Multiphonics on the Double Bass gtr

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Multiphonics on the double bassAn investigation on the development and use of multiphonics on

the double bass in contemporary music

Håkon Thelin

2011

DEFINITIONS Page Introduction to Multiphonics on the Double Bass 2Left-Hand-Finger Positions 6Bow 8

Pizzicato Multiphonics 18

MULTIPHONICS ILLUSTRATEDSemitonic Multiphonics 18Quartertonic Multiphonics 21Bow-Above-Finger Multiphonics 25Pizzicato Multiphonics 27Colourative Effects 28

Acknowledgements, literature and list of scores 38

Eivind Buene: Blacklight for two double basses

Charts of multiphonics



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DEFINITIONS

Introduction to Multiphonics on the Double Bass

Introduction Multiphonics in wind instruments has been around for a while. Nowadays you often hearsaxophone players utilizing the technique in jazz and contemporary music. In brassinstruments the effect probably dates back even longer, and can be found in music even fromthe classical period: here the musician sings along with the lip-controlled pitch, and thuscreates a quite audible series of difference tones. Woodwind players mostly use specialfingering in combination with very precise embouchure. In string instruments, multiphonics ismainly a filtering technique, where the potential energy of certain partials of an (in mostcases) open-string fundamental is restrained by a left-hand finger pad lightly touching thestring. This favours the conditions for some of the remaining partials, separately or in narrowclusters.

In this survey I will keep strictly to the research of clearly defined and reproducible multiphonicsounds. The vast arrays of sounds that can be created with prepared instruments oramplification are not subject to this scrutiny.

The article is presented in two main parts. In the first part called DEFINITIONS I explain theleft-hand finger positions that are used to play multiphonics, present new concepts of bowplacement and describe how to play pizzicato multiphonics. And I also suggest solutions onhow to notate the different multiphonics. The second chapter called MULTIPHONICSILLUSTRATED presents musical examples of multiphonics, from the basic use to complexcolourative effects.

What is multiphonics? By carefully positioning the bow and a lightly touching finger on the string, the string spectrumcan be conditioned to provide narrow bands of pronounced energy. This leaves theimpression of multiple complex tones with the normal (Helmholtz) fundamental as the lowestpitch. The phenomenon is seen to be caused by two additional signal loops, one on each sideof the finger, which through the repeating slip pattern get phase locked to the full loop of thefundamental. Within the nominal period, however, the slip pulses will not be uniform like theyare during the production of a normal “harmonic“, but may vary considerably in shape, size,and timing. For each string there are large numbers of bow/finger combinations that bear thepotential of producing such tones. There are also two classes , depending on whether the bow(2.class), or the finger (1.class), is situated closest to the bridge. Touching the string with thefinger closest to the bridge, as in class-one, will somewhat emphasize the (Helmholtz)

fundamental, a particular audible effect of a narrow cluster that accumulates around theloudest sounding partial. In the class-two of multiphonics the partials are (usually) morespread out in the spectrum. Examples of the respective partial clusters are shown in figure 1and 2.



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Fig. 1. A class-one multiphonics where a narrow cluster that accumulates around the loudest soundingpartial. The figure is a copy of figure 7 in Guettler and Thelin !s article Bowed-string multiphonicsanalyzed by use of impulse response and the Poisson summation formula . See this article for a precisedescription of the figure.

Fig. 2. A class-two multiphonics where the partials are spread out in the spectrum. The figure is a copyof figure 8 in Guettler and Thelin!s article Bowed-string multiphonics analyzed by use of impulseresponse and the Poisson summation formula . See this article for a precise description of the figure.

The position of the bow on the string determines the tone that is muted in the soundingspectrum, while the left-hand finger position determines which tones will be prominent in thesound. Multiphonics is applicable to double bass and cello, while less practical on shorter-stringed instruments.

Historical notesThe first comprehensive description of multiphonics is dated to 1995, when French bassistJean-Pierre Robert published his bilingual book Les modes de jeu de la contrebasse – undictionaire de son/Modes of playing the doublebass – a dictionary of sound in collaborationwith IRCAM (Institut de Recherche et Coordination Acoustique/Musique). This research,which started in 1985, also made a noticeable impact on composers working in Paris and at



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IRCAM at the time. A similar description on the production of multiphonic sounds was laterfound in the article A personal pedagogy (2000) by the American bassist Mark Dresser.Dresser has been further exploring multiphonics, without being much influenced by theEuropean achievements, and his discoveries where presented in the article Double bassmultiphonics , published in the October 2009 issue of The Strad.

The composer Michael Liebman presented a detailed study on multiphonics on the

cello and double bass in a compilation consisting of his piece Movement of Repose and thearticle New Sounds for cello and double bass , which were published in 2010. His study onnew sonic possibilities of string instruments began in 1998 and manifested itself quickly in thecompositions Movement of Repose (1998) for cello and Sonata for double-bass (2001), inwhich the second movement Legato sonore shows multiple variations of the multiphonictechnique, as well as the articles Multiphonics Neue Moglichkeiten im Cellospiel (DasOrchester 4/2001) and Multiphonics: new sounds for double bass (2001, unpublished).

Multiphonics played with the finger position between bow and bridge (bow-above-finger multiphonics) was performed by Italian double bassist Fernando Grillo already duringthe 1970s.

Fernando Grillo, apparently in action with multiphonics of the first class. Picture from

http://www.discogs.com/viewimages?artist=Fernando+Grillo

Stefano Scodanibbio was for a short period the student of Grillo and in his early workse/statico (1980) and Joke from Sei Studi (1981/83) we find some of the first notated examplesof double bass multiphonics. Bertram Turetzky, author of The Contemporary Contrabass (1989, rev.ed.) and one of the world!s foremost experts on 20th century double bass,surprisingly doesn!t mention the bow-above-finger multiphonics in his book but points out thathe knows of no music employing string multiphonics. Nevertheless, he says, they do existand, as with most other harmonic techniques, the contrabass is especially well suited to thetask (Turetzky, p.138). He continuo to shortly describe the production of ”some multiphonic”sound by giