-0
0
------0
-----0
-----0

o 0 0 0 0 0
-------------00
---------00 -------00
------------00
--------00
-----------00

-156 -
 (e.)
tr~tr~

~ -e-t~) )- - ~~~ .) ~-e-lq+J 9-&(9 ,)

1& t;'5'1 r;f'9') If;r~') r;ckf) II
.-0
o

.-0.


0

-0

0
.
. - 0
0

00

- - - - - - - - - - - 00
00

- - - - - - - - - - - -00
00 00

Although in practice, boundaries might well be crossed between

different types of multi phonic trill and/or multi phonic portamento, the
sonorities of Ex.3-38 are all homogeneous in this respect. Ex.3-38 also
suggests one method of deriving many specimens of this technique from a
single multiphonic portamento: while always maintaining the same
portamento finger-action, one tests, empirically, assorted trilling finger-
movements (which could themselves be interrelated); it should also be
pointed out that this technique is far easier to execute if the trilling and
portamento activities take place on separate hands. Since this resource is
quite new - it has not yet appeared within the modern recorder repertoire,
to the best of my knowledge - composers are strongly encouraged to explore
its possibilities. 73

3.4 Multiphonics combined with other Multiple Sonorities

3.4.1 Multiphonics mixed with Vocal Sounds

It is a relatively straightforward task for a recorder player to admix

vocal and multiphonic sonorities, because the same air-stream which is
utilized in the process of initiating sound from the recorder is also able to
excite the performer's vocal cords as it passes by them. 74 However, these
timbres are not entirely independent of one another: the player's
articulators will always duplicate, synchronously, the attack and release
envelope characteristics of both classes of sound. Indeed, any manipulation
of the air-stream (such as a breath-generated vibrato, or fluttertonguing)
must, intrinsically, apply to both vocal and multiphonic sonorities - a
seemingly obvious fact which composers nonetheless frequently overlook:

-157 -
Ex.3-39. Arne Mellnis: The Mummy and the Humming-Bird. p.3.
(Alto recorder)

flz

(Although the fluttertongued multiphonic's fingering is omitted here, it

is probably 0-23/----, or some closely related variant.) The pitches of
"notes to be sung" are specifically indicated, together with an "S" through
all stems; these stems also point in the opposite direction to those of the
instrumental tones, in order to delineate quite clearly the role and origin of
every pitch. Yet Mellnas's notation within this excerpt belies the fact that
the vocal sounds too will be fluttertongued, as the tongue's motion affects
both sonorities equally.
In general, some degree of polyphonic unilaterality is still achievable,
nevertheless, because it is feasible for the performer - though slightly
difficult (and requiring much practice) - to fade a vocal sound in or out, by
engaging or releasing the vocal cords while a steady air-flow is propelled
into the recorder's windway. Thus, a vocal tone can be added to, or removed
from, any part of an instrumental sonority's envelope: 75

Ex.3-40. Jacques Bank: Wave. p.6.

(Amplified bass recorder)

r- I - ....
~c . ..
I f
~ 1 '--'
'; 3
~ ~ ../

III
I I -j I ~~
,
J I ~ L
to..--
sill> f>

- 158-
 The two non-specific multiphonics, symbolized here as numbered
rectangular blocks, are to be "chosen by the recorder-player himself'. And
note that unless the whole phrase is performed completely in legato, each
part will be articulated in direct accordance with its counterpart's rhythm.
On the other hand, the recorder player's voice fades out promptly once its
highest point is reached, immediately after the entrance of multiphonic
no.3; this multiphonic IS then sustained alone, beyond the voice's
undisruptive egress.

Conversely, on account of the recorder's embouchure-free sound-

production mechanism, its tone can be introduced to, or separated from, a
continuously maintained vocal sonority, by altering the position of the beak
with respect to the executant's pursed lips. One may therefore mix or
juxtapose the vocal and instrumental colours in a spatial sense, physically
conjoining or uncoupling them by moving the beak of the recorder towards
or away from the mouth. 76 The recorder might even be placed outside the
effective field of air-flow altogether, leaving the voice to resound on its own.
Composers, however, are cautioned that this technique could be rather
formidable to accomplish satisfactorily with any recorder multiphonics
that demand a high level of breath-pressure;?7 at best, there will be a
conspicuous presence of fricative air-noise, an unavoidable by-product
arising whenever the recorder's beak is in close proximity to the player's
lips .

At any rate, both vocal and multiphonic sonorities are subject to the
same breath requirements. Limitations are imposed upon a recorder
multiphonic as determined by the air-flow and breath-pressure constraints
of the performer's vocal output: 78 for instance, a very low, soft sung note
would be found to be incompatible with a loud recorder multiphonic
necessitating a large displacement of air at high pressure; contrariwise, a
high vocal pitch will surely overblow a gentle recorder multiphonic derived
from a breath-generated trill - unless the voice is particularly restrained. 79
(Lamentably, it is impossible for me to be more explicit: I can speak only in
generalities, since recorder players' vocal abilities and physiques vary so
widely.)

The technique of simultaneously combining the sound of a wind

instrument with that of the instrumentalist's voice, is by no means new to
Western musicians, who have certainly been aware of this capability since
the early seventeenth century (at least). Fr. Marin Mersenne - an eminent
music theorist/organologist, mathematician, physicist, philosopher, and
Franciscan theologian - documents this resource within the "Fifth Book of
Wind Instruments" from his Harmonie Universelle (1635), in relation to
the recorder:
"But it must be noted that an air or song can be sounded on the block flute and at the
same time the melody of the bass be sung, without, however, pronouncing the voices
[i.e. humming instead], for the wind which goes out of the mouth in singing is
capable of making the flute sound, so that a single person can perform a duo."80

Moreover, this device is a common performance practice in modern

jazz, as well as being found in the folk musics of the Orient, the Balkans,
and in various Bourdon (or drone) forms:

-159 -
Ex.3-41. Konrad Lechner: Varianti. I.Thesis, section 5, p.S.
(Tenor recorder)

5 Gaida*
Presto possibiIe

. .
'------' '---'
_ f
Stimme (Summton)
voice (hum) _.

>

=:W f= cal rfFEDiErUICDtttWWtI

I

1\ > -- > - > >-

>
ll::r---. ....
-----:.. k-'II'.. ~ ~. -f2-.

-~
- = -= -= = ---- l
v----1---"1
ffo
-

OJ Bulgarischer Duddsack / Bulgarian BagpiPes

U) Dec Bordun nnn auen von ciner Fraucnstimme gesungen werden und (gegen Ende) in sehr beeic artikulierren StoBcn die Akzerue unterstutu:n .
The drone may be sung alternatively by a woman's voice and (towards the end) be made to add support to the accents applying extra broad-
ly articulated attack.
Ed. Moc:ck Nr. 2508

Throughout section 5 of Varianti, subtitled "Gaida" (a type of Bulgarian

bagpipe, according to the composer), the recorder player's voice provides a
hummed drone that is pitched invariably upon a (low) G-natural:
"**) The drone [Bordun] may be sung alternatively by a woman's voice and
(towards the end) be made to add support to the accents [by] applying extra broadly
articulated attack[s]."

This section, which is plainly intended to evoke the aforenamed Balkan

bagpipe, culminates in a tenor recorder multiphonic - sounding A~ 1, B q2 -
pitted against the vocal drone. In the opening bars of section 5, the voice's
part is 'rhythmicized' so that it corresponds precisely to the notated
rhythms and articulations of the recorder part; Lechner's notehead-
extenders, then, are merely a graphical shorthand which do not contradict
his awareness of the recorder and vocal parts ' articulatory
interdependence.

-160 -
 Whenever the sound of the recorder player's voice is united with that of
a recorder multiphonic, a matrix of additional sidebands and interference
patterns results: the intervals created by the sung tone (and its partials)
against the various multiphonic elements (and their partials) will cause
extra combination tones and/or beats to materialize, exactly as a
multiphonic component pitch would. Undoubtedly, the multiphonic's
timbral spectrum is changed radically. In fact, the sonoric effect may be of
a mixture of organ mutation stops; or, the ensuing timbral conflation could
sound as ifit has been electronically synthesized. 81

Diverse acoustical reactions can be secured, furthermore, on the basis of

the relationship of the voice's pitch to those of a multiphonic's constituents.
A very low vocal pitch creates a distinctive 'buzz' within a recorder
multi phonic; as is the case with fluttertonguing, also, this behaviour is due
to amplitude modulations - eddies at the same frequency as the sung pitch -
in the air-stream entering the windway, caused here by the vocal cords'
vibration. (For a listener, all pitches should be easily identifiable on account
of their wide separation of register and their timbral heterogeneity.) If, on
the contrary, the recorder player's vocal pitch lies near the multiphonic's
frequency-zone - and particularly if it is enclosed by the multi phonic
elements - a more monolithic timbral blend is likely (according to the
resultant intervals, as well as the register, dynamic level, and timbre of the
vocal sound). It must not be forgotten, either, that male performers ought
to be able to sing high falsetto tones, giving them a surprisingly large
compass of vocal pitches capable of interacting with a recorder
multiphonic.
In theory, any human vocal potentiality should be able to be married
with a compliant recorder multiphonic. All manner of vocal
manipulations - speech, song, humming, whispering, laughter, screams,
mumbling, 'animal sounds', shrieks, shouting, gulping, ululation, sighs,
'vocal multiphonics', murmuring, diphthongs, etc. - and especially, vocal
portamento contours, are possible in conjunction with compatible recorder
multiphonics: 82

Ex.3-42. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.2, no.21.
(Alto recorder)

'"f pp

o G

-
~
c:= Mi tgesungener Ton, bzw. Akkord

-161-
 "With sung tone." {tr. I. S.}

Whilst most of Vetter's multiphonics here work roughly as indicated

(despite notational imprecisions in micro-tuning), the vocal portamenti,
whose pitch-classes are defined in relation to the multiphonics'
extremities, will clearly have to be transposed downwards by at least one
octave; almost all of them lie above the range of even a female soprano voice
with a high tessitura.

Ex.3-43. Klaus Hashagen: Gesten. p.IO. letter D.

(Alto recorder and tape)

schntll
nac:h

The recorder player's voice is assigned a vague, undulating pitch-

contour that falls between the bounds of this beating multi phonic, the
upper pitch-component of which is F:t: 2. As with those of Ex.3-42, too, this
multiphonic's sound is richly coloured by continually shifting sidebands,
in a manner somewhat reminiscent of the heterodyning effects that
emanate from a short-wave radio while it is being tuned in.

Just as Mersenne has done, contemporary composers also ought to

draw an unambiguous distinction between 'humming' into the recorder
(with phonemes 'm' or 'n', in which the performer's lips are locked
airtight against the beak of the recorder), and the singing of actual words
or syllables into the instrument. The latter vocal idiom gives rise to very
explicit articulations and voiced pronunciations, whereby the player's lips
may move:

-162 -
Ex.3-44. Klaus Hashagen: Gardinenpredigt eines BlockjIOtenspielers.
p.2.
(Bass recorder)

bassfl o t e
f -----=-==-- rTfJ

...................... ,&~
( ~ = summton)

=
g;...-- lfi~""'---
12.4n Al:l Sb

birrr)ba-cci 0 - nQ
(blasen und singen;
~ = "sing"-tCine)

"hummed tone",

and:
"blowing and singing; 'sung' tone." {tr. I. S.)

Ex.3-45. Klaus Hashagen: Gardinenpredigt eines Blockflotenspielers.

p.3.
(Alto recorder)

altflote

, mp
~ .......... ......,
gr(rr)-e

12U IT
(blasen und singen=
flatterzunge)
- di n(ng)--

-163 -
 For both examples, Hashagen demands specific vocal pitches. He is,
moreover, careful to differentiate between a hummed tone - "summton" -
and one which is sung: "bias en und singen; ... 'sing'-tone". In Ex.3-44, the
"r(rr)" of "birbaccione" - Italian for 'scoundrel' - denotes alveolar
fluttertonguing; this particular bass recorder multiphonic is produced
with a labial attack Cb'). The succeeding bass recorder multiphonics
succumb to another labial attack with an ordinary vowel sustain ('ba'), and
to a guttural attack with a diphthongal vowel sustain ('ccio'),
respectively;83 the conclusion to the phrase consists of a normal
monophonic bass recorder pitch that is articulated with a nasal alveolar
attack and a vowel sustain Cne'). Ex.3-45's alto recorder multiphonic
appears within the last syllable of the word "gredin" - German for 'cretin' -
where it is promulgated with either an alveolar Cn') or a guttural Cng')
attack.
The fact that in every echelon of recorder playing, there are now
significant numbers of both male and female exponents (whose vocal
ranges embrace quite distinctive pitch-sets), poses a dilemma for modern
composers who wish to meld an instrumentalist's specifically pitched
vocalizations with the recorder's multiphonic output. And even in
passages of recorder music which are playable and singable by both
genders because only those vocal pitches held in common have been called
for, it provides little consolation to observe that the overall timbre resulting
from the admixture of vocal and multiphonic sonorities will still differ
from one sex of recorder player to the other, as their voices are bound to
possess discrete sound-qualities and colours. So how can this problem be
resolved by the composer? A questionable compositional solution is to ask
expressly for either a male or a female recorder player to perform the work
- exactly as one might employ a bass tuba instead of a trumpet. But aside
from the obvious drawback that such a discriminatory expedient could,
nowadays, be regarded as ideologically suspect, the work's performance
opportunities would be drastically curtailed. 84 Perhaps the best - or most
pragmatic and uncontentious - remedy is to designate an ossia, an
alternative version, for any problematic vocal parts; this may just involve a
verbal instruction to transpose certain vocal pitches (by an octave or two)
into a comfortable register for singing: 85

Ex.3-46. Jacques Bank: Wave. Preface.

(Amplified bass recorder)

Tk teCZJrder-tlayer /1 cuked _tD CtJh1bi/?e Ilntj-'-hj

Wi't/.. t/~y"n j iAe ~tArdef'. Il!e Clcli'MJ 0/ de..
/I~)(CL are ex act/.; !~/c/'l'/;ep(, on Me .rIa.1Je deMIed.
6y - /)tJ/u.. ~I recorder - !/a-ye r ~'
A -bCl.",' fone. - I/O/a.. tv,",,/'" the. joflowi'li) raJ?7e~, Act!
JeeM la..ken a..r a. .r1o-rA'n.;-fO'l'td, J .bu.t {e.'j In cafe..
of /e;na./e. reCorder - fla 'I eN J {)ctafl.J<. - fra.n'pN-<'i-.~n~
are a./"" ay. allo l-Je.d , ....

"normal" R -?-/ -
~-bL

/a../JetCo

-164 -
 Yet although Wave is conceived for a (male) recorder player with a
baritone singing voice wherein octave transpositions are permitted for
female executants,86 this possibility is denied the performer whenever the
piece is presented in its solo bass recorder version (without percussion
accompaniment):
"Wave also exists as [a] solo piece for bass recorder. In that case it's called Blue
Mosque and is entirely the same as the recorder part of Wave except for the
permission of octave-transpositions." 87

This apparently chauvinistic exclusion of female recorder players can

be artistically legitimized by Bank's intention - surmised from his title Blue
Mosque - to connote, through the performer's deep intonings into the
instrument, a male Islamic imam's incantatory chant at prayer.

For composers, there is a fair degree of latitude in notating vocal tones

which are to be amalgamated with recorder multiphonics, ranging from
those vocalizations whose pitches are rigidly particularized, through to
completely non-specific voicings (where the recorder player is free to select
whatever vocal pitch they like - according to taste, their own vocal ability,
and the prevailing multiphonic ingredients). But in consequence, there is
now much notational mayhem, unfortunately.
Wherever the pitch of the performer's vocal input is well-defined,88 it is
customary for all voiced sonorities to appear on a separate stave (for the
sake of visual clarity);89 alternatively, they can sometimes be put upon the
same stave as the recorder's multiphonics, with either differently shaped
noteheads,9o or with stems drawn in opposite directions. 91
Indeterminate vocal tones instead may be notated with their articulatory
syllables or vocables written across the stems of the multiphonics, thus:

> 1\ >
0

~
e-rc-.
e.~..

+~

Otherwise, they could simply be represented in an approximate fashion

by a pitch-contour: 92

-165 -
Ex.3-47. Helmut Bomefeld: Concentus. no. IS, p.12.
(3 Alto recorders)

-f- (t-----
~ (.\
SWV' V'vtL1i9( Pi-1;o?tstIA/JS :;,:8(J) -.;:
-r= ...
,(Y . ""7 ..,
~ '- 7 I..-

-.
-.r7

@) ). f~
~ l
~~
::= j i {.'
./ - ... f'""' --.
,
J'
.
...
, .I.

- =~j
0

0
0
<.Y
- ~~
0
'-'-
~~' -'1- f.'
f::::'

"\-J" '" ".

.
'
~
.
..
;;;::=
......
0(
l-

f.\

-===-==o;;j .0
I---
#

::::::==-

"Summtone " sind bei fi x i el'-

tel' Tonhohe dul'ch kleine
Kl'eise (mit Punkt) bezeich-
net. Unbestimmt-beliebige
~y Tonhohen sind au Eel'halb des
--~ Systems angedeutet.

"'Humtones' are denoted at a fixed pitch-height by a small circle (with a point).

Indefinite, ad libitum pitch-heights are merely implied [angedeutet], outside of the
stave [System]."93 Itr. I. S.}

Alto recorders I & III project their multiphonics (in Ex.3-47 ) with a
steadily pitched humming, whereas alto recorder II's multiphonic is
accompanied by a sinusoidal vocal pitch-contour issuing from the recorder
player. Within each part, the choice of hummed pitch is left wholly to the
individual musician.

-166 -
3.4.2 Playing Multiphonics upon two recorders simultaneously

The highly evocative and poetic image of versatile jazz saxophonist

Rashaan Roland Kirk, with three instruments strung together around his
neck (including a single-reed hybrid which Kirk has named the "stritch"),
and playing ecstatically upon any two of them at the same time, provokes
experimentation along analogous lines with recorders.94 It turns out that
comparable actions - and in particular, the simultaneous production of
multiphonics - are possible upon a pair of recorders, both instruments
being under the control of a solo performer. Any recorder player who
wishes to master this technical marvel must, therefore, acquire a fully
ambidextrous executative ability; the principal restriction here, however, is
that each recorder is self-evidently limited to fingering-configurations
which require only one hand:

Ex.3-4B. Eric Gross: 'Tans Shenanigan" No.H. p.3.

(Sopranino and Soprano recorders: 1 player)

50'~:--='7r."1 E22~'"~:g~~ _ .."'~ !~~~~~~~

6REA,1l B~EA-rt\ o-tf flNG,1i1{
Cf VIM. FLu-r'~. \JI\I". VIS/{. ff
~m~ ~

" .. ~. _3c~==-,:c ~~~=-~,:~::-::-~::--t~

~~~.~~~~i'l-~'.~'~
.

Within this excerpt, the sopranino and soprano recorders are held in
the performer's left and right hands, respectively. Observe, below the
(isomorphous) multiphonics that conclude this phrase, the truncated
tablature pictographs signifying a one-handed fingering-action. Typically,
these particular multiphonics' timbres merge into a strident and piercing
ff sound-mass. Gross has also availed himself of the optimal notation
under these circumstances, by writing the multiphonics upon separate
staves.
Irrespective of any manual polyphony, the articulations - if not the
spectral balances - of recorder multi phonics coupled synchronously in this
way, will always match each other. Yet even while multiphonics are being
elicited from one recorder, the player can easily place, or remove, a second
instrument from between their lips; moreover, the windway of one of the
recorders may be blocked with the tongue-tip, effectively silencing it, while
a multiphonic from the other recorder is articulated (so long as the
multiphonic's production parameters are compatible with this 'non-

- 167-
tongued' mode of attack). In any event, a musical caesura will be
necessary, in order to allow the performer sufficient time to pick up and
position a second recorder - and perhaps to reorientate their hand as
well. 95

As with Ex.3-48, whenever a (single) recorder player generates

coincident multiphonics upon two recorders - and most notably if each of
these recorder multiphonics embrace a prominent difference tone, or some
inner resonance - further amplitude modulations will be propagated,
adding extra acoustical complexity to what is, already, a forceful yet
intricate multiple sonority. In other words, we have a synergistic fusion of
sounds, in that the total aural effect of this unified sound-field tends to be
more elaborate than a simple sum of multiphonic components on paper.
How are the performer's two recorders to be physically supported
without a sling, an independent structure for mounting them, or some
other makeshift brace mechanism (such as loops of string hung around
the player's neck) which bears the weight of the instruments? This is quite
a serious issue, because the executant's fingers must be totally
unrestricted in their movements vis-a-vis fingerhole manipulation; and
there can be no risk whatever of having an instrument fall to the ground.
Oftentimes, it is a thumb that comes to the rescue: with those recorder
fingering-formations which normally call for the right hand alone, there is
never any difficulty, for the thumb acts to support the instrument. 96 When
instead, only the left hand is required, but without the thumbhole coming
into play (as with the fingering -123/----, for example), the ring or little
finger could be slipped underneath the instrument to bolster it up.97 In
general, though, it is wisest to have the performer take the larger of the two
recorders in the right hand, wherever possible, since every recorder
player's left-hand thumb is more practised in venting the thumbhole on
smaller instruments , where the area of the thumbhole 's aperture is
frequently critical.

Beyond a consideration of the sheer number of combinations that are

obtainable through pairing off recorders of various sizes,98 the multiphonic
possibilities with this "double-piping" technique become virtually infinite
when one expands their ambit of accessible colours and pitch-resources by
admitting instruments with assorted constructional features. Either
recorder - or both - may be 'prepared' with an airtight seal of their
endhole,99 or with some other type of temporary modification to their
windway, labium, or window region; also, they can be muted, detuned by
'scordatura', or hybridized through the adoption of a sonic generator from
another wind instrument (in lieu of the original headjoint).100 Indeed,
altogether different kinds of recorders, including replicas of historical
instruments not necessarily tuned to A440 Hz (or in equal temperament),
as well as the ubiquitous post-War 'school recorder',101 might be pressed
into service. It is likely that one-handed recorders 102 which have been
conceived especially for those with physical handicaps, will be particularly
valuable: by providing access to every fingerhole, they make available the
complete range of recorder pitches, and almost all multiphonics. Playing
such diverse recorders in tandem with a standard instrument of modern
design therefore yields fresh intervallic dissonances, harmonic blends, and
sidebands. And as an even more extreme gesture, a daring composer could
introduce musical instruments here which do not belong to any class of

-168 -
recorders whatsoever. 103 Why not match a recorder polyphonically with
some other variety of endblown fipple flute, or (wilder still, conceptually) a
non-woodwind instrument - all being under the command of just one
protean performer?:

Ex.3-49. Bruce Cale: Cullenbenbong. p.6.

(Bass recorder and 7 Japanese Temple Bells [Rin): 1 player)

The bass recorder's phrase is played entirely with fingerings that utilize
the left hand on its own; meanwhile, a hard wooden mallet held in the
performer's right hand strikes several rin, as shown. Without any visual
cues, the sonoric effect for a listener is of a free counterpoint between two
instrumentalists: a bass recorder player and a percussionist. (Not
surprisingly, the bass recorder has to be suspended with a sling
throughout Cullenbenbong.) 104

By way of conclusion, the question needs to be asked: could a third

recorder possibly be added to the other pair, all of them projecting
multiphonics simultaneously? Perhaps - although the technical rigours
are almost insurmountable, and the artistic impact upon an audience will
certainly be as theatrical as much as it is acoustic. A problem one
immediately encounters is the difficulty of fitting all three beaks into the
executant's mouth; on these grounds alone, the tenor recorder and its
larger relations must be automatically excluded. And for some degree of
physical stability, the middle instrument can only be clenched between
teeth, a risky prospect necessitating the use of a plastic headjoint (lest a
wooden beak be indented). Moreover, there will always be one recorder -
probably the middle instrument, again - whose fingerholes cannot be
manipulated digitally, because the performer's two hands are already fully
occupied by the other instruments. Yet a broad spectrum of pitches might
still be procurable from this recorder, simply through the expedient of
overblowing: either its fingerholes will all remain open, or it may be
'prepared' by having certain fingerholes taped shut in order to formulate a
'ghost fingering '.

-169 -
Ex.3-50. Eric Gross: 'fans Shenanigan" No.n. p.5.
(Sopranino recorder, Soprano recorder, and Tin Whistle in D: 1 player)

BE'1W!:E"
FItON11EET1\:
"'-IN WHIS1l-E tNt>
~ ....

- .. f'o~~,
~~ ...~

The disposition of instruments samong the soloist's hands is identical to

that of Ex.3-48; but as an adjunct, the tin whistle is clasped centrally
between their lips and teeth:
"Equipment Requirements. The piece is performed by one player, with the following
instruments: 1 Soprano Recorder; 1 Sopranino Recorder; 1 Tin Whistle in D. {It
may be useful to tape certain fingerholes shut on a whistle in a different key, if a D
instrument cannot be found.} ... The Tin Whistle in D appears only at the very end
of the work (where some notes upon the D harmonic series are to be played [through
overblowing indeterminately]). The whistle ought to be held between the teeth (upper
and lower incisors)!" 105

3.5 Further Articulation possibilities for Multiphonics

Introduction
Articulatory constraints enforced for the production of certain recorder
multiphonics notwithstanding, all resources of human articulation (as
codified by the science of Phonetics), 106 can, in principle, be interfaced with
most classes of multiphonics on the recorder. However, owing to the need
for succinctness, only three regularly deployed multiphonic articulatory
capabilities - each of them an iterative articulation - shall be surveyed
herein: fluttertonguing, multiple-tonguing, and tongue-tremolo.
What, therefore, are the criteria regarding the compatibility of these
iterative processes with some proposed recorder multiphonic? To
recapitulate what I have previously stated within a paragraph concerned
with "Multiphonic facility, speech and stability" from section 2.2: "recorder
multiphonics which speak quickly, are stable, [spectrally] pliant, and
readily attainable, can easily tolerate rapid repetitions derived either from
single- or multiple-tonguing as well as the higher-frequency micro-
articulatory iterative processes of fluttertonguing and tongue-tremolo ... "

-170 -
(For those recorder multiphonics which seem to be "universal" in their
applicability and uniformity, these comments are singularly apropos.)

3.5.1 Multiple-Tonguing and Tongue-Tremolo

Multiple-tonguing
Whenever a composer requests, for a series of non-legato recorder tones,
distinct attacks that are too rapid to be delivered with ordinary single-
tonguing, the performer has recourse to multiple-tonguing:

Ex.3-51. Jiirg Baur: Mutazioni. 3.IT, p.6.

(Alto recorder)

'- tF;wtw
'1 1g{El~~~ 11
I 4 I 1234678

1~J5j, 61@ ' I~Id I "

~ simile

g a ~5f 6[t LL 1235

~EF >
I~~ '1
3 1 2 I

nt.
=
I r
~>~
g jiJ
2 I 12456

With a tempo of "Allegro molto", double-tonguing of all semiquavers,

including the multiphonics, is mandatory. (In passing, the ultimate
multiphonic of this segment from Mutazioni - sounding the pitches F:t\: 2,
Bf3 - ought to be fingered 12--1-6-8.)
Historically, there are numerous syllabic variants of this articulatory
device, useful not just as expedients for tonguing at high velocity, but for
expressive purposes as well. The following set of examples (which cover
quite a wide range of subtle articulatory nuance) is a small, yet
representative collection of multiple-tonguing templates that have been in
circulation since the early sixteenth century: 107 'teke', 'dege' , 'didl', 'turu',
'lere', 'kara', 'diri ', and 'dili', etc. Within every syllable here, each vowel is
allophonic, in that - although a variation of vowel formation by the player

-171-
will sometimes make the multiple-tonguing's pronunciation easier for
them - with almost all recorder playing (including multiphonic
production), any alterations to the shape of the oral cavity, or to an
articulation phoneme's vowel, seem to have no bearing whatsoever upon
the acoustical outcome.

Multiple-tonguings consist of chains of consonantal articulations,

which may be repeated according to the music's rhythmic demands; but
besides the above short list, hundreds of others can be readily constructed
by allying various consonants from among those inventoried within
Appendix 3.1 and Appendix 3.3. Yet most of these theoretically possible
multiple-tonguings are never used: woodwind performance practice in the
late twentieth century has effectively narrowed the scope of multiple-
tonguing down to two basic articulations - 'teke' (or its laxer correlative
'dege'), and 'didl' (incorporating the lateral plosive 'ddl' [as in "fiddle"], an
articulation which I have termed 'reflex'): 108

Ex.3-52. Konrad Lechner: Spuren im Sand. No.4.

(Recorder in c: Soprano or Tenor recorder)

4. Etude
p~.. t .-i. . -i
,! [ [
.. ....

ti-ke. . .
[~r [ [
.... ..
I[
.. b"
f [ t [ ~ I DE ~ Etf} EfY I
tl-ke .. .
r
R

p f

II
--=== if
E. M.Nr. 1526
f-===

.L
#~ --

~ 0.
I 0'1
od,, / oe o~

.~ o~

-172 -
 The phonemes "ti-ke ... " (together with the conventional double-staccato
symbol) denote a "rapid reiteration employing double-tonguing". The f(f)
multiphonics that end this brief movement - their fingerings are appended,
above - in reality contain the pitches B ~ 1, D~ 3 (or thereabouts) and E ~ 2,
F:\t3, respectively. Lechner also declares, within the notes to his score, that:
"Alternative [fingering] solutions may have to be worked out depending on the bore
of the instrument ... 0 = 114, 1/2 or 3/4 coverage [of the fingerholel. The method to be
adopted in individual cases can only be ascertained by experimentation, this
applying in particular to micro intervals. "

Richard Rijnvos, in the following quotation from his Zahgurim, likewise

exploits 'teke' as phonemes for double-tonguing. However, he chooses to
contrast this articulation with another - 'dili' - of dubious practicality:
'didl', instead, would serve his artistic purposes much better under these
circumstances.

Ex,3-53, Richard Rijnvos: Zahgurim. bars 150-153 (p,40),

(Amplified bass recorder)

150

!'ass
Rec .

10



0 0
0
0 0

0 0


0 0
.'

" " " " "
" " " " " " ," '

k t k t k t d did I d I ddl d I

Il'~i
dldldl d ddldldl ftktk

\-5~1.=..5-J
I
, ..
'IIMIII' 'Ui!t"wm I

L-

V
6 -,,-- 6 --''-- 6 ~ c-- 6 -'

'ii

0
0
0
0 0
0

0

0 0 0 0
- 0

0
0
0

" " " " " "

" " " " " "

-173 -
 Multiple-tonguings recur in discretely articulated packages, whereby
an articulator repercusses the recorder tone with a plosive (or some other
type of consonantal) attack. Hence, the performer's air-stream contains a
number of apprehensible bursts, and so is (quasi- )discontinuous. As such,
all multiple-tonguing acts to define rhythmic groupings; thus, it is macro-
articulatory. For this form of macro-articulation, then, how can one
distinguish between double- and triple-tonguing? The length of a multiple-
tonguing's 'consonantal chain', as determined by its quantity of syllables,
dictates whether a multiple-tonguing is more explicitly categorized as
'double-tonguing' or 'triple-tonguing' (etc.). Triple-tonguing - such as
'tekete', 'dedege', or 'didldi' - is, in the main, rather rare, let alone finding
it enlisted as a composite multiphonic technique:

Ex.3-S4. Kazimierz Serocki: Arrangements. No.9.

(Bass recorder)

1
2
4
5
8 G~O--7

b~ ,WWWI
p =.1

As with Ex.2-74 and Ex.2-109 (similarly excerpted from

Arrangements),109 the particular manner of multiple-tonguing is
suggested here by the rhythmic notation: a marshalling of durations into
periodic groups of three, through beaming, presupposes triple-tonguing.
Occasionally, a composer will call for one form of multiple-tonguing
verbally, without any other notational clues being provided:

Ex.3-SS. Hans-Martin Linde: Musica da Camera. No.3, letter D, p.IS.

(Alto recorder)

(Tonrepetionen mit Doppelzunge)

~i. ......... ~~...... .. .

dolce
P ====-:pp--=====p

-174 -
 accelerando, ritardando
IIIIIM W-IIIII accelerando, ritardando

"Repetition of tones, with double-tonguing." {tr. I. S.}

While the double-tonguing accelerates, the recorder player heightens

their breath-pressure in order to allow the multiphonic to accumulate
(quite independently of the double-tonguing): its spectral development is
implied by the dynamic markings. Linde also assumes that the performer
will retain the standard fingering for [alto recorder] D ~ 1, 012-/45.6.-,
throughout this episode.
I conclude with a comparable example - one which dispenses even with
a verbal instruction:

Ex.3-5S. Alan Davis: Treble Recorder Technique. Study Se, p.122.

(Alto recorder)

ili br~" .~ ~flllllllllllllllllllllllllllllllllill

Numb er of repetit ions ad lib .

(3) 0 I - 3 4 - 6 7

(As above, the 'feathered' beams are indications to "accelerate" thence

"decelerate".) Around the midpoint of this gesture, where articulation is
quickest, the recorder player shall certainly be obliged to double-tongue the
multiphonic - whose component tones are, in fact, pitched at E l 1 and G ~ 3 .
In other words, there is a transition from single-tonguing to double-
tonguing, and back again.

- 175-
Tongue-tremolo

Just as a percussionist can discharge a very brisk, close, hand-to-hand

roll upon a snare drum, or a violinist is able to effect a fast unmeasured
tremolo with their bow, recorder players have access to a rapid iterative
articulatory resource known as the tongue-tremolo. Timbrally equivalent to
a plucked tremolo upon guitar or mandolin, tongue-tremoli on the recorder
arise through multiple-tonguing as evenly and quickly as possible. But
because they transform only the sustain characteristic of a recorder tone's
envelope, yet preserve (relative to multiple-tonguing) a higher sense of
internal continuity with regard to air-flow and attack, all tongue-tremoli
are sub-rhythmic within the chronomorphological hierarchy, and so - like
fluttertonguing - should be thought of as being micro-articulatory in
essence.
With a maximum reiteration velocity of approximately 20 Hz, 110 the
usual phonemes for articulating a tongue-tremolo on the recorder are
'(d)idlidlidlidlidl...' : 11 1

Ex.3-57. Bruce Cale: Cullenbenbong. p.4.

(Bass recorder and 7 Japanese Temple Bells [Rill) : 1 player)

.---_________ 7/1 ----------,

(I'll?) ,

"f= tongue tremolo: very fast (as fast as poss. ) ungrouped double-tonguing. The
phoneme 'did}' is preferable here." 112

Cale's symbology for tongue-tremoli is archetypal: his Z-like emblem

across the stem of the note calls to mind the German word for 'tongue',
Zunge; moreover, certain contemporary Polish composers (such as
Kazimierz Serocki) utilize this sign to mean "a rapid, dense tremolo".

-176 -
Another possibility: indeterminate 'Morse rhythms '

Through randomly intermingling single-tonguing, multiple-tonguing,

and tongue-tremoli on the recorder, it is feasible not only to give a
convincingly realistic simulation of Morse code (an alphabetical
representation from telegraphy, comprised of various combinations of two
signs - dot and dash, long and short flash or pulse [dahldit], etc.), but to go
further and create a surreal, hypercomplex 'Morse rhythm'. 113 Naturally,
such semi-improvised articulatory processes can be superposed upon
recorder multiphonics:

Ex.3-5S. Kazimierz Serock!: Impromptufantasque. Nos.5O-55 (pp.l6-

17).
(Sopranino. Soprano, Alto. Tenor. Bass and Great Bass recorders)

I
I
8 158 . I.

sp~~ll~==
r
fb :
mf:

I 2~:~.~.~.~~.~.~.~.~.~.~.~.____._.____.____.____.____._.
Lt ~~I;j~-----;---
. mf'

52. I
53~
1

I
I
"8

SP~I--------l~-36---t--------------------~~~~~~
S ~ ~Im~if~'~----------------------~1~23~4~5~----
~
.. ~
I a "_"
fb .. .. .. .. . " ...
t~1

- 177-
 .1

e e e e . .. . . . . .. .. ..

,
123467 '......

b:~
gbl~
.if m,I
I

Ex.3-59. Kazimierz Serocki: Arrangements. No.7.

(Soprano recorder)

S
~
2
}
&
[, 7 --=..-.:.... . . :. .-.-:'_'__
' _____
...
s; ~=!z::*=~-----I
I

"......... - rapid, aperiodic repetition of a note (Morse signa!),"

3.5.2 Fluttertonguing

Irrespective of the fitness of a recorder multiphonic to endure

fluttertonguing, the success of this technical synthesis is contingent upon
the performer's native ability to fluttertongue: it is a lamentable fact that,
on account of peculiarities of facial musculature, oral cavity structure, and
speech organ anatomy, not everybody can accomplish this
characteristically twentieth-century micro-articulation. 114

-178 -
 There are, essentially, two different types of fluttertonguing - alveolar
and uvular. 115 One of these designations will be chosen according to which
stationary articulator the tongue flaps against. Almost always, however,
composers (by asking merely for 'fluttertonguing'116) leave such
distinctions to the executant, who usually selects the alveolar variety. It
need only be mentioned that, for certain endowed individuals, alveolar and
uvular fluttertonguing may be combined. 117
With an average iterative frequency of around 30 Hz, fluttertonguing,
through agitating the air-stream prior to its propulsion into the recorder's
windway, generates its own amplitude modulation - quite separately from
any sidebands that originate from the multi phonic itself within the
instrument. 118 Fluttertonguing thereby imposes an additional quality of
'roughness' upon the timbral signature of each recorder multiphonic with
which it is affiliated. Yet by varying the tension of their vibratile tongue and
the tongue's proximity with respect to its stationary articulator, or by
altering their force of breath-flow, a skilful recorder player should be able to
change both the speed and intensity (or amplitude) of any fluttertonguing.
But if, however, a recorder multiphonic is already somewhat unstable,
unreliable or difficult to procure, then submitting it to any fluttertonguing
will probably increase its instability:

Ex.3-60. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.l, no.6.
(Alto recorder)

.0'\

"rrr Flatterzunge [abbreviation: Flz = fluttertonguing]."

This unstable alveolar-fluttertongued multiphonic is unavoidably top-
heavy in its spectral balance; for its production, the amount of breath-
pressure is critical, lest it disintegrate.

Here follows four more examples which demonstrate fluttertongued

recorder multiphonics; in all of them, the fluttertonguing has been
successfully married to each multiphonic:

-179 -
Ex.3-61. Werner Heider: Gassenhauer. pp.2-3 & p.6.
(Soprano recorder and small drum)

'lOV ~
8
'"
.60.'
.....j. Fz

f
>

if

========--- p.p -= mf p mf P

(Echo)
~\
Fz

(l)+ -0 mf-+- --===:mf

ml==-P fp
Ed. Moeek Nr. 2537.: H eider, G.ssenhauer (S- Blfl. + Kl. Tr.)

(5) '4"
f\ r - l~ J ~~~ 11 ~

-===--r-
i
mf~f
4 :)
J"
,
>
f
'-

3 3 (R) (5)

OJ 3

_
P ~~I=1==I===( L}t-~
mj~p

-180 -
 --=======f

., (loudly spok~n) ff ::=-::::=- ::::::=-::::=-

if f(j)
D~'follt~h euch
G
li~ th~t?
das?

(laul gesprochen)

Every soprano recorder multi phonic throughout Gassenhauer is to be

fluttertongued - a very unusual state of affairs. Also, each multiphonic's
spectral development has been indicated symbolically through its dynamic
markings (with ordinary dynamic 'hair-pins' ). Werner Heider's
documentation of technical details, moreover, is exemplary, in that he
supplies , within the score's prefatory explanations, dependable fingerings
for all six multiphonics: these are, respectively, 0123/4-67; o12-/45.- ;
0-23/----; 0123/-56-; 01-3/45~- ; and 01-3/4-61.

Ex.3-62. Will Eisma: Woncleren zijn schaars. bar 263 (p.lS).

(Alto recorder)

ft.

11.'+5<0 f f f f J f f

- 181-
 (As before, Eisma's graphic score is presented first of all, and Michael
Vetter's closely correspondent interpretation of this notational flight-of-
fancy appears on the right.) Again, Vetter's "rrrrrr ..." denotes alveolar
fluttertonguing, whereas Eisma - oddly enough - depicts this iterative
micro-articulation with its more normal symbology of mid-stem slashes;
the single recorder multiphonic to which the fluttertonguing applies is
buried amidst this phrase's other filigree gestures.

Ex.3-63. Erhard Karkoschka: Floten-/Tonband-Spiele 1978. No.II/2.

(2 Soprano or 2 Tenor recorders [Recorders in CIl

Flzg Flzg
-i-. ... l-bi
>

*
. . . . . . 0. ~ I.f.

Fl ~ Flzg
~t- r~.f. +~f ~ > > ;> >b~

+)
T.
0


0
~
'-"--

+) kleiner F ing e r rechts d e ckt halb

"Flzg" is another common contraction of 'Flatterzunge', the German

word for 'fluttertongue'.

Ex.3-64. Konrad Lechner: Lumen in Tenebris. No.m, p.S.

(Bass recorder)

mf-=f f-== p = ===---pp

"(5) Multiphonic spectra through fluttertonguing and strong blowing-pressure." {tr.

1. S.)

- 182 -
 Overblowing the bass recorder - on both occasions, the fingering should
be the standard one for the 1st-register pitch in question - induces a rich
multiphonic to emerge; fluttertonguing is added by the composer merely as
a surface-textural, colouristic overlay.

Some transitional and juxtapositional possibilities with fluttertonguing

In blowing a wind instrument, any smooth transition between
fluttertonguing and some other articulatory sound-state is bound to be
largely illusory, for there will always be a pivotal point where the
fluttertonguing either starts or ceases: whenever necessary, it is the
performer's task to obscure or blur this changeover phase as much as
possible. By gradually moving the tongue towards or away from the uvula
or alveolum, therefore, an impression may be conjured up on the recorder
of fluttertonguing that fades in or out continuously in relation to basic,
unmodulated sound-production, for instance:

Ex.3-65. Michael Smetanin: Spin (0). bars 115-117 (p.1S).

(Amplified bass recorder and amplified harpsichord)

.0=_
o

o
o
0 0
0 0
(t)

: >
'I) #0] :i~~..,t-~ '.,.. ,!t. ~~ +. Jf=. ~
t)
3::3::3 L1 1 I
I)

t)

'1
~
L
:r
.- 11
1'1 U
.-J

-183 -
 ~ ...,..I."'4 \,~; " -+0 ,"+"'oJ.w.e. {Iz
r-I --~~- 3 ------,

-,__[w--------
(/') \l) - -- -- -- - - f\z

~2ii JI
1

, - - - - 11-------.1 , I<-- - 12. - - _

: J 7 ~ ----;
,~
:4
~~~~ t-i ... I~~ ~&. r!-l! .l! ~ r-:- ,...JI,,.. f- :

~. ,.
1[
11'1 'I 1
I- 11
......I
L 12- - \.......--, ~

Upon a specially trilled,119 sustained bass recorder multiphonic which

is at first blown normally (i.e. with an unimpeded air-flow), the
fluttertonguing gains progressively in presence, from nothing, until it is
fully established by bar 118.

Ex.3-66. Amieo Dolei: Nuovo Ricercare 4. p. 7.

(2 Alto recorders)

~
~.
e ,
> +-
> j,.
:::-H. f-
+=
l\-
1=
f-.
+-
+- (.\.
"
.J if
ffull... >
~
et=
~
~
8:>- - - - - - - - - - - - - - l
,~ >
~:::- #~
t.. b. <J,. t= ;, F-_

.I
1407
II-=: bf ==- II ,~

= ----

For both alto recorders here, the ties signal that neither fluttertongued
multiphonic is to be plosively re-attacked. So the fluttertonguing -

-184 -
designated "frullato" in Dolci's native Italian - must be brought in without
delay. The composer also suggests the following multiphonic fingerings
within a foreword to his score: (alto recorder 1) 0-2-/45--; (alto recorder II)
0123/4-67.

Whilst a few recorder players might even be able to achieve an ostensibly

unbroken transition between alveolar and uvular fluttertonguing, or
between fluttertonguing and tongue-tremoli, the universal applicability of
such rapid iterative articulatory sophistries is by no means certain. Yet in
juxtaposition, random intermixtures of fluttertonguing and tongue-tremoli
are definitely practicable on the recorder: 120

Ex.3-67. Michael Smetanin: Spin (8). bars 12-13 (pp.2-3).

(Amplified bass recorder and amplified harpsichord)

(1)
0

(~)
0-0
Z
,, "'--->-fl2.
~
(~ tr
,

-~
~

ff'
~POI5'~
rrlf
, 1f:4 -.rI ~
= pp =rnp l'
.,-/

/
I

:, 3 :ff poss ,
I ~

,4 , - - - - - - - - Tt): (7')
,
I
I
:11
I> ,.
l"-
r-i'f '4 - ; t

. SI i" .LJ II TT
.. ".~

~-
3 ,
I

IV 1f" "It-t- ."

~
1'"
!--~...:(.\ --H.I (,
('J. 9' )
1
I=:
I
R
*M,c.ol-o"",\ S"-3""""'-\ '

I@, ~oe ~ 0 [0 DO ~-B- ~-e-) b~

- 185-
 This process of aleatorically opposing tongue-tremoli and
fluttertonguing commences within bar 12, in exact synchronization with
the "overblow contour"; but as the multiphonic itself dissipates during bar
13, so too does the irregular articulatory juxtaposition (leaving only an
unalloyed tongue-tremolo of a short microtonal run to end the gesture). 121
Beyond the topic at hand though, the recorder part of Ex.3-67 is quite
interesting compositionally, in that it lucidly illustrates an organization of
the independent executative parameters of micro-articulation, pulmonary
operation, and a trilling finger/key-action, into a wholly assimilated three-
dimensional musical morphology.122

3.6 Multiphonic Vibrati: A Selection

Introduction: a precis on recorder vibrato in general

Vibrato - well-known from Renaissance, Baroque, Classical, Romantic

and Modern performance practices - as a generalized acoustical,
anhistorical conception, can be regarded as a sonoric transformation
involving an oscillation between two sound-states. Under most
circumstances, nearly all classes of recorder vibrati are applicable to the
instrument's multiphonic resources: vibrato is a highly effective, striking
colouristic device which acts to enhance or ornament multi phonic timbre;
more generically, a tasteful vibrato adds liveliness and motion to a musical
tone .
All vibrati are derived from other performance techniques that are
capable of being modulated in a smooth, gradual, or continuous manner.
Hence, the set of all vibrato-types on the recorder may be split into three
basic categories (which are not necessarily mutually exclusive): breath-
generated vibrati; fingering-generated vibrati, as well as vibrati dependent
upon fingering considerations; and articulation-generated vibrati. Without
doubt, modern recorder technique is greatly enriched by the many varieties
of vibrato now available within these categories which, by themselves,
radically widen the expressive capabilities of the instrument.
For the stylistic interpretation of any music in the recorder repertoire,
decisions relating to the employment of vibrato must be reached, subject to
current ideas on authentic, historically correct performance practice.
Given that vibrato is essentially an ornamental ingredient, the usual
starting point in recorder playing is, therefore, a vibratoless sound. So, for
realizing post-1960 recorder music, one normally plays without vibrato -
except where a score has been expressly marked to the contrary, or if the
input of a vibrato is congruous to some historical style of playing implied by
a retrospective compositional idiom.

An absence of vibrato - i.e., a lack of any externally imposed oscillatory

modulation - is sometimes requested in modern recorder composition
(purely as a safeguard), through precautionary instructions like "non-
vibrato" or "senza vibrato":

-186 -
Ex.3-68. Hans-Martin Linde: Amarilli mia bella. No.3, p.IO.
(Bass recorder)

10

BafSblockflote 3.

.r s.v.

"s.v. senza vibrato ." 123

The multiphonic's fingering, omitted by Linde, will be either 0123/-567

or 0123/-561 (depending upon the bass recorder's bore profile).

Conversely, if one encounters in twentieth-century recorder music the

ambiguous verbal indications "can vibrato", "malta vibrato" (etc.), or even
just "vibrato", then the traditional assumption - again, due to accepted
performance practices and musicological scholarship - is that a breath-
generated vibrato is intended:

Ex.3-69. Gottfried Lucke: Studie 1967. bars 75-77.

(Alto recorder)

im Tempo bleiben _ _ _------,

i'6 ~. -::::::::::::::1' ------

~ f'~ r-W'- "I

Lucke's instruction "vibr," is a ubiquitous abbreviation of 'vibrato', (The

lowest pitch-component of his multiphonic, by the way, sounds a full
semitone higher than written.) A similar example, from another solo
recorder work by Hans-Martin Linde, follows:

-187 -
Ex.3-70. Hans-Martin Linde: Musicfor a Bird. No.5.
(Alto recorder)

Liberamente
b1":"\ /' i b r.
,
JS (
0 12456 pp
P

Because the performance parameters of air-flow, finger-activity, and

articulation can be independently stratified within a recorder composition,
vibrati from different categories may be simultaneously combined or
superimposed one upon another .124 Such a blending of vibrati will
assuredly generate extra modulations, imparting some added vigour and
potency to the sonic result. Care must be taken, though, to avoid destructive
interferences which tend to negate or render pointless the overall effect:
multiple vibrati ought to enhance one another.125 But since amplitude
modulation is an inherent trait of most recorder multiphonics, there could
already be a pre-existent pulsatory element - multiphonic beats - to which
adding a vibrato might be considered an acoustical redundancy. One could,
however, employ with multiphonics vibrati of markedly different frequency
to that of any multiphonic beating in order to create, additively, a more
complex pulsation. 126

In terms of vibrato notation, as for recorder multiphonic trills, one can

precisely delineate the moment-to-moment details of a vibrato's modulation
with a waveform contour: every local nuance of frequency (i.e. speed) and
amplitude (i.e. intensity or depth) in the vibrato is directly correlated
during performance with those depicted figuratively by the curve. 127 The
following five varieties of waveform contour are thus recommended for
notating all recorder vibrati:

1. Breath-generated vibrati: a sinusoidal contour

-188 -
2. Fingering-generated vibrati: a triangular contour

3. Window vibrato: a dotted parabolic contour

,
~~ 1\ ,; ,
;' '.. .~f: ...... . .. ", '.... ,#,,/........ : ... 01 . . . . , . ...... " " ,

... ~ ..... ...... -.. ,:....... ~. . . "I #",.~ ..... _,.,~ , ... '

4. Articulation-generated vibratl: a loop contour

5. Miscellaneous vlbrati: a square contour

The square vibrato contour (no.5, above) can be pressed into service
whenever necessary: for example, when four vibrati are superimposed, or -
rather more likely - when several vibrato-types are utilized within the same
composition. (For certain recorder pieces written during the 1960s, and
particularly those in which Michael Vetter has had some editorial input, a
square vibrato contour is used for notating a 'throat tremolo'.)
A vibrato may be rhythmic or pulse-defining, with a constant frequency
or even with the vibrato's rhythm being explicitly notated by the composer;
or, it could be rendered irregular and aperiodic according to the vibrato
contour. Compositionally, one can thus set up or contrast temporal
structures and relationships between a vibrato and the primary rhythms of
the music (which, on the recorder, are largely determined by fingering and
articulatory considerations).

-189 -
 Assortments of recorder vibrati can be alternated or juxtaposed in order
to construct special musical tensions. And - like articulation on the
recorder - pseudo-dynamic effects and tension arches may be projected
through vibrato: a vibrato could be used to highlight a particular recorder
tone from its neighbours, for instance. (These resources, again, will either
be enhanced or diminished by other technical deployments.)
Transformations to the frequency and/or amplitude of a vibrato, as well as
metamorphoses from one vibrato-type to another within each basic vibrato
category, are also achievable; the executative restrictions under which any
type of recorder vibrato will operate are, in general, circumscribed by the
same limitations that are placed upon the techniques from which these
corresponding vibrati are derived.
Finally, I confess that the scope of examination of vibrato phenomena
within this thesis is, deliberately, somewhat limited, mainly for reasons of
space: as this section's rubric declares, only "a selection" of recorder
multiphonic vibrati shall be studied herein. 128

3.6.1 Breath-generated Vibrati

Air-column vibrati: 'diaphragm vibrato' and 'throat vibrato'

The raison d'etre of all recorder multiphonic vibrati subsumed under

this heading is that some type of recurrent modulation will be applied to the
air-stream while a multiphonic is sounding: the nature of this modulation,
or its place of origin between the player's lungs and the recorder's
windway, serves to sub-categorize such an 'air-column vibrato' still
further. 129 It should come as no surprise, then, that because air-flow is
being modulated, these vibrati will all precipitate fluctuations in a
multiphonic's spectral balance. Consequently, a certain minimum level of
multiphonic stability is required, lest the multiphonic's complex acoustical
state be altered, with the multi phonic itself rupturing at the hands of an
overly intense vibrato: the amplitude of any air-column vibrato must not
exceed the maximum range of breath-pressures which permit the
multiphonic to be sustained. 13o
Although an air-column vibrato on the recorder is always under some
laryngeal control, essentially, there is a continuum of air-column vibrati
that ranges from the slower 'diaphragm vibrato' (which, consisting of
reiterated expirations of 'h', relies primarily upon a diaphragmatic
action), through intermediate mixtures of air-column vibrati involving both
diaphragm and larynx, to the quicker 'throat vibrato' (predominantly
controlled within the larynx; a reiteration of glottal vowel articulations). 131
These points are confirmed by Jochen Gartner, within a useful summary
in his treatise The Vibrato of the Flutist (1981), p.126:
"1. The vibrato does not originate in the diaphragm as has often been stated
previously. 2. Because of its manner of production, the 'diaphragm' vibrato should
actually be referred to as the 'thoraco-abdominal' vibrato; this terminology is more
correct, but somewhat more cumbersome. In this type of vibrato the diaphragm is
'fixed' in the sense of support. The necessary alternation of tension and release of
the breath is brought about by the periodic compression and release of the abdominal
and thoracic muscles, acting above all on the lower rib cage. Since the expression

-190 -
 'diaphragm' vibrato is well-established, less cumbersome, and handy, it can
continue to be used, of course, in the daily work of music pedagogy ... 3. In every case
the larynx is actively participating with muscular activity, even at low frequencies
... Thus the [diaphragm] vibrato is always a mixed type. The degree of laryngeal
involvement can vary. 4. On the other hand, we were able to document purely
laryngeal vibratos without any participation by the abdominal muscles, thoracic
muscles, or diaphragm. 5. As a rule, the [diaphragm] vibratos tended to be of lower
frequencies (under 6 Hz). The highest frequencies were produced by subjects with
purely laryngeal mechanisms (7 Hz .. .). Even in those subjects who used a thoraco-
abdominal mechanism and tended towards lower frequencies, in certain instances
higher frequencies were recorded up to 7 Hz; these were always of laryngeal origin.
6. The laryngeal vibrato has the widest range of variation of all vibrato types. 7. We
observed a certain preference for laryngeal techniques in the production of vibratos
in pp dynamic levels ... "

Ex.3-71. Werner Heider: Katalog. Ausspiel.

(Bass recorder to Alto recorder: 1 player)

13467

'--- ------
12367
7TU!Z ZO

Vibratokurven ; g raphiscbe Darstellung der Di cbte bzw. des dynamiscben Ver-

laufes des Vibratos / VibratO curves ; graphic representation of the frequen cy
and dynamic progress of the vibrato

Ex.3-72. Hans-Martin Linde: Amarilli mia bella. No.1, p.7.

(Alto recorder)

- 191-
 Linde's sinusoidal contour here signifies an air-column vibrato; the
multiphonics' fingerings are the standard, 1st-register fingerings for each
lowest pitch-component. 132

Throat tremolo ('chevroter')

There is another, quite distinctive, type of air-column vibrato known as

the 'throat tremolo': it is a rapid, hard, forcible, intense throat vibrato
wherein air-flow is actually interrupted (or very nearly so). This
technique's traditional name is chevroter, a French word meaning "to
bleat (like a goat)". 133 Though Gartner is careful to draw a distinction
between throat vibrati and the throat tremolo, he too falls into the aesthetic
trap of unfairly disparaging this demonstrably worthwhile multi phonic
resource , as many expositors have done before him (Gartner, op. cit.,
p.146):

"The laryngeal vibrato is still condemned by many authors, often because of lack of
knowledge, because they unjustifiably confuse it with the chevrotement. In the
chevrotement we are dealing with a more or less complete periodically occurring
closure of the glottis, which causes an interruption of the air stream and thereby the
'bleating' and 'stuttering' of the sound. Naturally this technique does not even
deserve discussion in this artistic context; it is worthless and useless."

Ex.3-73. Nicolaus A. Huber: Epigenesis I. p.7.

(Alto recorder)

"chevroter, forced laryngeal vibrato" Itr. I. S.}

"s. schn. " is an abbreviation for "sehr schnell": this throat tremolo,
therefore, is to be executed very quickly. (An adequate fingering for Huber's
multiphonic here is 0-23/---(7), incidentally.)

-192 -
Ex.3-74. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.l, no.2.
(Alto recorder)

LIlrtrLnLn Forciertes Kehlkopfvibrato

~ Weiches Kehlkopfvibrato

"Forced laryngeal vibrato [cheuroter]" ,

and:
"Softer laryngeal vibrato" Itr. I. S.}

In agreement with Gartner, Vetter acknowledges the omnipresence of

the larynx in regulating the recorder's air-column vibrati and the
'chevroter'. (Note that with Vetter's fingering, the pitches of this
multiphonic are somewhat sharper than written.)

Some additional deployments for multiphonic air-column vibrati

It is a relatively simple procedure to intermingle sundry types of air-
column vibrati in conjunction with multiphonic production. Moreover,
these vibrati can all be fully dynamic: their intensities and/or speeds might
evolve continually, or they may even transmute from one form of air-
column vibrato into another:

Ex.3-75. Jiirg Baur: MutazionL 2.1 & 2.la, p.4.

(Alto recorder)

2.
----------
1. @., :,:, I"i"=<,:'f #1 ~
-193 -
 (chevr. Tit . - viln'. nat. ", .,.. (accel. chevr . )
"---l'~~
= ~~
~!F--------- / =
t\ =j: L f- ' :f:~
lao
tJ
P---=:t-= if;; k f -=->- s}. z .Iff ifz
'?14~7AU r?1 ~ 1 ?~4R7~ 1246 246 ' 24 SR

~i~
> (chevr.)
=
= ~
~; b- b q~~
t\ ... -t;;- chevr. rit
bl /'
~"
/: :" / -

tJ
~
~f.&
1268
.
8111;'

124567
ifz
236
12468
iffo
mp
1234578
-== 11if::::=-.. . ::::::::. =====- -=::::::::iff!
1236
-c::::::: -=::::: -<-=::.

Michael Vetter's introductory explanations and performance proposals

state the following in relation to both of these sections:
'''Chord variation'; free formation of the chords and tempi ... " [2.Ia is given "as an
example and practical proposal"],

and:
"Duration of a group within a rectangle'" one full breath." {tr. I. S.}

Baur, rather than drawing any vibrato contours, provides simple verbal
instructions as regards the development of multiphonic vibrati within
section 2.Ia of Mutazioni - "chevr. rit. - vibr. nat.", "accel. chevr.", etc. The
meanings of these abbreviations should be self-evident. (There are also a
few misprints of multiphonic pitches in section 2.Ia; these can easily be
cleared up by comparing the multiphonic tones with those of section 2.1.)

I close now with two further examples from RARA (dolce) that show
fluttertongued multiphonics in alternation with others which have been
modulated instead by a throat vibrato (Ex.3-76), and a multiphonic/voice
admixture together with fluttertonguing that decelerates and transforms
into a throat tremolo (Ex.3-77):

Ex.3-76. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.l, no.12.
(Alto recorder)

-194 -
Ex.3-77. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.3, no.51.
(Alto recorder)

~,,~ ... ~

,:'yJ
'123'tCCfE -8

(The upper pitch of this multiphonic is actually much closer to D:\F 2.)

3.6.2 Fingering-generated Vibrati

Introduction
Only three varieties of fingering-generated multiphonic vibrati will be
reviewed herein; they are, arguably, the most important of such resources.
(Another multiphonic vibrato - 'window' vibrato - that is based upon
fingering considerations, shall be discussed elsewhere, within section
3.9.1. ) 134 Among the vibrato-types which are to be studied below, there is, it
turns out, some overlap: none of these categories of fingering-generated
vibrati are rigid or mutually exclusive. 135 They are all, however, united by
the fact that none of their trilling finger-actions change the registers of any
multiphonic tones: each multiphonic's register-set remains constant
throughout such fingered vibrati.
What are the limitations upon velocity for such vibrati? Details of speed
maxima and fingering compatibility (etc.) are precisely the same as those
for multiphonic trills, and so can be learnt on re-reading the appropriate
paragraphs of section 3.2. Furthermore, although separate proposals are
proffered later, the abbreviation "Fvbr" plus a triangular waveform contour
and - of course - a tablature pictograph indicating finger-activity, suffices
as a possible notation-symbology for all recorder vibrati carried out via the
fingers .

3.6.2.1 Fingervibrato (,flattement')

Fingervibrati on the recorder are nothing more than microtonal trills

whose trill-intervals are quite small (at most one quartertone, say);
multiphonic fingervibrati ensue whenever some trilling finger-movement
barely alters a multiphonic's spectrum whilst instead, its pitch-

-195 -
components are audibly inflected, but only slightly. So the prime focus of a
fingervibrato is its microtonal pitch-modulation, rather than any
incidental shift of tone colour: with the flattement - an historical woodwind
fingervibrato, prized by French Baroque musicians 136 - pitch is subtly
inflected downwards 137 through a trilling finger-motion which does not
substantially alter the primary fingering-pattern; timbral change is
minimal relative to the flattement's pitch-deviation. It is worth noting too
that in many cases, a fingervibrato's amplitude (as well as its pace) can be
continuously varied by changing, progressively, the action of the trilling
finger(s): a dynamic amplitude is attained by increasing or decreasing the
amount of momentary fingerhole coverage during the fingervibrato.
When a fingervibrato is applied to a recorder multiphonic, it is usually
the multiphonic's lowest component tone which is most affected (i.e. its
lower trill-interval will be greatest), the uppermost element exhibiting
somewhat less inflection of pitch. 138 There are, nonetheless, numerous
exceptions to this formula. Ex.3-78 shows two alto recorder multiphonic
fingervibrati for which the normal situation is inverted, with each
multiphonic's highest constituent pitch traversing a wider microtonal
interval under its particular fingervibrato:

Ex.3-78. Multiphonic fingervibrati with greatest inflection of top

pitch.
(Alto recorder)

(<7-.,) (b)
Fvbrvvvvv fvb('~

9-B- ~-e-

I' &)0
e.


k"

0


\I

0 0

00-.0
00 -.0

Moreover, if a recorder multiphonic generates any prominent

combination tones - as does Ex.3-78(b) - a fingered vibrato may strongly
distort them, yielding what is often a memorable quasi-electronic sound-
object:

-196 -
Ex.3-79. A fingervibrato modulating the multiphonic's difference tone.
(Alto recorder)

D = Mf'fl,oXlrlA1"E r;t~ \.,

0- Jf
of th~ ;';{fereoc.<I. Me..
a

00
00

But because perceptionally, the warping of this multiphonic's timbral

dimension at the hands of trilling finger-activity is at least as conspicuous
as the microtonal inflection of its component pitches, such fingervibrati
could just as easily be classified as 'timbral vibrati' (or
'klangfarbenvibrati'), thereby obviating any excessive taxonomic zealotry
within the genus of fingered multiphonic vibrati.
Typically, a multiphonic fingervibrato 's trilling finger-action will be
carried out by the right hand, beyond the effective acoustic pipe-length
defined by the multiphonic's primary fingering-configuration (Ex.3-80,
Ex.3-81, and Ex.3-82). For the minority of fingervibrati which instead are
effectuated by the left hand, or that call for a mid-tube-Iength trilling
activity, the fingers in motion should barely graze the edge of their
fingerholes (Ex.3-83).

Ex.3-S0. Jiirg Baur: Pezzi Uccelli. No.6, letter C, p.6.

(Sopranino recorder)

-197 -
 In this numerical tablature (with thumbhole = 1), the arrow points to
the trilling finger, no.7 (the right-hand ring finger).

Ex.3-8!. Nell Currie: Stopping by Woods on a Snowy Evening. bar 18.

(Tenor recorder)

Fvby.~

174tbun? .~~I&~-j
i - 7 '7 jY mF ?

-.

XiO. :mL

"11. Fvbr.: Fingervibrato Cflattement'), executed quite quickly, with the indicated
finger(s). Fingervibrato results in very slight or microtonal pitch changes, being
executed like a trill." 139

In addition to a spectral portamento, this multiphonic fingervibrato also

endures periodic fingerslapping. 14o The "x" above each notehead and
among the tablature pictograph symbols signifies:
"Noisy finger-slapping (slapping the finger down hard onto its fingerhole), with the
indicated finger, in addition to blowing into the recorder. When this is employed in
trills, tremolos or fingervibrati, the oscillating finger is to repeatedly finger-slap
throughout its oscillation." 141

Ex.3-82. Konrad Lechner: Varianti. I.Thesis, section 1, p.4.

(Tenor recorder)

- u
flattement

-198 -
 Lechner's "key to symbols" states that "alterations to fingering as well
as trills are distinguished by [an arrow, pointing to the fingerhole in
question]" . So here, the multi phonic flattement is accomplished by trilling
upon the right-hand middle fingerhole . But besides the resulting pitch-
contours being rather fancifully depicted - a flattement's effect upon both
multi phonic tones would, of course, always be coincident - the multiphonic
pitches themselves are notated inaccurately: the top pitch-element sounds
almost a semitone higher than written.

Ex.3-S3. Multiphonic ftngervibrati: mld-tube-length trilling action.

(Alto recorder)

(0\ ) (b ) (c) eel)

f.v\,r A/VVVVVv
FVbr/VVWW
~ .-& fvbr AAIVVVW
~~
TQ --
Fv'br- fVV'J'A/
t,~
1,9 I~~' )
0
i
\10 In II
~-()


-
-.

- 0- >i - -

D- }!f
D-~

In the same way that one can assemble higher-order trillings - 'meta-
oscillations' - of recorder multiphonics,142 there is also the possibility of
constructing mul tiphonic 'meta-fingervibrati ': simultaneous,
independently executed multiphonic fingervibrati - or multi phonic trills
plus fingervibrati - in which autonomous trilling activity is apportioned to
each hand. 143 But how is a suitable recorder multiphonic fingervibrato to
be unearthed in the first place, without having recourse to special,
comprehensive charts of such sonorities? There are, thankfully, a number
of promising methods. For instance, once a target multiphonic (which one
hopes to adorn with a fingervibrato) has been located, experimentation that
involves shading any remaining open fingerholes , one at a time , will
probably yield satisfactory results. Alternatively, by scanning part 2's
charts for pairs of multiphonics with closely related fingerings , identical
register-sets, and pitch-elements whose intonations diverge by only a
microtone, it is likely that an attempt at coupling them as the primary and
secondary components of a multiphonic fingervibrato will meet with
success. On the basis of preliminary testing, furthermore, it appears that
fingervibrati may, in principle , be applied to all categories of recorder
multiphonics, including unstable octave multiphonics (Ex.3-84(a:

-199 -
Ex.3-84. Multiphonic flattement: some additional examples.
(Alto recorder)

(e) (-f)
COl) (b) (c.) eel.) FvbrAN.V l'3 )
fVor/VW'N
fvv,-wvv Fvbr~ FvbrNVVV fvk~
~~
f:vbrrvvvvvv
It' l~)-e- ~)-e- t-e- ('-e- 9-lL ~-e-
f"b,/VVv'V
bj-&-
I~
140
\- 1-
~e
I~ ~ 1[0 IY Ii 0
1 19:' II
e.
II

0 0 0
0 0


~ 0 0 0 0
-
0
0 0 0
0-. 0-.
0
0-. e
00 - .(e) 00 -e(.) 00- 00 00
c. 00 oo-eo gg-?O
00 e. 0) 00

3.6.2.2 Timbral Vibrato (,klangfarbenvibrato')

Perceptionally, with a multiphonic timbral vibrato, the order of

parametric priorities is reversed relative to those of multiphonic
fingervibrati. A klangfarbenvibrato,144 therefore, is a trill which consists
primarily of a clearly audible timbral modulation, a discernible shift in
tone colour whereby little - if any - change of pitch is heard:

Ex.3-85. Bruce Cale: Breeze in the Chimes of Time. Movement B, bars

3-4.
(Bass recorder)

("'P) C", P)
(Mf_")
-!'r~
I(vbY~ K:b.~
0 1/ 9 !: -- ~ ~ ~ . F7.J . (;/-.,
bs.r. [~~ -------.:;- -

f61.'-\;1t o --
t. I)

JI!";_t;;==-
~ i!

nl
~
IJ I~ .-0
eo-.
L..h..

=
I oo-eo

- 200-
 All three sonorities here are in fact multiphonic timbral vibrati, even
though the last is notated as an ordinary trill. Cale's truncation "Kvbr" is
semantically ambiguous in a useful sense: it could stand for either 'key
vibrato' or 'klangfarbenvibrato'.

A multiphonic timbral vibrato normally entails a rapid oscillation

between two fundamentally distinct fingering-configurations that support
multiphonics with the same - or nearly the same - pitches. 145 Because such
a trilling action also involves contrary motion of fingers, a multi phonic
vibrato of this type will often be imbued with a characteristic 'slurpy' or
'choppy' tonal quality, as if a register-break had been crossed in legato. 146

In notating fingered multiphonic vibrati from this category, a

triangular waveform contour should be employed (as usual), together with
one of the contractions "Fvbr", "Tvbr" - for 'timbral vibrato', or "Kvbr":

Ex.3-86. Further examples of recorder multiphonic klangfarbenvibrati.

(Alto recorder)

( co.) (6) (c.) (01) (Q )

k vbf" /VVV..;VvV
Tv b(" /VVV'J'./V T"br /'vVVV'N
l-e- ~-e- Fvbr /\fVvVVV
~
~"br- ~
Q.Q.

I~ Biio-e I~() I ~: I,() 40 II

0 e
0
e-o
e
...!,.-o
.-0
0-. e
0
0
00
0-.
00-
0-,
-00

0-' .-0
0-.

00 00 .-00

3.6.2.3 Undertone Vibrato

Multiphonic undertone vibrati - hitherto undocumented, it seems - are

merely a sub-class of klangfarbe nv ibrati applicable only to those
multiphonics whose pitch-elements all lie above the 1st register. Whilst
there should be negligible pitch- or timbral modulation of the main
multi phonic constituents with this vibrato, at the same time one ought to be
able to hear, unmistakably, a rustling of 1st-register undertones beneath
the multiphonic itself.147 Usually, these exquisite multiphonic vibrati
invoke a trilling action upon fingerholes that define a forked fingering: the
recorder player trills back and forth between related fingerings - one open,
the other forked - which sustain identical pitches beyond the 1st register.
This condition tends to make the undertone oscillation quite clear to a
listener, since the interval between primary and secondary undertones is,
consequently, fairly wide.

- 201-
 The symbology of undertone vibrati is very similar to that of
klangfarbenvibrati, except that the abbreviation "Uvbr" is adopted instead;
although optional, it would be informative to show, with an inverted
triangular notehead, the primary and secondary undertone pitches as
well:

Ex.3-87. Alto recorder multiphonics, each with an undertone vibrato.

(Alto recorder)

Lb) (c.)
Uvbr ' /V\,IVVV'v

D-. D-.
0-. D-

00
00
00
00

These multiphonics' component tones fall within the 2nd and 4th
registers (Ex.3-87(a)), and the 2nd and 5th registers (Ex.3-87(b) & (c)),
respectively.

3.7 Multiphonics combined with Air-Noises

Introduct ion
It has already been noted elsewhere that certain recorder multi phonics
(and other sonorities) routinely display some presence of air-noise; 148 the
topic at hand, however, is concerned instead with controllably admixing, in
various ratios, air-noises with the instrument's multiphonic sounds. Air-
noises arise through an impedance of the breath-supply to the recorder: by
narrowing the air-stream's passage until turbulence and friction of breath-
flow occur, extraneous air-noises may be created.

The timbre of most air-noises is particularly pliable, being influenced by

the following factors - which are largely independent of one another - in the
context of multiphonic production:
1. The performer's precise lip or mouth position relative to the beak and
windway of the recorder.

2. The bearing of the air-stream being directed towards the recorder's

windway.

- 202-
3. The velocity or force of the air-stream. Increasing the force of breath-flow
will effect a boost in an air-noise's sound energy level, thereby making this
sonority louder: to be specific, higher frequencies within the air-noise will
be amplified, giving the sound more 'hiss'. (Naturally, the reverse applies
in reducing the force of air-flow.)

4. The shape of the recorder player's oral cavity, and in particular, the
position and shape of their various articulatory organs (the tongue, lips,
etc.). For this complex parameter, wherein the mouth itself acts as a
resonance filter, an air-noise is modulated in exactly the same way as the
sounds of unvoiced speech - whisperings - are modulated in enunciating
various consonants and vowels.
All four of the above factors are combinable unilaterally, and may be
brought to bear, deleted or modified almost instantly. Moreover, within
each parameter here, smooth transformations are possible, yielding many
types of 'tim braI portamenti'; these, in turn, give rise to various kinds of
lip-, jaw-, tongue- or breath-generated recorder vibrati, as well as to unique
varieties of vibrati existing solely within the realm of air-noise (such as
those involving variations in the angle of the air-stream with respect to the
instrument's windway, for example).

The notation of air-noises: a proposal

For the notation of air-noise, the following symbols are placed above the
stave to indicate specific amounts of air-noise coloration. 149 In each case,
the extender or contour shows the air-noise effect's relative duration:
0------, Maximum air-noise coloration of a multiphonic.
0r-----, Much additional air-noise coloration of a multiphonic.
@f-----. A slight addition of air-noise coloration to a multiphonic .

No extra air-noise coloration of a multiphonic. (This symbol is

used only in conjunction with the other symbols, in order to
avoid any ambiguity; the absence of air-noise symbols implies
no further air-noise coloration.)
0- --- -@ A transition between quantities of extra air-noise coloration to
a multiphonic.
An 'air-noise vibrato', according to the waveform contour,
between the extremes of additional air-noise coloration
indicated. (This manner of notation, together with the
appropriate contour, could also be used to depict a specific, but
non-uniform, transition.)
Alternatively, for those multiphonics with constant amounts of extra
air-noise, anyone of the first three symbols above (without its extender)
might be drawn centrally upon the stem in the sonority's notation-complex.

- 203-
The realization of air-noises with recorder multiphonics
(a) Embouchure variations

In traditional recorder playing, the idea of 'embouchure' is virtually

irrelevant, because the player's lips are not directly concerned with tone
production - apart from the fact that they do provide an airtight connection
for the flow of air being expelled from the player's lungs into the
instrument's windway. With post-Avant-Garde concepts of recorder
technique, however, the performer's lips may be directly responsible for the
sonoric outcome, in that they can allow air-noise to be mixed in with the
recorder's multiphonic sounds in various ways and measures. A labial
genesis for air-noises on the recorder is most often encountered, being an
immediate yet natural extension of conventional recorder technique; at
least two methods of producing air-noises through variations in lip or
mouth position have arisen thus far.
Air-noises can be generated and blended with recorder multi phonics by
opening the mouth - parting the lips - in varying degrees. Eve O'Kelly
proposes two schemes for producing what she terms "rustle tones":
"One way of doing this [initiating subsidiary air-noises] is to hold the mouthpiece
loosely between the lips or in the corner of the mouth so that some of the air escapes
around it . Alternatively, the instrument may be rested at a vertical or near-vertical
angle a gainst the bottom lip and the airstream directed across the top of the windway
with the lips pursed as in flute playing. [This] latter method has the advantage that
rustle sounds [air-noises] can be blended without a break into normal, pitched
sounds by raising the recorder and gradually closing the lips around the mouthpiece
in the usual way." 150

In the latter scenario, the recorder's fipple sits against the lower lip,
and the player's air-stream flows partly through the windway (as usual),
but also partly outside and past the beak. This technique can be utilized
over the whole range of the instrument, and may be applied or shed
instantly. O'Kelly is optimistic that "players will find that infinite subtle
variations are possible with this technique". 151 Variations in the shape of
the oral cavity, however, yield only minuscule timbral changes. Yet the
character of consonantal attacks whose point of articulation is forward in
the mouth, is modified, in that tongue-noise within the attack becomes a
prominent tone colour: as well as air-sounds, one hears quite distinctly the
noise of articulation accompanying the fingered multiphonic pitches. 152
Also, both in terms of overall timbre and the technical procedures involved,
this technique is potentially evocative of the shakuhachi (a Japanese
endblown bamboo flute); visually, too, there is a certain similarity of
playing position for the two wind instruments.

Ex.3-SS. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.2, no.31.
(Alto recorder)

- 204 -
 Although it is not clarified anywhere within the score of RARA (dolce),
the "x" (with extender) here calls for an infusion of air-noise into the first
two multiphonics. 153

Ex.3-89. Nicolaus A. Huber: Epigenesis I. p.IO.

(Tenor recorder)

-7j "R ----f-7' ~

Jt ..- . . . t --- ~ -1.. __ .
,.,
,...
r' ::r <
..
)I
.-
'T'- ---"T' ___ / "
-
.)
I b~ I ~ ~ I
~ ==-f lU= "('rI.f
I

R
..--1' ~ \j = il-'. 'Rcuw ch. OI. ~b e-rJel..e"" l l:a.-scL.e}(. I.) ie ci.n vt1L4.5S0't.

"Introduce rustle sounds, then back again (abandoning the air-noises)" (tr. I. S.)

Typically, Huber requests transitions between sound-states that are free

of air-noise and those which incorporate an unspecified degree of breath-
coloration. Yet transformations to the amount of extra air-noise present
can also be easily implemented, but have been utilized only to a limited
extent by contemporary composers.
Whilst maintaining a continuous breath-flow into the recorder's
windway, air-noises can be originated and compounded with multiphonics
even by removing altogether the instrument's beak from between the lips -
eliminating their physical contact completely. This variant technique gives
rise to very similar sonoric results as before:

- 205-
Ex.3-90. Nicolaus A. Huber: Epigenesis I. p.IO.
(Alto recorder)

~~ x) t::~ ~
------""'..
". ~ '1' ..,
I. - ; ; .
'It;
-i-

.....
~-.:.-r--

'lY
~.

>
p
~
"
~
.L C9-c:::::.
1 f f --

x)
@ VOk. w O,7...Ctvv. Ev.-t.fn-nI.O'IJ;" fLgtebLa..5en.);e>JjLtf~r J:e Jo.Yl1e Jhuldur.

"voiceless 'w' [attack] (= 'f with 'w' lip position [embouchure])",

and:
"x) 'W' by blowing into the recorder at a distance of ca. 2mm. This [removal of the
instrument from the mouth] is valid for the whole structure." {tr. I. S.}

(b) Blowing obliquely into the windway

Another method for generating air-noises - first mooted, apparently, by

Bob Margolis 154 - involves sending the air-stream into the recorder's
windway at an angle, sideways (as opposed to the normal procedure of
blowing straight, directly into and down the windway), together with a
partial detachment of the beak from the mouth. 155 This technique is
achieved by deflecting the recorder horizontally (usually to the player's
right), thereby creating turbulent eddies of air in the instrument as the
breath-flow bounces around within the windway. The recorder's basic
sound profile is modified in a radical manner, yielding a 'distant', 'foggy',
'hollow' timbral quality with variable amounts - and, to a lesser extent,
varieties - of breath-coloration, according to the exact shape of the lips .
(Notice that although a multiphonic's dynamic level will be attenuated, its
pitches nevertheless remain constant.) Furthermore, one can apply or quit
this technique instantly, with the concomitant dynamic terraces providing
subtle echo effects. A gradual transition between ordinary direct blowing
and blowing obliquely into the recorder is also feasible and effective. I
suggest these notations for 'angled blowing':

- 206-
 Propel the air-stream into the recorder's windway at an angle,

31 holding the instrument sideways. This mode of playing IS

retained until cancelled by the following pictograph:

Blow the recorder normally, straight into the windway as

III usual.

(c) Air-noises from sibilants and fricatives

With the recorder player's lips essentially remaining upon the beak in
their normal position, air-noises can be coalesced with multiphonic
sonorities by sustaining fricative and sibilant sounds in different ways and
measures; these hissing air-sounds are derived directly from the various
fricative and sibilant articulations: 156 one simply impedes the air-stream
with the teeth, jaw, tongue, or lips , in accordance with the relevant
articulation-type: 157

Ex.3-91. Nicolaus A. Huber: Epigenesis 1. p.IO.

(Bass recorder)

"Admix voiceless 's'-sibilance into the sound" {tr. I. S.}

As a multiphonic attack phoneme, however, one must remember that

unvoiced sibilant and fricative articulations can only be used to initiate
multiphonics which do not always require 'tonguing' (plosive attacks).
Once a recorder multiphonic is established though, sibilance and fricative
air-noises may then be introduced and sustained, the amount of which can
be considerably varied in several ways. A gradually increasing proportion
of air-noise may be achieved through smooth transformations in the shape
of the oral cavity and position of the articulatory organs: commence with a
vowel, as usual (i.e. blow with an uninterrupted breath-flow, free of air-
noise), move through lax fricatives or sibilants ('v', 'dh', 'z', 'zh'), thence to
their corresponding tense fricatives or sibilants ('f, 'th ', 's ', 'sh',
respectively). A maximal quantity of air-noise in the multiphonic can then

- 207-
be attained by pursing the lips and drawing them back onto the edge of the
beak, somewhat in the manner of a smile; some air might escape the
windway, depending upon the precise lip position.

Continuous elisions of airy timbre are also available between any two
sustained sibilants, or between any two sustained fricatives. Transitions
that cross over from one of these basic articulatory areas to the other are in
many circumstances problematic: the transition might not be smooth, and
an undesirable re-articulation, gap, or 'bump' could occur. Apparently,
such transitions are impossible between 'th', and's' or 'sh' (plus all of
their lax variants), whereas elisions between 'f, and's' or 'sh' (plus all of
their lax variants) may instead be executed in a perfectly smooth
manner. 158

Among fricative and sibilant air-noises, it is possible to perceive a

psychoacoustical hierarchy of pitch-resonances. These frictional sounds
proceed, so it seems, from the highest to lowest tone in the following order:
'th ... ', 'sss ... ', 'sh .. .', and 'fff...'. Upon analysis of scientifically measured
data, however, it is difficult to reconcile this definite aural sensation of
pitch-fall with the complex acoustical behaviour and minutiae of
frequencies and formants that have been found to exist within such noises:
"Acoustically, the central fricatives are characterized by a distribution of power over
a wide range of frequencies. This distribution is very uneven - partly at any rate as
a result of the random nature of the source power - and varies considerably with the
degree of stress. Formants are usually indistinguishable in the spectrograms of
voiceless fricatives, and not always discernible in those of voiced ones. Frequencies
of formants 1, 2, and 3 in some of the commoner fricatives are very approximately
200, 2000, and 2700 Hz in ['sh', 'zh'], 300, 1600, and 2500 Hz in ['s', 'z'], 400, 1600, and
2700 Hz in ['th', 'dh'J, and 400, 1500 and 2500 Hz in ['f, 'v']. Much of the audibility
and perceived impression of fricatives seems to come, however, from sound waves
in higher ranges of frequency; all these fricatives, if sufficiently stressed, have
perceptible acoustic energy at frequencies above 5000 Hz, and a few much higher,
['s'] for example, at over 8000 Hz ... There also seem to be considerable differences of
intensity and audibility between the different types. The ['th']- and ['f)-types are, for
instance, as a whole weaker than the ['s']- and ['sh']-types .. ," 159

3.8 Multiphonics combined with Percussion Sonorities

Far and away the easiest and most natural composite multiphonic
techniques involving percussion sonorities on the recorder are those which
utilize 'fingerslapping'. 160 As a percussive adjunct to the attack of a
multiphonic, fingerslapping calls for one or more fingers to tap their
fingerholes hard, adding to the multiphonic sound a distinctive soft
popping resonance pitched at that of one of the fingering's lower vibratory
modes. Most often, this pitch corresponds to a 1st-register tone, although
pitches from higher-register modes of the fingering may be elicited by
slapping the appropriate fingerhole(s) - usually ones lower down the
instrument, with the right hand. Iterated fingerslapping can arise
spontaneously as part of a trilling finger-activity in the performance of
fingering-generated multiphonic vibrati 161 or multiphonic trills. The
moving finger(s) simply make an extra effort to forcibly tap their
fingerholes:

- 208-
Ex.3-92. Neil Currie: Stopping by Woods on a Snowy Evening. bars 52-
54.
(Tenor recorder)

ex

o



"5. X [drawn above the notehead, and in the tablature pictograph] : Noisy finger-
slapping (slapping the finger down hard onto its fingerhole ), with the indicated
finger , in addition to blowing into the recorder. When this is employed in trills,
tremolos or fingervibrati, the oscillating finger is to repeatedly finger-slap
throughout its oscillation." 162

Because the trilling finger must be lifted higher in order to hit its
fingerhole with sufficient force, the maximum speed of oscillation will
necessarily be slower than usual. As a compensation however, by varying
the energy of a finger's descent to its fingerhole , it should be possible to
imbue such repeated fingerslapping with a dynamic contour that is quite
independent of the multiphonic sonority's breath-controlled development.

Fingerslapping the endhole 163 produces a louder 'plop' sound, the pitch
of which bears little relation to the fingering's blown pitch-resources. On
the alto recorder, if a right-hand finger executes the endhole-slap, the
'plop' will be pitched at approximately A1= 2 (irrespective of the left-hand
fingering-configuration); if, however, while maintaining a right-hand
fingering-pattern, a left-hand finger taps the endhole, then the tap-tone
could be as low as A:f 1. But because one hand must remain free to
fingerslap the endhole, an obvious corollary is that this device may only be
employed in conjunction with one-handed fingerings. By analogy with
Ex.3-92, endhole-slaps which recur as an accompaniment to a multi phonic
trill or fingered vibrato carried out upon the endhole, are also effective.

In conclusion - for the sake of completeness - it is worth mentioning that

there are a number of other percussion sonorities with which a recorder
multi phonic might be affiliated. Percussion effects upon the body of the
instrument, or indeed upon the player's own body,164 yield not only
satisfying musical results, but confer a theatrical or gestural flavour as
well. Although there is the disadvantage that once again, the choice of
recorder multiphonics will be limited to those producible with just a one-
handed fingering, these types of percussion sonorities can at least be
performed at any time during the evolution of the multiphonic: because of

- 209-
their chronomorphological autonomy, a truly polyphonic interplay between
blown and struck sounds is therefore attainable.

3.9 Some other Composite Resources ...

3.9.1 Multiphonics with Manipulations of the Window

Introduction

Having studied the modern recorder repertoire (and much literature

besides), it does seem to me that even in 1993, the use of window
manipulations 165 as part of the process of generating multiphonics on a
recorder, 166 is still a quite novel technical combination: indeed, it gives rise
to two important new categories of recorder multiphonics, from which
some specimens display a startling sonic piquancy. The fingering-patterns
of such multiphonics will, of course, inevitably be restricted to those
requiring just one hand, the other hand being needed to carry out the
window manipulation; these roles would normally be assigned to the left
and right hands, respectively. Furthermore, any multiphonic either
subjected to, or arising out of, a manipulation of the window, shall always,
ineluctably, be accompanied by a certain degree of air-noise 167 - a
characteristic feature within these multiphonics' timbral signatures - and
probably some other types of spectral modulation as well. I suspect, too,
that these multiphonics might be prone to evince a high degree of disparity
when one attempts to produce them on different models of recorder. And a
prominent technical problem here, which must be overcome by the
executant, is their acoustic responsiveness to the smallest change of hand-
position at the window: 168 the performer has to learn to replicate precisely
and immediately the window hand's posture for each and every
multi phonic within the forthcoming categories.

Two new categories of recorder multiphonics, brought about through

window manipulations
(a) Inflected multiphonics, with the window being shaded
By shading the window with the flat of the hand, some ordinary
multiphonics may be bent downwards, by up to a semitone: the pitches
continue to fall as the window is increasingly shaded. It is likely that any
recorder multiphonics so treated will acquire a slightly different colour,
with extra air-noise.

(b) Multiphonics with altissimo pitches, the window being covered

If instead, a hand is carefully cupped over the window such that the
window becomes mostly covered, then the uppermost regular constituent
element of a recorder multiphonic will be nullified. The hand's arched
fingers apparently cause this vibratory mode to be suppressed altogether
within the multi phonic, while an altissimo pitch - together with some air-
noises - replaces it: the surrogate altissimo tone seems to be under the spell

- 210-
of some kind of 'strange attractor' resonance, for it is almost always
pitched very near to B V 3, C ~ 3, or D ~ 3 on the alto recorder. (These
multiphonics are rather more plentifui than those which are merely
inflections of common recorder multiphonics, as above.)

In the chart below, each standard recorder multiphonic is followed by

multiphonics derived from one or both of the aforementioned categories. In
order to show the amount of window coverage for these special
multiphonics, I have retained the symbology normally reserved for
indicating the fingers' action upon their fingerholes 169 - in other words ,
this symbology adopts a stance whereby the window is conceived as being
just another 'fingerhole', here regulated by a hand instead:

Ex.3-93. Some recorder multiphonics that employ window

manipulations.
(Alto recorder)

( C\) (bl It'? (c.)

8--
('W..Q.. ~.Q. ~-r
~.Q. ~-D.. p-e- P-e- 1
It' 't' t--e-
9-r ~-e- ,- ~-e- b a va
~
I -

: a IS 4 9 0 ~n !Z IJ
I
""\

II
t& 9" 0
I 40
0
0
0
0
0
0
0
0
0
-
0
-.!
0

0

0
~
0 0

w;"J,OV'l 0 ff ~ 0 ~ 0 ~ ~ ~
lR.. \; ,J sh"<A~. "~fF'
+;~e ..S "rc.he~ , --

cJ.) (e) c+)

lJL 9.!l. 9-e- ~-e- to&- 9.JJ. CrJ -e- ~..o.. DSL 9SL ~-e-
-
I$to ~ e ~o IB C5
~-;-; b tl
I -
Q ts
I~ 0 to : 9 Il ~!l
") II
0 0

0 0

0

0 0 0 0 0 0

0 0 0

..,.,;no\ow 0 ~ ~ 0 )Zf ~ ~ 0 yf ~ ~
[(l., ,1-1.1
C'"'pf"-"\, shQ'\ .. oI ,
f;~I'")",('(q<l.

A much more exhaustive table of such multi phonics shall be presented

within the multiphonic charts of part 2, under the heading "Other
Multiphonic Resources".
Finally, it should be observed in passing that suitable multiphonics may
be subjected to a window vibrato,170 and that short-range multiphonic
portamenti can be accomplished through window manipulation alone.

- 211-
3.9.2 Indeterminate Multiphonic possibilities

Introduction
Musical indeterminacy is a compositional or executative action whereby
precise details of a resultant sound cannot be predicted in advance of its
performance. The realization of the score is therefore left to the executant,
who allows any sound to manifest itself, subject to guidelines - if any -
established by the composer. 171 In no small part a legacy of John Cage, the
notion of indeterminacy permeates every facet of the contemporary
recorder scene: it can, for instance, be discerned in abundance among
compositional applications of each element of (composite) multiphonic
technique.
Composers - like Will Eisma in his Wonderen zijn schaars - often
provide graphic symbols or visual designs which may evoke suggestions as
to what multiphonic pitches, dynamics, fingerings, articulations, or other
parameters, the recorder player could choose; otherwise (or as an adjunct
to these musical graphics), verbal directives or adjectival descriptions of
the desired sound might be contributed by the composer, to aid the
instrumentalist in discovering an appropriate multiple sonority.
What, then, are a composer's motivations for resorting to indeterminacy
in devising music with recorder multiphonics? There are indeed many
conceivable answers to this question, and the forthcoming subsections hope
to provide illumination for some of them - although in no way do I profess
to have made a complete exposition of this infinitely fertile theme.

Multiphonic indeterminacy within larger-scale aleatoric formal designs

The idea of employing recorder multi phonics indeterministically at a
local structural level, as a small part of a global formal conception that is
itself aleatoric, harmonizes well aesthetically, for it achieves a unity of
musical form and content: the composition's microscopic organization - at
its foreground stratum - is mirrored holographically, across various
architectonic layers, by the macroscopic construction of the work:

Ex.3-94. Malcolm Tattersall: Games of Chance IV: Lucky Dip. Long

Chords.
(Alto, Tenor, or Bass recorder(s))

LONG CHORDS

~ I
~~-==- - -

- 212-
 Lucky Dip is structured as if it were a card game; indeed, Tattersall's
score consists merely of explanatory sheets, plus a set of seventeen different
instructional 'cards' which are to be reduplicated and randomly shuffled,
the recorder players fulfilling whatever each card requires of them when it
is selected:
"THE GAME: 1. From 3 to 6 players may take part. Each may choose freely from
alto, tenor, or bass recorders; each may also have nearby small percussion
instruments (as listed on the 'Percussion' card) and/or a radio. 2. The deck of cards
(face down) is within reach of all players. 3. Players take cards in turn and
commence playing. 4. Any player may discard his card and take another when he
wishes. 5. Each player finishes when he draws and 'End' card. The game/piece
finishes when the last player finishes ... [Tattersall then goes on to suggest some
variations to the game, after explaining the exact composition of the deck - i.e., how
many copies of each type of card shall appear in the deck, according to the number of
players]. "

The graphic notation of the "Long Chords " card indicates a

performance of some sustained indeterminate multiphonics, and
multiphonic spectral portamenti. The composer explains that such cards:
"... call for improvisation on the recorder in the given style or using the given
technique. The improvisations should be fairly sparse, with long rests between notes
or phrases."

The inexplicit nature of each card's contents in Lucky Dip IS matched

well by the piece's very free form - a stochastic game-plan.

Ex.3-95. Ryohei Hirose: Meditation. p.2.

(Alto recorder)

,& iSi:; T- ili5E

indi cates rhythm onl y , not pitch

(E) (F) (G) W,N. =white noise

stacc.~~ I I .I II' 11f:~

,,1 !
I ~ lj
1 I
I , II
".(,."",- , Ii . . l
I ''''IJ9''\ II" t"' i I W.N.

- 213-
 (H) (I) j'f;% IHl-EIl- -

> indicates rhythm only ; the playe r may selec t pi tches

I II
ca. = 10" -15"
fJ::O:7> Q!:if ~!ftaG~r:;-rL. r? fiB ~ (l) 1J ~,'.t.t~'I1.-r*~~f.lI?,
..
optional mult iple-sound j:ff~ i' R J.... (l) .t oj I.: liT. ( tpfjl51i" t VJ) T .., -::g: t I'll t, T f.:

!I]<7J itl!li r, ~~1';: l FHDI: ;1!1.; : ':' =~'tJj* <>

it~)iIH"' <7l r"'l'Mt Iilrn-;:.,<>
fCJ t: !tJi~~-"i'=It.t.:J.J:j~.; ; ,:': Lili* ~ . LtJ'L
~:7)H~~; ~1!li't-"V'fJ1:*:" ~, ,~~ ~ tJO i.. t.'(t illf('" ~ ~. ~, **

Box (H ) here calls for "optional multiple-sound[s]" - multiphonics, or

not, to be selected by the performer - within a type of free aleatoric mobile
form comprising a middleground to the whole piece. Hirose, in relation to
this set of boxes (which constitute all of Meditation's second section), says
within a footnote on p.2 of the score that:
"** [the] player can disturb this order (A)-(I) at his option and there are no
instructions concerning the pause between any two phrases though it is possible to
select the same phrase more than twice, then it must be ornamented by division and
expansion, etc." 172

Multiphonic indeterm inacy through non-specificity and I semispecificity I

In recorder compositions with predetermined, rigid macro-forms , one

often encounters some degree of localized indeterminacy. For such a
treatment of the instrument's multiphonics in particular, there are both
positive and negative compositional impetuses . On the one hand, the
composer may have a genuine - and generous - desire for a more extensive,
freer collaboration with the player, who is granted broader scope than
usual for the choice of multiphonic sonorities that will finally surface from
the work in performance: here, the executant is permitted to make a real
compositional input to the foreground of the work. On the other hand, a
modicum of specificity on the part of the composer might simply be
symptomatic of compositional laziness, uninterest, or of an exasperating
lack of access to detailed multiphonic charts, a cooperative recorder player,
or a good instrument. Another composer could even turn to multiphonic
indeterminacy in default, because of their basic misgivings or scepticism
concerning the replicability and reliability of recorder multiphonics - or
perhaps only because of a benighted mistrust in multi phonic charts due to
an imagined acute variability of instrumental response. (At any rate, there
is little to gain in speculating as to what each composer's motives may be
for employing multiphonic indeterminacy: the score is always mute on this
point.)

- 214-
Ex.3-96. Kazimierz Serock.i: Concerto aUa cadenza. Nos.135-l39.
(Bass recorder)

135~ 136~ 137~

I I
I I
I Irull o .1 141 I
1 I ..

ID lifiill11
mPI
I
I
t1lli
r :........ .
orch
I
I .. I
J I
l~1 i;i~
I
I
I" --::::=:::::::: e. c. ~Olb.SSI e.c.
e'c.
=----=----
- =-- ~
b~~
i 12"
----------~. --------------------------------------------

138~ 139~
I
I
I 1

I ~"

11illl1
mf : planofor.e
Will
1- - = = =
1
1 .emple blocks

III z;;;s ~
~tc.

etc

pp

At measure 135, Serocki asks that "the wind-pressure [be] appropriately

stronger, so as to obtain slightly overblown sounds (unspecified chords)",
and then from measure 138, for "the wind-pressure [to be] strong enough to
obtain unspecified composite overtones [i.e., multiphonics]".173

- 215-
Ex.3-97. Milko Kelemen: Zehn Fabeln. No.n.
(Soprano and Alto recorders)

II
Der Mond und die Mutter

Mul tiphonic Tone p

11 6. 6.

simile

- ---
A
A A

11 ___ _ ___ ______ ___ __ _

A d libitum n;ch Af,mlilge
t:. __

llil
. ~
....----: .;: - "---

. ~ If#- -#.
----- T1

Lito lff l P~ters j 12 10

For the alto recorder part, only very approximate suggestions of

multiphonic pitch are drawn graphically; moreover, no fingerings are
provided here, and all spectral contours are indeterminate - in short, the
realization of this passage is left entirely to the recorder player. The three
tones-per-bar in this excerpt would seem to imply overblowing into another

- 216-
multiphonic, a rather impractical prospect gIven the composer's p
dynamic level.

Ex.3-98. Kazimierz Serock.i: Arrangements. No.2.

(Alto recorder)

/I
~------.,
,,

"Quasi glissandi; apply frullato [fluttertonguing] at the same time rapidly

ascending the scale employing all fingers used to actuate the tone-holes. This
process utilizes the entire tonal compass of the instrument including overtones [and
indeterminate multiphonics] (produced by overblowing)",

and then for the next gesture:

"multi-tone sound[s] of indefinite pitch [here fingering the instrument normally, as
hinted at by the written pitches]." 174

Occasionally, in order to notate indeterminate recorder multiphonics,

composers commandeer from modern piano music a symbology that is
commonly used for prompting the performance of non-specific keyboard
'clusters' (dense agglomerations of consecutive tones upon the keyboard).
The pictograph in question is just an elongated rectangular box:

Ex.3-99. Jana Skarecky: The Sign of the Four. p.6.

(Tenor recorder)

0 0
0
0
0 0
.!
0
0
0
0
00
00


00
00

- 217-
 Ex.3-100. John Rimmer: The Exotic Circle. p.l.
(Sopranino, Soprano, Alto, Tenor, Bass and Great Bass recorders, and
percussion)

THE EXOTIC CIRCLE

John Rimmer

Descant
I"
+ '':..
.
T
I I
Treble
, f' I
Tenor
IT'". " I p~ ..

Bass

2
L _ __

r - - - - 3/~ - . .,
tr-
5
" +. H I ." 1

o
," fT.#> / , ."
Tr.
I" If f I>
T
f ---- 3____..... ...
fT*
B
+r If--==.f P ...,
G. B
:--== 1 s.c.. ... - -. 2'-- --1 . .."
~ - rl

Perc
i
.(
: Ii> -==..f ==-# v ;~
______ SR____ ,

Lv.
I" :
0 A"i" M... <;.'" II> I~i ... ..;.~
2 \.v .
.....
-- - - 5"
.f
_ _ _ .J

An y sonorous cho rd

3. 0-- - gl issan do around a centra l no t e, app roxi m at ely a se mitone below and above .

4. II fr ... an y sonorou s chord with a trill th en added.

- 218-
 Ex.3-l0l. Jacques Bank: Wave. p.6.
(Amplified bass recorder and percussion)

( I
r-
1'- ~.1
~
u
2.

~
V()i~ oj
rt.c~rder
plAyer

1. w""tf./'1DcJa
). t ""'f lL
},J:x:.ks
- -7
/
-,

I
.

I
~ ill

kJ b
-- r ~
p - '===

rr
7

lJit), tk kna:s I / tMt- cam

I ClUI"'- L-.!!..

T!v(~ t4//~c.nt dt;ubl.. iDllu) 1P,je. cAtlJeJt if

tA" kC&rde r - jJ/aye.r Aim.ldf.

(See also Ex.3-40.)

Ex.3-102. Helmut Bomefeld: Concentus. no. IS, p.12.

(3 Alto recorders)

0C< )----<o~--f
p-----

- 219-
 "A 'scratchy' forked fingering, as you wish (yielding a fully diffuse 'sound-
band' )" (tr. I. S .)

A vague impression of relative multiphonic pitch in Ex.3-102 is

advanced by Bornefeld's x-shaped noteheads, the cross-hatched
rectangular 'cluster' boxes being used here instead as tablature
pictographs which indicate a free choice of forked fingering.
Composers, understandably, often prefer not to relinquish all control
over their music's surface details, and so opt for a situation of
'semispecificity': where a multiphonic sound is wanted, a reasonable
compromise can be made by notating just a fingering, or a single
multi phonic pitch, without specifying the end result too precisely. 175 Thus,
the recorder player is confronted with a mixture of exact and approximate
notations. Under these circumstances, the composer may be confident that
their musical intentions will be properly realized, whilst the performer is
still able to exert some influence in deciding which sonorities shall
eventually appear. Multiphonic 'semispecificity' is also a valuable
compositional tool for dealing with the potential problem of non-uniformity
in instrumental response: any multi phonic pitch-discrepancies amongst
different recorders (for example) are automatically accommodated.

Ex.3-103. John Rimmer: Whakaari. p.l.

(Alto recorder)

\fib... _ f\6 v:~ ...

~
~ .LL"'LL~
I
-===If
'cl..ri' CD""''';.., A ... iv'l/
Q. &.

- 220-
Ex.3-104. Maki Ishii: Black Intention. p.6.
(Tenor recorder)

, - - - - - - ca. 6""- - - ,
,----- - ca. 6 --~

(p-"!f")}--- - - - - . . . . . J
*)G
Voice l - - - - - - - - - - < i > - - - - - - ' - - - - - - - - - - - - - - - - - - - -
mp==~

1 --- ca. T ---~

~
~

., .:
Voice n-~~-++~~-~----------~--~~---'---~~

mp
(Fl . ~ Flattenange )

_ - - ca 4" - - - - - - ,1 10-- - -ca 4" - - - - - - , r__--- ca 5"F- - -_-_-_--'

r- latterz.-

\" oi ce fl-----------+---H-~~+~-----------
"!f"-:'-==m
=ot=to
"!f"-=

* )G ~ = Multiphonic sound s: The realization is left up

to the player.

Indeterminacy through regulating multiphonic production parameters

It has been noted elsewhere that the three basic technical parameters
which govern recorder multiphonic production and behaviour - namely,
articulation, fingering-configuration, and breath-action - are fully
separable, in that they can all be exposed simultaneously to quite
independent compositional processes. At times, completely explicit
instructions for each of these parameters will lead, paradoxically, to an
indeterminate musical outcome:

- 221-
Ex.3-l05. Michael Smetanin: Spin (0). bars 18-19 (p.4).
(Amplified bass recorder and amplified harpsichord)

.~ _I.
0_

~ [
:~';::I====~
I
~n2-n t
~:I :: :~L-I ____

> . ,.
bhs,,,, b,
::> ,.
~~ ,. I
,
'bl. . 6.. s'1l bL bl hI.. bh . b, . I hL bh #

1 ;
:!:

- . ,. ~,.
L-..- 5 :4 ~ '-- 3 ---J

L-- ---J
3

"* Gradually decrease breath pressure until the multiphonic is reached."

Although the articulation here is clearly marked legato, a breath-

contour is provided, and the full set of recorder fingerings is specifically
'rhythmicized', the altissimo sonority which springs from these combined
actions falls through various undeterminable multiphonics before arriving
at the final multiphonic towards the end of bar 19.
In another form of 'semispecificity', aleatoric morphologies for one or
more of these parameters could be utilized instead to yield indeterminate
multiphonics:

- 222 -
Ex.3-10G. Rolf Riehm: Gebriiuchliches. p.3.
(Alto recorder)

Like Luciano Berio's well-known alto recorder solo Gest i, 1 76

Gebrauchliches employs discrete 'staves' for the autonomous organization
of (in descending order) "finger activity", "air pressure", and "mouth
activity" - plus even a pair of internal 'sub-staves' for the left and right
hands. In Ex.3-106, Riehm furnishes - together with a curvilinear breath-
pressure contour - detailed verbal information regarding vocal and
pulmonary action, as well as the beak's location with respect to the player's
lips:
"3) U = voiced sound (wo). 3) A low embouchure, the instrument resting upon the
lower lip. [Air escapes beside the beak, causing some air-noise.] Special kinds of
blowing, as far as possible in conjunction with the vocalization, or as necessary
when inhaling. Breathe according to necessity." {tr. I. S.}

Yet while to some extent, articulatory inactivity at this point is implicitly

entailed by the continuous vocal line, as far as the two elliptical "Akkorde"
are concerned, the recorder player seems to have a completely free reign in
constructing their own fingering-patterns: this pair of multiphonics' pitch-
content is, therefore, quite unforeseeable.

We now proceed to explore the possibilities for developing recorder

multiphonic indeterminacy by stochastically manipulating each technical
parameter in turn.

(a) Multiphonic fingerings

Through very simple means, Kazimierz Serocki assembles some

chaotic, burbling, randomized 'trills':

- 223-
Ex.3-107. Kazimierz Serocki: Arrangements. No.3.
(Tenor recorder)

1
2
l
(,

b >

tlE~rr ~f~FI~&r~I"~8~""'=-~~
--------------_.'
:8 11
------------
Ex.3-10B. Kazimierz Serocki: Arrangements. No.7.
(Soprano recorder)

a
4
5
~
8 ~~-4-5--------~--------

sJ T: I .
I

"Chord supplied with vertical fingering is sustained while tone-holes are covered
and uncovered in a rapid rhythmically improvised manner in accordance with the
given horizontal fingering ... [i.e. the horizontally written numbers reveal which
fingers are to be aleatorically actuated]." 177

Further examples of this attractive device may also be unearthed from

Serocki's Concerto alla cadenza :

- 224-
Ex.3-109. Kazimierz Serocki: Concerto aUa cadenza. Nos.301, 308 &
319.
(Sopranino recorder)

301~
I
I

30~
1
2
3
4
5
6 1
7
I

~J t458~ . ~-'"-- '-j

mp 1

30~

3
309!
5
6
I
I

fbSP.1 ~ 458 ~ ...,....- . . . . . -----1

fl
1

4 I
1 320~
2
5
~ 1

1$47- ,.......,-,-.....,-,-....,-
I
.8'1

".. . hold the chord in the indicated fingering, and at the same time improvise
quickly by fingering on the indicated (horizontal notation) fingerholes ... " 178

- 225-
 In the same work, Serocki offers a less particularized method of
producing indeterminate recorder multiphonics through random finger-
movement:

Ex.3-110. Kazimierz Serocki: Concerto aUa cadenza. Nos.76-77.

(Soprano recorder)

7~
I
I
7{
1
7~
1
I 3
I '

f~
I"' . . .. . C8 5" . . . . .. . . . . . . . . . . . . . . . . . C8 10" .. .. . .". . .. .. .. : : I

;;:\iano
l
~ ---cr---- I
j-~-~-~-~-~-~-~~~-~-j
PPk, I
"P /---=~=======/ff,

"The wind-pressure as little as possible, below the level at which sound is produced;
by quick improvised fingering upon the fingerholes produce soft noises of
unspecified, rapidly changing sounds, and then by a gradual increase in wind-
pressure reach - through unspecified composite overtones [multiphonics] - d'" with
the given fingering, and at the same time improvise rhythms continuously on the
indicated (horizontal notation) fingerholes (567)." 179

(b) Indeterminate articulatory and temporal structures

Whilst the pitch-components of the multiphonics themselves might or
might not be indeterminate, most recorder multiphonics can endure an
overlay of stochastic articulatory designs. We have already encountered the
concept of 'Morse rhythms' towards the end of section 3.5.1; a few more
examples here would not be out of order:

- 226-
Ex.3-111. Kazimierz Serocki: Arrangements. No.3.
(Tenor recorder)

1
2
'3
4-
5
6
7

t ~l V~*=--''-''-''-''-'
.
mfl,

..... I

'8"
' .................
.

Ex.3-112. Kazimierz Serocki: Arrangements. No.9.

(Alto recorder)

1
2
3
.,5

,i ,J t

"" .. , - rapid, aperiodic repetition of a note (Morse signal)."180

- 227-
Ex.3-113. Kazimlerz Serocki: Impromptufantasque. Nos. 175-179
(pp.39-40).
(Sopranino. Soprano. Alto. Tenor. Bass and Great Bass recorders)

39
.. ca 5"
175.. " ,
I
*l III~
sp ,i ./~ [ 2' ...... .. ...
1\
V.

S './'~ [ ~ .......... ..
a 4.z? [~ ........ ~ ..
". .
fb ~ 2-
t $*?'<~[2"""' V

b .~
.......
-<-= [ a ........ .
~

gb ~ .??-- [ ~ . . . . . . . . . . . .
III:
I

... M=60":
(1 ")

t
179

sp~ ~

z'-'--- V ~ . . . . . . . . . '''v ~
I
1\
~ " V
~ .. .... v}__
8
_-..;.._ _ _ _ V 2
s~
~ "
~

V}-I. I

a~
...... V ~ _ _._._._._._._. V Z
I
fh v ~
.......... v}- .
t~ 2
~ I

b~
8
:..:..:..:....: V ~
Z. ....... V '2'" .. .. V}-'.
8
gb~ :....:..:: v
'2" . .
~
,
V ~ .. ; ........ v}--
I

- 228-
 *Jdiebeliebig gewahlten Tone innerhalb des angegebenen Tonumfangs
standig wechseln
change constantly the notes chosen ad libitum within the indicated
range

"Repeat any sound within the indicated range quickly, aperiodically (Morse
signal); overblow rapidly so as to produce composite overtones [multiphonics]." 181

Numerous other random interfaces of different articulations can

feasibly be applied to recorder multiphonics. One such amalgamation is
illustrated by Ex.3-67.

Essentially, the aleatoric processing of multiphonic articulation

randomizes a recorder multiphonic's inner chronomorphology. Its outer
temporal structure, however, may be geared to chance procedures by
making its duration a function of the recorder player's breath-length (this
of course being dependent upon the player's physique, a variable over
which the composer has no control). Jiirg Baur, in his alto recorder study
Mutazioni, has successfully enlisted this strategy for multiphonic
indeterminacy,182 as well as its antithesis: an unpredictable event-span
guided only by the fact that it must not consume a full breath. Michael
Vetter's foreword to Baur's score states this distinctly:
"2.111 ... Groups contained within notched rectangles: no full breath." 183 Itr. I. S.}

Naturally, the quantity of air expended in sustaining each recorder

multiphonic will also be a significant factor in dictating time-intervals
occupied here.

(c) Overblowing (and pitch-faW

Being predisposed to overblowing,184 the recorder's 1st-register tones -
acting as 'fundamentals' - are able to underpin up to three octaves of
higher modes of vibration, in microtones. Such overblowing yields
transient (and often elusive) multiphonics, single pitches, and other noises
as well:

Ex.3-114. Mary Mageau: Crazy Clock. bars 14-17.

(2 Soprano or 2 Alto recorders)

overbww
) 1\ 15

t.!

1\ ... "'" - - f
overbww

"\t.!
f

- 229-
 "For the final note just blow hard through the recorder to get a squawk!" 185

A forceful breath-action, as above, is likely to produce some undefined

and unspecified recorder multiphonics. Air-noises and undertones, too,
will become conspicuous timbral ingredients whenever overblowing is
carried to the highest possible tone, fff, through indeterminate
m ul ti phonics:

Ex.3-115. Kazimierz Serocki: Impromptufantasque. Nos.156-161

(p.36).
(Sopranino, Soprano, Alto, Tenor, Bass and Great Bass recorders)

161.
16~ 8: "
1591 : sp~11 'a;B6 t f..---.-

I
~ ~ ppp-==.fff
158 : s~Gt:22J#; t r . - -
4, ~~ppp fff

fb 157,.. ~~1':Z::f;f I - . - . -
156. : t ~lIi&& I . - -' - . - . -
I b~11 t~ i7'~fff - - - - - -

[ 8 ~~ ppp""""=fff
gb~l~i I . - . - . - . - . - . -' -
~

ppp -==fff
I
I

"Quasi glissando; play very rapidly frullato [fluttertonguingJ on the entire range of
the instrument in ascending direction and at the same time overblow gradually, so
as to obtain composite overtones [multiphonics]." 186

The techniques of overblowing and pitch-fall, being effected by the

breath, can always be disconnected from any coincident finger-activity and
articulatory designs . An evolution of fingerings, in particular, is a handy
mechanism for securing indeterminate recorder multiphonics as part of
the concurrent process of overblowing:

- 230-
Ex.3-116. Jana Skarecky: The Sign of the Four. p.6.
(Tenor recorder)

(a.3/1 ,a.8 '1

$!f" '~'II #. ., II (JcmthmU

oVlrhlcwi1'l3)

The large boxes signal the performer to:

"Improvise freely, using mostly the pitches in the box; occasional other pitches are
acceptable; pitches can be played in any order; use fast gestures, including tremolo,
tongued tremolo, fluttertongue on individual notes." 187

Indeterminate multiphonics, however, are guaranteed to appear during

the performance of Ex.3-116's second box, for the recorder player is
instructed there to "sometimes overblow".

Ex.3-117. Reinhard Febel: SechsBagatellen. No.V, p.7.

(Alto recorder and piano)

(L.H.)2 2 2 2 2 2
n 11 n
'~
==:
II: UJ UJ :11
444444
(R.H)4 4 4 cre sc o biSf.!. - / .
(m itdem--
2. Finger) ohne Rucksicht auf Uber-

al niente

"Without concern at overblowing; then suddenly cut off [the sound)." {tr. I. S.}

- 231-
 Febel has concocted separate chronomorphologies for each hand in
Ex.3-117. Fingerings are given specifically in rhythms: with thumbhole = 1,
the fingering-pattern 1-3-/56-- is to be held constant while fingerhole 2 is
flicked shut (in steady quavers) by the left-hand index finger, against 4
being momentarily closed (in triplets) by the right-hand index finger - the
latter necessitating a displacement of the right hand from its usual
position. Indeterminate multiphonics are certain to occur during the
overblown crescendo to ff.

Ex.3-11S. Georg Kroll: Con Ucenza. p.2.

(Alto recorder)

p _======::.::.1>1' < n > pp< e cc.

"**) Irregular tremolo, continuously changing between normal blowing and

overblowing for one period of breathing. "

The breath-pressure contour within this example should make it quite

clear that overblowing need not always be done quickly: gradual, leisurely
overblowing may be discharged just as easily.tBB
If composers are anxious to discover which recorder multiphonics
manifest themselves - and in what order - during a passage of overblowing,
then it will be necessary for them to consult some multiphonic charts
and/or a recorder player. Wherever fingerings are omitted from such
passages, it often suffices to assume that a 1st-register pitch is to be
overblown.
Pitch-fall is merely the reverse of overblowing; as such, all of the
preceding remarks pertinent to overblowing are germane here. A pitch-fall
eventuates when a high-register recorder tone is 'underblown', with a
breath-pressure that is inadequate to sustain its mode of vibration. This
sonority is consequently permitted to fall indeterministically through
various other partials and multiphonics:

- 232-
Ex.3-119. Werner Heider: Katalog. Spiel, 3rd system.
(Sopranino recorder)

With Q1--/4--- as a likely fingering-configuration, by decreasing

breath-pressure, the pitch will plummet through several registers and
unspecified multi phonics. Any resultant sounds, therefore, are musically
valid.

Ex.3-120. Sylvano Bussotti & Michael Vetter: RARA (dolce). p.2, no.20.
(Alto recorder)

,
-

Again, a pitch-fall - not a change of multiphonic spectral balance -

unfolds. This fluttertongued multiphonic (with fingering .Q.12-1---7) breaks
apart and cascades through a number of different vibratory modes,
including some other fugitive multiphonics.

(d) Aleatoric spectral portamento contours

The concept of 'rhythmicized multiphonic spectra' has already been

outlined near the end of section 2.3, in reference to Ex.2-76 and Ex.2-77.
Jiirg Baur (the composer of both of these examples) develops this notion
further by rendering it aleatoric. Within the trills of the second and sixth
'boxes' below, the recorder player may inject a multiphonic trill wherever

- 233-
they like, in whatever spectral balance they like, simply by adjusting their
breath-pressure indeterminately:

Ex.3-121. Jiirg Baur: Mutazioni. 2.m, p.5.

(Alto recorder)

~ r <
1\ ~ 'b- ~. JI. .Ll .~-
III. ---
~:t
tJ ifz~
mf tranquillo nif tranquillo
~ <i
/
cantabile .q cantabile

123457 00
==
~~~ ~<
..=~.~. . ~.- '61' _ _ _
1\ - ---
tJ 123567
ifZi
mf tranquillo
~
ifz-=
\
'61'''~J diminuendo
cantabile
9-

I---V~ : freie rhythmische Anordnung des Akk . unter

(tiber) den Triller.

"A free rhythmic arrangement of the chords under (over) the trill." Itr. I. S.}

I append two workable trill fingerings for Ex.3-121's second and sixth
'boxes', respectively:

- -.-0
0

0100\
-0
0
0
-

00

Postscript
The reader is alerted to the fact that some additional applications for
recorder multiphonics within indeterminate musical structures shall be
brought to light in section 4.6; some of the discourse of section 2.4.5, also, is
apropos.

- 234-
3.10 Multiphonics utilizing Separate Sections of the Alto Recorder

Introduction
For the realization of multiphonics upon a separate recorder headjoint,
or upon a recorder with its foot joint detached, I recommend that
performers avail themselves of some spare instruments, from which the
appropriate parts can be removed beforehand. This sensible solution is far
better than attempting to hurriedly dismantle a whole recorder, thence
reassemble it, during live performance - an operation that takes valuable
time to acquit. Indeed, some compositions already adopt such a practical
procedure: Kazimierz Serocki, in the "Notes on the performance of the solo
part" to his Concerto alla cadenza, declares that:
"The work should be performed on 6 recorders with 'baroque' fingering: sopranino,
descant, treble, tenor, bass and low bass [i.e. great bass]. Moreover the player should
be equipped with five separate mouth-pieces for these recorders except for the treble
recorder which in the Concerto appears always without the mouth-piece so that the
latter may be used separately. Consequently the soloist should possess 6 instruments
and 6 separate mouth-pieces."

Composers, however, are issued the caveat that any multiple sonorities
performed upon sections of a disassembled alto recorder (as documented
below) are likely to vary somewhat in acoustical effect from one recorder to
the next - even more than as is the case for the complete instrument.
Nevertheless , multiphonic production and technical treatments upon a
headjoint, or upon a recorder deprived of its footjoint, are essentially the
same as for a whole recorder. In consequence, there is a comparable
richness of possibilities here for the creation of composite multiphonic
techniques : most headjoint multiphonics are able to withstand vocal
additives, air-noises, or fluttertonguing, for example; and an alto recorder
without its footjoint can support syntheses of its multiphonics with trills,
fingerslaps, vibrati, spectral contours, or portamenti, etc. It is best,
therefore , to think of the separate sections of a recorder, either alone or in
combination, as being quite distinct musical instruments possessing quite
distinctive sonic attributes.

3.10.1 Headjoint Multiphonics

Despite its structural rigidity and superficial simplicity, the recorder's

headjoint possesses a surprising fecundity of multiphonic resources. It
turns out that this 'sub-recorder' can be readily manipulated to engender a
wide variety of multiphonics, subject to the following five parameters:

1. A headjoint multiphonic's attack phoneme - although admittedly, only a

very few headjoint multi phonics seem to be sensitive to the type of micro-
articulation that is employed for their attack.

2. The extent to which the headjoint's window is covered over by a hand.

Through progressively closing the window, headjoint multiphonic tones
can be flattened by up to a minor third relative to those attained with an

- 235-
open window, and a low-amplitude multiphonic window vibrato is often
feasible; headjoint multi phonic portamenti, also, can be effected through
window manipulations.

3. The extent to which the headjoint's end is occluded by a hand or fingers:

it can remain fully open and unobstructed, or it may be stopped airtight
with the flat of the palm; as intermediate measures, the end can also be
shaded or vented by various amounts, or be half-closed with the flat hand
(or fingers); alternatively, it can be loosely cupped, clenched tightly in the
hand, or the headjoint may be gripped in such a way that the curled fingers
form a temporary 'extension tube' to the headjoint's bore. Again, a number
of headjoint multi phonic vibrati and portamenti may be derived.

4. A cigar-shaped rod (such as a piece of dowelling), or a finger, can be

inserted into the headjoint's bore in varying measures. By moving the rod
or finger up and down in the manner of a swanee whistle, complex
headjoint multiphonic glissandi/portamenti ensue as the multiphonic
component pitches traverse several modes of vibration, sliding within and
breaking across different registers.
5. By regulating the air-stream, multiphonic spectral portamenti often
result. However, because the headjoint's monophonic pitch-capabilities are
particularly responsive to changes in breath-pressure, most headjoint
multiphonics' extremities will probably differ significantly from their
extractable single pitches.
It usually proves necessary for the recorder player to experiment with
these factors in realizing adequately most headjoint multiphonics as they
appear in the repertoire to date:

Ex.3-122. Klaus Hashagen: Gesten. p.ll, letter F.

(Headj oint from a Tenor recorder)

- - - - - - - - - -+ - - - - - -7H I

-)

!'!!!!:=
-
-
s~hneLL
n-ach
0 (T)
ft
!
8.~ ---u-vvvlJW/

~
./
ft-
:- ..
il----
IQ
-fr

wQchsQln! (mf)

"Change quickly to a tenor recorder headjoint!" {tr. I. S.}

- 236-
 Lamentably, explanations for the various cryptic pictographs here
concerning the tenor recorder's headjoint are not to be found anywhere
within Hashagen's score. With the help of Schmidt (1981), p.35, however,
their meanings have hopefully been deciphered correctly, as follows:
"loosely cover the labium, with the end of the headjoint being closed
airtight"; "cup the end of the headjoint in the hand [the square wave
contour denotes a chevroter],,; "the labium is firmly closed"; "alternately
close and open the end of the headjoint [a vibrato?],,; "both the labium and
the end of the headjoint are to be firmly closed"; "whilst cupping the end of
the headjoint in the hand, loosely cover the labium"; and "cup the end of
the headjoint in the hand", respectively. (The recorder player then changes
hastily to an alto recorder.)

Within this short passage, the composer also provides some graphics to
suggest headjoint multiphonics with developing densities and bandwidths
in various registers; the precise details of their realization will have to be
ascertained empirically by each recorder player - a state of affairs
pertaining to Ex.3-123 as well:

Ex.3-123. Mauricio Kagel: Musikfiir renaissance-instrumente. p.25.

(Headjoints from Sopranino, Soprano, Alto and Tenor recorders)

r~i - - f---r-
.,.. ____ __ -1'
LAh;~.. leif 111" /,.. ,",- fC/IIIo/J,ft.
H-~ CI/",4!J,i/.. ~ .-t,.&k6I&, 6;~
11t; -'lb-/9 ""f IIi. .. t:,..,lItIIfu
tA....0.,.,.1." "J:1"~i-.

- 237-
 25

7"
\
0
\

"Blowing only with the headpiece (open)",

"Gradually cover the labium with the [curled] left hand, so covering it until an
overtone sounds simultaneously with the fundamental tone",

and then in the next bar:

"Left Hand: as before; Right Hand: hold a light covering [i.e. hold a slight cupping
of the hand] in the vicinity of the opening [end] of the headpiece. [Add a] sung [tone]."
{tr. I. S.}

I now offer a tabulation of alto recorder headjoint sonorities, including

both single pitches and multiphonics, the comprehensiveness of which I
have tried to maximize to the point where any finer details would probably
be redundant, given the unforeseeable divergences of acoustical result
stemming from different instruments. Moreover, because of the
headjoint's chaotic behaviour (it is often responsive to the slightest
parametric change - such as in the amount of window coverage), there
may well be other, quite dissimilar, multiphonics and altissimo pitches
that have not been listed below. The headjoint's extreme sensitivity to
varied stimulus also makes the pitch-data of its sonorities difficult to
measure consistently and accurately, particularly when one is switching
back and forth incessantly between a 'control' instrument and the
headjoint - upon which one attempts to reproduce exactly the same hand-
positions each time. On a more positive note, though, it should be a
relatively simple exercise for a composer or recorder player to extract many
reliable additional multiphonics from these charts - multiphonics that are
intermediate to those enumerated - through the process of interpolation.
All parameters engaged for the instigation of each multi phonic below are
clearly marked:

- 238-
Ex.3-124. A table of recorder headjoint sonorities.
(HeadjOint from an Alto recorder)

(A) L.H.: at the window, covering it as indicated;

R.H.: the palm (etc.), at the headjoint's end, gradually seals it off
as shown.

r
~-& "~..Q.
14- - A.\. I. A. l.?. . A\.3. A. \. 'T. A\. S'. A. \.b.
LH 0 LHO LHO LH 0 LH 0 LH 0
1<H Oope" . RI1 x{ Ri-l ~ RH~ ~H ~ [1..\-1 c.lose.ol. ",;.-t;'3nr.

II
L~~
A.+. I . LH ~ A.'r.2. LH ~ A.'t-.'3 .
LH~
A.'l-.'\- .
w-I J A.'l-. ? L..H ~ II +' . {, .

RH 0 RH~ RH ~ RH~ R~~ RH

- 239-
(B) L.B.: as in table (A);
R.B.: my middle finger was inserted into the headjoint's bore,
progressively, as indicated.

1 ~~)~
~ /~ :n::
I 0 II
B.\.I. 6. I. 5.
Ll-\ 0 U-lO
1\14 0 ovt.

I'
- --4

~..Q. 9-&
6.1..3 . B.1 .tr. B.l .6 .
I
Lli,,0 LH Xi LH .0
RI4 ~ RH ~ ~\-l

(e) L.B.: the L.B. is free - with the window remaining open;
R.B.: the end of the headjoint is clenched, or a 'tube' of curled
fingers is formed there.

1f~ i-&
.. -
i-e-
I~*o" *0 I 9" I " " ~ !l bu"" b u
[I
U1 0 L}1 0 /...l1 0

l2.H ~ R~~ RH'"

+vbe./<.or.e. . c.le(\che~. clen~heol .

- 240-
 = with the Right Hand, a portamento between this headjoint
sonority and the corresponding sonority in the next bar to
the right can be performed.

1 = with the Left Hand, a portamento between this headjoint

sonority and the corresponding sonority in the same bar of
the system immediately below can be performed.

, = through an increase in breath-pressure, a transition

between these adjacent headjoint sonorities may be
effectuated.

3.10.2 Multiphonics with the Foot joint removed

In terms of a numerical assessment of its multiple sonorities, I

estimate that a truncated alto recorder (minus its footjoint) would perhaps
be capable of producing up to 40% as many multiphonics as can be supplied
by a complete instrument. 189 The copiousness of its multiphonic resources
therefore militates against any attempt at comprehensive discussion here:
it suffices merely to say that all categories of recorder multi phonics , and
their myriad potentialities for transformation and deployment (as
chronicled throughout this thesis), remain well-represented even when the
alto recorder's footjoint is removed. For instance, by occluding the end of
the bore at the lower tenon in various ways, both 'closed register' and
'covered register' multiphonics may be invoked:

Ex.3-12S. Rene Clemencic: Maraviglia Iv. (where?)190

(Alto recorder without its footjoint)

"(Without the footjoint); covered [register)" 191 Itr. I. S.}

This 'covered register' multiphonic is elicited with the fingering

0123/4-6. The porous cloth covering at the end of the lower tenon must not
be too thick, lest some other multiphonics (or just air-noises) emerge.
For lengthy sequences of 'closed register' multiphonics for which an
airtight 'preparation' at the lower tenon is needed, it is worth noting that

- 241-
most Japanese manufacturers of plastic alto recorders - such as the Zen-
On Music Company Ltd. - now furnish protective tenon caps that may serve
a useful function here as a means of effectively blocking the tenon's
endhole .

To round off this section then, here are a further ten miscellaneous
multiphonics, chosen almost at random from among the thousands
available. (This example also demonstrates the characteristic tablature
pictograph - with the lowest pair of double-holes duly omitted - which ought
to be used whenever the recorder is divested of its footjoint):

Ex.3-126. 10 multlphonics. with the footjoint detached from the

recorder.
(Alto recorder without its footjOint)

I- 2. .
vn*,ble
,. '+1 4-. 5. ! --e- b. f 7. b-e- It'
3.1( .0..
"I. f oB- \0 .
J..Q. i~ ~ fll.
--
ili!
I~ ~: li: ~
I-
I Ge J Id I 9!! Iii "- I 9() I g Il , II
15
%
1 l!

o. 0 0 0


0

-
0

- -
0
0
a
0

0
0 0

Epilogue
The multiphonic resources of 'incomplete' recorders are immensely
rich, yet so far , they have been researched and exploited only superficially
(and very sporadically at that): they are sorely in need of definitive
investigation and documentation. Thus it is hoped that some enterprising
individual shall carry out the necessary work in the near future , so that
musicians will then have better access to this great mine of sonorities. If
somebody is stimulated by the above prelude to undertake such a daunting
task, then my small efforts will have served their purpose well.

- 242-
 Endnotes

1. ... as catalogued within this document's Appendix.

2. The reader is strongly advised to consult that paragraph of section 2.2 which is entitled
"Multiphonic facility, speech and stability"; en.12 of Chapter 2 is also highly relevant to the
matter at hand.

3. Sections 3.2 & 3.3, respectively.

4. Sections 3.8 & 3.6, respectively.

5. Sections 3.9.2 & 3.10, respectively.

6. Within these three categories, though, several technical areas are interrelated, or derived
from one another - as will soon become apparent. In such cases, an unambiguous division
between these areas may be very difficult (or even impossible) to discern. This in itself can
be a valued compositional resource, for one then has a means of moving freely between
seemingly different regions of composite multiphonic technique. For instance, a
multiphonic fingervibrato in certain circumstances might instead be regarded as a
multiphonic trill in which every trill-interval is microtonal; in some cases, the act of
'overblowing' encroaches upon the field of multiphonic indeterminacy. (If one really desires
to discriminate punctiliously between composite multiphonic techniques that yield similar -
or indeed, identical - sonic results, the musical context within which the multiple sonority
appears should be the sole criterion.)

7. In the manner of Brian Ferneyhough , for example, and other important 'complexist'
composers such as Chris Dench, Richard Barrett and James Dillon .

8. Stone (1980), pp.74-76.

9. For instance, where the interval of oscillation is a microtonally stretched major second - say,
225 cents (= 9/8 of a tone) - it is technically correct to invoke the term 'tremolo', though of
course the sound is very similar to an ordinary major second 'trill'. (Moreover, as the reader
will recall, most recorder multiphonics' intervallic contents are predominantly and inherently
microtonal in nature.) But there is also an early, sixteenth-century vindication for adopting
the term 'trill' in such situations; it is to be found within Chapter 24 of Sylvestro Ganassi's
Opera Intitulata Fontegara (1535), quoting here from the English translation (1956), p.87 :

"The simplest ingredient in elegant and graceful playing is the trill. It is done by trembling with the
finger over a hole of the recorder. Trills can be made with a third, with a whole tone, and with a
semitone, in all of which the interval may fluctuate [microtonally]. a little more or a little less.
These variations are barely perceptible to the ear with precision, but you can fix them accurately
on a stringed instrument on a single string, and then discover the suitable fingering on the
recorder. The trill in thirds is a lively ornament; the interval may be larger or smaller than a third.
The semitone trill, on the contrary. is a gentle and charming ornament; in this also, the interval
may be larger or smaller. Between these two, as a medium ornament, is the trill of a whole tone, or
less ."

10. Actually, what is needed most of all here is a separate chart - or rather, a table of
concordances - devoted purely to the (alto) recorder's multiphonic trill capabilities . The
provision of such a chart or table within the framework of this thesis WOUld , however, be too
taxing, and so must be left for some future research. Nonetheless, basic guidelines for the
assembly of recorder multiphonic trill configurations are offered herein.

11 . It is even feasible that a composer could request absolute speeds of trilling activity - in hertz
(Hz) [= cycles per second (cps)] - by writing numbers directly above key points of the
waveform contour, which would then have to be carefully delineated in order to correspond
with the numbers. Alternatively, as a 'semiabsolute' specification, these numbers may be
related somehow to the prevailing beat and tempo, or even to the fluctuation rate of a
vibrato , or a trill, which emanates concurrently from another instrument (thereby defining a

- 243-
 subtle interactive performance relationship among members of an ensemble). Such
directives might simply amount to quite specific, rhythmically measured legato oscillations of
recorder multiphonics, like that of Ex .2-42 .

12. In effect, Ex.2-41 shows a (legato) multiphonic trill that hastens from 'slow' to 'fast' - although
Serocki has written it, in analogue notation, as a legato multiphonic alternation that is
subjected to an accelerando until it becomes a trill.

13. Textual examples will appear shortly; see also the subsection "Multiphonic Fingerings"
within the "Multiphonic Chart Parameters" of part 2.

14. Despite the fact that Ex.3-3 in reality makes use of the 'tremolo' notation criticized adversely
just now, it does so in such a way that my point here still remains cogent: think of the
second multiphonic in the notation of Ex.3-3 as being merely the multiphonic trill's
secondary component (amid parentheses) within the 'trill' symbology just propounded.
Then the trilled segment's total duration is derived from the horizontal length on the score
page (in centimetres) , taken from the initial, primary trill-component to the end of the line-
extension . (See also Ex.3-1, as well as other examples yet to come in section 3.2.)

15 . The fingerholes included in the trilling action may be among those involved in establishing
the multiphonic originally (Le ., the basic multiphonic's fingering-configuration) , or instead
might belong to the set of remaining (open) fingerholes .

16. For example , in order to be properly delivered under most performance circumstances ,
both of the 'pure octave' multiphonics with pitch-elements C ~ 1, C ~ 2 and D ~ 1,
D ~ 2 (on the alto recorder) demand plosive attacks . Yet they can be trilled together
perfectly well in legato. So, paradoxically, a recorder multiphonic that normally needs to be
'tongued' in isolation might respond instead to aspiration in a trill context. This exceptional
acoustic behaviour is most likely the result of physical inertia within the recorder's air-
column , which displays a tendency to retain its initial bifurcated mode of vibration . (See the
material of section 2.2 given after the technical exercises - all of which is highly pertinent to
the explication of mu ltiphonic trills - and Chapter 2, ens.74 & 144 in particular.)

17. For additional examples, see Ex.2-36 (the final bar); Ex.2-34 (bars 90-91); and Ex.2-91 . The
latter two citations also provide instances of multiphonic trill sequences (to be discussed
shortly): Rijnvos's composition is riddled with similar examples.

18. ... as is indeed the case for the multiphonic trills of Ex.3-4.

19. i.e ., both of the trilled multiphonics' upper tones belong to the same register, and the ir
lowest extremities likewise fall into another single register (below that of the upper tones) .

20 . For a full explanation of this technical device, the reader is advised to consult, within section
2.2 , the end of the subsection entitled "Basic procedures for the production of Alto
Recorder Multiphonics" (from the second paragraph after Ex.2-32 onwards) .

21 . An example of such an alto recorder multiphonic is Ef 1, Gf 3 (fingering : 01--/4-67 ;

thumbhole = 0) , functioning as the secondary trill-component of E~ 1, G ~ 3 (fingering :
01 - 3/4-67) : it is really not so easy to extract this former multiphonic separaTely, and so it
benefits from the production procedures just outlined. (This helpful technical point will be
cited within the multiphonic charts of part 2, where applicable [see Chapter 2, en .61].)
Dealing with such a multiphonic on its own probably necessitates some precautionary
authentication and experimentation with an experienced recorder player. Again , for further
information, the interested reader is also referred to the data of section 2.2 which succeeds
the technical exercises.

22 . Consequently, one is recommended to re-read the relevant portions of section 2.2.

23. This is really not a proper concern of composers, for the necessary acquisition of such
finger-dexterity is something of a technical nature which belongs in the player's domain,
and hence is their responsibility to solve .

- 244-
24 . See Chapter 2, en.121 for an explanation of underlining within the numerical tablature
system.

25. This analysis presages, or previews, a (homogeneous) multiphonic trill-class which is to be

examined shortly, wherein the top pitch of two trilled recorder multiphonics remains
essentially constant, its sound unbroken throughout. It should also be noted that the
aforesaid "aural illusion" is enhanced strongly whenever the trill-finger's movement is rapid ,
and the dynamic level is fairly high (Le. the multiphonic itself is quite loud).

26. ... although this is on no account always, necessarily, the case with the recorder, as the first
trill of the forthcoming example (Ex.3-9) will prove: such multiphonic trills can also eventuate
with a mid-tube-Iength trilling action that instigates an alternation between a forked fingering
and an open fingering .

27. Is this not, therefore, an exemplar of a central law from Quantum Mechanics (Heisenberg's
Uncertainty Principle)? - "The act of observation, and even the frame of reference itself,
modifies the very thing being observed". Accordingly, one cannot draw any firm, 100%
conclusions about physical behaviour here, but only comment in terms of probabilities and
trends instead.

28 . i.e., in the terminology of Acoustics, the fixed pitch is perceived to have a constant
amplitude envelope throughout the trill. (For the moment, we also assume that the
executant here has been blowing uniformly, with an unwavering air-flow.)

29. The whole of this assertion makes sense acoustically, for it is the recorder's upper-register
tones that can often be generated as non-fundamental modes of vibration stemming from
at least a couple of fingerings . For those few multiphonic trills on the recorder where the
lowest pitch remains to all intents and purposes constant, this tone is - apparently - always
're-articulated' by the moving finger(s), resulting in a rather percussive, choppy, broken or
rippled sound-surface. Such trills seem to be more closely related to either multiphonic
fingervibrati (,flattement': see section 3.6.2.1), or - whenever the fingering-configuration
changes radically for one of the trill-components - to timbral vibrati ('klangfarbenvibrato': see
section 3.6.2.2), than to multiphonic trills proper. However, many exceptions to these
tendencies will probably be found amongst trills in which the endhole is alternately closed
and opened: the acoustical properties of 'closed register' recorder multiphonics are quite
obviously, and fundamentally, divergent in relation to those with an unobstructed endhole
(because the pipe is modified structurally at its endpoint), thus increasing considerably the
likelihood that such trills - which are about to be featured herein - could support a smooth
and constant lowest pitch.

30 . ... as has been done with the opening multiphonic trill of Ex.3-7, for instance .

31 . Recorder multiphonics with the endhole closed (or covered) are given a thoroughly
exhaustive inspection within section 2.4.3, to which the reader is referred should they wish
to review certain details more fully.

32 . Could this situation of total neglect have come about due to the apparent risk of mouth
injury to the recorder player, concomitant with the overly vigorous performance of such trills
(Chapter 2, en.137)?

33 . See en.29, above .

34 . See also EX .3-12.

35 . This is just an abridged redefinition of the normal - or rather, the recommended - notational
symbology for multiphonic spectral contours that was outlined within section 2.3: see the
commentary to Ex.2-43 in particular.

36 . For an even more explicit example of a multiphonic trill that is linked, legatissimo, to both its
lowest and highest extractable trill-tones - viz., they (as monophonic trillS) appear,
respectively, before and after the trilled multiphonic proper - the reader is referred to EX.2-
66, also from the reuvre of JOrg Sauro In Ex .2-66 (excerpted from Mutaziom), however, this
upper trill-tone is truly constant (E D2) instead .

- 245-
37. Technically, this is (in a sense) an independent performance action : all nuances which
relate to the trilling operation itself are controlled by the instrumentalist's finger-movements,
whereas spectral balance is regulated by their pulmonary mechanism.

38. (Undertone vibrati are covered in Appendix 4.3.3.) To clarify this situation more fully, the
foregoing textual statement appertains to all of those multiphonic trills wherein the top
element of the trill is some sustained single pitch, an 'inverted pedal' : whenever the
multiphonic trill's spectral balance is biased completely towards this sole high pitCh , the
acoustical residue is an undertone vibrato. Hence, turning our attention once again to Ex.3-
8, at the moment when the multiphonic trill's dynamic level reaches "fr' and the shimmering
G-natural cuts across alone, the undertones E b1 and ct
1 (plus - perhaps - a very
muffled resonance at G~ 2) alternate beneath this high note : it is graced with an
undertone vibrato .

39 . Bartolozzi (1982) , pp.70-91 , discusses several of these multiphonic capabilities with

reference to the orchestral woodwinds. (See, in particular, ibid. pp.84-87.)

40 . This latter potentiality is easiest of all to effect when the trilling finger(s) belong to one hand,
but the underlying changes of fingering - which essentially define the multiphonic trill
sequence - occur upon the other hand instead. i.e., these quite distinct fingering-roles are
partitioned between, or allocated to, separate hands: a clear-cut 'division of labour'.

41 . Because of their brevity, these interleaved elements usually appear in the notation as grace
notes (or 'acciaccature').

42 . This resource, though largely unexplored on the recorder, cannot be studied at length
herein , and so must wait for its full explication elsewhere.

43. The notion that is about to be outlined, in truth straddles two (contiguous) architectonic
levels of the music, in a type of conceptual feedback-loop : the idea of 'oscillation between
sonorities' is applied to itself, to yield 'oscillations of oscillations' - i.e. "meta-oscillations".
(Invoking a mathematical definition, metaphorically, what we have here is a 'composite' or
'recursive' function : f[f(x)] , where f(x) = some alternation.)

44 . Random alternations of more than two (monophonic) trill-tones have been employed, for
instance , in a recent work for solo double bass by Brian Ferneyhough : Trittico per G.S.
(1989). Predictably, they are often referred to as 'double trills', or even - sometimes -
'multiple trills ', and are notated accordingly. (In this situation, the old-fashioned 'tremolo'
notation could indeed be useful somehow, particularly if the alternations are methodical.)

45. And of course, it almost goes without saying that the same applies to all of the other
multiphonic trill-elaborations which have been put into this subsection.

46. Whilst multiphonic 'pitch-fluctuations' also are referred to within this section's heading, their
explication can be effectively subsumed under the study of recorder multiphonic
portamenti , for a 'pitch-fluctuation' is nothing more than a short-range portamento in which
the pitch is 'bent' or inflected away from some initial pitch . For instance, the fingering
0-23/---- supports an alto recorder multiphonic encompassing the pitches E~ 1 and
Gl3 - together with a prominent cubic difference tone at about E't\
O. If 1 [the left-hand
index finger's fingerhole] is then shaded slightly, the Gtt- 3 remains practically constant ,
while the E ~ 1 is 'bent' downwards to approximately Eq 1 and the difference tone rises
to pt1 . (I could go on further to split all such pitch-fluctuations into one of two sub-
categories: 'pitch-inflections' which then return to the starting pitch through a reversal in the
direction of the portamento ; and 'pitch-bends' that retain some pitch-differential [relative to
the initial pitch] by preserving the portamento deviation.)

47 . These criteria are summarized in the last paragraph of section 1.4; the Prologue to part 2 is
also apropos .

48. The subject of portamento notation is dealt with quite comprehensively and lUCidly in Stone
(1980), pp .19-21 & pp.63-64 - although it is there labelled "glissando" . Irrespective of
conflicting terminologies, Stone thoroughly explains the full panoply of portamento

- 246 -
 notations, from the completely determinate right through to the highly indeterminate or
approximate , via several degrees of intermediate (pitch) specificity.

49. That is to say, the exact nature of the tongue's (and/or other articulators') intended action,
and pulmonary operation, over the entire portamento event - as well as its periphery - ought
to be properly notated.

50. Examples within the text shall appear in due course; see also the subsection entitled
"Multiphonic Fingerings" amid the "Multiphonic Chart Parameters" of part 2, as well as the
many synthetic constructs of alto recorder multiphonic portamenti in the "Other Multiphonic
Resources" section of part 2's charts.

51 . I strongly emphasize this remark. The provision of these details can be absolutely crucial for
a successful performance of some recorder multiphonic portamenti, as may be confirmed
by an examination of those multiphonic portamenti supplied in the "Other Multiphonic
Resources" chart of part 2.

52 . Recorder multiphonic portamenti cannot, in general, be executed with the breath alone
(unlike many single pitches, which are able to sustain 'breath-pressure portamenti' as well as
the much more common fingered variety) . For virtually all recorder multiphonics - apart from
the handful of exceptions that are highlighted in part 2's charts - changes in breath-
pressure primarily affect multiphonic spectral balance , rather than inflecting the pitches of
multiphonic constituent tones .

53. It must be said that this technical concept, advocating an economical finger-action which
eliminates excessive weight from the fingers, is salutary to traditional recorder playing as
well. In my opinion, it is a very good idea to teach recorder portamento techniques to
students at a fairly early stage in their instruction, because it trains them to always hold the
recorder in a relaxed manner with light finger-pressure , thus increasing their agility of
fingering while minimizing physical strain.

54 . Not unexpectedly, it is wise for a composer to check the viability of any multiphonic
portamento - whatever its direction - with a co-operative recorder player.

55 . It is very important that in the notation of contoured multiphonic portamenti, all multiphonic
constituent pitches - together with their respective graphic pitCh-contours - be included.

56 . To elaborate on this last phenomenon: whenever a multiphonic portamento either ascends

with a continuously contracting interval, or descends with a progressive expansion of
interval, the pitch of any discernible difference tone will automatically glide in the opposite
direction to that of the portamento . (Although it is very often encountered, this lovely
heterodyning effect is actually most noticeable among soft recorder multiphonic
portamenti .)

57 . This factor explains the lack of intervallic stasis in recorder multiphonic portamenti, and is
responsible for the pervasiveness of the multiphonic sideband phenomenon just outlined
in en.56, above.

58 . e.g., ensuring that the multiphonics possess similar intervallic structures.

59 . This would have to be verified by the composer, in consultation with a recorder player.

60 . Whenever such interpolational multiphonics can be produced, it is usually found that they
exhibit comparable degrees of stability - and breath-pressure requirements - relative to the
multiphonic portamento's endpoints. However, certain recorder multiphonics may be
educed from a portamento in legato, without tonguing, when they normally demand a
plosive attack. For such multiphonics, their bipartite vibratory mode is established by the
portamento's initial multiphonic, thence maintained through sheer physical inertia. (The
same phenomenon materializes for some multiphonic trills: see [Chapter 3] en.16.)

61. i.e., fingerholes which are slightly vented, slightly shaded, or approximately half-open.

- 247-
62. I append two similar examples : 0 ~ 1, G ~ 3 with fingering 012.3/4~67, ending a
portamento from E.f 1, G 1j. 3 with fingering 01-3/4-67 ; and A ~ 1, O~ 2 with
fingering 0123/~567 , ending a portamento from B ~ 1, OQ2 with fingering 0123/-567.
In both cases, observe the constancy of the upper portamento component. (See , in
addition, Ex .2-20 as well as the example of a multiphonic 'pitch-fluctuation' given in
[Chapter 3] en.46.)

63 . Wolfgang Witzenmann: Bordun III, "Explanations", p.8.

64 . Two more examples from this category of multiphonic portamento can be found in en.62,
above. Here is yet another, on the alto recorder: the multiphonics E ~ 1, G ~3 (fingering
01-3/4-67) and B 'v 1, G ~ 3 (fingering 0123/4-67) can be joined by way of a
portamento that sustains G ~3 unswervingly.

65. See EX.2-92 as well. Innumerable other examples from this multiphonic portamento family
can be constructed simply by interpolating data from the multiphonic charts of part 2. (Of
course , they will then have to be tested by a recorder player, prior to their definitive
compositional incorporation.)

66. Furthermore , instability here is often concomitant with troublesome multiphonic production
and a mandatory 'tongued' attack.

67. ... as discussed within section 2.4.3. This somewhat unwieldy routine is not irrelative to that
used for procuring - on alto recorder - E ~ 0, as the conclusion of a portamento from
F ~ 1. Such a monophonic portamento is demanded by Hans-Martin Linde in the first
movement of his FOnt Studien, where the performer must effect a "covering of the foot joint
with the knee" {tr. I. S.}; its retrograde opens Arne Mellnas's The Mummy and the Humming-
Bird. (Rowland-Jones (1986), p.70, includes a brief description of the technique employed
for producing [alto recorder] E 9 0.)

68 . See [Chapter 3] en.29 , above.

69 . And further categories of recorder multiphonic portamento are suggested by the

technicalities of Appendix 1.4.

70 . Multiphonic pitch-portamenti comprised of stable recorder multiphonics in particular, are

often able to endure spectral portamenti as well - through a continuous variation of air-flow
discharged by the executant. However, since the basic symbologies of both multiphonic
portamento pitch-contours and multiphonic spectral contours are identical , their technical
combination within a composition poses a severe notational difficulty. A disentanglement of
the graphics will , therefore, be necessary to avoid a potentially confusing predicament. I
proffer the following solutions to this problem : if both of these technical regions are to be
visually represented by waveform contours, then that of the spectral portamento could
instead be made up of a series of dots or dashes (say) , rather than a regular unbroken
curve ; alternatively, the non-standard symbology for spectral portamenti which has been
advocated by Richard Rijnvos - see Ex.2-75 and its commentary - may be adopted.

71 . See Appendix 1.4. (Ascending monophonic 'slide trills' are frequent occurrences in the
honkyoku repertoire of the Japanese shakuhachL)

72. This technical consummation has already been mentioned in Chapter 2, en.106; [Chapter
3] en .70 , above, is also pertinent (in that it puts forward two means of perspicuously
notating such portamento complexes which incorporate spectral portamenti) .

73 . The synthetic examples provided herein , as well as the "Other Multiphonic Resources"
chart of part 2, may serve as useful starting pOints or templates in investigating this
technique'S potentialities . Regarding the construction of trilled multiphonic portamenti in
general, however, a set-theoretic approach must be accepted: i. e., the limitations of both
multiphonic portamento and multiphonic trill production on the recorder will definitely apply
here. Restated in brief , the register-sets of all participating multiphonics need to be
identical, with other production parameters being similar; and the trilling finger-action
naturally has to be practicable. Furthermore , the intervallic ranges covered by these
sonorities are typically not large (lest they break apart) ; in addition , the portamento is

- 248-
 sometimes easier to perform in one direction only. And yet - as for ordinary recorder
multiphonic portamenti , and except where shown otherwise - one can start or finish almost
anywhere within such a sonority's maximum range.

74 . See Appendix 2.2.

75 . i.e., its attack, sustain, or release characteristic.

76 . This technical artifice is peculiar to fipple flutes : because they do not require an
embouchure for sound-production (which is achieved instead through the operation of the
fipple apparatus), the player's lips need not always be held against the instrument while
blowing .

77 . Therefore , composers be warned: check the practicability of such an acoustical

combination with a sympathetic recorder player.

78. The coalescence of a strong vocal sound with an unstable or refractory recorder
multiphonic, for example, does not often meet with practical success.

79 . This latter situation seems to be a much less severe impediment than its obverse .

80 . Mersenne (1635) ; quoted from the English translation (1957), p.308.

81 . Alternatively, the vocal part can be treated as yet another harmonic element. But wherever
the voice is pitched in unison with a recorder multiphonic constituent tone, the outcome is
just a timbral coloration of the multiphonic, of which the main characteristic is a natural inner
liveliness - amplitude modulations - emerging from ostensibly uncontrollable micro-
fluctuations in the voice's pitch .

82. ... as we have already seen in Ex.3-40 , where the voice 's portamento pitch-contour is
simply a rectilinear ascent.

83 . The highest constituent pitch of this bass recorder multiphonic is, in fact , E ~ 2.

84 . ... by up to 51 %, in actuality, given global population demographics.

85. Of course, the main disadvantage here is that the composer loses all control over the timbral
signature of the voice/recorder multiphonic combination, particularly when a specific tonal
quality is desired.

86 . Such a flexible approach is also implied by a footnote to Konrad Lechner's Varianti, quoted
in the text after EX.3-41 .

87 . Jacques Bank: Wave, Preface.

88 . One must accept that for correct, accurate voice-tuning , the production of specific vocal
pitches in this context needs much extra practise time on the part of the executant.

89. See, for instance , EX .3-40 and Ex.3-41 , as well as Benjamin Thorn's The Voice of the
Crocodile ... (for bass recorder player) .

90 . This is the best - and clearest - option when many synchronous pitch-components are
involved. (Naturally, all pitches have to be notatable under the one clef, if they are to be
written together on a single stave .)

91 . See EX .3-39 .

92 . See EX.3-42 and EX .3-43.

93. Helmut Bornefeld : Concentus, Preface .

- 249 -
94. (See Appendix 2.4.) A far more archaic motivation is to be found in the ceramic effigies,
which have survived from antiquity, of Ancient Greek and Etruscan musicians performing
upon the aulos, a reed-activated wind instrument "almost invariably played in pairs, the piper
holding one pipe in each hand and sounding them both simultaneously" [Baines (1974),
p.223]. Baines lop. cit. pp.223-224] then informs us that:

"A great deal of double-piping still goes on today, especially around the Mediterranean and Black
Sea regions ... [these] pipes are ... of the equally ancient 'parallel' kind ... on which the fingers
can span both pipes if desired, and all are sounded with primitive single reeds made by slitting a
tongue in the cane ... Their diversity of playing techniques appears astonishing to the Western
musician brought up to play on his single woodwind instrument; frequently one of the two pipes
has fewer holes than the other, to provide for all kinds of accompaniment from a plain drone to
ingenious harmonic and rhythmic counterpoints ... "

95 . In reversing this operation, though, much less time is needed for an executant to discard
one of the recorders.

9G . However, such fingerings usually demand that the recorder be held in the right hand only,
as the recorder's two sets of double-holes (and/or lower keys) are designed specifically for
the right hand - and it is rare for these double-holes not to be used at any time over a whole
passage of music.

97. A brief amount of time will be needed here to carry out this manceuvre, thence to return the
finger to its standard position; practice should make its execution increasingly deft.
Furthermore, these fingering-patterns are performable with either hand upon alto recorders
and their smaller-sized cognates in the recorder family, whereas the larger instruments -
tenor, bass, and great bass recorders - must be held by the left hand owing to an obliquely
drilled left-hand fingerhole (on the tenor recorder), or keys which have been customized for
the left hand's ring finger (on the bass recorder, etc.).

98 . If one assumes that a great bass recorder can be effectively gripped and played with one
hand alone - and this is, admittedly, a very optimistic assumption at that (even for a male
player with large hands), but something which is clearly out of the question for the
contrabass recorder - then there are exactly seven members of the modern recorder family,
from the garkleinflotlein to the great bass, which impinge upon our calculation: thus, in
theory at least, there are 28 distinct pairings of instrument, precisely (ignoring hand-order).

99 . Recorder multiphonics that arise with the instrument's endhole closed airtight were
examined within section 2.4.3 .

100. See Appendix 7.2.

101. See Appendix 7.G.

102 . One large and influential Japanese manufacturer, Zen-On, has produced plastiC soprano
and alto recorders that are fully operational with either the left hand , or the right hand, only.
Substantial information about such one-handed recorders can be found within Hersom
(1985), Hunt (1981), Hunt (1982), and Tsukamoto (1980) .

103. See Appendix 7.7.

104. Further quotations (of a similar 'schizophrenic' nature) from Bruce Cale's Cullenbenbong,
are located in Ex.2-32 and Ex.4-4.

105. Eric Gross: "Ian's Shenanigan" No. II, "Technical Information", p.1.

10G. See Appendix 3.

107. The hoary subject of recorder articulation, its phonology, historical performance practice,
and stylistic implementation throughout the repertoire, is enormously complicated . The
forthcoming lengthy list of references may be helpful as a point of embarkation in studying
this topic: Arthur (1973), Charlton (1981), Davis (1975), Davis (1983), Ganassi (1535/1956),
Greenberg (1983), Hotteterre (1707/1983), Houle (1965), Hunt (1977), Lasocki (1967),

- 250-
 Linde (1974), Peter (1958), Rowland-Jones (1986), Shanahan (1985), Waitzman (1978) ,
and Wollitz (1982) .

108. I implore composers to investigate, and begin applying, the full array of multiple-tonguings:
the present-day poverty of articulatory nuance in woodwind mUltiple-tonguing sorely needs
correction.

109. The commentary to Ex.2-109 fully explains Serocki's quirkish symbology.

110. See Chapter 2, en .165.

111 . The initial alveolar attack 'd' is, of course, interchangeable with any other suitable attack
phoneme; however, iterative 'reflex' articulations are favoured for tongue-tremoli on the
recorder, owing to their relative evenness and lack of disruption.

112 . Bruce Cale: Cullenbenbong, "Technical Information", p.2.

113 . See Appendix 7.3.

114. This issue is dealt with, less cursorily, in the third paragraph of the subsection from section
2.4.5 entitled "The production of recorder multiphonics derived from 'breath trills"', and
then in Chapter 2, en .160; see also Chapter 1, en.41.

115 . (See Chapter 2, en.159 .) For their notation, I propose the abbreviations "Aflz" and "Uflz",
respectively.

116. "Recorder Unlimited" abounds with mid-text musical examples of fluttertongued recorder
multiphonics , passim. A few more shall be provided shortly.

117. Notation: "(A+U)flz".

118. This apparent paradox is explained further within the subsection headed "Some acoustical
considerations" from section 2.4.5, as well as Chapter 2, en .164.

119. Michael Smetanin's distinctive tablature pictograph calls, in fact, for a double trill wherein the
right-hand index and middle fingers execute an alternating trilling action upon the left-hand
ring finger's key: see Appendix 1.3. (As the commissioner of Spin (0), I proposed this
double-dashed symbology to the composer, and so recommend it for future application by
others in the hope that it shall eventually become the standard tablature notation.)

120 . (See Appendix 7.3.) At a yet higher level of complexity in articulation, the casual
interleaving of fluttertonguing with Morse rhythms and tongue-tremoli could, perhaps , be
within reach of many recorder players.

121. Again , observe Smetanin's notation - which I enthusiastically endorse - for this erratic,
chaotic articulatory interplay.

122. See the final subsection of section 2.3, "Applications of spectral portamenti within more
complex musical events", and Ex.2-70 through to Ex .2-75 in particular.

123 . Hans-Martin Linde: Amarilli mia bella, "Explanation of Symbols".

124. Indeed, multiple admixtures of recorder vibrati are conceivable wherever each of the
player's hands - or even their individual fingers plus the instrument's end hole - is treated
unilaterally, as a discrete entity. (There is the possibility, too, of combining vibrati with other
technical areas in an almost limitless number of ways: 'flattement' with tongue-tremolo, or
'klangfarbenvibrato' plus diaphragmatic thrusts, for instance.)

125. The amalgamation of a small number of recorder vibrati , therefore, generally leads to more
desirable musical outcomes.

126. This same 'Fourier' approach should apply also in compounding diverse vibrato-types.

- 251-
127. Just as a vibrato contour's wavelengthlfrequency and amplitude are graphically orthogonal
in their notation, so too do these two sonic dimensions of a vibrato generally function quite
independently in practice.

128 . The entire group of articulation-generated recorder vibrati is excluded altogether, for
example : see Appendix 4.4 for a brief gloss on these vibrati - and Appendix 4 as a whole,
which provides a full tabulation of aI/ recorder vibrati.

129. Whilst an (articulation-generated) "smorzato" upon a recorder multiphonic - i.e. the

multiphonic is subjected to either jaw or labial vibrato: see Appendix 4.4.2 - is very similar in
acoustical effect to certain air-column multiphonic vibrati, their vibrato mechanisms differ
entirely : phonetically speaking , air-column vibrati operate with a pulmonic or glottal
mechanism, whereas jaw vibrato utilizes a mandibular mechanism and labial vibrato employs
a bilabial mechanism.

130 . See sections 2.1.2 & 2.3.

131 . Thus, all of these vibrati could be regarded as derivatives of either aspirant or vowel (glottal)
articulations, leaving only two basic recorder vibrato categories : articulation-generated
vibrati , and fingering-generated vibrati (etc.).

132 . Further examples of multiphonic air-column vibrati can be found in Ex.2-37, Ex .2-40, EX .2-
46, Ex .2-47, Ex.2-56, Ex .2-101, Ex.3-11, Ex .3-28, and Ex.4-12 (which also includes a
'senza vibrato' directive), et passim.

133. In fact etymologically, chevroter stems from the French chevre, a goat.

134. The complete armoury of fingering-generated recorder vibrati, and others dependent upon
fingering-conformations, is enumerated in Appendix 4.3.

135. See Chapter 3, en.6.

136. Hotteterre (1707); quoting from the English translation (1983), p.21, fn.9 :

"The French word flattement, as used here, refers to a type of finger vibrato which was used to
embellish tones and add life and vibrancy to them .",

and ibid. p.45:

"Vibrati [flattemen~ are produced almost like the regular trill, with this difference that the finger is
always raised at the end ... In addition, it is done on holes which are further away, and some on
the edge of holes. Contrary to the trill, it involves the lower note."

137. Hence , for the sake of notational fidelity, a flattemenfs vibrato contour should be drawn as
an inverted triangular waveform.

138 . See, for instance, the final multiple sonority of Ex.3-42, which is notated as a multiphonic
trill, but is , in effect , a multiphonic fingervibrato that acts predominantly upon the lowest
component tone .

139 . Neil Currie : Stopping by Woods on a Snowy Evening, Explanatory Sheets, p.2.

140 . See section 3.8 and Appendix 6.1.

141 . Neil Currie : Stopping by Woods on a Snowy Evening, Explanatory Sheets, pp.1-2.

142. See the concluding paragraphs of section 3.2 (in the subsection captioned "Some more
sophisticated schemes involving recorder multiphonic trills") .

143. This complex resource is not unrelated to Kazimierz Serocki's random fingering effects with
recorder multiphonics in his Arrangements and Concerto aI/a cadenza - see section 3.9.2 .

144. The German expression klangfarbenvibrato translates to 'tone-colour vibrato' in English.

- 252-
145 . This provides a vital clue as to the method of deriving multiphonic klangfarbenvibrati from
charts of individual recorder multiphonics: test, in alternation, pairs of differently fingered
multiphonics that embrace (near-)identical pitch-sets, selecting only those pairs for which a
timbral transformation is the predominant feature. (Occasionally, there might be switching
between adjacent registers for some multiphonic tones within the primary and secondary
components of a multiphonic timbral vibrato that has been gained through this process.)
And, as with the flattement, timbral vibrati can be further elaborated by introducing
additional multiphonics which meet these criteria, mingling them together in various ways to
produce random multicomponent klangfarbenvibrati ("bisbigliandi" [Artaud and Geay
(1980), p.29]), or well-ordered timbral 'meta-oscillations' instead.

146. Read, within section 3.2, the last paragraph of the subsection labelled "Fingering
considerations".

147. Recorder undertones, and their relationship to the instrument's multiphonics, have been
briefly surveyed in section 2.3, within a subsection headed "Undertones and their
notation". Acoustically as well as timbrally, monophonic undertone vibrati on the recorder
are not unlike the flute's unison 'harmonic trills', a contemporary ornamental device which is
in danger of becoming a vacuous cliche, particularly among certain Italian composers (such
as Salvatore Sciarrino) and their disciples. To be fair however, Sciarrino's AII'aure in una
lontananza (1977), for solo alto flute, is perhaps both the prototype and ne plus ultra
amongst woodwind compositions built upon such sonorities.

148. As mentioned in section 2.1 .3, this will often be the case for loud recorder multiphonics in
general, as well as for members from the genus of 'covered register' multiphonics (briefly
discussed within section 2.4.3). The so-called 'Wind Rush' effect - see Appendix 5.3 - is
also pertinent here.

149. This symbology - an elaboration of the one provided in Stone (1980), pp.186-187 - is due
to Richard David Hames. Its graphic uniqueness, as well as its higher level of precision and
flexibility, makes it preferable, in my opinion, to the oft-seen system of air-noise notation in
post-1960 recorder composition (the symbology of which was established and
disseminated by Michael Vetter, being simply based upon the "X" symbol). However,
because of the proliferation of diamond-shaped symbols in recent flute music to indicate air-
noise, for the sake of uniformity, many composers might elect to modify the Hames
symbology by replacing circles with diamonds.

150. O'Kelly (1990), p.99.

151 . ibid . p.100.

152. Generally, the production of air-noises with recorder multiphonics is quite independent of
articulatory considerations: any suitable articulation should be compatible with most breath-
sonorities.

153. My interpretation that these symbols denote a breath-coloration is confirmed by Schmidt

(1981), pp.50-51. (And see en.149, above.)

154. Margolis (1976), p.121:

" .. . the player [is required] to hold the instrument at an angle (deflected horizontally, usually
rightwards) and form his lips to a consonant midway between [English] f and v (the so-called
Spanish v). The sound is one of equal proportions of tone and rushing air."

155. See Appendix 1.6.1.

156. (See Appendix 3.1 and 5.2.) Margolis (1976), pp.120-121 :

"The sounds's' and 'sh' may be used as articulations in two ways : Either as initial attacks, or
sustained [air-]noise. In the latter, the player hisses or shushes ('s' and 'sh', respectively) for the
duration of the note."

- 253-
157. Fricative and sibilant air-noises can be combined with all other types of breath-sonorities;
they are able to be effectuated, or modified, instantly. Moreover, sustained sibilant and
labiodental ['f'] sounds of a slightly different colour and resonance may be generated by
maintaining the appropriate tongue position and clenching the teeth. This expedient
lowers the frequency of the noise's formant peak slightly, and lends itself to various kinds of
transitions, articulations, and air-noise vibrati.

158. This fact is easily verified by carrying out the various air-noise modulations with the mouth
alone, independently of an instrument. Naturally, troublesome elisions here can be made
smooth and continuous through a brief insertion of some vowel midway between the two
extremities of air-noise coloration. Again, these elisions yield unique manifestations of air-
noise vibrati - between different types of sustained fricative or sibilant sound, or between
various degrees of fricative ness or sibilance.

159. Brosnahan and Malmberg (1970), pp.1 03-1 04. (I have altered the authors' International
Phonetic Alphabet symbols - and some of their other symbols as well - within the quoted
text, in order to bring it into accord with the symbologies for micro-articulation and frequency
that are being employed throughout this treatise.)

160. See Appendix 6.1.

161 . See EX.3-81 .

162. Neil Currie : Stopping by Woods on a Snowy Evening, Explanatory Sheets, pp.1-2 .

163. See Appendix 6.3.

164. Further details can be found in Appendix 6.4 and 6.5, respectively.

165 . See Appendix 1.5.

166. See Appendix 2.1 .

167. See Appendix 5.1 : the air escaping from the window impinges upon the hand there,
creating fricative noise.

168. The criticality of hand-placement over the window also renders the task of accurately
documenting such multiphonics quite burdensome.

169. The question of notating window manipulations is indeed vexatious. Certainly, there is no
consensus or standardized symbology. Benjamin Thorn , nonetheless, has proposed to
this author a clever symbology based upon variously angled sectors of a circle (as used in
floor-plans to show door openings): a 90 sector would correspond to an unobstructed
window; the smaller the angle, the more the window is to be covered over with a flat hand.
(A variant of this notation is utilized in Thorn (1991), p.9 & p.71.) For an arched hand at the
window, however, some other appropriate pictograph could be pressed into service. At any
rate, most would probably agree that the graphic notations for window manipulation which
have appeared thus far are not very satisfactory.

170. See Appendix 4.3.7. The notation for window vibrati is elucidated within the introduction to
section 3.6.

171 . This precept is not necessarily equivalent to 'improvisation', where instead, a player taps
into their previous experiences and memory, utilizing what is stylistically acceptable within a
particular performance practice or genre.

172. Makoto Shinohara, in his solo tenor recorder composition Fragmente , deploys some
indeterminate multiphonics within a global mobile form consisting of fourteen "fragments",
the order of which is rather more strictly controlled than in Hirose's Meditation: see EX.3-23.
Although Fragmente's endnotes claim that the fragments "may be linked in any desired
sequence, with the exception of fragment 10 which can only be played after the middle of a
version", Shinohara in fact lays down various rules as to whether or not a fragment may
begin and/or end the work, including the instruction that "each fragment is to be played

- 254-
 only once". Moreover - unlike Meditation - the fragments "are linked without a break, unless
a rest [pause] is indicated between them" , the length of which "can vary from 2 to 5
seconds". JOrg Baur's Mutazioni, likewise, exhibits a substantial usage of multiphonic
indeterminacy within a free variation form. Michael Vetter, in his introductory "Remarks for
the Performance of the Work" explains :

"The Mutazioni are in their complete disposition aleatoric. The sequence as well as the choice of
variations remains free list freigestellt]. Tempo and Dynamic are occasionally stated as a basic
idea, their shaping and elaboration likewise being left to the player. The present edition of
Mutazioni leaves the individual variat ions to appear in the original ordering, as at the
composition's world premiere (on May 14, 1962, in Munster)." {tr. I. S.}

(I also cite Kazimierz Serocki's Arrangements, yet another recorder composition replete with
indeterminate sonorities in which the order of its sections may be freely rearranged, as the
players wish . [Full details are provided within the work's supplementary booklet.])

173. Kazimierz Serocki: Concerto aI/a cadenza, "Explanation of Symbols", p.6. (These notations
for indeterminate multiphonics are also to be seen throughout Serocki's Arrangements. )

174. Kazimierz Serocki : Arrangements, "Abbreviations and Symbols", p.6. Indeterminate

multi phonics such as these are pervasive throughout Arrangements.

175. In Ex.3-98 and Ex.3-102 , some sense of multiphonic pitch is contributed, whereas Ex.3-99
designates each multiphonic's fingering.

176. UE 15627, Universal Edition , Vienna , 1966.

177. Kazimierz Serocki : Arrangements, "Special Techniques", p.7.

178. Kazimierz Serocki : Concerto aI/a cadenza, "Special Manners of Playing", p.6.

179 . ibid . p.5 .

180 . Kazimierz Serocki: Arrangements, "Abbreviations and Symbols", p.4.

181 . Kazimierz Serocki: Impromptu fantasque, "Abbreviations and Symbols", p.5.

182. For multiphonic events within Mutazioni, the period of which is determined by breath-
constraints , see Ex.2-66, Ex.3-19, and - in particular - Ex.3-75 , which is accompanied by my
translation of Vetter's prefatory explanation regarding Baur's phrase-enclosing rectangular
boxes.

183. For a musical example showing this idea in practice, see Ex .3-121 .

184. See Appendix 1.6.7.

185. Thorn (1991), p.14. See also Ex .3-92 (bar 52).

186. Kazimierz Serocki: Impromptu fantasque, "Abbreviations and Symbols", p.5. See also Ex .3-
98 .

187. Jana Skarecky: The Sign of the Four, "Preface", p.3.

188. See , for instance, Ex.2-48, Ex .2-49, and Ex.3-115 .

189 . The absent foot joint, after all, embraces only the lowest pair of the recorder's double-holes.

190 . See Chapter 2, en .134. Ex.3-125 is quoted straight from Clemencic (1971), p.227
[Example 35] .

191. See Ex .2-95 and its commentary.

- 255-
4. COMPOSITIONAL STRATEGIES AND APPLICATIONS FOR
RECORDER MULTIPHONICS:
SOME MISCELLANEOUS POSSIBILITIES

4.1 Introduction

It should be stated from the outset that the following discourse cannot in
any way pretend to encompass all imaginable compositional applications
and strategies for recorder multiphonics. Many composers have already
demonstrated that this technical resource is fabulously rich in musical
possibilities; there is no reason to assume that they will cease to find new
and intriguing ways of utilizing recorder multiphonics in the future,
beyond those presented in this chapter. 1
Interested composers will also soon discover that several of the concepts
outlined in the ensuing discussion may be essentially incompatible with
one another, or could be useful only to those composers who embrace a
particular musical aesthetic or compositional philosophy. Intrinsic merit
is not a relevant concern here. A composer, for example, who insists upon
a predictable and replicable musical outcome, accurate in relation to a
well-defined, precise set of notations and performance directives, might
consider a specific compositional strategy for recorder multiphonics to be
in accordance with these requirements, hence potentially valuable.
Another composer, with Cagean orientations in which the creative process
or performance gestures are conceptually more important than the
resultant sound or its ability to be meticulously reduplicated, may, on the
contrary, decide that the same strategy is worthless or in diametric
opposition to their artistic purpose. (There is, as one might expect, a
continuum between these extreme compositional viewpoints.)2

Because recorder multiphonics differ fundamentally in timbral profile

from the usual monophonic recorder sound, they do require a substantial
degree of sensitivity in their compositional treatment. Unfortunately, one
encounters in recorder compositions far too many instances which
demonstrate an alarming lack of such sensitivity. Miscalculations
involving recorder multiphonics have been found to mar the compositional
intent at even the most basic processual levels: harsh multi phonics can
utterly ruin a proposed (local) tension-flow within a musical line if they are
not painstakingly deployed, an obvious consideration which composers
seem to overlook frequently. Composers ought to acquire, within their
aural and intellectual imagination, a complete and perfect knowledge of
the sound, behaviour and technical attributes of each recorder multiphonic
that they wish to employ, prior to its placement within the mesh of a
musical composition. 3
As a radical departure from traditional sonorities, it could be logically
argued that multiphonics demand a radical and fundamental re-
evaluation of the artistic contexts into which they might be placed. Such
resources cannot merely be grafted onto traditional sound-worlds, one may

- 256-
conclude: new, subtle and advanced formal procedures for recorder
multiphonics will be required, in which composers avoid vulgar 'effects',
the 'shock of the new', or other crass tactics, by intelligently, tastefully and
- above all - musically integrating every aspect of the instrument's
character (along with its selected multiphonic capabilities) into the very
structure and conception of the work, at various hierarchical levels. 4 This
poses a major artistic challenge to contemporary composers, which must
be met if the recorder and its concomitant technical arsenal and musical
repertoire are to grow meaningfully.5

Unfortunately, it seems that many contemporary, post-Modernist

composers - and particularly those working with the paradigms of tonality,
minimalism or 'the New Romanticism' - have altogether rejected
woodwind multiphonics as a viable musical possibility. This post-
Modernist hiatus is, apparently, often justified on the grounds that
multiphonics have a conspicuous association with certain, arguably
unsuccessful, experiments carried out by the 1960s musical Avant-Garde. 6
Whilst one could assert that within the musical climate of the 1960s, the
startling sonic impact of the newly exploited multiphonics alone might
conceivably have possessed some musical validity, such reliance upon
crude 'shock value' (or any other kind of aesthetic guerrilla warfare) is
obviously no longer sufficient to sustain worthwhile musical thought, since
the sound'-world of the multiphonic has now become totally familiar. It is,
on the other hand, also clearly erroneous, obscurantist and ascetic to
discard outright such an instrumental technique, simply because some
Avant-Garde composers failed to adequately meet the challenge of creating
fine music, of enduring interest, with this technique at that time.
Multiphonics, inherently neither 'good' nor 'bad', are a perfectly
neutral acoustic entity, which may be charged with positive musicality, or
transformed into a negative irrelevancy. They, and indeed any sound, can
also be infused with fresh meaning, or stripped of unwanted cultural and
iconic accretions: one merely deploys, with infinite care, artistry and
sensitivity, such resources within the chosen artistic sphere'?

4.2 Multiphonics and Pitch Organization

Microtonal pitch-sets defined by recorder multiphonics

The aesthetics of Western music has now reached a point where non-
traditional performance techniques, such as woodwind multiphonics and
alternative-timbre or microtonal fingering possibilities, have achieved a
broad degree of acceptance. Consequently, it is no longer tenable to regard
wind instruments as being fundamentally monophonic or limited in
timbral scope. It is now also unthinkable to assume that a pitch-set
generated by any wind instrument will automatically fall within the
narrow strictures of 12-tone equal temperament: all woodwinds are self-
evidently microtonal in nature. 8
When one examines the pitch-capabilities of the recorder in particular,
it soon becomes apparent that this aspect of the instrument is exceptionally
malleable: the recorder is able to operate within, or define, virtually any
perceptible scalar structure. 9

- 257-
 Because almost all recorder multiphonics are naturally microtonal, the
intonation of an ordered set of multiphonics arising from predetermined
recorder fingerings could, for example, be used to form a unique
microtonal scale or mode. 10 The precise intervallic nature of this scale will
be circumscribed by the acoustical characteristics of each individual
recorder, and so will probably vary from instrument to instrument (as I
have already declared within the prefatory notes to my short multiphonic
study Helical Ribbon):
"Microtones. The 22 multiphonics employed within this piece (as well as any
resultant combination tones) define a unique micro-intervallic pitch-set, which will
be transformed whenever these multi phonics are generated - with the given fixed
fingerings - upon any alto recorders that encompass different structural
characteristics. "

Wherever pitch is assigned parametric primacy in a composition, such

an inconstancy of instrumental response for this - or indeed any other -
crucial multiphonic parameter, must be taken into account by the
composer. 11

Alternatively, one could adopt the standpoint that the same multiphonic
set produces parallel microtonal structures in different registers of the
recorder:

Ex.4-l. Kikuko Masumoto: Pastorale for Recorder Solo. p.13.

(Tenor recorder)

Masumoto has chosen a set of seven distinct fingerings for the

production of multiphonics. (They are numbered in the score so as to avoid
a tedious repetition of fingering tablatures.) The ensuing micro tonal
pitches delineated by each resultant multiphonic, which do not actually
correspond to those written by Masumoto, yield two parallel (microtonal)
modes. According to the score's explanatory notes, the instrumentalist is
free to vary the given fingering-configurations, presumably in order to
replicate accurately the specified pitches - though the new pitches will still
be microtonal:

- 258-
 "In multiple-sound playing, it is necessary for the performer to devise his own
fingering suitable to the individual instruments." [sic]

Serial procedures with recorder multiphonics

For composers whose technical repertory includes serial procedures for
pitch-organization, recorder multiphonics permit, in theory, the
verticalization of members of the pitch-set, in addition to their linear
placement: 12 recorder multiphonics are capable of functioning as
harmonies within a serial grammar. This strategy has real potential, for
the pitch-content of most recorder multiphonics is transparently
discernible, thus allowing at least a feasible perception of the serial
morphology.13

'Precompositional'14 conclusions regarding multiphonic choice in

relation to the pitch-set will need to be reached. Composers who work
strictly within the dodecaphonic 15 milieu, for instance, may wish to utilize
only those multi phonics which avoid (prominent) microtones. In the light
of my previous remarks concerning the microtonal intonation of many
recorder multiphonics, it could, however, be posited that the serialization of
a set of microtones is the most natural or logical avenue for composers to
take. There is certainly no rationale in restricting oneself to 12-tone serial
strategies alone.
Irrespective of the pitch-set's intervallic properties, composers will,
nevertheless, have to deal again with the problematic issue of pitch-
discrepancy between different instruments. Some degree of flexibility in the
compositional system will probably be necessary: a (slight) relaxation of the
serial parameters, or a modification of the initial pitch-set, could be
sufficient to offset such difficulties.

4.3 Some Multiphonic Timbral Resources

Timbral compounds involving recorder multiphonics

Research in the fields of Psychoacoustics, Information Theory and
computer music, has demonstrated that much of the information in a
sound which serves to give it a distinctive timbral profile is actually
contained in transient phenomena within the attack (and release)
characteristics of the sound's envelope. Consequently, the timbral
perception of any given sound may be radically altered, and new composite
timbres can be synthesized, by acoustically masking or modifying the
attack transients of pre-existent sonorities - without necessarily resorting
to electronic sound-processes. The success of this procedure is dependent
upon an extremely careful approach in correlating the attack, (initial)
dynamic level, spatial characteristics, and envelope of each constituent
timbre.

- 259-
Ex.4-2. Jun-ichi Miyagi: Aion-m. p.l.
(Soprano recorder and shakuhachi)

-ty~
1:.----

(0124)
ff f

>-

In this example, the accented x-note head denotes a shakuhachi mura-

iki , a type of loud, rather sustained, overblown, explosive breath attack
which is peculiar to that instrument. 16 The mura-iki, in overlapping
slightly with the soprano recorder multiphonic, obscures the multiphonic's
attack, thereby disguising, provisionally, the recognition of its natural
timbre: the multiphonic momentarily sounds somewhat akin to the after-
resonance of a bell. This multiphonic - like all bell sounds - has an
inharmonic spectrum; 17 the mura-iki appears to enhance its inharmonic,
latent bell-like nature by temporarily making vague the multiphonic's
normally immediate timbral association with the recorder. A similar
process occurs at a later point in AWn-III, where the shakuhachi doubles
(one octave lower) the upper pitch of the soprano recorder multiphonic.
Again, this doubling - together with the instruments' corresponding legato
articulations - effectively masks the attack of the multiphonic, and renders
it bell-like:

Ex.4-3. Jun-ichi Miyagi: Aion-m. p.4.

(Soprano recorder and shakuhachi)

f (01'2.356)
ff

-, .

:f

- 260 -
 Alterations in the timbral perception of recorder multiphonics can be
made even more durable, to the point of achieving their complete synthesis
with other sonorities:

Ex.4-4. Bruce Cale: Cullenbenbong. p.l.

(Bass recorder and 7 Japanese Temple Bells [Rin) : 1 player)

1
au LLE: N BEN BON G : lop. 67.1

:?>Z~ ?>zj
. . ... . I
I
'(

2.

~
L.fI.{... ~)

9~

I
0

.. ;"" , S

L "'t.f

Cale requests the soloist to play the bass recorder multiphonics - marked
"(MF.)" - with the left hand alone,18 whilst simultaneously striking the rin
with a wooden beater that is held in the right hand. (For physical stability,
the bass recorder should be supported with a neck sling.) Because all
attacks, decays and dynamic levels are matched meticulously, a non-
ephemeral conflation of the multiphonic and bell sounds into a single,
unique sonority is achieved - even though the spectral balance and lowest
pitch of each multiphonic change continually. It is entirely probable that
the blending process is assisted by the inharmonicity of both timbral
components.

- 261-
Ex.4-5. Benjamin Thorn: Canard-canard-. No.1, p.4 (bar 64).
(2 Soprano recorders)

,
~..o..
l
S1
f to
0


00

~? ~.Q..(
S)l
J
f ~CJ
0


0

Here, the composer, through a precise coordination of attack and

dynamic levels, achieves a perfect coalescence of two very similar soprano
recorder multiphonics, both of which incorporate prominent amplitude
modulations. (These modulations also seem to aid the process of timbral
melding: the approximate pitches of audible combination tones are given
with rectangular noteheads; beating is indicated in the usual manner.)
Moreover, the minute acoustic discrepancies between these two
multiphonics generate further binding amplitude modulations and
phasing effects, which interact in a highly complex manner with the
multi phonics' innate modulations, and so help to fuse these sonorities even
more effectively into a unified timbre.
The creation of fresh, complex timbral resources and sound-masses
through the subtle mixing and alteration of simpler acoustic units is,
without doubt, an elemental technique of composition and orchestration in
twentieth-century Western music. 19 Only a few contemporary composers,
however, have so far exploited recorder multiphonics in this way, although
the potential application for woodwind multiphonics in the abiogenesis of
unique timbral amalgams seems to be practically infinite, and definitely
warrants further investigation.

Resonance and spatial modulation of multiphonic timbres

Another means of altering the timbre of recorder multiphonics involves
the modification of their spatial properties. Apart from the myriad

- 262-
possibilities that spring from electronic sound-manipulation,2o one method
of achieving a spatial modulation requires the placement of a multiphonic
into an artificial reverberation field defined by some other instrument's
natural resonance characteristics. A grand piano, for instance, may be
utilized solely as an acoustical chamber or reverberation unit into which
(loud) recorder multiphonics are directed. In this situation, whenever the
sustaining pedal of the piano is depressed so that its strings are no longer
damped, sympathetic resonances within the piano's strings and sound-
board are created, which echo or sustain the multiphonic sonorities as if
they were originally projected into some highly reverberant acoustic
space. 21

4.4 Multiphonic Textures

Introduction
In writing melodic lines for solo woodwind instruments (traditionally
thought of as being strictly monophonic or monodic), it has long been a
conceptual aim of composers, by diffracting these single musical lines in a
variety of ways, to create multilayered vertical architectonic structures
which are perceived as a plurality of musical lines operating
simultaneously.22 Conventional methods of achieving this (asynchronous)
linear diffraction have included the agglomeration of melodic pitches into
widely separated registers, plateaued dynamic levels, as well as a clear-cut
differentiation of timbre and/or articulation.
Multiphonics now afford composers the opportunity of constructing
truly synchronous multilinear musical structures with solo woodwind
instruments. Under such schemata, multiphonics can be treated
exclusively as harmonic entities.

Bipartite textures from a solo recorder

Apart from the textural possibilities which arise from the spectral
portamenti of certain recorder multiphonics,23 the intelligent embedding of
recorder multiphonics - in particular, those with rapid speech
characteristics - into a solo melodic (or monophonic) line, often permits the
creation of genuine and effective two-part writing, or counterpoint:

Ex.4-6. Colin Sterne: Meadow, Hedge, Cuckoo. p.4.

(Alto recorder)

Double Time ())= ca. 144)

Jazzy Rough. Crude
[ toot stomo or thi f,jh 5 180 J

~:M' i,'it p' Wfd,drJ {~, ,d{g,

If 1
5

- 263-
 In this example, the single rapidly speaking multi phonic ([slightly
sharp] C-sharp, E-natural) seems to function as a uniting element within a
melodic line that is formed upon two distinct registral planes: the
multiphonic simultaneously links, or straddles, these two registers.
Similar instances of non-illusory, efficacious two-part writing for solo
recorder, resulting from an astute usage of multiphonics, are provided in
the next two examples:

Ex.4-7. Peter Hannan: RSRCH 12/84 Dream. Approximate

transcription of the opening passage. 24
(Tenor recorder)

N = no.-",,,,) h''3e,.;,,'3 '

~
0 N

0
N

0
N
'0
N

0
0
-
0
0 0
0
0
0
0 0
00
00
00
00
00
00
00
00

Later on in this composition, Hannan fabricates a bubbling polyphonic

texture that consists of a low (lst register), continuous melodic line set
against another, somewhat discontinuous melodic line in the instrument's
3rd register. This high, sporadic pitch-sequence (which determines the top
part of the polyphony) is derived from the upper component tones of rapidly
speaking multiphonics generated from the given 1st-register fingerings.
Both lines are confined to a very narrow gamut:

Ex.4-S. Peter Hannan: RSRCH 12/84 Dream. Very approximate

transcription: from section 2.24
(Tenor recorder)

J:: CC>, . \05'.

efc .

N

N

N
N

o o
-
o o o
o o

0

e.eo .0
00
eo
eo
00
e
.0
eo
00
00
00
eo
00

- 264-
 There are, in general, numerous convincing bipartite textures that can
be fashioned from the multiphonic resources of a solo recorder. As we have
seen before, simple parallel two-part textures which arise from carefully
chosen multi phonic structures, are a perfectly natural consequence of the
instrument's multi phonic capabilities. 25 In particular, (legato) sequences
of recorder multi phonics involving obviously related fingerings, in which
the set of registers that contain the constituent multiphonic elements
remains constant, often give rise spontaneously to parallel harmonic
motion. 26

Conversely, one can also order a progression of recorder multiphonics

so that the intervals between their defining pitches expand or contract,
thus allowing simultaneous 'contrary motion' between two fluid voices. (In
this circumstance, the pitch of either the upper or the lower part, as
demarcated by each multiphonic, could instead remain static, if desired.)
By combining, and carefully regulating, the intervallic systems of
parallel and contrary motion between chains of multiphonic pitch-
components, it should be possible, therefore, to consummate a much more
refined polyphonic usage, for which I propose the generic description
'bipartite pitch-loops'. This concept (first applied, it seems, by Chris Dench,
in his solo flute composition Sulle Scale della Fenice) entails a
superimposition of one layer of repeated, or 'looped', pitch-sets over
another. However, both the pair of layers - stemming, respectively, from
the upper and lower constituent tones of a series of multiphonics - and
their internal 'loops' (which may be scalar and/or microtonal in character)
are made to interact in such a way that they ostensibly become independent
of one another: bipartite polyphony is simulated, because the number of
pitch-elements within each cyclical 'loop' is not necessarily uniform; and
'loops' belonging to different layers are deployed so their endpoints will be
out of phase with each other, or not precisely concurrent. 27 (Further
textural sophistication might even be attained here by introducing
multiphonic spectral contours which gradually reveal, or shroud, various
'loops' as the process unfolds; an insertion of some well-allocated rests or
caesurae among the 'loop'-tones [by rhythmicizing multiphonic spectra]
would also help to promote the sense of each layer's chronomorphological
unilaterality.)

Multiphonic textures involving two or more recorders

Whenever a composer requests multiphonics from two or more

recorders, the order of complexity and sheer variety of the attendant
textural possibilities increases exponentially; multiphonic spectral
portamenti are valuable resources which bestow even further textural
enrichment. The potentialities here are bounded only by the composer's
imagination. As a starting point, one could commence with the solo
recorder multiphonic textures just discussed and then apply them
independently, one atop another, to every recorder in the global
multiphonic texture. Or, one might instead initiate, in abstract, a
congruence between the abovementioned single-recorder textures and an
ensemble multiphonic texture, whereby each constituent pitch within a
solo recorder's multiphonic is 'mapped' to a whole multiphonic in the
ensemble. 28 This proliferative approach focusses upon the viability of

- 265-
constructing layers of recorder multiphonics that move polyphonically or
in contrary motion against one another, for example.

(a) Multiphonic homophony

Chronometrically uniform (or 'homophonic') textures of recorder

multiphonics explore the fascinating sonic region between harmony and
timbre: the pitch-elements of the texture could predominate, engendering
tangible harmonic structures; or highly complicated timbral sound-
masses may be forged in which all multiphonics are fused together. 29 The
perceptional outcome, which might well lie anywhere between these two
extremes, is, as one would expect, in large part governed by the specific
acoustical nature of the multiphonics themselves. Such textures -
presumably because of their intricate network of inherent sidebands and
phasing effects - are often acoustically more effective than dense clusters of
equivalent single pitches. This worthwhile textural resource is certainly
capable of producing some marvellous sonorities, which need not be
exclusively loud, strident or forceful: with an appropriate choice of recorder
multiphonics, one can, for instance, readily generate eerie, gentle or
ethereal homophonic textures. In any case, the range of available timbres
is, undoubtedly, immense.

Ex.4-9. Benjamin Thorn: Chasing.... p.2 (bar 34).

(Alto. Tenor and Bass recorders)

() ~
i=
~
(=/, ~)
-
,
A
J
f


- 0

00
00
(.)
~ -/-.
,
n
9~ ~
-
T
J
f
0


0
-


0
0
00



n Jl- 11-
(.)
,
J
<J
~ .... .
.f

0

00

0

- 266-
 Within a purely homophonic texture, Thorn here achieves a sonic effect
of great impact. The multiphonics comprising each vertical column are, in
addition, very strongly coupled to each other. When one examines the
pitch-content of the second column in particular, it becomes clear that the
abundance of mistuned unisons and octaves alone guarantees a
conspicuous presence of beats and/or difference tones which help to alloy
its multiphonic sonorities into a unified, amalgamated timbral object or
sound-mass.

(b) Multiphonic polyphony

An interaction of several recorder parts may, in contradistinction to the
above, yield multiphonic textures which are more-or-Iess polyphonic,
whereby curvilinear sound-bands composed entirely of multiphonics move
against one another with some degree of rhythmic independence.
Temporal structures designed to produce multiphonic 'hocket' effects -
which are also able to incorporate a pronounced spatial counterpoint
according to the recorders' physical disposition - illustrate just one of the
possibilities here, among the panoply of polyphonic textures that are
available. (Again, considerable timbral and perceptional diversity can be
achieved with each textural situation.)30
The three examples which follow demonstrate only a handful of the
multiphonic textures that may be fabricated for a recorder ensemble. 31
Moreover, the multiphonic textures depicted by these examples are often in
a continual state of flux, and, skein-like, might therefore exhibit both
homophonic and polyphonic characteristics.

Ex.4-10. Benjamin Thorn: Chasing.... p.2 (bar 40).

(Alto . Tenor and Bass recorders)

f) ,., -
A
J

f


-0

00

nr, ~-'L
l'
j

f

-

0

00

.
()"

~....,.
J

o
- 267-

 A cascading multiphonic texture: the multiphonics, which are
sustained until the end of the bar, enter successively.

Ex.4-11. Jiirg Baur: Tre studi per quattro. No.3, p.10 (bars 13-16).
(Soprano. Alto. Tenor and Bass recorders)

Andante rubato (Akkordverdichrung) 23

....--... ....--... .....-.- ......---.. ,~......---.. ....--...
ull 123 (2) *) f.2 123 12 123 123 12 12 *)....
- 123
"
It. -e- --- ___ :G- cresco il
.- . 1 ---------
p1 *) ~ *)~
*)~. *)t ~ t :: ::-
"
It. pi I
- ----- -I - .- .- cresco
:...
*) ~
*) 0::
1
*) ..
=-
* ~ ..
=
. . --- .. _--
~A ]if -r- -r-,r-'- I I
IJ.
yesc
1 _
T T
*)

m
'\i
J-e
p cresCo
Pi
r ~.

"Akkordverdichtung": literally, "chord condensation" - a dense,

sustained, four-part multiphonic interplay. The multiphonics themselves
are derived from the standard fingerings for each of their given lowest
pitches (although this technical point is not actually stated anywhere in the
score , and the fingerings are not provided). However, the multiphonics '
upper constituent pitches may not, in practice, correspond exactly to those
written.

Ex.4-12. Werner Heider: La Leggenda di Sant'OrsoIa. p.10.

(3 Tenor recorders)

- 268-
 1 3
T T
I..-'----(:-,<-~I mp--===: :,' .m,."p,- - -=----;;
I~:::-'I--;;~
;:::-:;""
I .- "'f

~~~~:
mp~~~~~~
i ~ : s.v. _ . nip mf

~f ===- "'1'-=
Ed . Mak Nr. 1525: Hc:idc:r. U. LEGG ENDA O[ SANrORSO LA

In requesting multiphonics from three tenor recorders, it is, evidently,

Heider's intention within this passage to emulate the character and
texture of a chorale: "quasi corale" [sic]. Breath-generated vibrati ("molto
vibrato", "con vibrato", "senza vibrato") and arresting spectral portamenti _
in which the balance within the texture of the individual multiphonic
pitch-elements changes in direct accordance with the specified dynamic
levels - provide further textural refinement.

According to the composer's wishes, every multiphonic here should also

be instilled - subject to dynamic requirements - with a hazy, nebulous or
indistinct quality wherein the spectral balance favours the (precise) lowest
pitch-component:
"Harmonics; (exact keynote [Grundton] with formation of a slightly hazy
additional chord)."

The multiphonic fingerings are supplied within the score's explanatory

preface. Again, these fingerings may not give the desired results; Heider
has nonetheless made sensible provisions for such an eventuality:
"Note: Various models of instruments (different bore) require modifications of this
fingering chart. A slightly different harmonic content is possible." [sic]

- 269-
4.5 Some Applications for Multiphonic Sidebands

Introduction
Amplitude modulation is an absolutely fundamental acoustic
characteristic of all woodwind multiphonics, and is responsible for the
generation of multi phonic sidebands. 32 Sidebands manifest themselves as
discernible phenomena in the form of either 'combination tones' - of which
the most prominent is the 'difference tone' - or 'beats'.33 These ubiquitous
multiphonic resources demand intelligent, multilevel formal utilization;
yet composers, curiously, seem to have so far ignored their compositional
potential. Hopefully, the following suggestions will provide sufficient
stimulus so that interested contemporary composers might begin to
redress the current situation of total neglect in this area.

Multiphonic combination tones

Audible combination tones which emerge from recorder multiphonics
could feasibly be incorporated into the (pitch) structure of a work, perhaps
even as an integral compositional element. However, a major cognitional
difficulty associated with this proposal is that often one cannot immediately
identify the precise pitch of such combination tones; they may also fluctuate
with variations in breath-pressure. A recorder multiphonic's modulation
characteristics are likely to change, furthermore, when the multiphonic is
produced upon a different instrument, so that some degree of
compositional flexibility is probably advisable. A judicious strategy which
takes into account such deviations might involve setting up pitch-
correspondences only in relation to resultant combination tones that arise
in each performance context: a recorder player could be asked to educe a
single pitch which exactly matches that of the previous multiphonic's
combination tone, as it materialized from that player's particular
instrument at the time of performance, for instance.

Multiphonic beats
Although they, too, are subject to the peculiarities of specific recorders
(and consequently require a sympathetic compositional approach),
multiphonic beats arguably have a greater potential for widespread
compositional application than combination tones . Beat-frequencies can act
as chronomorphological regulators in numerous ways.34 A multiphonic's
beats - intimately connected to the instrument's physiology - can be used to
define temporal relationships with subsequent durations, rhythms or
tempi: 35 a specified number of multiphonic beats may be equated with a
prospective musical event's duration;36 or, the time that they span could
determine a single tactus pulse of a new tempo. A performer might also be
instructed to relate their tongue-tremolo (articulation) frequency, rate of
(breath-generated) vibrato, or trill (fingering) speed, to the beat-frequency of
a concurrent or adjacent recorder multiphonic. (There are, presumably,
even further diverse possibilities for the intelligent compositional
implementation of tremulous beats emanating from recorder
multiphonics.)

- 270-
4.6 Multiphonics and Indeterminate Structures

Introduction
The following applications and morphologies for recorder multiphonics
might engage the attention of those composers in particular whose
conceptual domain encompasses the currently popular scientific
disciplines of Nonlinear Dynamics, Chaos, Fractal Geometry, Turbulence
or Game Theory. (Such multiphonic strategies are, naturally, also equally
relevant to composers who embrace the more common musical practices of
Cagean indeterminacy or improvisation.)37

Breath action as temporal arbiter

A perfectly valid attitude in approaching musical time for wind
instruments centres upon the notion that from any given moment, the
player - without recourse to 'circular breathing'38 - can maintain air-
activated sound on the instrument for, at most, one full breath-length. The
breath requirements of a set of recorder multiphonics could, therefore, be
used to delimit the duration of a musical gesture which incorporates the
multi phonic set.

Because pulmonary function varies according to each player's physique,

durations that are directly controlled by breathing considerations must,
fundamentally, be indeterminate. Jiirg Baur's Mutazioni, for example,
includes several multiphonic events which are intended to occupy one full
breath-length, approximately.39 Baur, in the same work, also furnishes
monophonic serial fragments (of indeterminate time-span) that must not
consume a full breath: there is no reason at all why this complementary
durational concept could not be applied instead to a set of recorder
multiphonics .

'Awkward ' multiphonics and indeterminate structures

Although this thesis focusses primarily upon alto recorder
multiphonics that display a reasonable degree of ease and reliability of
execution, stability, and sonic uniformity, to reject outright those awkward
multi phonics which do not bear these attributes would indeed constitute a
very serious mistake. Unstable, difficult, or undependable recorder
multiphonics are not entirely useless, but find their metier whenever they
are embedded in, or instigate, indeterminate musical structures. 40

Under ordinary circumstances, slow-speaking, unpredictable, difficult,

or unstable multiphonics dictate, to a considerable extent, the type of
chronometric structures that a composer can successfully employ. Such
multiphonics do not readily fit into a strictly metrical or precise rhythmic
scheme: they usually demand freer durations in order to establish
themselves correctly, or to stabilize. A composer could, therefore, issue the
following instruction regarding a particularly difficult recorder
multiphonic: "pause until the multiphonic is properly formed". The
multiphonic's troublesome character in this instance assures that the

- 271-
exact duration of the pause cannot be predicted, and so generates an
indeterminate durational structure. Proportional (non-metric) rhythmic
notations 41 and other vague, imprecise, or indeterminate temporal
symbologies may, in general, provide the most appropriate
chronomorphological mechanisms under which these types of recorder
multiphonic might operate.

The unusual reciprocal standpoint of asking the performer to attempt

an awkward or hazardous recorder multiphonic within a fixed, definite
time-frame, is also plausible. Under these conditions, the recalcitrant
nature of the multi phonic will almost surely guarantee an indeterminate
musical outcome (over a suitable duration). Within a single breath-length -
or other specified time-span - a recorder player can, for example, be
directed to produce a multiphonic that is extremely risky and difficult to
secure. (The composer could also provide various suggestive musical
graphics in order to delineate the micro-rhythmical construction, dynamic
profile and other local performance details within the given time-frame.)
The unpredictable acoustic result may then determine the future course-of-
events in the composition: if the player succeeds in establishing the
multiphonic and sustaining it for the remainder of the breath-length (or
other duration), the work shall move in a particular direction through
certain musical material; should the multiphonic never eventuate, or
break apart prematurely, the music would then proceed in another
direction with altogether different material. 42

Analysed in a more general sense, such a formal concept heralds a

stochastic 'tree structure', wherein the recorder is treated cybernetically:
although the composer moulds the design of the work at the global level, it
is the recorder itself - not the composer - that chooses a specific path
through the music, in accordance with acoustical probabilities which stem
from the recorder's physiology. This cybernetic use of the instrument is
quite novel, with selected multiphonics becoming structural mainsprings,
pivotal points in an ever-branching dendritic formation. The notion of
indeterminism arises from the fact that it is not known beforehand which
musical branch will be taken: whenever a predefined bifurcation (a
structural node in the music, placed there by the composer) is reached, the
recorder alone decides. For an audience, however, there is a major
problem as regards the perception of this compositional framework and
cybernetic process. On the basis of just a single performance, how is it
possible for a listener to recognize from the musical discourse either the
work's architectural labyrinth, or its intrinsic indeterminacy, without
explicit forewarning? (It is not. Such knowledge of the music's
organizational principles and shape can otherwise be acquired only
through repeated hearings, when the recorder might select alternative
routes, the piece then proceeding along rather different musical
pathways.)

Multiphonic instability: applications within indeterminate structures

Unstable or chaotic elements within certain recorder multiphonics can
also yield indeterminate musical structures. The precise duration of a
highly unstable recorder multiphonic may, for instance, be ordained by its
innate level of instability: "maintain the multiphonic for as long as

- 272-
possible, until it disintegrates" is therefore a perfectly viable performance
instruction that a composer might utilize when dealing with this
multiphonic family. (Again, an indeterminate duration materializes as a
direct result of the instrument's constructional idiosyncrasies.)
In general, too, any such precariously unstable recorder multiphonics
can be marshalled as axial elements of a 'tree structure' in the cybernetic
application outlined above: a multiphonic's staying-power and tolerance
over a preconceived duration defines the probabilistic function at each
formal branch.

Indeterminacy with multiphonics derived from breath-generated trills

Recorder multiphonics produced through fluttertonguing breath-
generated trills initiate a special class of unstable sonorities 43 which
permit the formulation of unique indeterminate structures. Whenever any
of these multiphonics are attempted, random performance variations
entailing minute, irregular fluctuations in breath-pressure, as well as
subtle deviations in the intensity and/or frequency of the fluttertonguing,
engender fascinating, highly complex chaotic oscillations between the
multiphonics' upper and lower component pitches. The emergent sounds
thereby possess a rhythmically indeterminate micro-structure. In
realizing this throbbing effect, it will usually be necessary for the composer
to stipulate that the executant relinquishes normal, steady control over the
abovementioned performance parameters.

4.7 Multiphonics and Electronic Sound-Media

Introduction
The post-1940s musical genre consisting of traditional 44 instrument(s)
accompanied by some form of electronic sound-generation, is fraught with
compositional dilemmas. It is, in my opinion, one of the most demanding -
but also one of the most potentially rewarding - performance media for
which a composer might attempt to create music. Whilst all non-electronic
musical instruments now incorporate an immense range of accessible
acoustic resources, the electronic sound-generators of today undeniably
possess an immeasurably wider array of readily available sonic
capabilities. The compositional problems with this genre arise, therefore,
in endeavouring to define and convey significant conceptual or musical
relationships between the sound-worlds of the two unequal protagonists. 45
This section will accordingly propose some formal interrelations that may
be instituted between the recorder's multiphonic resources - which already
display some degree of timbral affinity to the electronic soundscape - and
various electronic sound-media.
For current purposes, it is convenient to portray a theoretical division of
the electronic sound-medium into two categories, each defined according to
when the formative period of acoustic realization occurs in relation to the
performance event.

- 273-
Electronic sound-processing in the recording studio
The most popular exploitation of electronic sound-production by
composers is, at present, typified by the process of generating electronic
sounds in a recording studio, well in advance of the performance event,
and then storing them - digitally or on analogue magnetic tape - for future
retrieval or reproduction. Because an electronic part fashioned in such a
manner is completely predetermined, any delicate structural
correspondences set up between a recorder multiphonic (as apprehended
by the composer) and such an electronic accompaniment may,
unfortunately, be jeopardized by the constructional vagaries of each
recorder player's instrument. This difficult quandary needs to be resolved
at a very early stage in the compositional process. 46
Some of the concepts that have been discussed in preceding sections of
this chapter immediately suggest various credible implementations for
recorder multiphonics, wherein formal relationships are established
between the multiphonics' innate acoustical characteristics and a
preconstructed electronic soundscape.

(a) Nonlinear synthesis techniques

An electronic sound that is created in a recording studio by applying
Amplitude Modulation [AM], Frequency Modulation [FM] , or some other
nonlinear synthesis technique, contains (like many recorder multiphonics)
inherent sidebands which substantially determine the sonority's spectrum
and timbral profile. Such an electronic sound can be made to yield a
sideband which manifests itself as a clearly audible beating effect whose
frequency is intended to match the beat-frequency of a recorder
multiphonic that will coincide with this electronic sound in performance.
The conjunction of beat-frequencies serves to evince a meaningful
correspondence between the recorder part and its electronic
accompaniment, and may even assist in achieving a temporary
convergence of the two sound-worlds.

(b) Microtonal pitches from digital sound-processors

The extreme precision and control of pitch resulting from the
application of the table-lookup method of waveform synthesis by computers
and other ubiquitous digital sound-processors , indicates that these
particular electronic devices, in rendering sound for musical purposes,
provide an ideal means of realizing any perceptible pitch-structure. Any
microtonal scale which has been defined by a pre-selected set of recorder
multiphonics 47 can therefore be readily duplicated by an accompanying
digitally generated electronic part, thereby implementing a strong formal
relationship between these multiphonics and the electronic medium.

(c) An exploitation of recorder multiphonics chord/timbre dualism

I

Albert Einstein's theory of 'photons ', and Louis-Victor de Broglie's

generalization of it (in 1924) to include 'matter waves ', were early

- 274-
developments in Quantum Mechanics which led to the universal
awareness that light and matter demonstrate a 'wave-particle duality':
both states, depending upon their manner of observation and the physical
circumstances, exhibit either wave-like properties, or behave as
corpuscular particles. Many recorder multiphonics - and innumerable
other sonorities, too - display, by analogy, a 'timbral-harmonic duality', in
which the sonorities under scrutiny are heard as timbral objects, or as
harmonic/chordal events, according to their musical context. 48 Sounds
which strongly project this dichotomy, in moving ambiguously between the
two categories, are able to be synthesized par excellence by computer. The
composer, then, can somehow build a psycho acoustical correspondence
between a recorder multiphonic and a (computer-generated) electronic
accompaniment, whenever both electronic and non-electronic soundscapes
feature this chord/timbre dualism.

(d) The digital sampling of recorder multiphonics

The acoustical characteristics of recorder multiphonics could even be

employed directly in synthesizing the sound-world of the attendant
electronic medium, so that an immediate, tangible correspondence is
achieved. An obvious procedure in this regard - conceptually related to
musique concrete - comprises the editing and manipulation of digital
samples (or analogue recordings) including, especially, those of recorder
multiphonics. A live recorder multiphonic can, for instance, be juxtaposed
in performance against its electronically sampled double, which might
instead be spliced or cross-faded with another digital sample, reversed,
transposed, detuned slightly (using MIDI Pitch Wheel commands) in order
to instigate phasing, chorus and interference effects, or transformed in
myriad other ways.

(e) Recorder multiphonics and 'cross synthesis'

As an alternative to digital sampling, the more complex sound-
generation process known as 'cross synthesis' could be implemented. This
digital synthesis technique, comparable to genetic cross-fertilization, can
utilize a recorder multiphonic whereby certain sonic parameters of the
multiphonic replace the corresponding parameters of some other given
sound in order to engender new hybrid timbres (which might even be
audibly related to both of the original sound-constituents). Thus, the
creation of a startlingly fresh electronic sonority through the cross
synthesis process may involve grafting the amplitude and spectral
envelopes of a particular recorder multiphonic onto a pre-recorded tam-
tam sound, for example. 49

'Real-time' or 'live' electronic sound-processing

Composers now have the additional option of interfacing recorder
multiphonics with various 'real-time' (or 'live') electronic sound-
transformation devices and digital/computer technologies, which process
the recorder's acoustical output and effect an electronic accompaniment in
its entirety, on the basis of this output, during the performance event

- 275-
itself. 50 As further technological advances are made, so that the relevant
digital apparatuses in particular acquire higher computational speeds,
ever-expanding memories, and greater processing power at lower cost,
real-time computer-controlled electronic music will become increasingly
habitual.

A live-electronic accompaniment which springs from an input of

recorder multiphonics, exhibits a single crucial advantage over any pre-
arranged electronic part set against the same multiphonics: any
premeditated relationships between these recorder multiphonics and an
electronic soundscape constructed in real-time will always be preserved in
performance, because such relationships must, intrinsically, be defined
unilaterally by the acoustic input from each individual recorder, according
to a totally controllable and repeatable live-electronic process.
(Predetermined electronic accompaniments are - on the contrary -
invariant in relation to the potentially variable instrumental part, so that
these relationships might not be preserved.) Regrettably, some annoying
discrepancies in instrumental response could still subvert the
compositional intent, since the definitive sounds themselves may
consequently lie outside the composer's preconceived boundaries of
acceptabili ty.
All of the foregoing proposals that dealt with correspondences between
recorder multiphonics and a pre-recorded electronic part, can be applied in
a live-electronic situation as well - given the appropriate equipment. Real-
time electronic sound-processes evidently include further relational
possibilities which are peculiar to the genre, though potential 'multiphonic
correspondences' and other compositional resources that may arise from
the application of certain real-time devices - such as (electric guitar)
'effects pedals' and 'harmonizers', not to mention live Artificial
Intelligence [AI] and MIDI capabilities, and real-time computer
interactive processes - are, regrettably, far too numerous or sophisticated to
explore here.

(a) Digital (and analogue) delays

One live-electronic process that does merit attention in this context is the
(analogue or digital) delay, which allows a solo performer to fashion
complex, multilayered textures consisting of a verticalization of musical
material first projected asynchronously by the performer. Such a process,
therefore, underscores correspondences within this material between
musical events that are separated by time-intervals defined by the delay
settings.

An analogue delay is, at present, usually achieved with open-reel tape

recorders (hence the nomenclature 'tape delay'),51 although one can
confidently predict that this analogue process is soon going to be rendered
redundant by technological advances in digital delay hardware, which will
vastly expand their currently available Random Access Memory [RAM],
and so permit ever-increasing delay times with such devices. 52

- 276-
Ex.4-13. Benjamin Thorn: Pipistrelli gialli .... No.n, p.4 [edited].
(Bass recorder and 5" tape delay with digital delay "reverberation")

n .J:F (l I I I JIo. ~ r. I I
5
J ,,_ v 'Iv

0 ~~ 0

-
etc: .

-
0
0


0
00
00
00
00

D (othel" I"\"\tipho,,lc.s) 1Ft; I I
J '1 v

[1]
In producing - precisely five seconds after projecting the initial
multiphonic - a bass recorder multiphonic that is subtly varied (through
using a slight alteration of fingering), the 5" tape delay causes both
sonorities to be presented simultaneously. Thorn, as with previous
examples of his work offered within this chapter, similarly achieves in
Ex.4-13 a high degree of timbral amalgamation, as well as the propagation
of sidebands (beats), interference and phasing effects, thereby powerfully
emphasizing an otherwise fragile - but piquant - relationship defined by the
tiny acoustical differences between each bass recorder multiphonic.
It is also worth noting that the electronic hardware requirements for
Pipistrelli gialli... include two tape delays set up in series, with
asymmetrical delay times of two seconds followed by three seconds. (By
contrast, the digital delay - set to delay times in the order of milliseconds -
is used solely as a timbral transformation or distortion device.) Whilst
guaranteeing an immensely rich musical texture, such an asymmetric
consecutive tape delay arrangement thus avoids, to a large extent, the
rhythmic tedium of an obvious canonic structure with inalterable
periodicity - and points to the possibility of constructing ever more intricate
networks of delay devices 53 and elaborated motivic correspondences.

(b) Further 'real-time' electronic sound-processing resources

From the infinity of potentialities that remain for the real-time

electronic manipulation of recorder multiphonics, only two shall be

- 277-
mentioned briefly here, in conclusion.

A computer, given sufficiently rapid data-processing capabilities, can

(digitally) sample a recorder multiphonic thence offset its constituent pitch-
elements by a specified amount, with minimal perceptible delay of
projection for the resultant sonority during performance. 54 (This
establishes an obvious correspondence between the live seed-multiphonic
and its electronic counterpart.) Similarly, in a real-time parallel to cross
synthesis, such a computer can trace the amplitude envelope of a recorder
multiphonic which contains prominent beats, with a view to instantly
replicating the beating phenomenon within an altogether different,
electronically synthesized timbral object that appears concurrently with the
multiphonic. The matching beats therefore signal a point of contact
between the normally divergent sound-worlds of the recorder multi phonic
and its electronic complement. 55

Epilogue

Numerous applications and strategies for recorder multiphonics have

been proposed within this chapter. One can only hope that adventurous
composers who will have pondered over these possibilities might find in
them the necessary stimulation to extend their musical vocabularies - and
the milieux of the recorder - significantly in new directions, with the aim of
establishing fresh musical syntaxes in unexplored sonic regions.
Is such an aspiration overly optimistic? Only the quality and
innovativeness of the ensuing recorder music can, eventually, answer this
question.
I fervently believe that the recorder is a wonderful, challenging musical
instrument with a boundless artistic potential. Every composer who wishes
to harness this artistic potential, in creating original recorder music, holds
an important key to the instrument's future prosperity. Concomitant with
this is a professional responsibility to use the instrument well.

Endnotes

1. Even now, it seems that many of the compositional strategies and applications for recorder
multiphonics which are considered here (and elsewhere) are original, in that they do not
appear to have been used yet by contemporary composers. Therefore , such resources are

- 278-
 given merely as hypothetical avenues for future artistic exploration , in the hope that they
might bear music of real worth . The earnest reader is also urged to sift through the
Appendix of this thesis - section 7 in particular - for further possibilities not examined herein.
In each instance throughout this discussion, I have attempted to be completely objective
and ecumenical by avoiding, as much as possible, the imposition of my own compositional
aesthetics and biases. (Nevertheless, any ideas raised are also largely the product of my
own limited musical imagination.)

2. These two viewpoints can also be characterized in terms of the composers' reliance upon
the uniformity - or non-uniformity - of the acoustic response of disparate instruments in the
hands of different pertormers.

3. As one would expect, these remarks are directed primarily towards those composers who
work within a determinate framework , in which specific multiphonics are requested during
the act of composition - and are expected to be heard during pertormance.

4. This manner of deep, intelligent musical thinking and integrated structural organization is
often exemplified in the compositions of certain European composers, such as Brian
Ferneyhough , Chris Dench , Richard Barrett , Michael Finnissy, James Dillon , Luca
Francesconi, Klaus K. Hubler, Roger Redgate, James Erber, Claus-Steffen Mahnkopf and
Robert H. P. Platz, who are usually (but somewhat misleadingly) placed under the banner of
a compositional school of thought that has come to be referred to loosely as 'the New
Complexity'.

5. To th is end , composers also need to tackle the multidimensional issue of mus ical
psychology ; in particular, they must address the perplexing question of perception of new
formal procedures, strategies and compositional intentions - or non-intentions - involving
recorder multiphonics: To what extent are these notions discerned, and at what structural
levels are they perceived in the music? Where abouts do they register in the cognitive
space ranging from the fully conscious to the subliminal? Will they impinge upon the
mnemonic categories of the (very) short-term memory or the longer-term memory? Are
they , or are they not , teleological? Will they somehow warp a listener's
ontological/internalized time-flow? (etc.)

6. It is now quite obvious that many post-Modernist composers are reacting vehemently - but
with inimical intellectual blindness - against the aesthetics and musical languages of the
post-War Avant-Garde , thereby depriving themselves, at least potentially, of a wealth of
Avant-Garde artistic possibilities which could successfully be incorporated into a post-
Modern ist sound-world. (This self-deprivatory attitude is, I feel, compositionally self-
defeating ; it even flies in the face of the central post-Modernist ethos of stylistic plurality and
acceptance .)

7. This is surely a basic premise of eclectic post-Modernism. Hence, there is no cogent reason
why (microtonal) multiphonics, for instance, cannot be effectively integrated into neo-tonal
soundscapes (for example) . Multiphonics are not fundamentally incompatible with musical
styles/philosophies such as minimalism or the ubiquitous 'New Romanticism' - although
superticially, to some, they might appear to be.

8. (See Chapter 1, en .31 for a definition of 'microtonal'.) This rationale for the emancipation of
woodwind instruments is summarized within O'Kelly (1990) , pp.82-83 :

"As far as the woodwinds are concerned, and this includes the recorder, two fundamental tenets
must now be reassessed in the light of [recent) discoveries. The first is the belief that there is
only one poss ible fingering for each note on a woodwind instrument, and the second is that
woodwind instruments can play only one note at a time . Neither of these statements is true and
the real isation that new fingering combinations can produce single and multiple sounds with a
variety of different timbres and intonations has been perhaps the most significant event since
the design innovations of the early eighteenth century gave us the prototypes of the instruments
we play today. Along with the discovery of the new sound-world of non-standard fingerings has
come a realisation of the possibilit ies offered by various forms of articulation and vibrato and of a
whole panoply of special effects, some of which take the player into territory very far removed
from that of conventional wind technique."

- 279-
9. This assertion is no idle boast. The keyless anatomy of the recorder permits infinitesimally
subtle degrees of fingerhole shading ; its pitches can also be minutely inflected through
changes in breath-pressure, or by manipulating the instrument's window. (These microtonal
capabilities on the recorder are limited only by the performer's technical and aural skills.)

10. The microtonal scale or mode would be cumulatively defined by the extreme (audible)
pitches of each multiphonic. As we have seen before, these pitches can often be isolated
whilst maintaining the same fingering-configuration : see section 2.3. One could then also
utilize other fingerings which yield matching single pitches, thus allowing the scale to be
presented linearly, with a variety of timbres at different dynamic levels. The chosen
multiphonics might act solely as a generating set for the microtonal scale, or they may be
subsumed into the musical material at any formal level.

11. There are numerous possibilities here. The composer can, for instance, accept this
phenomenon - if it is in keeping with their compositional philosophy - and insist that the
given recorder fingerings be observed, irrespective of the acoustic consequences. (cf.
John Cage's attitude towards the 'prepared piano': he specifies the exact preparations,
although he accepts, ab initio, that the resultant pitches or timbres cannot be predicted
accurately whenever the same preparations are applied to a different piano .) Alternatively,
the composer could request that the performer modify the recorder fingerings in order to
match, as closely as possible, the written pitches - though this approach essentially defeats
the purpose here, since the musical conception offered just now is based upon the notion
that the scale structure would be defined by the instrument itself. The composer might also
utilize only those recorder multiphonics/fingerings which are known to give a high degree
of sonic uniformity from one instrument to the next - asking for particular models of recorder
may help in this regard - or, quite simply, one can choose to ignore this multiphonic
application altogether.

12. It is rather surprising that I have not, so far, been able to find even a single musical example
illustrating recorder multiphonics that have been subjected to serial processes.

13. Such a fortunate circumstance is in total contrast with the situation of other woodwind
instruments, particularly those that are reed-activated . For these instruments, the pitch-
content of many of their multiphonics is often fused or embedded to the extent that such
sonorities are usually perceived as timbral phenomena alone, thereby seriously limiting their
potential for inclusion in any (audible) serial pitch-structure. Even on the recorder, certain
multiphonics exist which contain more than two audible elements wherein the inner
pitch(es) may be rather soft, indistinct or nebulous. Composers therefore need to carefully
rationalize the selection of such multiphonics, if these inner pitches are intended to act as
defining elements of the proposed serial pitch-set. (Of course, it could be more convenient
just to ignore such inner pitches altogether, whilst retaining the other audible components
of the multiphonic as serial determinants.)

14. Of course, any decision that a composer makes pertaining to a musical work-in-progress is
not 'precompositional' : such decisions are a/l acts of composition. In this context , then, the
term 'precompositional' refers to those organizational systems or musical elements which in
some respect act as predeterminants for the work, and are formulated prior to the stage of
realizing the work's final documentation.

15 . The expression 'dodecaphonic' applies to serial pitch-organization within the confines of

12-tone equal temperament .

16. Lependorf (1989), p.23S :

"Explosive Breath (mura-ikl). Another means of articulation, generally thought of as a special

effect but nonetheless usable and effective, is the explosive breath attack (mura -iki refers to
breathy playing)."

Because mura-iki do not have a particularly rapid onset or decay time, the mura-iki attack
occupies a significant proportion of the whole envelope. Such attacks, being very clearly
defined, are therefore perceived as separate, distinct, rather sustained acoustical events
which merge only gradually into the ensuing sound.

- 280-
17. I nharmonic spectra are those in which the frequency of the component partials are
(perceptibly) not in an integral/'harmonic' relationship with one another. That is to say, these
frequencies are not whole-number multiples of a basic, 'fundamental' frequency.

18 . See also section 3.4.2, in which recorder multiphonics produced with fingerings that utilize
only one hand , are discussed.

19 . (One might even be tempted here to draw upon a metaphor from the science of Chemistry:
'sonoric molecules' can be constructed by inducing an acoustical reaction that agglutinates
several individual 'sonoric atoms' into a coherent whole.) This manner of 'additive timbral
synthesis', and the manipulation of timbral perception in general, is examined , copiously, in
Erickson (1975) and Grey (1975) ; see, also, Cope (1984) , pp.118-121, L. Payton (n .d.) ,
Schouten (1968), Slawson (1985), and Stiller (1985), pp.4-9.

20. See Appendix 7.4 .

21 . This application, among others, is outlined in Appendix 7.5.

22. Brian Ferneyhough's Superscriptio (solo piccolo), and Chris Dench's Del ploye (solo
piccolo), Closing Lemma (solo flute), ShIn (solo bass flute) , Vier DarmsUidter Aphorismen
(solo flautist), and Sulle Scale della Fenice (solo flute), are important works that significantly
exemplify this type of strategic, multilinear compositional thought in creating 'polyphonic'
music for solo (melodic) instruments. Other modern examples, chosen at random from the
many available , include : Michael Jarrell's Assonance (solo clarinet) - conceived as a
contrapuntal structure which falls across three of the clarinet's registers, each being
regarded as a distinct timbral and textural unit; Benjamin Britten's Six Metamorphoses after
Ovid (solo oboe) - fifth movement: echoed 'two-part' writing; Helmut Bornefeld's Suite in C
(solo alto recorder) - Musette : melody plus 'drone' ; and Tiberiu Olah's Sonata pour
Clarinette Seule (solo clarinet) - fugal writing.

23 . These are discussed in section 2.3.

24 . The score and recording of this composition were unavailable at the time of writing . Hence,
these transcriptions are based upon my memory of a radio(?) performance (by the
composer, Peter Hannan) of the work, as reproduced from a (private) cassette recording
which I listened to repeatedly and scrupulously during 1989 . The accuracy of my
transcriptions is therefore highly suspect, although this factor is, for the purpose of this
section, not particularly important: my transcriptions nevertheless convey quite faithfully the
composer's intention - and , in addition, show what can be achieved with recorder
multiphonics. It should also be stated that most of Hannan's minimalist composition RSRCH
12184 Dream revolves around the idea of creating an authentic, highly rhythmic two-part
polyphony from some carefully chosen recorder multiphonics which speak immediately (yet
appear to be totally reliable, and highly consistent, whenever they are attempted on
different tenor recorders) .

25 . See section 4.2 (Ex.4-1 , and the accompanying remarks).

26 . Of course, in order to instigate parallel harmonic movement, the multiphonic fingerings

need not necessarily be closely related. (The fingering possibilities, in actuality, are limited
in this context only by the multiphonics which they generate .) The process of creating
parallel structures is merely facilitated when the fingerings are obviously similar - in the
sense that they may be accessed successively through simple finger-movements - and the
other constraints , as described in the text, are also observed.

27. Chislett (1991) , pp.96-98 :

"Microtonal Loops. A particularly engaging technique used for the first time in [Chris Dench'sj
Sulfe Scale della Fenice is the microtonal loop. This is a sequence of eleven descending
microtonal fingerings, some of which readily produce multiphonics or resonances (this piece
requires the latter). The upper and lower lines of the multiphonics loop at different rates ; the top
line loops twice, one loop having five pitches and the other, six; the lower line also loops twice,
one loop having three pitches and the other, four (four fingerings do not produce readily audible
resonances , and hence the fewer looping notes in the lower line). The most intriguing aspect of

- 281-
 this technique is that the points where the two lines begin and end their loops do not coincide,
and because of their noncoincidence the effect as a whole appears to be seamless ... [at th is
point in ChisleU's text, the reader is directed to a musical example: p.4, line 2 of Dench's score].
(These continuous microtonal loops remind me of the synthesized, ever-descending or ever-
ascending glissandi of Jean-Claude Risset in Passages for flute and computer-generated tape
[Paris: Editions Salabert, 1983])."

The self-containedness of each 'loop' (or rather, the autonomy with which their pitches
operate) calls to mind the polyphonic techniques of 'color' and 'talea' prevalent in the
fourteenth-century isorhythmic motet - a pertinent remark, given Oench's musical tastes
and compositional preoccupations - as well as, more recently, the prismatic seven-fold
'isomelos' that opens Ferneyhough's La Chute d'icare (1988) , and the duplex ostinati laid
upon differently valued 'isorhythms' underpinning the "Liturgie de crista I" movement from
Messiaen's Quatuor pour la fin du temps (1941). But considered in a more general light, I
see no reason why the string of multiphonics must repeat itself exactly. Surely they, hence
the 'loops' themselves, can be made to progressively mutate and evolve - both in terms of
pitch-content and length of cycle? Moreover, the pitches that are 'looped' need not (all) be
strictly microtonal - subject, of course, to the available multiphonic possibilities. Nor must
they always move in an ever-rising or ever-falling scale-like manner: the ordering of 'loop'
tones could easily yield eccentrically undulating pitch-contours (which one may then treat
thematically, perhaps) . Thus, a 'loop' might even be thought of as an elementary 'motive', to
be developed accordingly.

28 . The word 'map' is mathematical terminology: a 'map' explicitly defines a correspondence

between the elements of two sets. Here, our 'map' serves a multiplicative function , in that
solo recorder multiphonics (hence their collective textural attributes) are reproduced by, or
holographically projected onto , an isomorphous texture comprised solely of multiphonics
from two or more recorders .

29 . The conflation of recorder multiphonics was discussed in section 4.3: see, especially, Ex.4-
5 and its commentary.

30. Most of the remarks pertaining to homophonic textures of recorder multiphonics are
applicable here as well.

31 . Other examples can be found scattered throughout this thesis.

32 . Recorder multiphonic sidebands and amplitude modulation are discussed in sections 2.1 .2
& 2.1.3.

33. 'Roughness' , which is initiated from the same acoustical process , is a non-separable
timbral/psychoacoustic property of multiphonics: unlike beats and combination tones ,
'roughness' is not observable in its own right as a discrete sonic phenomenon.

34. But must they function only chronomorphologically? Perhaps composers in the future will
find further uses for (recorder) multiphonic beat-frequencies - and the beating effects
themselves, considered as multiphonic timbral adjuncts - which lie outside the time-domain.
(Is it not unreasonable, for example, to establish a timbral hierarchy based upon the
intensity of multiphonic beating?)

35. To let some aspect of the music's chronomorphology be governed directly by instrumental
physiology (and not the composer) is indeed a radical proposition. But in the interests of
perception of compositional intent, it would probably be desirable to fashion the musical
details themselves in such a way that these chronometric relationships are clearly affirmed.
Rhythmically controlled double-tonguing, for example, which precisely matches the beat-
frequency of the previous multiphonic, would unambiguously declare the composer's
conception of creating a correspondence between a specific instrumental characteristic -
the multiphonic beat-frequency - and the ensuing tempo which this characteristic institutes
via the matching articulation. (Elliott Carter's notion of 'metric modulation' is also pertinent
here : the process of generating a mathematically simple ratio between two tempi -
discerned as an intentional 'gear shift' - is usually enunciated with absolute clarity by the
rhythmic/accentual structures that Carter employs during the process.)

- 282-
36. Anecdotally, it is my understanding that there exists a piano piece, by Erik Satie (1866-
1925), in which the duration of its final chordal sonority is circumscribed by a given number
of inherent beats propagated by tones within the sonority itself. Unfortunately, it has not
been possible for me to trace the source of this information, and, despite an extensive
search for this elusive composition, my efforts have proved to be fruitless . At the time of
writing, I am therefore unable to provide any more details: I am now inclined to surmise that
this report is apocryphal. Anyhow, the organization of multilevel correspondences between
the various acoustical parameters (pitch, duration, loudness, timbre , space, etc.), in
particular those that confirm parametric interdependence (an axiom later explored,
convincingly, by Karlheinz Stockhausen during the 1950s), definitely merits further
attention within the non-electronic soundscape.

37. Section 3.9.2 as well examines aspects of indeterminacy in relation to recorder

multiphonics. (See, too, Appendix 7.3.)

38. 'Circular breathing' is briefly outlined in Appendix 1.6.10.

39. As discussed in section 3.9.2.

40 . On the other hand, because of the likelihood of them giving rise to unwanted errors ,
multiphonics of this type might not be particularly efficacious in a highly determinate
compositional context.

41 . Proportional notation - also known as 'analogue' or 'spatial' notation - is intrinsically

indeterminate, because it naturally precludes total chronometric accuracy, and therefore
triggers a freer interpretative approach towards duration by performers . (This helps to offset
any potential difficulties arising from refractory multiphonics.)

42 . This probabilistic concept is not unlike a 'Markov chain' - as utilized compositionally, for
instance, by lannis Xenakis. A Markov chain fixes the exact series of (musical) events
according to a progression of pre-arranged probabilities that are attached to each event. In
the textual example, the 'probability' is defined by each recorder's likelihood, in each
player's hands, of producing and maintaining the specified (awkward) multiphonic within a
particular performance context: the instrument's physiology yields a train of statistical
tendencies which regulate the musical flow-of-events .

43. See section 2.4.5.

44. In this context, the expression "traditional musical instrument" is synonymous with "non-
electronic musical instrument".

45. Frequently, the compositional 'solutions' to these problems are aesthetically or

philosophically unsatisfactory. It is often the case that the sound-world of an electronic part
is simply limited to one comparable in nature and timbral scope to that of the instrument(s) it
accompanies, thereby avoiding totally the unique artistic and interactive possibilities
peculiar to this genre (which is, in this situation , merely reduced in conception to a
traditional instrumental medium) . One also encounters, with depressing regularity, works in
this genre in which the question of relating the two soundscapes is not even addressed:
the electronic part is simplistically allowed to run amok at a tangent to the instrument(s), so
that their sonic universes rarely - if ever - intersect. It is my belief that such a circumstance
represents a total abdication of compositional responsibility.

46 . A number of possibilities present themselves here, luckily. Only universally reliable recorder
multiphonics might be utilized (inasmuch as is practicable), in order to minimize the risk of
failure. The formal correspondences themselves could also be rendered more durable by
allowing some degree of (pitch- or timbral) flexibility within the recorder part. Alternatively,
the composer might preclude any tenuous or fragile structural correspondences which are
apt to be undermined or compromised in live performance - particularly if the relaxation of
restrictions in regard to the recorder multiphonics is a compositional anathema. A distrustful
composer can even choose to avoid this performance medium altogether.

47 . See section 4.2 for further details.

- 283-
48 . Such a notion is discussed, exhaustively, within Erickson (1975) , Grey (1975), L. Pay10n
(n.d.), and Slawson (1985) . (The timbral perception of recorder multiphonics was examined
in section 4.3 of this thesis.)

49 . In yet another digital synthesis technique that is - perhaps - worth mentioning here, some
(fragments of) recorder multiphonic(s) might even be employed as the germinating 'sound-
grain(s)' in the so-called 'granular synthesis' process . The basic formula behind granular
synthesis is predicated on an aggregation of thousands of tiny sound-atoms into a 'macro-
sound', upon which global statistical behaviours are then imposed. This application may yet
turn out to be problematic though , in terms of the apprehension of some formal acoustic
relationship between the 'live' recorder multiphonic(s) and the granular-synthesized sound:
the role of the recorder multiphonic(s) as the generative seeds of the accompanying
granular electronic soundscape is not likely to be perceived as such. However, this difficulty
could be overcome by - for example - establishing an audible correspondence instead
between the general tendencies of any digital granular 'macro-sounds' and, say, the
spectral development or global dynamic envelopes of their initiatory recorder
multiphonic(s), as put forth live by the recorder player. (An interesting observation : this
latter idea or solution is not unrelated to the cross synthesis procedure just described.)

50 . See also Appendix 7.4 : Appendix 7.4.2 in particular mentions some of the real-time (or live)
electronic possibilities.

51 . Specialist analogue delay devices - such as those formerly associated with the electric
guitar - have now been totally superseded by their digital counterparts .

52 . Contemporary digital delay units also enjoy a useful musical advantage over basic analogue
or tape delays, in that they almost always incorporate several other signal-processing
capabilities - such as delay modulation (cf. FM synthesis) - thereby inherently allowing
further timbral modification.

53 . Already, there exists Richard David Hames's piece KO, which makes use of a highly complex
multiple tape delay set-up - with a lattice-like mixing control patch and signal feedback
system - involving several tape recorders. Through the exploitation of this (analogue)
electronic technology, Hames has thereby ensured the gradual acoustic unfolding, during
live performance, of a structurally labyrinthine matrix of associations between various
recorder sound-objects within his composition.

54. Analogous real-time computer processing of instrumental sounds can be found in Pierre
Boulez's large-scale composition Repons: see Boulez and Gerzso (1988) .

55 . Even the extraordinarily complicated process of granular synthesis can now be

implemented in real-time: see Truax (1988). (Presumably, recorder multiphonics that have
been digitally sampled during a live performance are well able to serve as this real-time
synthesis technique'S raw materials, through being instantly granulated, then reassembled,
by computers or other digital signal processors.)

- 284-
 5. FINAL REMARKS

Just as the cymbal, structurally unaltered in principle for over a

thousand years, would not be regarded by anybody as being an old
instrument upon which only old music could be played, the recorder can
likewise be placed without question amongst the instrumental resources
currently available for the music of today. Yet fundamentally, like the
cymbal, the recorder is timeless, in that it ought not to be thought of as
either an 'old' or a 'new' instrument, but merely one which embraces old
or new compositional and performance practices. It is our grave
responsibility, in formulating these new practices, to guarantee the
continuance of a tradition in which the recorder functions as a living and
vital musical instrument.
Unfortunately, the already formidable task of projecting the recorder
into a thriving plurality of musical futures is exacerbated by the
alarmingly low level of artistic regard which the instrument commands at
present. Whilst the role that the recorder plays in music education is
indisputably valuable, it is, precisely this role that has led, predominantly,
to the current predicament. The public image of the recorder, as depicted
by the soprano instrument,1 is that of a small, cheap plastic,2 easily played
but obnoxious noise-maker, upon which massed groups of schoolchildren
create unbearable cacophony, the more sensitive of whom will hopefully
advance, as soon as possible, to a proper woodwind instrument! Amongst
musicians, most of whom also hold this view, the situation is little better.
The great majority of recorder players and teachers are amateurs with an
unprofessional attitude, who play the instrument badly and have no
intention whatsoever of either improving and expanding their technical
facilities, or broadening their repertoire past a narrow range of Baroque
compositions. Is it then not surprising that other musicians, and in
particular composers, frequently malign the recorder and ignore it
completely? One gains the impression that most individuals view the
recorder as a total non-entity which does not even merit the status of a
musical instrument!
Those who do care about the future of the recorder must aim to elevate
the instrument to a higher artistic rank than it currently occupies.
Intelligent, directed, and open-minded but discriminating use of the
recorder transforms it into one of the richest, most flexible and versatile,
but also one of the most technically demanding of musical instruments,
fully able to provide an infinite variety of subtle nuances and musical
expressions. Such a positive aesthetic approach is, I believe, capable of
achieving for the recorder a reinstatement of artistic eminence comparable
to that which it enjoyed in earlier musical epochs, as one of the most highly
venerated of instruments.
The recorder should now be regarded as a self-contained acoustical
system for the generation and processing of myriad sound-possibilities.
The codification and full explication of this acoustical system must be
attended to urgently in order to secure a viable future for the instrument, in

- 285-
which recorder players, teachers and composers are able to push forward
their Art with increasing awareness and mastery of the instrument's
capabilities. This thesis begins to address the issue in the single area of
recorder multi phonics, by now even thought of as being a commonplace
resource, but which are nonetheless still approached with unwarranted
mistrust, uncertainty and ignorance. 3
Although the sonic possibilities of the recorder have been continuously
researched and documented with ever-increasing zeal over the past thirty
years,4 no technical area of the recorder has, as yet, been definitively, or
even comprehensively, investigated. As recently as 1981, Ursula Schmidt,
for example, attempted a detailed codification of contemporary recorder
symbologies. Her document most eloquently portrays the current unhappy
state of flux in this area, despite the fact that it is a highly valuable attempt
to establish some degree of uniformity and consensus in the notational
practices associated with modern recorder music. 5 (On the other hand,
recorder studies concerning the instrument's interface with new and
developing technologies 6 must, by their very nature, remain ongoing
experiments.) It is obvious that we have already learnt much regarding the
recorder's sonic properties, but it should also be abundantly clear that
there is still an overwhelming amount of important work to be done in
deciphering and promoting the full artistic potential of the instrument. A
positive outcome for the recorder demands our immediate, undivided
attention in carrying out this t~sk.

Aside from the fundamental area of pure acoustical research involving

the recorder, where the results will be utilized directly by composers and
recorder players, there is a multiplicity of directions, higher-level
applications or artistic contexts in which recorder explorations might
proceed. 7 During the late twentieth century, for instance, the symphony
orchestra has come to be viewed by many composers as an expanded, open-
ended chamber ensemble of variable size and disposition which is, in
principle, able to incorporate any musical instrument. Consequently, there
can be no aesthetic objection to the reintroduction of the recorder - or
indeed, to the introduction of any other neglected instrument - into this
context. 8 Such a precept, together with an open-minded approach to the
acoustic possibilities of all instruments, will assuredly raise current
orchestrational practices to substantially higher levels of refinement.
Regrettably, many musicians, but in particular those performers with
conservative temperaments who play traditional instruments, observe the
increasingly widespread application of electronic musical devices and
instruments with trepidation. Their Luddite attitude arises from a
misguided concern that such resources will signal the demise of their own
instrument (and the death-knell of their livelihood). Yet the constantly
developing relationship between established acoustical technologies and
these new electronic and digital audio technologies, is surely one of the
most fruitful areas in which music could progress. This interface between
electronic and non-electronic sound-worlds may hold the key to future
advances in sound-generation and artistic potential, in the specific case of
the recorder. 9 (En passant, the same can be said of the possible interactions
between the recorder and the musics, traditions and aesthetics of other
cultures.) 10

- 286-
 Within our own Western culture, musicologists involved in early music
research have progressively refined the concept of what constitutes a
recorder. Until quite recently, one could merely refer, with validity but only
a modicum of accuracy, to recorders from different musical epochs:
Medieval, Renaissance, Baroque and Modern instruments. Such crude
categorizations no longer suffice without further qualification, for it
emerges that there are a variety of distinctly different recorder families -
with distinctly different timbral profiles, tunings, temperaments and
constructional characteristics - that flourished within, and between, these
various epochs. In the Renaissance period, for instance, there existed
(among others) 'Virdung', 'Ganassi', 'Praetorius', 'Mersenne' and 'van
Eyck' 11 recorders. Amongst modern recorders, one can find instruments
constructed from plastic or metal, one-handed recorders, high-quality
instruments for professional recorder players, as well as those designed for
schoolchildren or amateurs. Replicas of the earlier instruments are now
becoming more and more readily available, and their structural features
and sound-qualities are gradually being standardized, so that
contemporary composers should not hesitate in specifying, for any musical
application, the precise type of recorder that they wish to use from the
many which are now available. Unfortunately, little, if any, investigation
into the full technical and sonic resources of these recorder families has,
as yet, been attempted, although one hopes that this lacuna will be
comprehensively dealt with in the near future. Historical replicas of early
recorders (as well as the ,diverse types of modern instrument) utilized for
the interpretation and generation of new recorder music, could then be yet
another vital direction in which Art involving the recorder may move. 12
Of fundamental importance to the recorder's continuing evolution is its
function within music education, even though this role may sometimes be
problematic. Through the discerning application of easily produced
modern playing techniques on the recorder - such as multiphonics - in a
classroom context, young musicians can be provided with an introduction
to the sound-world, aesthetics and techniques of contemporary music in
general. Attendant with this must be a vast improvement in teaching
standards of the recorder, a greater executative ability, and a heightened
awareness of the instrument's acoustic potentialities and repertoire
amongst teachers - and those who train them. For only then, through a
healthy rise in playing standards, will the recorder rid itself of the
prejudices currently surrounding it and command the respect that it
deserves. This is, in essence, merely a question of education and habit.
Children, from an early age, are entitled to be steeped in the endless
artistic possibilities of music, which then become fundamental and natural
to them. 13 In the hands of an open-minded, inquisitive, energetic and
intelligent generation of talented young recorder players, one can look
forward to a positive and abundant future for the instrument.

- 287-
 Endnotes

1. I am convinced that the general public, as well as the majority of musicians, are totally
unfamiliar with the notion of a recorder family, which currently includes eight sizes of
recorder (from the garkleinflotlein to the contrabass) .

2. One might easily acquire the erroneous notion that, fundamentally, the recorder is a plastic
instrument, because the ubiquitous 'school recorder' is almost invariably made of that
material. Yet most high-quality recorders are actually constructed from wood. Plastic is
favoured in the mass production of recorders, because it is durable, malleable in moulding,
and relatively inexpensive. Despite the fact that there are now many excellent plastic
recorders on the market, some of which even rival wooden instruments in quality, it is
unfortunate that the plastic recorder is all but universally reviled because in the public view,
plastic is often synonymous with cheap or disposable products such as infants' toys.

3. Reticence in working with multiphonic resources could be attributable to doubts

concerning their dependability of execution, sonic uniformity or accuracy of notation. Yet all
of these goals, to a satisfactory extent, are readily attainable in the case of (alto) recorder
mu Itiphonics.

4. The pioneers in this area were undoubtedly Michael Vetter and Frans BrOggen. Vetter's
researches, for example, began to manifest themselves from the early 1960s in a number of
path-breaking compositions by young German and Dutch composers.

5. Schmidt (1981) . The bulk of Ursula Schmidt's monograph comprises a wide-ranging survey
of contemporary recorder notations, as found in the scores of a large number of
composers. The facsimile score reproductions included in her monograph depict a diversity
of notational solutions to identical musical problems. She then attempts to remedy this total
absence of notational uniformity by making intelligent recommendations for a standardized
symbology (where applicable), based upon those notations surveyed.

6. See Appendix 7.4, 7.5 and 7.8 .

7. The Appendix lists most - if not, as is my aim, all - of the possibilities. It is important to
understand that the concepts about to be outlined in the text here may not only be
pursued independently, but are obviously able to be interlaced in their development.

8. It may not be widely realized that the recorder was a regular member of the pre-Classical
orchestra.

9. See Appendix 7.4.

10. See Appendix 7.9.

11. Strictly speaking, 'van Eyck' recorders fall into a transitional period, between the high
Renaissance and Baroque epochs, defined by the first half of the seventeenth century.
Recorders of this type are named after a famous blind Dutch recorder player and composer
who flourished during that time .

12. See Appendix 2.4 and 7.6.

13. One could even argue that this is crucial to their development as balanced, complete and
spiritual human beings.

- 288-
 BmLIOGRAPHY, WITH FURTHER REFERENCES

A. Articles, Pamphlets and Unpublished Papers.

Anon. : "Blockflote mit neuem Klang", Instrumentenbau ZeitschriftVol.31 No.1 p.24, 1977.

Anon .: "Playing 'Chords' on the Recorder", Recorder and Music Magazine Vol.3 No.4 pp.124-
125, December 1969.

Anon .: "Recorder Tone", Recorder and Music Magazine Vol.3 No.4 pp .128-130, December
1969.

Anon .: "Things to Come?", Recorder and Music Magazine Vol. 1 No.4 p.127, February 1964.

Anon. : "Tomorrow's Shapes: The Practical Fractal", The Economistpp.97-101 , December 26,
1987.

Arran, Roderick: "Muziek voor Altblokfluit - Rob du Bois", Recorder and Music Magazine Vol. 7
No.4 pp.91-94, Dece!f1ber 1981.

Arthur, Bradford : "The Articulation of Hotteterre's 'Tu-Ru"', The American Recorder Vol.14 No.3
pp.79-82, August 1973.

Backus , John : "Multiphonic Tones in the Woodwind Instruments", Journal of the Acoustical
SOCiety of America Vol.63 No.2 pp.591-599, February 1978.

Baker, Amanda: "Computer Music Aesthetics: A Composer's Predicament", New Music Articles
No.6 pp.3-7, n.d.

Ballinger, Peter: Review of Con Licenza by Georg Kroll, The American Recorder Vol.16 No.1
p.26, February 1975.

Ballinger, Peter: Reviews of Gebrauchliches by Rolf Riehm and NachtstOcke by Gerhard Braun,
The American RecorderVol.16 No.2 pp.54-55, May 1975.

Ballinger, Peter: Review of Pezzi Uccelli by Jurg Baur, The American Recorder Vol. 10 No.1 p.21,
Winter 1969.

Bandt, Ros: "Original Wind", The Recorder: Journal of the Victorian Recorder Guild No.1 pp.8-11,
March 1984.

Barata, Antonio G.: "Sources of Information on Woodwind Multiphonics: An Annotated

Bibliography", Perspectives of New Music Vol.26 No.1 pp.246-257, Winter 1988.

Bartholomew, G. : "Practising at Home", Recorder and Music Magazine Vol. 1 No.9 p.277, May
1965.

Baur, Jurg: "Revolution der Blockflote" , Instrumentenbau Zeitschrift Vol.17 No.11 pp.363-364,
November 1963.

von Bekesy, Georg: "Improved Musical Dynamics by Variation of Apparent Size of Sound
Source", Journal of Music Theory Vol.14 No .1 pp.141-164, Winter 1970.

Belkin, Alan: "Orchestration, Perception and Musical Time: A Composer's View", Computer Music
Journal Vol.12 No.2 pp.47-53 , Summer 1988.

- 289-
Benedikt, Erich : "Die Stimmlagen der Blockflote und die Grossbass-Blockflote", Musikerziehung
Vol.11 No.1 pp.28-30 , 1967.

Bergmann, Walter: "Recorder Dynamics", Recorder and Music Magazine Vol.4 NO.9 pp.316-317,
March 1974.

Bixler, Martha and Sacksteder, Richard : "A Correction", The American Recorder Vol. 18 No.2
p .57, August 1977.

Bixler, Martha and Sacksteder, Richard: "On the Application and Misapplication of Acoustical
Theory to Wind Instruments", The American Recorder Vol.17 No.4 pp.136-142,
February 1977.

Blackwood, Easley : "Modes and Chord Progressions in Equal Tunings", Perspectives of New
Music Vol.29 No.2 pp.166-200, Summer 1991 .

Bloodworth , Denis : "The Baroque-Fingered Recorder", Recorder and Music Magazine Vol.8
NO.5 pp .151-153, March 1985.

Boeke, Kees : "Recorder Now", Early MusicVol.10 No.1 pp.7-9, January 1982.

Boulez , Pierre and Gerzso, Andrew: "Computers in Music", Scientific American Vol.258 No.4
pp.26-32, April 1988.

Brindley, Giles: "A Method for Analysing Woodwind Cross-Fingerings", The Galpin Society
Journal Vol.22 pp.40-46, March 1969.

Brock, John Earl : "A Checklist of Music for Unaccompanied Recorder", The American Recorder
Vol.23 NO.3 pp.103-106, August 1982.

Brooks, David R.: "Recorder Woods", The American Recorder Vol.16 NO.4 pp.156-158,
February 1976.

Brophy, Philip : "Sounding and Sampling: Contracted Notes on the Conceptualisation of Music
Technology" , New Music Articles NO.6 pp.15-18, n.d.

ed. Buckley, Daryl : "Sound and Script: Notions of Performance Practice and Compositional Style
in 'Complex' Music", Sounds Australian: Australian Music Centre Journal No.29 pp .15-
46 , Autumn 1991.

ed. Burt, Warren: "Instrumental Composition", AMC News: Australia Music Centre Newsletter
NO.9 pp.2-15 , Spring 1985.

Burt, Warren : "A Reading List", AMC News: Australia Music Centre Newsletter NO.9 pp.18-21,
Spring 1985.

Burt, Warren : "Samples /II for Computer Processed Orchestra Sounds : What it is and What it is
not", New Music Articles No.6pp.7-14, n.d.

Burt, Warren : "The 3DIS System - A New Computer Music Control System", Sounds Australian:
Australian Music Centre Journal NO.19 pp.28-30 & p.33, Spring 1988.

Caravan, Ronald L. : "Introducing Multiple Sonorities to the Young Clarinet Student", Woodwind
World - Brass and Percussion Vol.14 No.1 pp.16-19, January 1975.

Cardew, Cornelius: "Wiggly Lines and Wobbly Music", Studio International pp.249-255 ,
November-December 1976.

Carlos, Wendy: "Tuning : At the Crossroads", Computer Music Journal Vol.11 No.1 pp.29-43 ,
Spring 1987.

- 290-
Carlson, Marilyn and Jacoby, Richard : "Intonation" , The American Recorder VoL 13 No.2 pp.43-
45, May 1972.

Chislett, Laura: "Sulle Scale della Fenice: Performer's Notebook", Perspectives of New Music
Vol.29 No.2 pp.94-99, Summer 1991.

Clark, Paul: "Goldenfingers - 1: A Guide to Recorder Technique", Recorder and Music Magazine
Vol.4 No.7 pp.234-236, September 1973.

Clark, Paul: "Inflectious Cases", Recorder and Music Magazine Vol.8 No.1 pp.17-18, March 1984.

Clark, Paul: Review of Arrangements by Kazimierz Serocki, Recorder and Music Magazine Vol.5
No.12 p.406, December 1977.

Clark, Paul: Review of Engramme by Konrad Lechner, Recorder and Music Magazine VoL8 No.3
p.87, September 1984.

Clark, Paul: Review of Gebrauchliches by Rolf Riehm, Recorder and Music Magazine Vol.4 No.11
p.408, September 1974.
J

Clark, Paul : Reviews of Music fora Bird by Hans-Martin Linde, Monologe Iby Gerhard Braun and
Musik im Diskant by Werner Heider, Recorder and Music Magazine Vol.4 No.1 p.23,
March 1972.

Clark, Paul : Reviews of Nuovo Ricercare 4 and Nuovo Ricercare 5 by Amico Dolci, Recorder and
Music Magazine Vol.5 No.9 p.301, March 1977.

Clark, Paul: Review of The Mummy and the Humming-Bird by Arne Mellnas, Recorder and Music
Magazine VoL7 No.11 pp.293-295, September 1983.

Clark, Paul: Review of Thymehaze by John Casken, Recorder and Music Magazine VoL6 No.8
p.237, December 1979.

Clark, Paul: Review of Treble Recorder Technique by Alan Davis, Recorder and Music Magazine
VoL7 No.12 pp.329-331 , December 1983.

Clark, Paul : Review of Varianti by Konrad Lechner, Recorder and Music Magazine VoL6 No.5
p.151, March 1979.

Clark, Paul: "Yodelling for the Recorder Player", Recorder and Music Magazine VoL6 No.9
pp.264-265, March 1980.

Clemencic, Rene: "Neue Klang- und Ausdrucksm6glichkeiten der BlockfI6te" , Osterreichische

Musik-Zeitschrift VoL26 pp.222-230, April 1971 .

Coates, William: "[31-Note Equal Temperament] Notation", Unpublished Information Sheet,

Blackheath NSW, Australia, n.d.

Coates, William: "The Aptness of the Equal Temperament of 31 Notes to the Octave for showing
'Ordinary' Just Intonation, Septimal Just Intonation and Unidecimal Just Intonation;
Explanation of the 'Aptness' Chart", Unpublished Paper, Blackheath NSW, Australia,
n .d .

Coates, William: "The Equal Temperament of 31 Notes to the Octave", Unpublished Paper,
Blackheath NSW, Australia, n.d.

Coates, William: "Tricesimoprimal Music: A Talk by William Coates", Unpublished Paper,

Blackheath NSW, Australia, n.d.

Coates, William: "What's all this about 31-Note Music?", Unpublished Information Sheet,
Blackheath NSW, Australia, n.d.

- 291-
Cope , David : "Modulations", The ComposerVol.8 No.1 pp.25-30 , 1977.

Coveney, Peter: "Chaos , Entropy and the Arrow of Time", New Scientist Vol.127 No .1736
pp.39-42, September 29, 1990.

Craig, Dale A.: "Trans-Cultural Composition in the 20th Century", Tempo No.156 pp.16-18,
March 1986.

Dashow, James: "Spectra as Chords", Computer Music Journal Vol.4 No.1 pp.43-52, Spring
1980.

Davidson , Martin : "Observations On The Relation Between Wood and Tone Quality In
Recorders" , The American Recorder Vol.16 No.3 pp.88-90, August 1975.

Davidson, Martin: "Variation of Pitch of a Tenor Recorder with Blowing Pressure", The American
RecorderVol.3 No.3 pp.17-19, Summer 1962.

Davies , Paul : "Chaos Frees the Universe", New Scientist Vol.128 No.1737 pp.36-39 , October 6,
1990 .

Davis, Alan : "Articulation on the Recorder", Recorder and Music Magazine Vol.5 No.1 pp.5-6,
March 1975.

Davis , Alan : "Fingering the Recorder", Recorder and Music Magazine Vol.4 No.12 pp.439-440,
December 1974.

Davis , Alan : Reviews of Bordun II: on its own set of tones by Wolfgang Witzenmann , Meadow,
Hedge, Cuckoo by Colin Sterne and Spuren im Sand by Konrad Lechner, Recorder
and Music Magazine Vol.6 No.7 p.206, September 1979.

Davis , Alan : "Vibrato on the Recorder", Recorder and Music Magazine Vol.4 No.10 pp.350-351 ,
June 1974.

Dench , Chris : "Sulle Scale della Fenice: Postscript", Perspectives of New Music Vol.29 No.2
pp.100-105, Summer 1991 .

Dench , Chris : "The Heart's Algorithms", Essay included in a 'Meet the Composer' Concert
Programme , Wissenschaftszentrum, Berlin, July 7, 1989.

Dench , Chris: "The Pattern Which Connects", Ossia No .2 pp .26-30, Spring 1990.

Dick, C. H. : "A Digital Signal Processor for the Real-Time Processing of Sound", New Music
Articles No.6 pp.41-47, n.d.

Dodge , Charles: "Profile : A Musical Fractal", Computer Music Journal Vol.12 No.3 pp.10-14, Fall
1988.

Dodge, Charles and Bahn, Curtis R. : "Musical Fractals", BYTEpp.185-196, June 1986.

Dolan, Robert Emmett: "A Note on Electronically Amplified Instruments", The American Recorder
Vol.9 No.3 pp .75,98, Summer 1968.

Dolmetsch , Carl : "High F sharp", Recorder and Music Magazine Vol.8 No.9 p.275, March 1986.

Driscoll, Daniel A. : "Acoustical Characteristics of the Alto Recorder" , The American Recorder
Vol.8 No.4 pp.1 09-113 , Fall 1967.

Driscoll, Daniel A. : "More about Improving your Recorder", The American RecorderVol.11 No.4
p.150 , Fall 1970.

Dunn, John: "The Middle of the Note", Recorder and Music Magazine Vol.5 No.9 pp.291-292,
March 1977.

- 292 -
Emmerson , Simon: "Ring Modulation and Structure" , Contact NO.17 pp.14-20, Summer 1977.

Errante, F. Gerard: "Clarinet Multiphonics: Practical Applications", The CiarinetVol.3 No.2 pp.S-7,
February 1976.

Errante, F. Gerard: "Contemporary Aspects of Clarinet Performance", Woodwind World - Brass

and Percussion Vol.16 No .1 pp.6-7 & p.17, January 1977; Vol.16 No.2 pp.20-21 &
p.26, March 1977; Vol.16 No.3 pp.8-9, May 1977.

Fader, Bruce : "Cork Joints Affect your Playing", The American RecorderVol.11 No.2 pp.S1-S3 ,
Spring 1970.

Fader, Bruce and Fajardo, Raoul J. : "Improving the Tone of Plastic Recorders", The American
Recorder Vol.12 NO.2 pp.41-43 , Spring 1971 .

Fajardo, Raoul J.: "An Acoustical Project involving a Reverberation Unit, a Microphone - and a
Recorder: Enhancing the Recorder Sound", Recorder and Music Magazine Vol.3
NO .5 pp.172-174, March 1970.

Fajardo , Raoul J. : "How to Improve your Recorder" , The American Recorder Vol.11 NO.3 pp.91-
92, Summer 1970.

Farmer, Gerald J.: "A Comprehensive View of Clarinet Multiphonics", The Clarinet Vol.4 No.2
pp.31-37, February 1977.

Fletcher, N. H. : "Acoustics of the Australian Didjeridu", Australian Aboriginal Studies: Journal of

the Australian Institute of Aboriginal Studies No.1 pp.28-37, 1983.

Fonville , John: "Ben Johnston's Extended Just Intonation : A Guide for Interpreters",
Perspectives of New Music Vol.29 No.2 pp.106-137, Summer 1991 .

Glassgold, A. C.: "Muting", The American RecorderVol.3 No.4 p.26, November 1962.

Gordon , Edgar: "Alternative High E", Recorder and Music Magazine Vol.3 NO.8 p.277, December
1970.

Gordon, Edgar: Letter to the Editor, Recorder and Music Magazine Vol.8 NO.3 p.79 , September
1984.

Greenberg , Abraham : "Articulation in Recorder Playing: A Phonetic Study", The American

Recorder Vol.24 NO.3 pp.99-1 01 , August 1983.

Grimmer, Donald : "The Modern Bass [Recorder)", Recorder and Music Magazine Vol. 1 NO.6
pp .18S-186, August 1964.

Gruchy, Tim : "Slide Technology and Sound and Vision", Sounds Australian: Australian Music
Centre Journal No .19 pp.21-23 , Spring 1988.

Gutzwiller, Martin C.: "Quantum Chaos" , Scientific American Vol.266 No.1 pp.26-32 , January
1992.

Halfpenny, Eric : "Technology of a Bass Recorder", The Galpin Society Journal Vol.1S pp.49-S4,
March 1962.

Hand, Colin : "Composing for Recorders" , Composer No.S2 pp.23-27, Summer 1974.

Harley, James: "Aspects of Indeterminism in Computer Music Composition: From Markov to

Mandelbrot", Unpublished Paper, Montreal , Canada, 1990.

Harley, James : "Chaos : Musical Applications", Unpublished Paper, Montreal, Canada, 1990.

- 293-
van Hauwe, Walter: "Recorder Music in the Netherlands; Jan Rokus van Roosendael's
Rotations" , KEY notes No.25 pp.45-47, 1988/1989.

Haynes, Bruce : "The Baroque Recorder: A Comparison with its Modern Counterpart", The
American Recorder Vol.1 No.1 pp.3-8, Winter 1969.

Haynes, J. L. : "The Production Recorder" , Recorder and Music Magazine VoL6 No.1 pp.12-13,
March 1978.

Heiss, John C.: "For the Flute: A List of Double-Stops, Triple-Stops, Quadruple-Stops, and
Shakes", Perspectives of New Music Vol.5 No.1 pp.139-141, Fall 1966.

Heiss , John C.: "Some Multiple Sonorities for Flute, Oboe, Clarinet and Bassoon", Perspectives
of New Music Vol.7 No.1 pp.136-142, Fall 1968.

Heiss, John: "The Flute : New Sounds", Perspectives of New Music Vol.10 No.2 pp.153-158,
Spring-Summer 1972.

Hersom, Herbert: "Impressions of the One-Handed Recorder", Recorder and Music Magazine
Vol.8 NO.7 p.223, September 1985.

Hettrick, William E.: "Martin Agricola's Poetic Discussion of the Recorder and other Woodwind
Instruments; Part 1: 1529", Recorder and Music Magazine VoL8 No.4 pp.127-129 &
p.116 , December 1984; VoL8 NO.5 pp.139-148 , March 1985.

Hettrick, William E. : "Martin Agricola's Poetic Discussion of the Recorder and other Woodwind
Instruments; Part 2: 1545", Recorder and Music Magazine Vol.8 NO.6 pp.171-179,
June 1985; Vol.8 NO.7 pp.202-212 , September 1985.

Higbee, Dale S. : "Third-Octave Fingerings in Eighteenth-Century Recorder Charts" , The Galpin

Society Journal Vol.15 pp.97 -99, March 1962.

Horner, Keith: "Frans Brueggen on Contemporary Music for the Recorder", Recorder and Music
Magazine Vol.4 No.10 pp.352-354, June 1974.

Houle , George : "Tongueing and Rhythmic Patterns in Early Music", The American Recorder
Vol.6 No.2 pp.4-13 , Spring 1965.

Hund-Davies, Malcolm: "A Review of Historical Styles of Recorder Playing: Part 1", Recorder and
Music Magazine Vol.6 NO.3 pp.66-68, September 1978.

Hunt , Edgar: "Another One-Handed Recorder", Recorder and Music Magazine Vol.7 NO.3 pp.66-
67 , September 1981 .

Hunt. Edgar: "Fingering the High Notes on the Recorder", The Galpin Society Journal Vol.11
pp.90-91, May 1958.

Hunt, Edgar: "Playing the Bass Recorder", Recorder and Music Magazine Vol.4 NO.8 pp.283-
284, December 1973.

Hunt, Edgar: "Recorder Fingerings". The Galpin Society Journal Vol.14 pp.75-76, March 1961 .

Hunt, Edgar: "Recorder Making Today", Recorder and Music Magazine Vol.3 No.1 pp.7-10 ,
March 1969.

Hunt, Edgar: "The Bass Recorder: The Modern Bass" , Recorder and Music Magazine Vol.1 No.4
pp.1 09-11 0, February 1964.

Hunt, Edgar: "The One-Handed Recorder", Recorder and Music Magazine VoL7 NO.6 p.145,
June 1982.

- 294-
Hunt, Edgar: "The Recorder and the Avant Garde", Recorder and Music Magazine Vol.5 No.6
pp.195-202, June 1976.

John, Cindy: "Computers - Performance of, and with", New Music Articles No.6 pp.39-41, n.d.

Johnston, Ben : "Proportionality and Expanded Musical Pitch Relations", Perspectives of New
MusicVol.5 No.1 pp.112-120, Fall-Winter 1966.

Johnston, Ben: "Rational Structure in Music", Proceedings of the American Society of University
Composers Vol.11/12 pp.102-118, 1977.

Johnston, Ben: "Scalar Order as a Compositional Resource", Perspectives of New Music Vol.2
No.2 pp .56-76, Spring-Summer 1964.

Jones, Douglas L. and Parks, Thomas W. : "Generation and Combination of Grains for Music
Synthesis", Computer Music Journal Vol.12 No.2 pp.27-34, Summer 1988.

Jones, K. : "Compositional Applications of Stochastic Processes", Computer Music Journal Vol.5

No.2 pp.45-61, Summer 1981 .

Jones, Trevor A.: "The Didjeridu", Studies in Music No.1 pp.23-55 & p.111, 1967.

Jurgens, Hartmut; Peitgen, Heinz-Otto and Saupe, Dietmar: "The Language of Fractals",
Scientific American Vol.263 No.2 pp.40-47, August 1990.

Juritz, J. W. F.: "Recorder Fingerings", The Galpin Society Journal Vol. 13 pp.91-92 , July 1960.

Katz, Erich: Review of Pastorale VII by Rob du Bois, The American Recorder Vol. 7 No.4 p.18, Fall
1966.

Kauffman, Stuart A.: "Antichaos and Adaption", Scientific American Vol.265 No.2 pp.64-70 ,
Augu st 1991.

Keislar, Douglas: "History and Principles of Microtonal Keyboards", Computer Music Journal
Vol.11 No.1 pp.18-28, Spring 1987.

Kupkovic, L.: "The Role of Tonality in Contemporary and 'Up-to-date' Composition", Tempo
No.135 pp.16-19, December 1980.

Lamb, Alan: "Metaphysics of Wire Music", New Music Articles No.9 pp.3-6 & p.30, 1991.

Lander, Nicholas S. : "The Recorder - Instrument of Torture or Instrument of Music?", The

Australian Journal of Music Education No.26 pp.29-36 , April 1980.

Langfeld, John T. : Review of Impromptu fantasque by Kazimierz Serocki, The American Recorder
Vol.19 No.3 p.121 , November 1978.

Lasocki, David: Reviews of Mutazioni: Studie fOr Altblockfl6te by Jurg Baur and Spiel und
Zwischenspiel by Rob du Bois, The American Recorder Vol. 1 No.1 pp.19-20, Winter
1969 .

Lasocki , David: "17th and 18th Century Fingering Charts for the Recorder", The American
RecorderVol.11 No.4 pp.128-137, Fall 1970.

Lasocki , David: "The Tongueing Syllables of the French Baroque", The American RecorderVol.8
No.3 pp .81-82, Summer 1967.

Leedy, Douglas: "A Venerable Temperament Rediscovered" , Perspectives of New Music Vol.29
No.2 pp.202-211 , Summer 1991 .

Leedy, Douglas : "New Music for an Old Temperament?", Interval Vol.4 No.1 pp.16-19, Winter
1982- 1983 .

- 295-
Lependorf, Jeffrey: "Contemporary Notation for the Shakuhachi: A Primer for Composers",
Perspectives of New Music Vol.27 No.2 pp.232-251 , Summer 1989.

Loeb, David : "Composing for Early Instruments: Joys and Hazards", The American Recorder
Vol.17 No.1 pp .21-25, May 1976.

Loretto, Alec V. : "Adjustable Lip on the Recorder", Recorder and Music Magazine Vol.3 No.8
pp .278-279 , December 1970.

Loretto , Alec : "Experiments at Celie", Recorder and Music Magazine Vol.4 No .5 pp .156-157,
March 1973.

Loretto, Alec: "Improvements or Modifications - Which?" , Recorder and Music Magazine Vol.8
No.8 pp.236-238, December 1985.

Loretto, Alec: Letters to the Editor, Recorder and Music Magazine Vol.4 No.8 pp.285-286,
December 1973.

Maconie, Robin: "Michael Vetter at the Cockpit", Recorder and Music Magazine Vol.3 No.8
p.289 , December 1970.

Malinowski, Stephen A. and Margolis, Bob: Correspondence : "Re : A Composer's Guide to the
Recorder by Bob Margolis (February 1976) - Corrections and Additions", The
American Recorder Vol.17 No.1 p.6, May 1976.

Mandelbrot, Benoit B.: "Fractals - A Geometry of Nature", New Scientist Vol.127 No.1734 pp.22-
27, September 15, 1990.

Margolis, Bob : "A Composer's Guide to the Recorder" , The American Recorder Vol.16 No.4
pp .113-122, February 1976.

Martin, John: "Acoustics for Beginners", The Recorder: Journal of the Victorian Recorder Guild
No.2 pp.26-29 , March 1985.

Martin, John : "The Acoustics of the Recorder", The Recorder: Journal of the Victorian Recorder
Guild No.7 pp.22-27, December 1987.

Martino, Donald : "Notation in General - Articulation in Particular", Perspectives of New Music Vol.4
No.2 pp.47-58, Spring-Summer 1966.

Massy, James : "The Flattening Effect of 'Pulling Out' the Recorder", Recorder and Music
Magazine Vol.6 No.2 pp.34-35, June 1978.

Massy, Jim: "The Taped Recorder (or 'How Low Can You Get?')", Recorder and Music Magazine
Vol. 7 No.6 p.142, June 1982.

MCCarty, Frank L. : "Woodwinds: Extensions of Convention", The Instrumentalist, Vol.28 No.1 0

pp.33-34, May 1974.

Metcalfe, William : Review of Tre studi per quattro: Drei Episoden fOr blockflOtenquartett by JOrg
Baur, The American Recorder Vol.16 No.4 p.139, February 1976.

Middleton, James : "Those 'Buzzing Ears"' , Recorder and Music Magazine Vol.5 No.2 p.51, June
1975.

Mix, Theodore : "Experiments at Celie", Recorder and Music Magazine Vol.4 No.7 p.243 ,
September 1973.

Moeck, Hermann: "A Reply to Alec Loretto", Recorder and Music Magazine Vol.8 No.9 p.275,
March 1986.

- 296-
Monteiro, Tania: "Missing Chaos Challenges Rule of Quantum Mechanics", New Scientist
Vol.130 No.1775 p.17, June 29 , 1991.

Moorer, James A.: "The Use of Linear Prediction of Speech in Computer Music Applications",
Journal of the Audio Engineering Society Vol.27 No.3 pp.134-140, March 1979.

Morgan, Fred : "Old Recorders and New Ones", The Recorder: Journal of the Victorian Recorder
GuildNo.1 pp.12-16, March 1984.

Mustard, Jonathan: "Chaos Works", New Music Articles No.9 pp.14-15, 1991 .

Ng, V. B. H.: "A Fingering Discovery", Recorder and Music Magazine Vol.2 No.4 p.115, February
1967.

Nieuwenhuizen, Michael: "Recorder Music in the Netherlands ; International Week of Twentieth-

Century Recorder Music, Amsterdam, October 1988: A Forum Discussion", KEY
notes No.25 pp.42-44, 1988/1989.

Noble , Richard D. C.: "The Recorder in the Twentieth Century : A Personal View", Recorder and
Music Magazine Vol. 1 No.8 pp.243-244, February 1965.

Novak, M. M. and Weber, Jack: "Fractal Sets", Australian Personal Computerpp .77-84 , January
1987.

O'Kelly, Eve: "Recorder Music in the Netherlands; International Week of Twentieth-Century

Recorder Music, Amsterdam, October 1988", KEY notes No.25 pp.39-41 ,
1988/1989.

O'Loughlin, Niall : "The Music of Nigel Osborne", Musical Times Vol.121 pp.307-311, May 1980.

O'Loughlin, Niall : "The Recorder in 20th-Century Music", Early Music Vol. 10 No.1 pp.36-37,
January 1982.

Osmond, D. W . J.: "The Optimum Breath Pressure for the Recorder", Recorder and Music
Magazine Vol.5 No.7 pp.227-230 , September 1976; Vol.5 No.8 pp.258-260,
December 1976.

Paap, Wouter: "Frans BrOggen and the Recorder", Sonorum Speculum No.42 pp.9-16, Spring
1970 .

Payton, Leonard: "The 'Grey' Region Between PITCH , CHORD, and TIMBRE ... ", Unpublished
Paper, Berkeley(?) , California, U.S.A., n.d.

Payton , Rodney J. : "The Music of Futurism : Concerts and Polemics", The Musical Quarterly
Vol.62 No.1 pp.25-45 , January 1976.

Post, Nora : "Monophonic Sound Resources for the Oboe", Interface Vol.11 pp.131-176, 1982.

Post, Nora : "Multiphonics for the Oboe", Interface Vol.10 pp.113-136, 1981 .

Pressing , Jeff: "Extended and Intelligent Instruments", Sounds Australian: Australian Music
Centre Journal No .19 pp .14-17, Spring 1988.

Pressing, Jeff: "Nonlinear Maps as Generators of Musical Design", Computer Music Journal
Vo l. 12 No.2 pp.35-46, Summer 1988.

K. H. R. [sic}: "Die Erbffnung eines Seminars fOr experimentelle BlockfiOtenmusiK',

Osterreichische Musik-Zeitschrift Vol.23 p.231 , April 1968.

Rehfeldt , Phillip: "Multiphonics for the Clarinet", The CiarinetVol.1 No .1 pp.9-15 , October 1973.

- 297-
Rehfeldt, Phillip: "Some Recent Thoughts on Multiphonics", The Clarinet Vol.4 No.3 p.21, March
1977.

Reichenthal, Eugene: "Partial Venting", Recorder and Music Magazine Vol.5 No.6 pp.193-195,
June 1976.

Reichenthal, Eugene: Review of Sonata for Solo Recorder by Tui S1. George Tucker, The
American Recorder Vol.12 No.3 p.93, August 1971 .

Rice, Michael : "F-sharp''''', Recorder and Music Magazine Vol.2 No.9 p.285, May 1968.

Roads, Curtis : "Introduction to Granular Synthesis", Computer Music Journal Vol.12 No.2 pp.11-
13, Summer 1988.

Roberts, David: Review of The Avant-Garde Flute: a Handbook for Composers and Flutists by
Thomas Howell and The Other Flute: a Performance Manual of Contemporary
Techniques by Robert Dick, Contact No.13 pp.43-44, Spring 1976.

Rose, Pete: Reviews of Concentus by Helmut Bornefeld and Sechs Bagatellen by Reinhard
Febel, The American Recorder Vol.24 No.3 pp.117-119, August 1983.

Rose, Pete: Review of FI6ten-ITonband-Spiele 1978 by Erhard Karkoschka, The American

Recorder Vol.22 Nos.1 & 2 pp.34-37, May 1981.

Rose, Pete: Reviews of Schattenbilderby Gerhard Braun, Contrasts by Herbert Nobis and La
Leggenda di Sant'Orsola by Werner Heider, The American Recorder Vol.25 No.2
pp.69-71, May 1984.

Rose, Pete: Review of Spuren im Sand by Konrad Lechner, The American Recorder Vol.21 No.4
p .183, February 1981 .

Rose, Pete : Review of The Mummy and the Humming-Bird by Arne Mellnas, The American
RecorderVol.23 No.4 p.167 , November 1982.

Rose, Pete: Review of Thymehaze by John Casken, The American Recorder Vol.24 No.1 p.33,
February 1983.

Rose, Pete: Review of Varianti by Konrad Lechner, The American Recorder Vol.19 No.2 pp.76-
77, August 1978.

Rowland-Jones, A.: "Some Trill Fingerings in the Three Blind Mice (TBM) Exercise" , Recorder
and Music Magazine Vol.8 No.2 pp.47-48, June 1984.

Rowland-Jones, A.: "Three Blind Mice and Baroque Trills", Recorder and Music Magazine Vol.8
No.1 pp .14-16, March 1984.

Sandford, Gordon: Review of Florilegium by Helmut Bornefeld, The American Recorder Vol.25
No.3 p.118 , August 1984.

Sayers, K. J.: "Bach's Recorder Parts", Recorder and Music Magazine Vol.4 No.7 p.243,
September 1973.

Schneider, John: "New Instruments through Frequency Division", Contact No.15 pp.18-21 ,
Winter 1976-1977.

Schouten, J. F.: "The Perception of Timbre", Reports of the Sixth International Congress on
Acoustics GP-6-2 pp.35-44, Tokyo 1968.

Schwartz, Elliot: "Electronic Music and Live Performance", The InstrumentalistVol.31 No.7
pp.52-55, February 1977.

- 298-
Seely, Neil and Seely, Susan: "Chapter News", The American RecorderVol.10 No.2 pp.38,70,
Spring 1969.

Shanahan, Ian L.: "31 Note Music by Bill Coates : Fingerings for Alto Recorder", Unpublished
Information Sheet, Sydney, Australia, February 1986.

Shanahan, Ian L. : "Blueprint for a Piece : Ian Shanahan's Sure-Fire Recipe for Music comprised of
Fractal Sounds generated by a Prepared Alto Recorder", Unpublished Information
Sheet, Sydney, Australia, May 22, 1991 .

Shanahan, Ian L. (ed. Skinner, Graeme): "Multicultural Influences on Australian Composition",

The Composer Speaks: Composers and Their Colleagues Discuss Australian Music,
Sounds Australian, Sydney, Australia, June 1991: pp.32-35.

Shanahan, Ian L.: "Recorder Unlimited: An Introduction with Special Consideration of Multiple
Sonorities" , Unpublished Paper, Sydney, Australia: Lecture delivered to the Sydney
Branch of the Musicological Society of Australia, August 2, 1986.

Shanahan, Ian L. : "Recorders Now and Then", The Recorder: Journal of the Victorian Recorder
Guild No .13 pp.23-24, Ju ne 1991.

Shanahan, Ian L.: "Some Random Thoughts on John Cage (1912 - 1992), and 'New' Music",
Unpublished Paper, Sydney, Australia, December 21, 1992: delivered as a Radio
Lecture/Performance as part of A Tribute to John Cage: Returning the Compliment,
ABC-FM Stereo, December 21 , 1992. [To appear in Ossia No.3 , 1993.]

Shanahan, Ian L. : "Sounds Unlimited", 1988 Blue Mountains Festival Performing Notes, The
Blue Mountains Festival Ltd ., Darlinghurst, NSW, Australia, 1988 : pp.12-15 .

Shanahan, Ian L. : "The Theory of Bitones", Ossia NO.1 pp.17-23, Winter 1989.

Shanahan, Ian L.: Untitled, Unpublished Paper, Sydney, Australia : delivered as a Seminar
(Seminar C) during the Asian Composers' Forum in Sendai, Japan , September 19,
1987.

Silbiger, Lex and Breed, Alexander: "Notes on Composing for the Recorder", The American
Recorder Vol.6 No.4 pp.5-6, Fall 1965.

Sims, Ezra: "Yet Another 72-Noter", Computer Music Journal Vol.12 No.4 pp.28-45, Winter
1988.

Singer, Lawrence : "Multiphonic Possibilities of the Clarinet", The American Music TeacherVol.24
NO.3 pp.14-17, January 1975.

Singer, Lawrence : "Multiphonic Possibilities of the Woodwinds", NACWPI Journal Vol.22 No.1
pp.34-37, Fall 1973.

Singer, Lawrence: "Woodwind Development: A Monophonic and Multiphonic Point of View",

Woodwind World - Brass and Percussion Vol.14 NO.3 pp.14-16, June 1975.

Skins, Ron : 'The Recorder as Image-Maker" , Recorder and Music Magazine Vo l.8 NO.8 pp.234-
236 , December 1985.

Smeyers, David: "The Hespos Phenomenon: A Performer's Point of View", Contact NO.33
pp.17-19, Autumn 1988.

Smeyers, David: "The Open-Minded Clarinetist: Exploding Silence(s) - An Introduction to Hans-

Joachim Hespos and his Music", The Clarinet Vol.14 No.4 pp.16-20, Summer 1987.

Smith , Fabienne: "Third-Octave Notes on the Recorder", Recorder and Music Magazine Vol.2
No.4 p.115, February 1967; Vol.2 NO.5 p.159 , May 1967.

- 299-
Smith, Fabienne: "Treble's Fingering", Recorder and Music Magazine Vol.2 No.11 p.363,
December 1968.

Smith , William 0.: "Contemporary Clarinet Sonorities", Selmer Bandwagon Vol.67 pp.12-14, Fall
1972.

Sterne, Colin: "Meadow, Hedge, Cuckoo: Notes on the Performance of ARS Edition No.87", The
American RecorderVol.20 No.2 pp.74-75, August 1979.

Stockhausen, Karlheinz : " .....How Time Passes .. .. .", die Reihe NO.3 pp.10-40, 1957.

Strange, Allen : "Technical Resources for the 'New Orchestration"', The Instrumentalist Vol.28
No.10 pp.41-42, May 1974.

ed. Thorn, Benjamin: "Virtuosity", Sounds Australian: Australian Music Centre Journal No.20
pp.15-29, Summer 1988.

Thorn, Benjamin: '''New' Sounds from Old Pipes", The Recorder: Journal of the Victorian
Recorder Guild No .10 pp .5-9, December 1989.

Toop, Richard : "Four Facets of The New Complexity"' , Contact NO.32 pp.4-50, Spring 1988.

Toop, Richard: "Sulle Scale della Fenice", Perspectives of New Music Vol.29 No.2 pp.72-92 ,
Summer 1991 .

Truax, Barry: "Organizational Techniques for C:M Ratios in Frequency Modulation", Computer
Music Journal Vol. 1 No.4 pp.39-45, 1977.

Truax , Barry: "Real-Time Granular SyntheSiS with a Digital Signal Processor", Computer Music
Journal Vol.12 No.2 pp.14-26, Summer 1988.

Truax , Barry: "Timbral Construction as a Stochastic Process", Proceedings of the International

Music and Technology Conference 1981 pp.157 -17 4, August 1981 .

Tsukamoto, Takashi: "A One-Handed Recorder", Recorder and Music Magazine Vol.6 NO.9
pp.258-265, March 1980.

Tsukamoto , Takashi: "Another Bell Key", Recorder and Music Magazine Vol.5 No.2 pp.45-46,
June 1975.

Turner, John : "Writing for the Recorder", Composer NO.92 pp.17-21 , Winter 1987.

Vetter, Michael : "Apropos BlockfI6te", Melos Vol.35 pp.461-468, December 1968.

Vetter, Michael: "Die Chance der Blockfl6te in der neuen Musik", Kontakte NO.3 pp.1 07-1 08,
1966. [Reprinted in Recorder and Music Magazine Vol.2 NO.5 p.133, May 1967 under
the title: "The Challenge of New Music" (English translation by Bill Hopkins).]

Vetter, Michael: "Elektronische verstarker fOr BlockfI6te", [Information Sheet] H. Moeck Verlag ,
Celie. n.d.

Vetter, Michael: "Leistungsm6glichkeiten der Blockfl6te und ihre Tauglichkeit fOr die neue
Musik" , Kontakte NO.5 pp.191-192, 1966.

Vetter, Michael (English translation by A. Defries): "New Recorder Music from Holland", Sonorum
Speculum NO.31 pp.19-2S, Summer 1967.

Vetter, Michael (English translation by Bill Hopkins): "Recorder Works by JOrg Baur", Recorder
And Music Magazine Vol.2 NO.7 pp.226-227, November 1967.

Waitzman, Daniel: "A Plan to Promote a Modernized Recorder", Recorder and Music Magazine
Vol.4 No.1 pp.10-11 , March 1972.

- 300-
Waitzman, Daniel: "A Review of Michael Vetter's /I Flauto Dolce ed Acerbo" , The American
RecorderVol.11 No.1 pp.16-19, Winter 1970.

Waitzman, Daniel: "Bell-Key Probe", Recorder and Music Magazine Vol.3 NO.3 p.86, September
1969 .

Waitzman, Daniel : "Correction", Recorder and Music Magazine Vol.2 No .11 p.363, December
1968.

Waitzman, Daniel: Letter to the Editor: "Notes on Composing", The American Recorder Vol.7
No.1 p.30, Winter 1966.

Waitzman, Daniel: Letter to the Editor, The American Recorder Vol.14 No.1 pp.35-36, February
1973.

Waitzman, Daniel: "The Bell Key", The American RecorderVol.9 No.1 pp.3-6, Winter 1968.

Waitzman, Daniel: "The Decline of the Recorder in the 18th Century", The American Recorder
Vol.8 No.2 pp.47-51, Spring 1967.

Waitzman, Daniel: "The Requirements of a Good Bell-Keyed Recorder", The American Recorder
Vol.12 No.2 pp.39-40, May 1971.

Walker, David S. : "A Dot Here, A Dash There, and Perhaps a Squiggle: Using Contemporary
Notation with Beginning Recorder Students", The American Recorder Vol.18 No.4
pp.114-117, February 1978.

Ward, Stuart: "Composing for the Advanced Recorder Player", Recorder and Music Magazine
Vol.5 No.4 pp.118-120, December 1975.

Watson, Rex: Letter to The Editor, Recorder and Music Magazine Vol.2 No.2 p.52 , July 1966.

White, Beverly : "The Human Lineage of the Fipple Flute", The American Recorder Vol.19 No.4
pp.151-153, February 1979.

von Winterfeld, Linde Hoffer: "Griffkombinationen und Klangfarben auf der Blockflote", Tibia
No.2 pp.77-80, 1976.

Winters, Ross: Reviews of Canzonabile by Georg Kroll and FI6tenstories by Martin GOmbel,
Recorder and Music Magazine Vol.5 No.12 p.403, December 1977.

Wishart, Trevor: "Extended Vocal Technique", Musical TimesVol.121 pp.313-314, May 1980.

Wishart, Trevor: "RED BIRD/ANTICREDOS", New Music Articles No.2 pp.32-37, 1983.

Woods, Timothy: "Recorder Voicing Structures", Recorder and Music Magazine Vol.8 NO.8
pp.239-241, December 1985.

Wyatt, Theo: "Which Recorder? A Consumer's Guide to Plastic Instruments", The American

Recorder Vol.23 No.4 pp.151-157, November 1982. [A revised version of this article
was printed in Recorder and Music Magazine Vol. 7 No.1 pp.253-263, June 1983.]

Wyatt, Theo: "Which Recorder? A Supplement", The American Recorder Vol.24 NO.3 pp .11 0-
112, August 1983.

Zielinski, Tadeusz A.: "Anmerkungen zu Arrangements fOr 1 bis 4 Blockfloten von Kazimierz
Serocki" , Tibia No .1 pp.23-28, 1980.

Zielinski, Tadeusz A.: "Concerto alia cadenza by Kazimierz Serocki", Recorder and Music
Magazine Vol.6 NO .3 pp.68-71 , September 1978.

Zonn, Paul : "Some Sound Ideas for Clarinet", The Clarinet Vol.2 No.2 pp.17-20, February 1975.

- 301-
B. Books and Monographs.

Anon.: Sampling Techniques, Gruppo Editoriale Jackson; Divisione Periodici/Akai Electronic

Company (Reprinted with permission of Strumenti Musicali), MilanlTokyo?, n.d.

Anon.: The Principles of the International Phonetic Association - being a description of the
International Phonetic Alphabet and the manner of using it, illustrated by texts in 51
languages, The International Phonetic Association, London, 1949.

Artaud, Pierre-Yves and Geay, Gerard: Present Day Flutes: Treatise on Contemporary
Techniques of Transverse Flutes for the use of Composers and Performers, Editions
Jobert and Editions Musicales Transatlantiques, Paris, 1980.

ed. Baines, Anthony: Musical Instruments Through the Ages, 3rd edition, Penguin Books,
Harmondsworth, Middlesex, England, 1974.

Banek, Reinhold and Scoville, Jon: Sound Designs: A Handbook of Musical Instrument Building,
Ten Speed Press, Berkeley, California, U.S.A., 1980.

Barbour, J. Murray: Tuning and Temperament: A Historical Survey, Michigan State College Press,
East Lansing, Michigan, U.S.A., 1953.

Bartolozzi, Bruno (ed. and English translation by Reginald Smith Brindle): New Sounds for
Woodwind, 2nd edition, Oxford University Press, London, 1982.

Bateson, Gregory: Mind and Nature: A Necessary Unity, Bantam Books, New York, 1980.

Bateson, Gregory: Steps to an Ecology of Mind, Ballantine Books, New York, 1972.

Bateson, Gregory and Bateson, Mary Catherine: Angels Fear: An Investigation into the Nature
and Meaning of the Sacred, Century Hutchinson Ltd. (Rider Books), London, 1988.

ed. Battcock, Gregory: Breaking the Sound Barrier: A Critical Anthology of New Music, E. P.
Dutton, New York, 1981 .

Beiser, Arthur: The Mainstream of Physics, Addison-Wesley Publishing Company, Inc., Reading,
Massachusetts, U.S.A., 1962.

Benade, Arthur H.: Fundamentals of Musical Acoustics, Oxford University Press, New York,
1976.

Bergman, Billy and Horn, Richard: Experimental Pop: Frontiers of the Rock Era, Blandford Press,
Poole , Dorset , England, 1985.

Bohm, David: Wholeness and the Implicate Order, Routledge & Kegan Paul, London, 1980.

Bok, Henri and Wendel, Eugen: New Techniques for the Bass Clarinet, Editions Salabert, E.A.S.
18802, Paris, 1989. Accompanying cassette tape: Editions Salabert, SC 025.

ed. Bons, Joel: Complexity in Music? - An Inquiry into its Nature, Motivation and Performability,
JoB press, Amsterdam, 1990.

ed. Boretz, Benjamin and Cone, Edward T.: Perspectives on Contemporary Music Theory, W. W.
Norton & Company, Inc., New York, 1972.

ed. Boretz, Benjamin and Cone , Edward T. : Perspectives on Notation and Performance, W . W.
Norton & Company, Inc., New York, 1976.

Boulez, Pierre (English translation by Richard Rodney Bennett and Susan Bradshaw): Boulez on
Music Today, Faber and Faber, London , 1971.

- 302-
Braun, Gerhard : Neue Klangwelt auf der Blockfl6te, Heinrichshofen's Verlag, Wilhelmshaven ,
1978 .

Brosnahan, L. F. and Malmberg, Bertil: Introduction to Phonetics, Cambridge University Press,

Cambridge , England, 1970.

Caravan, Ronald L. : Extensions of Technique for Clarinet and Saxophone, D.M.A. Dissertation,
Eastman School of Music, July 1974. [Available on microfilm from University Microfilms
International, Ann Arbor, Michigan, U.S.A., 1985.]

Caravan, Ronald L.: Preliminary Exercises and Etudes in Contemporary Techniques for Clarinet,
Ethos Publications, U.S.A., 1979.

Charlton , Andrew: The Charlton Method for the Recorder: A Manual for the Advanced Recorder
Player, University of Missouri Press, Columbia, Missouri, U.S.A., 1981.

Chatterley, Albert: The Music Club Book of Improvisation Projects, Stainer and Bell Ltd., London,
1978.

Clements , E. : Introduction to the Study of Indian Music: An Attempt to Reconcile Modern

Hindustani Music with Ancient Musical Theory and to Propound an Accurate and
Comprehensive Method of Treatment of the Subject of Indian Musical Intonation,
Gaurav Publications, New Delhi, 1981.

Cogan, R. and Escot, B. : Sonic Design: The Nature of Sound and Music, Prentice-Hall,
Englewood Cliffs, New Jersey, U.S.A., 1976.

Cole , Hugo : Sounds and Signs: Aspects of Musical Notation, Oxford University Press , London ,
1974.

Cope, David H.: New Directions in Music, 4th edition, William C. Brown Publishers, Dubuque ,
Iowa, U.S.A. , 1984.

Cope, David H.: New Music Composition, Schirmer Books , New York, 1977.

Cott , Jonathan: Stockhausen: Conversations with the Composer, Pan Books Ltd. , London ,
1974.

Dallin, Leon: Techniques of Twentieth Century Composition, 3rd edition, William C. Brown
Publishers , Dubuque, Iowa, U.S.A., 1974.

Davis, Alan : Treble Recorder Technique, Novello, England, 1983.

Dean , Roger T.: Creative Improvisation: Jazz, Contemporary Music and Beyond, Open University
Press, Milton Keynes, England, 1989.

Dean, Roger T. : New Structures in Jazz and Improvised Music Since 1960, Open University
Press, Milton Keynes, England, 1992.

Delker, Elisabeth : Ansatze zur Untersuchung dynamischer Ausdrucksm6glichkeiten auf der

BlockflOte, H. Moeck Verlag, Celie, 1984.

Dempster, Stuart : The Modern Trombone : A Definition of its Idioms, University of California Press,
Berkeley, California, U.S.A. , 1979.

ed . Deutsch, Diana : The Psychology of Music, Academic Press, Orlando, Florida, U.S.A., 1982.

Dick, Robert: The Other Flute: A Performance Manual of Contemporary Techniques, Oxford
University Press , London, 1975.

Doczi, Gyorgy: The Power of Limits: Proportional Harmonies in Nature, Art and Architecture,
Shambhala Publications, Inc., Boston , Massachusetts, U.S.A. , 1981 .

- 303-
Erickson, Robert: Sound Structure in Music, University of California Press, Berkeley, California,
U.S.A. , 1975.

Farmer, Gerald J.: Multiphonics and Other Contemporary Clarinet Techniques, SHALL-u-mo
Publications, Rochester, New York, U.S.A. , 1982.

Ganassi, Sylvestro : Opera Intitulata Fontegara, Venice, 1535. (ed. Hildemarie Peter, [English
translation by Dorothy SwainsonJ, Robert Lienau , Berlin-Lichterfelde, 1956.)

Gartner, Jochen (English translation by Einar W. Anderson): The Vibrato, with particular
consideration given to the situation of the Flutist: Historical Development, New
Physiological Discoveries, and Presentation of an Integrated Method of Instruction,
2nd edition , Gustav Bosse Verlag, Regensburg, 1981 .

Gerboth, Walter and Prucha, Harold J.: Primer for the Bass Recorder: A Complete Method, Hargail
Music Press, HRW-5, New York, n.d.

Giesbert, Franz J.: Method for the Treble Recorder, 2nd edition, Schott and Co . Ltd., London ,
1957.

Gleick, James : Chaos: Making a New Science, Cardinal (Sphere Books Ltd.) , London, 1988.

ed. Godwin , Joscelyn: Cosmic Music: Musical Keys to the Interpretation of Reality, Inner
Traditions International Ltd. , Rochester, Vermont, U.S.A. , 1989.

Godwin, Joscelyn: Harmonies of Heaven and Earth: The Spiritual Dimension of Music from
Antiquity to the Avant-Garde, Inner Traditions International Ltd. , Rochester, Vermont,
U.S.A. , 1987.

Godwin, Joscelyn: Music, Mysticism and Magic: A Sourcebook, Arkana Paperbacks, New York,
1987.

Godwin , Joscelyn: The Mystery of the Seven Vowels: In Theory and Practice, Phanes Press,
Grand Rapids, Michigan, U.S.A., 1991 .

Goodyear, Stephen F.: The Recorder, Hodder and Stoughton, London, 1978.

Goossens , Leon and Roxburgh, Edwin : Oboe, Macdonald and Jane's Publishers Ltd ., London ,
1977.

Grey, John: An Exploration of Musical Timbre, Department of Music Artificial Intelligence

Laboratory Report No. STAN-M-2; Ph.D. Dissertation , Department of Psychology,
Stanford University, February 1975.

Griffiths, Paul : A Concise History of Avant-Garde Music, Oxford University Press, London, 1978.

Griffiths, Paul: A Guide to Electronic Music, Thames and Hudson, London , 1979.

Hamel, Peter Michael (English translation by Peter Lemesurier): Through Music to the Self: How
to Appreciate and Experience Music Anew, The Compton Press Ltd . (Element
Books), The Old Brewery, Tisbury, Wiltshire , England, 1978.

Hansen, AI.: A Primer of Happenings and Time-Space Art, Something Else Press, New York,
1968 .

Harrison, Lou : Lou Harrison's Music Primer, Peters Edition, New York, 1971 .

van Hauwe, Walter: The Modern Recorder Player (Volume I), ED 12150, Schott and Co . Ltd. ,
London , 1984.

van Hauwe, Walter: The Modern Recorder Player (Volume II), ED 12270, Schott and Co. Ltd. ,
London , 1987.

- 304-
van Hauwe, Walter: The Modern Recorder Player (Volume III), ED 12361 , Schott and Co. Ltd. ,
London, 1992.

Higgins, Dick: A Dialectic of Centuries: Notes Towards a Theory of the New Arts, 2nd edition ,
Printed Editions, New York, 1979.

Higgins, Dick: Postface , Something Else Press, New York, 1964.

Hotteterre "Ie Romain", Jacques-Martin: Principes de la FlOte Traversiere, ou FIOte d'Allemagne,

a
de la FlOte Bee, ou FIOte Douce, et du Haut-Bois, Divisez par Traitez, Paris, 1707.
(English translation, with Introduction and Notes by Paul Marshall Douglas under the
title: Principles of the Flute, Recorder and Oboe, Dover Publications , Inc. , New York,
1983.)

Howell, Thomas: The Avant-Garde Flute: A Handbook for Composers and Flutists, University of
California Press , Berkeley, California, U.S.A., 1974.

Hunt, Edgar: The Bass Recorder: A Concise Method for the Bass Recorder in F and Great Bass in
C, Schott and Co . Ltd., London, 1975.

Hunt, Edgar: The Recorder and its Music, Revised edition, Eulenberg , London, 1977.

Inglefield, Ruth K. and Neill, Lou Anne: Writing for the Pedal Harp: A Standardized Manual for
Composers and Harpists, University of California Press, Berkeley, California, U.S.A.,
1985.

Jenkins, John: 22 Contemporary Australian Composers, NMA Publications, Melbourne , 1985.

Johnston, Ian : Measured Tones: The Interplay of Physics and Music, lOP Publishing Ltd . (Adam
Hilger Books), Bristol , England, 1989.

Jones, Daniel: The History and Meaning of the term "Phoneme", 2nd edition , The International
Phonetic Association, London , 1967.

Jorgenson, Owen: Tuning the Historical Temperaments by Ear, Northern Michigan University
Press, Marquette, Michigan, U.S.A., 1977.

Kientzy, Daniel : Les Sons Multiples Aux Saxophopes, Editions Salabert, E.A.S. 17543, Paris,
1982. Accompanying cassette tapes: Editions Salabert, SC 001 & SC 002.

a
Kientzy, Martine : Les Sons Multiples Aux FIOtes Bec, Editions Salabert, E.A.S. 17610, Paris ,
1982. Accompanying cassette tapes: Editions Salabert , SC 007 & SC 008.

Kirby, E. T. : Total Theatre, E. P. Dutton, New York, 1969.

Kirby, Michael: Happenings, E. P. Dutton, New York, 1965.

Kirby, Michael: The Art of Time, E. P. Dutton, New York, 1969.

Kishibe, Shigeo : The Traditional Music of Japan, 3rd edition, Ongaku No Tomo Sha Edition,
Tokyo , 1984.

Kluver, Billy; Martin, Julie and Rose , Barbara: Pavilion, E. P. Dutton, New York, 1972.

Kbneke, Hans W.: Skizzen zu einem neuen Blockfl6ten-Unterricht, H. Moeck Verlag, Celie,
1972 .

Kottick, Edward L. : Tone and Intonation on the Recorder, MCGinnis and Marx, New York, 1974.

Ladefoged, Peter: A Course in Phonetics, Harcourt Brace Jovanovich, Inc., New York, 1975.

- 305-
Linde, Hans-Martin (English translation by James C. Haden): The Recorder Player's Handbook,
2nd edition, Schott and Co . Ltd., London, 1974.

Lloyd, L. S. and Boyle, Hugh: Intervals, Scales, and Temperaments, St. Martin's Press, New York,
1978 .

Mackay, Andy: Electronic Music: The Instruments, The Music and The Musicians, Phaidon Press
Ltd., Oxford, England, 1981 .

Mandelbaum, Joel: Multiple Division of the Octave and Tonal Resources of Nineteen-Tone Equal
Temperament, Ph.D. Dissertation, Indiana University, 1961.

Mandelbrot, Benoit B.: The Fractal Geometry of Nature, Revised edition, W. H. Freeman and
Company, New York, 1983.

Margenau, Henry; Watson, William W. and Montgomery, C. G.: Physics: Principles and
Applications, 2nd edition, McGraw-Hili Book Company, Inc., New York, 1953.

MCClain, Ernest G .: Meditations through the Quran: Tonal Images in an Oral Culture, Nicholas
Hays, Inc. , York Beach, Maine, U.S.A., 1981 .

MCClain, Ernest G.: The Myth of Invariance: The Origin of the Gods, Mathematics and Music, From
the Rg Veda to Plato, Nicholas Hays, Inc., York Beach, Maine, U.S.A., 1976.

MCClain, Ernest G.: The Pythagorean Plato: Prelude to the Song Itself, Nicholas Hays, Inc., York
Beach, Maine, U.S.A., 1978.

Mersenne, Marin: Harmonie Universelle: The Books on Instruments, Paris, 1635. (English
translation by Roger E. Chapman, Martinus Nijhoff, Den Haag, 1957.)

Meyer, Leonard B.: Music, The Arts and Ideas: Patterns and Predictions in Twentieth-Century
Culture, The University of Chicago Press, Chicago, Illinois, U.S.A., 1967.

Montagu, Basil : The Works of Francis Bacon, Lord Chancellor of England. A New Edition: with A
Life of The Author, in Three Volumes, Carey and Hart, Philadelphia, Pennsylvania,
U.S.A., 1841 .

Moog, Bob; Powell, Roger; Anderton, Craig, et al.: Synthesizers and Computers, Hal Leonard
Publishing Corporation (GPI Publications) , Milwaukee, Wisconsin/Cupertino,
California, U.S.A., 1985.

Moyle, Alice M.: Aboriginal Sound Instruments, Australian Institute of Aboriginal Studies,
Canberra, 1978.

Nyman, Michael: Experimental Music, Macmillan Ltd., London, 1974.

O'Kelly, Eve: The Recorder Today, Cambridge University Press, Cambridge, England, 1990.

Partch, Harry: Genesis of a Music, 2nd edition, Da Capo Press, New York, 1973.

Peter, Hildemarie (English translation by S. Godman) : The Recorder: its Traditions and Tasks,
Robert Lienau, Berlin-Lichterfelde, 1958.

Podnos, Theodor: Intonation for Strings, Winds, and Singers, Scarecrow Press, London, 1981.

Prigogine, lIya and Stengers, Isabelle: Order out of Chaos: Man's New Dialogue with Nature,
William Heinemann Ltd., London, 1984.

Read, Gardner: Contemporary Instrumental Techniques, Schirmer Books, New York, 1976.

Read, Gardner: Modern Rhythmic Notation, Victor Gollancz Ltd., London , 1980.

- 306-
Rechberger, Herman: Die Blockflote in der Zeitgenossischen Musik, Finnish Music Information
Centre, Helsinki, 1987.

Reck, David: Music of the Whole Earth, Charles Scribner's Sons Ltd. , New York, 1977.

Rehfeldt, Phillip: New Directions for Clarinet, University of California Press, Berkeley, California,
U.S.A., 1977.

ed. Roads, Curtis and Strawn, John: Foundations of Computer Music, The MIT Press,
Cambridge , Massachusetts, U.S.A., 1985.

Roederer, Juan G.: Introduction to the Physics and Psychophysics of Music, Springer-Verlag,
New York, 1973.

Rossing, Thomas D.: The Science of Sound, Addison-Wesley Publishing Company, Inc.,
Reading , Massachusetts, U.S.A., 1982.

Rowland-Jones, Anthony: Recorder Technique: Intermediate to Advanced, 2nd edition, Oxford

University Press, Oxford, 1986.

Rudhyar, Dane: The Magic of Tone and the Art of Music, Shambhala Publications, Inc., Boulder,
Colorado, U.S.A. , 1982.

Schafer, R. Murray: Ear Cleaning, BMI Canada Ltd., Vancouver, Canada, 1974.

Schafer, R. Murray: The New Soundscape: A Handbook for the Modern Music Teacher, Clark &
Cruickshank (Berandol Music Ltd.), Toronto, Canada, 1969.

Schmidt, Ursula: Notation der Neuen Blockflotenmusik: Ein Oberblick, H. Moeck Verlag, Celie ,
1981 .

Schneider, John : The Contemporary Guitar, University of California Press , Berkeley, California,
U.S.A., 1985.

ed. Schwartz, Elliot and Childs , Barney : Contemporary Composers on Contemporary Music, Holt,
Rinehart and Winston Publishers , New York, 1967.

Shanahan , Ian L. : The Avant-Garde Recorder: A Preliminary Study of some Recent

Developments in Alto Recorder Playing Techniques, and their Notation,
B.Mus.(Hons.) Thesis, The University of Sydney, November 1985.

Slawson, Wayne: Sound Colour, University of California Press , Berkeley, California, U.S.A.,
1985.

Small , Christopher: Music * Society * Education, 2nd edition, John Calder (Publishers) Ltd. ,
London, 1980

Smith Brindle , Reginald: Serial Composition, Oxford University Press, London, 1966.

Smith Brindle, Reginald : The New Music: The Avant-Garde since 1945, Oxford University Press,
London, 1975.

Stewart, Ian: Does God Play Dice? - The New Mathematics of Chaos, Penguin Books, London,
1990.

Stiller, Andrew: Handbook of Instrumentation, University of California Press, Berkeley, California,

U.S.A. , 1985.

Stockhausen , Karlheinz (English translation by Tim Nevill): Towards a Cosmic Music, Element
Books Ltd ., Longmead, Shaftesbury, Dorset , England , 1989.

- 307-
Stone, Kurt: Music Notation in the Twentieth Century: A Practical Guidebook, W. W. Norton &
Company, Inc., New York, 1980.

ed . Strawn, John: Digital Audio Signal Processing: An Anthology, William Kaufman, Inc., Los
Altos, California, U.S.A. , 1985.

Tenney, James: Meta + Hodos: A Phenomenology of 20th-Century Music and an Approach to

the Study of Form, Frog Peak Music, Hannover, New Hampshire, U.S.A., 1988.

ed. Thorn, Benjamin: Recorders at Large, Currency Press, Sydney, 1991. Accompanying
cassette tape: Sounds Australian OZM2014.

Turetzky, Bertram : The Contemporary Contrabass, University of California Press, Berkeley,

California, U.S.A., 1974.

Vetter, Michael: "Flauto Dolce ed Acerbo: Instructions and Exercises for Players of New
Recorder Music, 2nd edition , H. Moeck Verlag, Celie, 1974.

ed. Vinton, John : Dictionary of Contemporary Music, E. P. Dutton, New York, 1974.

Waechter, Wolfram: Neue Technische Ubungen, Otto Heinrich Noetzel Verlag, Wilhelmshaven,
1983.

Waitzman , Daniel: The Art of Playing the Recorder, AMS Press, New York, 1978.

Wetzel, Gregory F. and Bulgren, William G.: The Algorithmic Process: an Introduction to Problem
Solving, Scientific Research Associates, Inc., Chicago, Illinois, U.S.A., 1985.

Whitney, John : Digital Harmony: On the Complementarity of Music and Visual Art, Byte Books
(McGraw-Hili), Peterborough, New Hampshire, U.S.A., 1980.

Wick, Denis : Trombone Technique, 2nd edition, Oxford University Press, Oxford, 1975.

ed. Wilber, Ken : The Holographic Paradigm and other Paradoxes: Exploring the Leading Edge of
Science, Shambhala Publications, Inc. , Boston, Massachusetts, U.S.A. , 1985.

Wilczek, Frank and Devine, Betsy: Longing for the Harmonies: Themes and Variations from
Modern Physics, W. W. Norton & Company, Inc., New York, 1987.

von Winterfeld, Linde Hoffer: Der Neue Weg: Blockflotentechnik (Teilt), Edition Sikorski NR
681 , Musikverlag Hans Sikorski, Hamburg, 1965.

von Winterfeld, Linde Hoffer: Diarium for Jeanette: Daily Exercises for Alto Recorder, Pelikan-
Edition 786, Musikverlag Pelikan, ZOrich, 1969.

Wishart, Trevor: Book of Lost Voices, published privately by the author, England, 1979.
[Available from: Philip Martin Music Books, 22 Huntington Road, York, Y03 7RL,
England.]

Wishart, Trevor: On Sonic Art, Imagineering Press, 83 Heslington Road, York Y01 SAX, England,
1985.

Wollitz, Kenneth : The Recorder Book, Alfred A. Knopf, New York, 1982.

Xenakis, lannis: Formalized Music: Thought and Mathematics in CompOSition, Indiana University
Press, Bloomington, Indiana, U.S.A., 1971 .

Yasser, Joseph: A Theory of Evolving Tonality, Da Capo Press, New York, 1932.

Zuckerkandl, Victor (English translation by Willard R. Trask): Sound and Symbol: Music and the
External World, Princeton University Press, Princeton, New Jersey, U.S.A. , 1969.

- 308-
 A LIST OF COMPOSITIONS UTILIZING RECORDER
MULTIPHONICS

This listing is not intended to be totally comprehensive; indeed, total

comprehensivity would be impossible to achieve, owing to the continual and
welcome appearance of new recorder compositions.

Please note that works with non-specific instrumentation, even if they

have been realized on recorder(s), have been excluded from this list. (Some
examples of these appear in the Discography, which appends this listing.)
Wherever possible, all bibliographic details are given, though in some
instances the data provided could be inaccurate: on occasion, the date or
place of composition, or the place of publication (if any), was unclear. Many
Australian recorder compositions, furthermore, are still unpublished,
although facsimiles of the composer's manuscript may, in many cases, be
obtained from:

The Australian Music Centre (Sounds Australian)

Suite 201, The Argyle Centre
18 ArgylelPlayfair Street, The Rocks
P.O. Box N690
Grosvenor Place
Sydney NSW 2000
AUSTRALIA
Telephone: (02)247 4677
FAX: (02)2412873

Compositions known to be obtainable through the Australian Music

Centre appear in this listing with "AMC" appended to the other details. All
unpublished compositions - and those thought to be unpublished - are
catalogued as "Manuscript".
In all instances, dates within the following listing refer to the date of
composition (rather than, in the case of a published work, the date of
publication).

Abbreviations

Bassoon: Bsn.
Clarinet: Claro
ElectronicslElectric: Electr.
Amplification!Amplified: Ampl.
Synthesizer(s): Synth(s).
Flute: Fl.
Guitar(s): Guit(s).
Horn: Hn.
Keyboard(s): Keyb(s).
Harpsichord: Harpsich.

- 309-
 Organ: Org.
(Prepared) Piano: (Prep.)Pft.
MandolinCs): MandCs).
Oboe: Ob.
Orchestra: Orch.
Percussion: Perc.
Drum: Dr.
Piccolo: Picco
Player(s): pI.
Recorder(s): Rec(s).
Garkleinflotlein: g
Sopranino: s
Soprano: S
Alto: A
Tenor: T
Bass: B
Great Bass: G
Contrabass: C
Shakuhachi: Shaku.
Strings: Str.
Violin: Vln.
'Cello: VIc.
Whistle: Who

1. Bank, Jacques: Put me on my bike no. 1, ([Ampl.] A, Baritone voice , mixed [S,A,T,B] choir
[16 voices]), Donemus, Amsterdam, 1971.

2. Bank, Jacques: Wave, (Ampl. B, (optional) Perc. [2 pl.]), Donemus, Amsterdam, 1974? [The
solo amplified bass recorder version is entitled Blue Mosque.]

3. Baur, JOrg: Concerto da camera: Konzert fOr Blockflote und Orchester, (Rec. pI. [s,A,B] ,
Orch.), E.B . 6762, Breitkopf & Hartel, Wiesbaden, 1975.

4. Baur, JOrg: Mutazioni: Studie fOr Altblockflote, (A), E.B. 6451 , Breitkopf & Hartel,
Wiesbaden, 1962.

5. Baur, JOrg: Pezzi Uccelli, (Rec. pI. [s,S]) , E.B. 6472, Breitkopf & Hartel, Wiesbaden, 1964.

6. Baur, JOrg : Tre studi per quattro: Drei Episoden fOr blockflotenquartett, (4 Rec. pI.
[s,S,A,T,B]) , E.B . 6689 , Breitkopf & Hartel, Wiesbaden , 1972.

7. Bechtel, Helmut: Duo fOr Sopran- und Alt-Blockflote, (S,A), M 22.436, Moseler,
WolfenbOttel,1981?

8. du BOis, Rob: Pastorale VII, (A), E.M . 5024, Moeck, Celie, 1964.

9. du Bois, Rob: Spiel und Zwischenspie/, (A, Pft.) , Donemus, Amsterdam, 1962.

10. Bornefeld , Helmut: Concentus, (3 Rec. pI. [s,S,A,T,B]), E.M. 2522, Moeck, Celie, 1980.

- 310-
11. Bornefeld , Helmut: Florilegium, (Rec. pI. [s ,S,A,T,B], Keyb. [Org . or Pft .)) , UE 17461,
Universal Edition, Vienna, 1977.

12 . Braun, Gerhard: 5 Miniaturen, (S , Pft. , Perc. [2 pl.]), BE 554, Bosse, Regensburg, 1970?

13 . Braun, Gerhard : minimal music II, (Recs. [s,S,A,T,B], etc.), E.M. 1523, Moeck, Celie , 1972.

14 . Braun, Gerhard: Monologe I, (Rec. pI. [Recs., etc.)) , HE 11.404, Hanssler, Stuttgart, 1970.

15 . Braun , Gerhard: NachtstOcke, (Rec. pI. [s,S,A,T,B], Pianist [(Prep.)Pft., Perc., Lotus Fl. ,
etc.]) , E.M . 1530, Moeck, Celie , 1972.

16. Braun, Gerhard : Recitatives and Arias, (T [or S)) , E.M. 1521 , Moeck, Celie, 1975.

17 . Braun, Gerhard : Schattenbilder, (A) , E.M. 2507, Moeck, Celie, 1980.

18 . Bussotti, Sylvano and Vetter, Michael : RARA (dolce) , (A) , Sy. 2198, Ricordi, Milan,
1966/1969.

19 . Cale, Bruce: Breeze in the Chimes of Time, (Rec. pI. [T,B], Mand., Fl. , Ob., Bb Clar. , Bsn. ,
Hn.), Hampton NSW, Australia, 1991 . Manuscript. AMC.

20 . Cale, Bruce: Cullenbenbong, (Rec. pI. [B , 7 Japanese Temple Bells {Rin}]) , Hampton NSW,
Australia, 1989. Manuscript. AMC.

21 . Cale , Bruce : Spirals/Tunnels, ([Ampl.] A, Tape [5 Recs.]) , Hampton NSW, Austral ia, 1992.
Manuscript. AMC.

22 . Casken, John: Thymehaze, (A, Pft.) , TMR 6, Schott, London, 1979?

23 . Clemencic, Rene : Chronos-Studien, (Rec., any other sound-source(s)), place?, date?

Manuscript?

24 . Clemencic, Rene: Maraviglia IV, (3 Recs., Harpsich. , Tape), place? , date? Manuscript?

25 . Currie, Neil: Stopping by Woods on a Snowy Evening, (T) , Adelaide, Australia, 1985/1990.
Manuscript. AMC.

26 . Davis, Alan: Fifteen Studies for Treble Recorder, (A) , Edition 11480, Schott, London,
1981? [See Study No.14.]

27. Davis, Alan : Technical Study 6e, (A) , from Treble Recorder Technique, Novello, England ,
1983, p.122.

28 . Dickinson , Peter: Recorder Music, (Rec(s?). [g,s ,A,T,B, Peruvian Notch Fl.], Tape),
Novello, England, 1973.

29. Dolci, Amico : Nuovi Ricercari, (A) , N 1396, Heinrichshofen, Wilhelmshaven, 1972.

30 . Dolci, Amico : Nuovo Ricercare 4, (2A) , N 1407, Heinrichshofen, Wilhelmshaven, 1973.

31. Dolci, Amico : Nuovo Ricercare 5, (A) , N 1408, Heinrichshofen, Wilhelmshaven, 1973.

32 . Dolci, Amico : Nuovo Ricercare 6, (Rec. [s,S,Aj, Vln. , Vic.), N 1413, Heinrichshofen,
Wilhelmshaven , 1974.

33 . Eisma, Will : Hot, Powdery Stones, (A) , Donemus, Amsterdam, 1968.

34 . Eisma, Will : Wonderen zijn schaars, (A, Prep.Pft.) , E.M. 1524, Moeck, Celie, 1965.

35 . Febel, Reinhard : Sechs Bagatellen, (A, Pft .), E.M . 1528, Moeck, Celie , 1978.

- 311-
36. Furrer-Munch, Franz: Details IV, (Rec. pl., Vic. or viola da gamba, Org.), edition modern,
Munich , 1975.

37. Gross, Eric: "Ian's Shenanigan" No.1, Op.142/1, (A), MCA Music (Australia), Sydney, 1985.
AMC .

38. Gross, Eric: "Ian's Shenanigan" No. II, Op.14212, (Rec. pI. [s,S, Irish Tin Who in D)), MCA
Music (Australia), Sydney, 1988. AMC.

39 . Gumbel, Martin: FIOtenstories, (3 Recs. of equal pitch), E.M. 2504, Moeek, Celie, 1976?

40. Hames, Richard David: KO, (Rec., Dancer, Multiple tape delay system), edition modern,
Munich, 1979. AMC.

41 . Hannan, Peter: RSRCH 12/84 Dream, (T), Holland?, 1984. Manuscript?

42 . Hashagen, Klaus: Gardinenpredigt eines BlockflOtenspielers, (Rec. pI. [S,A,T,B, etc.)), HE

11.402, Hanssler, Stuttgart, 1969.

43. Hashagen, Klaus: Gesten, (Rec. pI. [S,A,T,B], Tape), E.M. 5031, Moeck, Celie, 1966.

44. Haverkate, Guus: Twelve Advanced Studies in Recorder Technique (Books 1 & 2), (S),
Nos. 1085 & 1249, Broekmans & van Poppel, 1973 & 1976? [See Study No.5.]

45 . Heider, Werner: Gassenhauer, (S [or Picc.], Small Dr.), E.M. 2537, Moeck, Celie, 1984.

46. Heider, Werner: Katalog, (Rec. pI. [s,A,B)), E.M. 5025, Moeck, Celie , 1965.

47. Heider, Werner: La Leggenda di Sant'Orsola: musica per Vittore Carpaccio, (3T), E.M .
2525 , Moeck, Celie, 1981.

48. Heider, Werner: Musik im Diskant, (s [or Picc.], Harpsich. [or Pft.], Perc.), HE 11.403,
Hanssler, Stuttgart , 1970.

49. Hekster, Walter: Encounter, (Ree.), Donemus, Amsterdam, 1973.

50. Hirose, Ryohei : Hymn, (A), place? , 1980. Manuscript?

51 . Hirose, Ryohei : Meditation, (A), R-103, Zen-On, Tokyo, 1975.

52. Hirose, Ryohei: Potalaka, (A, Vic., Harp), Zen-On, Tokyo, 1972.

53. ed. Hofmann, Friedrich: Neue Choralmusik fOr Blockflote, (Rec. pI. [S,A,T)), HE 13.048,
Hanssler, Stuttgart, 1975. [Pieces - one each - on chorales (EKG 297, 179, 195, 355
& 48) by Veit Erdmann, Harald Heilmann, Bernhard Krol, Matthias-Claudius Link &
Hans Georg PflUger.]

54. Hooke, John M.: Cognos, (A), Blair Athol SA, Australia, 1991. Manuscript. AMC?

55. Huber, Nicolaus A: Epigenesis I, (4 Rec. pI. [S,A,T,B)), BA 6109, Barenreiter, Kassel,
1968.

56. Ishii, Maki: Black Intention, (Rec. pI. [Baroque S (A415 Hz),S,T, Tam-Tam)), R-143 , Zen-On,
Tokyo, 1975.

57 . Kagel, Mauricio: Musik fOr renaissance-instrumente, (Chamber Orch. consisting of Early

Music instruments, including Recs. [s,S,A,T,B,G)), UE 13555, Universal Edition,
Vienna , 1966.

58. Karkoschka, Erhard: Floten-lTonband-Spiele 1978, (1 or more Rec(s)., Tape(s)), E.M.

2513, Moeck, Celie, 1978.

- 312-
59 . Kelemen, Milko: Zehn Fabeln, (S,A), E.P. 8450, Peters, Frankfurt, 1980?

60 . Kroll, Georg: Canzonabile, (B [or B to Tto A], Guit.), E.M. 1518, Moeck, Celie, 1976?

61 . Kroll, Georg : Con Licenza, (A), E.M. 1535, Moeck, Celie, 1971.

62 . van Larr, Jan D.: Bagatel, (A) , Donemus, Amsterdam, 1975?

63. Lechner, Konrad: Engramme, (Rec. pI. [s,A,T,B], Harpsich. , Perc.), E.M. 2516, Moeck,
Celie , 1983.

64. Lechner, Konrad: Lumen in Tenebris, (3 Rec. pI. [S,A,T,B, Perc.]), E.M. 2521 , Moeck,
Celie, 1980.

65. Lechner, Konrad: Spuren im Sand, (Rec. in C), E.M. 1526, Moeck, Celie, 1976.

66 . Lechner, Konrad : Varianti, (T), E.M. 2508, Moeck, Celie, 1976.

67. Lim, Liza: Lullaby, (A), The Hague, Holland, 1987. Manuscript. AMC? [This composition has
been officially withdrawn by the composer.]

68 . Linde, Hans-Martin: Amarilli mia bella: Hommage a Johann Jacob van Eyck, (Rec. [S,A,B]),
OFB 133, Schott, Mainz, 1971 .

69 . Linde, Hans-Martin : FOnf Studien, (A, Pft.) , OFB 137, Schott, Mainz, 1974. [From the
Modern Music Book for treble recorder and piano.]

70 . Linde, Hans-Martin: Music for a Bird, (A) , OFB 48, Schott, Mainz, 1968.

71. Linde, Hans-Martin: Musica da Camera, (Rec. [A,B], GUit.), OFB 135, Schott, Mainz, 1972.

72 . Lucke, Gottfried : Studie 1967, (A [or Fl.], Pft.), BE 335, Bosse, Regensburg, 1967.

73. Masumoto, Kikuko : Pastorale for Recorder Solo, (Rec. [T,S]), R-105, Zen-On, Tokyo,
1975?

74 . Mellnas, Arne: The Mummy and the Humming-Bird, (Rec. [s,S,A], (optional?) Harpsich.),
Avanti ER 63, Edition Reimers, Stockholm, 1980?

75 . Mindel, Meir: The catch, (Rec. pl.), Kibbutz Negba, Israel, 1983. (Manuscript?)

76. Mittermayr, Georg: Drei StOcke fOr Blockfl6tenensemble, (6 Recs.), place? , 1974.
Manuscript?

77 . Miyagi, Jun-ichi : Ai6n-lI/, (Rec. [S,A], Shaku., Harpsich.), Sendai, Japan, 1987. Manuscript.

78 . Nobis, Herbert: Contrasts, (S,A), ZfS 505, Moeck, Celie, 1980.

79. Osborne, Nigel: Passers By, (B, Vic. , VCS3 Synth., Slide projection) , Universal Edition,
London, 1976?

80 . Quintiere, Jude: Music for Recorder and Tape, (Rec., Tape), New York, date? Manuscript?

81. Riehm, Rolf: Gebrauchliches, (A) , E.M . 5138, Moeck, Celie, 1972.

82. Rijnvos, Richard : Zahgurim, whose number is twentythree and who kills in an unnatural
fashion .. , (Ampl. B, Perc. [4 pl.]), The Hague, Holland, 1988. Manuscript.

83. Rimmer, John: The Exotic Circle, (s ,S,A,T,B,G , Perc. [2 pl.]) , Kiwi Music, Wellington, 1974.

84. Rimmer, John: Whakaari, (A), CAT 018, Catena Press, Auckland, 1977.

- 313-
85 . van Roosendael, Jan Rokus: Rotations, (A), Donemus, Amsterdam, 1988.

86. Rose, Pete: Right Hand Pentichord Variations, (Prep.8), New York, date? Manuscript?

87 . Rose, Pete: Transitions, (Rec. pl.) , New York, date? Manuscript?

88 . Serocki, Kazimierz: Arrangements, (1 to 4 Recs. [S,A,T,B]), E.M . 1525, Moeck, Celie,

1976.

89 . Serocki, Kazimierz: Concerto alia cadenza, (Rec. pI. [s,S,A,T,B,G], Orch.), E.M. 5181,
Moeck, Celie, 1974.

90 . Serocki, Kazimierz: Impromptu fantasque, (s,S,A,T,B,G, 3/6 Mands., 3/6 Guits., Pft., Perc.
[2 pl.]), E.M . 5160, Moeck, Celie, 1973.

91. Shanahan, Ian: Helical Ribbon, (A), Sydney, Australia, 1990. Manuscript. AMC.

92 . Shanahan, Ian: Lingua Silens Florum, ([Ampl.] Prep.A), Sydney, Australia, 1991 .
Manuscript. AMC.

93 . Shinohara, Makoto : Fragmente, (T), TMR 3, Schott, London, 1968.

94 . Skarecky, Jana: The Sign of the Four, (T) , Mississauga, Canada, 1986. Manuscript.

95 . Smetanin , Michael: Spin (0), (Ampl. B, Ampl. Harpsich.), Sydney, Australia, 1990.
Manuscript. AMC.

96 . Sollima, Eliodoro: Evoluzione 3a, (A, Pft.), N 1402, Heinrichshofen, Wilhelmshaven , 1972.

97 . Spahlinger, Mathias : nah, getrennt, (A) , UE 30111, Universal Edition, Vienna, 1992.

98 . Sterne , Colin: Meadow, Hedge, Cuckoo: Variations for Solo Alto Recorder on John
Dowland's Ayre: '~way With These Self-Loving Lads", (A) , ARS No.87, Galaxy Music
Corporation, New York, 1978?

99 . Tattersall , Malcolm: Franklin River, (A), Cootamundra Music, Melbourne, Australia,

1980/1987. AMC?

100. Tattersall, Malcolm: Games of Chance IV: Lucky Dip, (Recs.), Melbourne, Australia, 1978.
Manuscript. AMC?

101 . ed. Thorn, Benjamin: Recorders at Large, (Recs. [S,A,T,B]), Currency Press , Sydney,
1991 . AMC . [See NO.6 "Crazy Clock" (2S or 2A) by Mary Mageau, and NO.20 "Crunchy
Music!" (2A) by Benjamin Thorn - as well as this anthology's useful "Glossary of
Unusual Techniques and Notations", pp.71-72.]

102 . Thorn , Benjamin: Bagliori, (2S, Harpsich.), Sydney, Australia, 1981 . Manuscript. AMC.

103 . Thorn , Benjamin: Canard-Canard-, (2 Rec. pI. [both S,A]), Sydney, Australia, 1984.
Manuscript. AMC .

104. Thorn , Benjamin : Chasing ... , (A,T,B) , Sydney, Australia, 1985. Manuscript. AMC .

105. Thorn, Benjamin: Neurotika, (Rec. [A or B], Live Electr. [Tape , Tape delay & Digital delay]),
Sydney, Australia, 1984? Manuscript. AMC.

106. Thorn, Benjamin : Pipistrelli gialli... , (B, Live Electr. [Tape delay & Digital delay]), Sydney,
Australia, 1985. Manuscript. AMC .

107. Thorn, Benjamin : The Voice of the Crocodile .. . , (Bass Rec. pl.), E.M . 2561, Moeck, Celie,
1988. AMC .

- 314-
108. Thorn, Benjamin: Two diagonals and a squiggle, (Rec. [S,A,T], Perc.), Sydney, Australia,
1991. Manuscript. AMC.

109 . Ton-That, Tiet: Ai Van 2 (Epitaphe 2), (B, Harpsich.), J.J. 885, Jobert, Paris, 1972.

110. Tucker, Tui St. George: Sonata for Solo Recorder, (A), RCE No.14, Anfor Music Publishing,
New York, 1970.

111. Urbanner, Erich: NachtstUcke, (A,2T,2B,G), Doblinger, Vienna, 1978.

112. Veilhan, Jean-Claude: Liens, (A) , A.L. 24.602, Alphonse Leduc, Paris, 1971 .

113. Waechter, Wolfram : Joke, (A), N 3401 , Noetzel, Wilhelmshaven, 1977. [From 3 StUcke fUr
AltblockflOte.]

114. Waechter, Wolfram : Neue Technische Ubungen, Otto Heinrich Noetzel Verlag,
Wilhelmshaven , 1983. [See Studies 15, 16 & 19.]

115 . Witzenmann, Wolfgang : Bordun II: on its own set of tones, (S,A,T,B), ZfS 472, Moeck,
Celie, 1978?

116. Witzenmann , Wolfgang : Bordun III, (S ,A,T,B), ZfS 544, Moeck, Celie , 1982.

- 315-
 DISCOGRAPHY

This discography is merely a preliminary catalogue, by no means

exhaustive, of some commercially available recordings - LP's mostly - of
recorder compositions that utilize multiphonics. It is intended to be useful
simply as a starting point for those interested in acquiring such
recordings, even if it does not include to any great degree the recently
established Compact Disc medium (which I have barely begun to explore,
yet).
The numberings given here beneath each recording reference
correspond to the numberings within the previous alphabetical List of
Compositions utilizing Recorder Multiphonics. (Although the name of the
correlative work and its composer is supplied with each number here, one
should nevertheless consult the aforenamed listing for full bibliographic
details.)

1. BIS LP-48 Stereo. Recorder: Clas Pehrsson.

No. 68. {Hans-Martin Linde: Amarilli mia bella.}
No. 93 . {Makoto Shinohara: Fragmente.}

2. BIS LP-68 Stereo. Recorder: Camilla SOderberg?

No. 74. {Arne Mellnas: The Mummy and the Humming-Bird.}

3. CBS Records CBS 71102. Recorder: Walter van Hauwe.

No. 56. {Maki Ishii: Black Intention.}

4. CBS Records IMI 20004 "Genesis". Recorders: The Mor-Li Recorder Consort.
No. 75. {Meir Mindel: The catch.} (Recorder: Michael Melzer.)

5. Deutsche Grammophon 104993. Collegium Instrumentalis (Cologne), conducted by

Mauricio Kagel. Recorder players include Gerhard Braun, Rene Clemencic and
Michael Vetter.
No. 57. {Mauricio Kagel: Musik fOr renaissance-instrumente.}

6. EMI Electrola SH2W903BL. Recorder: Michael Vetter.

Stockhausen, Karlheinz: Spiral, (version for Recorder and Electronics),
UE 14957, Universal Edition, Vienna, 1968.

7. EMI ElectrolalOdeon 1C065-28841. Recorder: Hans-Martin Linde .

NO.8. {Rob du Bois: Pastorale VII.}
No. 70. {Hans-Martin Linde : Music for a Bird.}
No. 71 . {Hans-Martin Linde: Musica da Camera.}

8. Evasound Records Jade JADCD1022 "Times Remembered". [Compact Disc] Recorder: Ian
Shanahan.
No. 91 . {Ian Shanahan: Helical Ribbon.}

9. Evasound Records Jade JADCD1025 "Splendour of the Past". [Compact Disc] Recorder:
Ian Shanahan.
No. 92. {Ian Shanahan: Lingua Silens Florum.}

10. Kiwi Records SLD-38 "The Exotic Circle". Recorders: The College Consort.
No. 83. {John Rimmer: The Exotic Circle.}

- 316-
11 . Moeck E.M. 10.003 AlB "II Flauto Dolce ed Acerbo". Recorder: Michael Vetter.
NO.4. {JOrg Baur: Mutazioni.}
NO. 8. {Rob du Bois: Pastorale VII.}
No. 43 . {Klaus Hashagen: Gesten.}
Vetter. Michael: Figurationen III. (version for Amplified Recorder). E.M. 5052 .
Moeck. Celie . 1967.

12. Muza S X 1315. Recorder: Czeslaw Palkowski. National Philharmonic Orchestra (Warsaw) .
conducted by Andrzej Markowski.
No. 89 . {Kazimierz Serocki : Concerto alia cadenza.}

13. Sounds Australian OZM2014 "Recorders at Large". [Cassette] Recorders: Benjamin Thorn.
No. 101. {Mary Mageau: Crazy Clock; Benjamin Thorn : Crunchy Music~

14 . Telefunken 6.42521 LC 0366 "Blockflotenmusik der Avant Garde". Recorders : Wiener

Blockflotenensemble .
No. 55. {Nicolaus A. Huber: Epigenesis I.}
No. 76. {Georg Mittermayr: Drei StOcke fOr Blockfl6tenensemble.}
No. 88. {Kazimierz Serocki : Arrangements.}
No. 111. {Erich Urbanner: NachtstOcke.}

15. Unisono UNS 22 717. Recorder: Gerhard Braun. [Piano: Rudolf Dennemarck.]
No. 13. {Gerhard Braun: minimal music II.}
No. 14. {Gerhard Braun : Monologe I.}
No. 15. {Gerhard Braun: NachtstOcke.}
No. 66. {Konrad Lechner: Varianti.}

16. Wergo WER 325. Recorder: Michael Vetter.

No. 18. {Sylvano Bussotti & Michael Vetter: RARA (dolce) .}
Stockhausen . Karlheinz : Spiral. (version for Recorder and Electronics) .
UE 14957. Universal Edition . Vienna. 1968.

17 . Wifon No. 10 "Muzyka Polska". [Cassette]

Muza S-3 XW-1892 . [LP]
Members of the National Philharmonic Orchestra (Warsaw): Fistulatores et Tubicinatores
Warsovienses . conducted by Jan Krenz.
No. 90. {Kazimierz Serocki : Impromptu fantasque.}

- 317-
 APPENDIX

A COMPREHENSIVE SUMMARY

OF THE RECORDER'S TECHNICAL RESOURCES

The following individually listed technical resources can, in many

circumstances, be freely combined in order to generate an enormous
quantity of composite playing techniques. The full panoply of the recorder's
technical and artistic capabilities is therefore fantastically extensive. (Such
composite techniques, however, are generally not listed in this summary.)
Furthermore, particularly in situations where the listed technique is
unfamiliar, or its name gives no hint whatever of the required playing
action, resultant sonority or artistic outcome, some additional technical
discussion and clarification is often provided within this summary.
Otherwise, for well-known or self-explanatory techniques or concepts (or
where a brief explanation is simply insufficient), the resource is merely
listed without any further discussion or detailed sub-categorization.

It is my intention, within the defined ambit of this summary, to be as

completely comprehensive as possible in listing technical resources
pertaining to the recorder. Nonetheless, I have no hesitation in admitting
that there may well be relevant areas which I have possibly overlooked.
This is of considerable concern to me, and I sincerely apologize to the
reader, in advance, for such unfortunate - if not totally unexpected -
omISSIons.

A. Techniques concerning the whole recorder.

1. Single sonorities.

1.1 Chromatic fingerings (12-tone equal temperament) and other basic considerations
(including recorder acoustics; phrasing, and breathing factors).

o Extended range (conSiderably above and below the traditional range) .

o Timbral and dynamic possibilities.
o Natural harmonics: there are, however, few, because most fingerings yield pitches in different
registers with frequencies which are in an inharmonic relationship relative to one another.
o Undertones, air-noises and other noises.
o Closure (airtight occlusion) and coverage (with various non-airtight materials) of the end of the
foot joint, in various degrees.
o Alternative fingering possibilities.

1.2 M icrotonal resources .

o Quartertone fingerings (24-tone equal temperament) .

o Eighthtone fingerings (48-tone equal temperament), and their close intonational

- 318-
 approximations .
o Fingerings for 31-tone, 19-tone and 43-tone equal temperament, etc.
o Various other tuning systems (or temperaments): Just temperament, Mean-tone
temperament, Pythagorean temperament, tunings based upon the bitone paradigm, non-
logarithmic scale structures, etc.
o Microtonal possibilities arising from the physiological characteristics of the (particular) recorder.
o Timbral implications of microtonal fingerings on the recorder.

1.3 Trills .

o Fingered trills of various intervals: the initial and subsequent pitch(es) of a trill - and by
extension, a fingered vibrato [see 4.3] - are referred to as the 'primary' and 'secondary'
pitch(es), respectively.
o Trills with the 'wrong' finger(s).
o Breath-generated trills.
o Clicky' trills (see 1.6.8).
o Double trills. The regular variety of double trill involves the oscillation of two pitches, one pitch
deriving from fingering 'A', but the other pitch being obtainable from two distinct fingerings,
'B' and 'e': these fingerings then (quickly) alternate in the pattern ABAeABAe ... ; {keyed
recorders only} give rise to another, related, type of double trill, wherein the index and
middle fingers - usually of the right hand - carry out an alternating, trilling action upon a
single key.
o Monophonic trills involving more than two pitches.

1.4 Glissando, portamento, pitch-fluctuations and 'slide trills '.

o Glissandi (diatoniC, chromatic, microtonal, etc.) .

o Breath-pressure portamento.
o Fingered portamento.
o Pitch-fluctuations .
o Portamenti (breath-pressure or fingered) of fingered or breath-generated trills.
o 'Slide trills' arising from reiterated portamenti (ascending and/or descending) between two
pitches: the two basic types of slide trill (breath-pressure and fingered) may expand,
contract, or remain constant in intervallic amplitude.
o Finger-glides and finger-glide tremolo: finger(s) slide quickly across the fingerhole(s), usually
in a vertical direction.
o Portamenti, pitch-fluctuations and slide trills generated through 'rolling' the recorder (see
4.3.6) .

1.5 Manipulations of the window .

o Portamento, pitch-fluctuations and slide trills generated through manipulations of the window:
pitches fall continuously as the window is progressively covered.
o Flattened pitches (with characteristic timbre) generated through covering the window in
various degrees. A 1st-register pitch may be flattened by a minor third at most, relative to
the normal pitch. Higher-register fingerings bear even less deviation.
o Extremely high pitches (with audible noise content).
o In all cases, fingerings on the recorder are limited to those involving only one hand .

1.6 Further monophonic technical resources.

1.6.1 Blowing air into the windway at an angle.

o Here, the dynamic level of the instrumental tone is lowered slightly and its timbral profile is
noticeably modified: a rather unfocussed, breathy, distant quality is introduced. The extent of
'breathiness' is totally controllable only within the 1st register. (This technical resource,
pertinent only to beaked recorders, has considerable potential for application in repeated
passages where 'echo effects' are requested .)

1.6.2 Reedy sonorities.

o With certain 1st-register fingerings, when breath-pressure is gradually increased (up to the
point where overblowing occurs), the pitch remains perceptibly constant whereas the timbre

- 319-
 acquires an increasingly reedy quality.

1.6.3 Timbral and pitch changes achieved through squeezing the bell between the
thighs (with the player being seated).

o For certain fingerings, as the bell of the recorder is 'squeezed', the pitch is inflected
downwards slightly and the timbre acquires a reedy, oboe-like character - rather like the 'reedy'
sonorities discussed in 1.6.2. The effect is most noticeable for 1st-register pitches, particularly
where the lower right-hand fingerholes are closed. This technique is visually striking, and so
requires especially careful artistic treatment.

1.6.4 Whistle tones .

o When playing high 1st-register pitches, an absolutely minimal breath-velocity will often yield an
extremely soft, pure, distant, slow-speaking edge-tone that is usually referred to as a 'whistle
tone' (in literature pertaining to contemporary flute techniques). Whistle tones are invariably
sharp in pitch by approximately a quartertone relative to the corresponding normal 1st-register
pitch. (They tend also to be more responsive, or more easily coaxed to life, upon a plastic
instrument. )

1.6.5 Inhaled and exhaled arpeggio of partials.

o These resources are customarily achieved with the end of the bore occluded (airtight) or
covered (non-airtight), and with most fingerholes closed. Air-noises or breath-sonorities are
often apparent as well.

1.6.6 Inhaled arpeggio/portamento of partials generated at the window.

o All fingerholes and the end of the bore must be closed (airtight) in order to generate these
sonorities. With the recorder player's mouth over the window, air is sucked in through the
windway to the window and edge, where the sound is produced. Air-noises or breath-
sonorities are an often apparent adjunct.

1.6.7 Overblowing, and pitch-fall by underblowing (both being related closely to

multiphonics) .

o 1st-register pitches are overblown, whilst pitch-falls occur when higher-register pitches are
underblown .

1.6.8 Clicking or slurping effects.

o These sounds can occur when legato articulation is utilized to connect pitches that belong to
different registers : i.e., the pitches are 'slurred'. (Within a traditional context, players are taught
to suppress these register-crossing sounds as much as possible. Hence, competent recorder
players ought to be able to cultivate, or discourage, the appearance of such sonorities.)
Similar effects are also able to be achieved through finger-action involving pitches within the
same register.

1.6.9 Cap manipulations {endblown bass recorder only}.

o This is technically related to 1.6.1 (which applies only to beaked recorders). By changing the
position of the endblown bass recorder's cap (or by removing it), the fundamental timbral
signature of the instrument is modified. The normally blown instrumental timbre becomes
increasingly harsh or rough, with increased breath-noise, as air enters the windway ever more
directly. Three basic cap positions are therefore possible, and are here given in order of
increasing 'harshness' :

1.6.9 .1 Cap on, window facing forwards .

1.6.9.2 Cap on, window facin g the player.

- 320-
 1.6.9.3 Cap removed, window facing the player.

Whenever the window faces the player (1 .6.9.2 and 1.6.9.3) , amplification with a normal air
microphone - see 7.4.1 - becomes impossible . Furthermore, in this situation, the sound-
radiation qualities of the bass recorder are a~ered, since most of the recorder's sound is
projected from the window (here facing the player). In 1.6.9.1 and 1.6.9.2, the angle
subtended between the slot in the cap where the player blows and the windway in the block
can also be varied in order to modify the degree of timbral 'harshness'. Additionally, the cap
itself may be pulled away (upon its tenon) from the block by various amounts, in order to
enlarge the reservoir of air behind the windway ; this has the effect of softening the quality of
the basic instrumental timbre slightly.

1.6.10 Circular or cyclic breathing.

o This device permits continuous, uninterrupted (blown) musical lines to be played. Circular
breathing, without any overt unwanted 'bumps' in the sound, is extremely difficult to achieve
on the recorder, due to the rather low levels of breath-pressure - relative to other wind
instruments - needed to generate the normal instrumental sound . To achieve a smooth,
continuous air-flow, the player will probably need to increase the air-pressure by narrowing the
aperture between the lips. This may create sustained fricative sounds - see 5.2 - which could
be undesirable within the musical context. The technique may find its best application in those
circumstances, such as multiphonic sequences, which naturally require higher levels of
breath-pressure.

2. Multiple sonorities.

2.1 Multiphonics.

o Characteristics, categories and acoustics of multiphonics (including inherent amplitude

modulations) .
o Multiphonic trills of various types (see 1.3).
o Multiphonic portamenti, pitch-fluctuations and slide trills of various types (see 1.4).
o Spectral portamenti of multiphonics.
o Multiphonics generated by fluttertonguing (3.4.2) breath-generated trills (see 1.3).
o Multiphonics generated through manipulations of the window (see 1.5).
o Multiphonics generated through squeezing the bell between the thighs - with the player
seated - (see 1.6.3).
o Whistle tone multiphonics (see 1.6.4) .

2.2 Combined vocal and instrumental sonorities.

o One can easily and naturally achieve this acoustic combination, since the player merely
engages the vocal cords, which are excited by the same air-flow used to make the recorder
sound . All human vocal possibilities can therefore , in theory, be combined with the
instrumental sonority. However, the vocal and instrumental sonorities are only partially
independent of one another. The player's articulators usually duplicate the attack and release
characteristics of both classes of sonority - although one may fade the vocal sonority in or out
whilst sustaining a continuous air-flow, and the instrumental sound can be introduced or
removed by changing the position of the instrument's beak relative to the lips ; here, one is
also able to modify the spatial relationship between the two sounds: vocal tone and
instrumental timbre can , literally, be physically uncoupled or conjoined. Both classes of
sonority are, furthermore, subject to the same breath requirements .

2.3 Wh istling combined with instrumental sonorities.

o One could regard 2.3 as being a sub-category of 2.2.

2.4 Playing upon more than one recorder simultaneously.

o Possibilities and limitations attendant with this resource : both instruments are limited to
fingerings that require only one hand, for instance.

- 321-
o The use of one-handed recorders.
o The use of replicas of historical instruments - not necessarily tuned to A440 Hz, or in equal
temperament - for their additional pitch- or timbral resources within this context: played in
tandem with a modern (A440 Hz, equal-tempered) instrument, intervallic dissonance,
beating and/or phasing effects may be introduced thereby.
o The use of other endblown fipple flutes : tin whistles, flageolets, nose flutes, swanee whistles
(lotus flutes), ocarinas, pitch-pipes, etc.

2.5 Phasing and interference effects yielding 'beats', 'roughness' and 'combination tones'
('difference tones', etc.), arising from two or more recorders being played
simultaneously.

o In order for this technical resource to be viable, the recorders in question need to be in close
proximity to one another: the intensity of the combination tone(s) decreases with physical
distance .

3. Articulation.

o In order to fully plumb human articulatory potentialities as applied to the recorder, one must
accomplish an investigation into the envelope (Le. attack, sustain and release) characteristics
of recorder sounds (micro-articulation), as well as their organization into higher-level
articulatory structures (Le. phrasing, legato, staccato, tenuto, etc.: macro-articulation) through
the study of Phonetics. One then finds that the recorder is capable of producing an enormous
range of articulations, due to the lack of embouchure restrictions in carrying out normal sound-
production on the instrument. Effectively, aI/ human articulations can be applied to the
recorder, which makes a phonetic approach to the articulatory resources of the instrument a
logical prerequisite. Through fingering and articulation, one then generates higher-level
temporal structures : durations, rhythms and phrases. (See also 7.3.)

3.1 Consonantal articulations .

o Alveolar articulation: 't', 'd' ; 'n'.

o Guttural articulation : 'k', 'c', 'ck', 'g'; 'ng' (as in "thing").
o Aspirant articulation : 'h'.
o Semivocal articulation: 'I', 'r' (as in "rat").
o Longitudinal articulation : tongue-tip to/from the windway's opening in the beak of the
recorder.
o Labial articulation: 'p', 'b'; 'm'; 'w' (as in "~ig").
o Palatal articulation: 'y' (as in "~ou").
o Fricative articulation: 'f', 'v'; 'th' (as in "thin") , 'dh' (as in "this") .
o Sibilant articulation : 's', 'z'; 'sh', 'zh' (as in "vi.s.ion") .
o 'Reflex' articulation: 'ttl' (as in "littIe") , 'ddl' (as in "meQQ!e"); 'nnl' (as in "tunnel").

3.2 Vowel articulations .

o With the oral cavity being shaped in various ways, the glottis alone acts as the articulator. This
resource is particularly valuable as a timbral parameter in the production of breath-sonorities
(5.1) . The elision of vowels creates a diphthong. For a complete listing and symbology of
vowel articulations, it is necessary to consult the International Phonetic Alphabet; the
notations provided therein are thus recommended to composers.

3.3 Coarticulations and 'words '.

o Coarticulations arise whenever various consonantal articulations are overlapped or elided

together in order to produce a single articulation. Some classes of coarticulation now
follow:
o Alveolar + sibilant coarticulations [affricates]: 'ts', 'tz', 'ch' = 'tsh' (as in "mill"), 'tzh', 'ds', 'dz',
'dsh', 'j' = 'dzh' (as in "jaw"), etc.
o Guttural + fricative coarticulations [affricates]: 'kf', 'kv', 'kth', 'kdh', etc.
o Guttural + sibilant coarticulations [affricates] : 'x' = 'ks' (as in "~enon" or "sa.Q!s.s.") , 'ksh' (as in

- 322-
 tlreagiontl}, etc. (The first articulation here is particularly striking as an attack.)
o Labial + fricative coarticulations [affricates]: 'pf' (as in tlg!ennigtl), 'pv', 'bf', 'bv', etc. (Here, the
lips are initially sealed altogether and only open gradually, with the air-stream being forced
through the widening gap between them into the windway of the recorder.)
o Sibilant + sibilant coarticulations [affricates]: 'ssh', 'shs', etc.
o Guttural + labial coarticulations: 'q' = 'kw' (as in "guick"), etc.
o Other coarticulations, including those which, when utilized as an attack characteristic, give two
attacks in close proximity to one another: 'sp' (sibilant + labial); ~I', 'dl' (alveolar + semivocal);
'pi' (labial + semivocal); 'pth' (labial + fricative [affricate]); 'sf' (sibilant + fricative [affricate]); 'gl'
(guttural + semivocal); 'kp' (guttural + labial) ; etc.
o 'Triarticulations', generated by the overlapping of coarticulations with other consonants: an
elision of the guttural + sibilant coarticulation 'ks' (or 'x') with the sibilant 'sh' yields 'kssh' (or
'xsh'), for example .
o Coarticulations which have been compounded - as above - into 'words' (linguistic vocables or
otherwise), making the instrument 'talk': the reiteration of the compounding process I
ensures that an innumerable quantity of 'words' can be built from the many permutable
chains of letters, syllables, vocables and phonemes that are available.

3.4 Articulations generated from rapid iterations.

3.4.1 Multiple-tonguing and tongue-tremolo.

o Tongue-tremolo arises whenever multiple-tonguing is applied as evenly and rapidly as

possible. Tongue-tremolo is therefore a micro-articulatory resource , whereas multiple-
tonguing is a macro-articulatory process used for the execution of rhythm.

3.4.2 Alveolar and uvular fluttertonguing.

o Characteristics and limitations of the two fluttertongue-categories .

o Sidebands generated by the frequency of the fluttertonguing.
o Alveolar + uvular fluttertonguing (combining the two categories) .
o Variations in the frequency and/or the amplitude (intensity) of the fluttertonguing.
o Transitions: fluttertongue to/from tongue-tremolo; fluttertongue to/from a normal (sustained)
air-flow (i.e. fluttertongue 'fade-out' or 'fade-in'); and the transition from one fluttertongue-
category to the other.

3.4.3 Flutterlip and buzzed-lip.

o These two resources are distinguished technically from one another in terms of their
frequency of iteration, achieved through different levels of lip-tension. Buzzed-lip articulation
corresponds to the normal sound-generation process of orchestral brass instruments, for
example. (This articulation may actually produce a subsidiary pitch corresponding to the
iteration frequency, in addition to that of the recorder; therefore, one could claim that this
articulation, in reality, yields a multiple sonority.) The iteration frequency of flutterlip
articulation, in which the lip tension is negligible, is comparable to that of a tongue-tremolo.
Here, the air-flow merely allows the relaxed lips to flap against one another. Both resources
incorporate prominent amounts of noise.

3.5 Tongue-clicks and lip-smacks ('kissing' sounds).

o Suction and vacuum between the articulators are fundamental to the production of these
articulations, and are the common elements which define and relate them to one another.

3.6 Inhaled and exhaled slaptongues (including tongue-rams).

o In these articulations, the tongue is used in a highly percussive, dynamic manner. The air-flow
is suddenly terminated by the tongue as it hits other articulators, creating a percussive
resonance in the oral cavity and the recorder.

3.7 'Sputato' and diaphragmatic thrust.

o 'Sputato' is derived from the intensification of various consonantal articulations (and

- 323-
 coarticulations), whereas the diaphragmatic thrust is derived from the intensification of an
aspirant articulation. These micro-articulatory devices are usually - but need not necessarily be
- applied to the attack characteristic of the envelope. Complex transient phenomena and
noises invariably result: (transient) overblown sounds, air-noises, oral cavity noises or
multiphonics might be produced.

3.8 Cheekslap .

o With puffed-out cheeks , by slapping a cheek with one hand, air is forced into the recorder
through lips which are initially closed. A soft percussive sonority is generated within the oral
cavity as part of the recorder sound's attack. The envelope is very brief, unless the lips are
opened or air is continuously forced into the recorder through hand-pressure. Fingerings on
the recorder are, naturally, limited to those produced with one hand.

4. Vibrato.

o The three classes of recorder vibrato (4.2, 4.3 and 4.4), given below, are not at all mutually
exclusive, and so give rise to a multitude of composite vibrato-types. Furthermore, in most
instances, variations in the amplitude (or intensity) and/or the frequency (or speed) of the
vibrato can be achieved, yielding vibrato contours.

4.1 Non-vibrato: the absence of vibrato.

4.2 Breath-generated vibrati (in a sense derived from vowel and aspirant articulations).

4.2.1 Diaphragm vibrato.

o The air-flow is modulated primarily with the diaphragm.

4.2.2 Throat vibrato.

o The air-flow is modulated primarily with the throat.

4.2.3 Throat tremolo ('chevroter) .

o Throat tremolo consists of a rapid, intense throat vibrato in which the air-flow is actually
interrupted (or nearly so).

4.2.4 Air-noises arising from the application of breath-generated vibrati to certain

pitches and fingerings .

4.3 Fingering-generated vibrati, and vibrati dependent upon fingering considerations. (See
also 1.3,)

4.3.1 Fingervibrato ( 'flattement ').

o Here, a pitch is subtly inflected downwards with a trilling finger-action which does not
substantially alter the basic fingering-configuration that is used to generate the primary pitch .
The timbral change is minimal relative to the pitch-deviation.

4.3.2 Timbral vibrato ('klangfarbenvibrato') .

o Here, a trill (or rapid oscillation) between two fundamentally different fingering-configurations
for the same - or almost the same - pitch is executed, in which, primarily, the timbre changes.
The klangfarbenvibrato may involve the alternation of adjacent registers between the primary
and secondary pitch(es) .

- 324-
 4.3.3 Undertone vibrato.

o Here, a trill between related fingering-configurations for a pitch above the 1st register is
executed, in which the (1 st register) undertone audibly changes. The pitch-deviation of the
primary pitch should be negligible.

4.3.4 Bell vibrato.

o Here, a trilling action is carried out against the hole at end of the bore . The pitch-deviation is
minimal: timbre modulation is the dominant feature .

4.3 .5 'Pivot' vibrato.

o This type of vibrato is most readily applied to 1st-register pitches. With pivot vibrato, the pitch
is inflected (upwards) by performing a repeated pivoting motion in which the thumb alternately
vents (in various degrees) and occludes the thumbhole.

4.3 .6 'Rolling' vibrato.

O See 1.4. This type of vibrato is most readily applied to 1st-register pitches. With rolling vibrato ,
the pitch is inflected (upwards) by performing a repeated rolling lateral motion in which the
affected fingerholes are alternately vented (in various degrees) and occluded . This type of
vibrato is closely related to pivot vibrato .

4.3.7 Window vibrato.

OSee 1.5. Here, the pitch is inflected downwards - at most a minor third for a 1st-register pitch,
less for a higher-register pitch - by waving a hand over the window of the recorder. Some
timbral modulation will also occur. The pitch continues to fall as the window is increasingly
covered. The overall timbral character of window vibrato is reminiscent of the sounds
produced by a flexatone or (bowed) musical saw. Fingerings on the recorder are, naturally,
limited to those produced with one hand.

4.3.8 'Reedy' vibrato.

o Reedy vibrato is simply achieved through the modulation of breath-pressure as applied to

fingerings which yield reedy sonorities (1.6.2) . The timbre oscillates continuously between a
normal sound-quality and a 'reedy' quality.

4.3.9 'Squeeze ' vibrato.

o Squeeze vibrato is achieved through repeating the action described in 1.6.3. The bell is
repeatedly 'squeezed' and released.

4.4 Articulation-generated vibrati.

4.4 .1 Tongue-vibrati .

o Tongue-vibrati are generated through the reiteration of semivocal, palatal or sibilant

articulations (3.1).

4.4 .2 Jaw vibrato and labial vibrato ('smorzato').

o These vibrati are generated either through reiterated jaw-movements, or through the
re~eration of a particular labial articulation - labiovelar semivowel'w' - (3.1), respectively .

4.4.3 Cheek vibrato.

o Cheek vibrato is derived from the actions described in 3.8, in which the hand activating the
cheek modulates the air-flow by repeatedly depressing and releasing the puffed cheek.
Fingerings on the recorder are , naturally, limited to those produced with one hand.

- 325-
 5. Breath-sonorities.

5.1 Air-noises in general: breath-sonorities generated at various locations on the recorder.

o Quasi-speech effects: the recorder tube and the player's oral cavity act as a coupled
resonance and filter system.
o Breath-sonority vibrati.
o Timbral possibilities: various degrees of 'breathiness'.
o Air-noises arising from manipulations of the window.
o Inhaled and exhaled breath-sonorities.

5.2 Sustained fricative or sibilant sounds.

o Breath-sonorities are here superimposed upon the instrumental timbre by sustaining fricative
or sibilant articulations (3.1) .

5.3 Wind Rush or 'white noise' [German: nWeifJes Kauschen n] effects (WR) .

o These sonorities can be generated when the player blows the recorder (normally) with the
end of the bore covered (non-airtight), and with most fingerholes closed.

6. Percussion sonorities.

6.1 Fingerslapping.

o Here, the finger(s) are slapped down hard upon the fingerholes in order to produce a
distinctive pitched percussive sound. The pitch of this sound usually corresponds to the 1st-
register pitch of the particular fingering - though higher-register vibratory modes of the
fingering may be educed by slapping the appropriate fingerhole(s). Fingerslapping can be
employed alone, or in conjunction with a normal blown sound, etc. Fingerslap trills,
portamenti, etc. are also feasible.

6.2 Key-slaps (or key-pops), key-clicks and key-rattles {keyed recorders only}.

o Key-slaps (or key-pops) are the keyed equivalent of fingerslapping. Key-clicks occur when
key(s) are released. Key-rattles merely consist of reiterated key-clicks, which mayor may not
be random in nature. Key-clicks and key-rattles can also incorporate fingerslaps or key-slaps
into the overall resultant texture.

6.3 Percussion sonorities upon the bell of the recorder.

o Fingerslapping the end of the recorder's bore .

o Striking the bell with the palm of the hand, cupped hand, etc.

6.4 Percussion sonorities upon the body of the recorder.

o Striking the body of the recorder at various locations with different implements: fingers and/or
fingernails, metal rings, wooden rods, etc.

6.5 Miscellaneous percussive possibilities.

o Percussion sonorities arising from the utilization of plastiC or metal recorders.

o Window-slaps: these may irreparably damage the window or edge of delicate wooden
instruments, and so are probably best applied to sturdier plastiC or metal recorders .
o Percussive sounds upon the player's body ('body percussion') : finger-snaps, body-slaps,
foot-stamping, etc.

- 326 -
 7. Further resources involving the recorder.

7.1 Other vocal possibilities, including further resources involving whistling, etc.

o Unusual (non-pitched?) vocal sonorities: screams, shouts, 'animal sounds', 'vocal

multiphonics', etc.
o Vocal sonorities executed alone, independently of the recorder.

7.2 The prepared recorder.

o The muted recorder.

o Various other preparations.
o Covering the fingerholes with cloth.
o The utilization of sonic generators - i.e. mouthpieces, reeds, etc. - from other instruments,
thereby creating some unique instrumental hybrids: 'clarecordernet' (ct. the chalumeau),
'saxorecorderphone' , 'tromrecorderbone', 'oboerecorder', etc.
o Physical extensions to the recorder.
o Detuning the recorder (,scordatura') by 'pulling out' the headpiece and/or the foot jOint.
o The usage of plastic or metal recorders, etc.

7.3 Aleatoric techniques: resources that yield chaotic, random or unpredictable results.

o Non-coordinated techniques.
o Random finger-movement.
o Random air-flow changes.
o Random articulation possibilities: random 'Morse rhythms' - derived from Morse code - of
various degrees of complexity, in which combinations of single- and multiple-articulations
may be randomly interfaced; random combinations of rapid iterations - see 3.4:
fluttertonguing, tongue-tremolo, etc. - and/or other articulations, etc.
o Fingerings that generate (chaotically) unstable sonorities, potentially providing a characteristic
rhythmic structure determined by random - primarily breath-controlled - alternations
between such unstable elements.
o 'Strange attractors'.
o Temporal structures (,chronomorphologies') that are determined by breathing or articulatory
considerations, etc.

7.4 The electric recorder.

7.4.1 The amplified recorder.

o The recorder's sound can be amplified with air microphones - unidirectional, cardioid,
omnidirectional, etc. - aimed at the instrument's window (which should face forwards), or with
contact microphones that are placed at various locations upon the body of the recorder.
Amplification of the recorder's sound may be carried out in order to acoustically reinforce that
sound without effecting any significant timbral transformation; or, more usually, amplification is
applied in order to redefine the timbral profile of the instrument to various degrees (as well as
reinforcing its sound) .

7.4.2 The interface of the recorder with electronic sound-transformation appliances

and digital or computer technologies .

o Electric guitar 'effects pedals' and related devices.

o The possibilities of MIDI (Musical Instrument .Qigital Interface).
o AI (Artificial Intelligence) capabilities and digital sound-processing.
o Digital sampling [see Chapter 1, en.S], editing and manipulation of recorder sonorities, etc.

7.4.3 Fully electronic (MIDI) wind instruments derived from or related to the recorder
in some way.

o The Yamaha WX7 and WX11.

o Other (Japanese) MIDI wind instruments, etc.

- 327-
 7.5 Further acoustic considerations.

o The recorder's sound-radiation characteristics.

o Reverberation effects.
o Spatial manipulations of the recorder sound: varying the direction of sound-projection,
Doppler shifts, etc.
o Using other instruments' resonance characteristics in order to create an artificial reverberation
field: playing loudly into a piano in order to create sound-board and string resonances
whenever the sustaining pedal is depressed; timpani head resonances , membranous
buzz resonances from a snare drum (,snares on'), and resonances from (large) tam-tams,
etc., generated in exactly the same manner. (All of these resonances might themselves be
electronically amplified with appropriately placed contact[?] microphones.)

7.6 The use of different types of recorders.

o The 'school recorder' .

o Modern recorders with different timbral characteristics.
o Replicas of historical instruments (not necessarily tuned to A440 Hz, or in equal
temperament) : Medieval, Renaissance and Baroque recorders of various types.
o Recorders with (radically) different constructional features.
o Recorders constructed from plastiC or metal.
o Other endblown fipple flutes (see 2.4).

7.7 Th e use of other varieties of musical instruments peripheral to the recorder.

o Perceiving the recorder player as a versatile performer, and exploiting their individual (musical)
talents : recorder player as (additional) vocalist, percussionist, keyboardist, trombonist , etc.
(Compositions incorporating percussion instruments which are played by non-
percussionists are now particularly common : e.g., a recorder player could quite easily
negotiate, with just one foot, a pedal bass drum or a hi-hat cymbal - both of these common
percussion instruments being found in any standard jazz/rock drum kit.)
o Utilizing other acoustical implements: kitchen devices, body percussion etc.

7.8 Theatrical or visual effects and devices, as well as other performance (or non-
performance!) con texts .

o These can arise directly and naturally out of the employment of non-traditional instrumental
techniques themselves: for instance , visual or theatrical possibilities ensue from playing
several instruments simultaneously, etc.
o The physical character and extramusical image of the recorder itself: the recorder as symbol or
icon. Historical symbols , meanings and usages of the recorder have, so far, included
references to death, the sacred, supernatural or metaphysical, as well as allusions to (and
imitations of) birdsong .
o Placing the recorder player per se into music theatre, multimedia, interdisciplinary, visual art,
radiophonic , recording studio contexts, etc.
o Costume, performance/theatrical gestures and histrionics, musical sounds etc. evoking
artistic, political, theological, or intercultural (etc.) resonances and statements (see also
7.9).
o Physical gestures in performance enhancing or contradicting the musical intent; etc.

7.9 The study - in an ethically considerate and sensitive fashion - of other musical
cultures, philosophies, traditions and aesthetics , and their potential applications.

o The acultural/astylistic treatment of the recorder ("recorder unlimited") , allowing it to be

redefined at will.
o Commonplace or esoteric performance techniques and practices providing multicultural or
transcultural evocations (which vary the ethnicity of the recorder itself) .
o Applications of 'non-Western' musical structures, instruments, techniques, sound-worlds,
concepts of time , aesthetics , etc. at all musical, structural and philosophical levels in
recorder compos ition; etc.

- 328 -
B. Techniques concerning the separate sections of the recorder.

Almost all of the possibilities outlined in Part A are applicable here, and
may be categorized and listed accordingly, as above. There are, in addition,
myriad technical resources that are unique to the various sections of the
recorder - as one would expect. However, only those resources which
cannot be readily specified or logically derived in terms of the details given
in Part A will be listed here in Part B.

1. The technical resources of the headjoint alone.

2. The technical resources of the footjoint alone.

3. The technical resources of the headjoint and middlejoint together.

4. The technical resources of the middlejoint and footjoint together, and

the middlejoint alone.

o 'Cornetto' ('didjeridu') sonorities: blowing with a buzzed-lip embouchure into the bore at the
upper tenon.
o Vacuum and popping ('accordion') sounds with the end of the bore closed (airtight); etc.
o It is likely that these techniques could also be applied to the footjoint alone.

- 329-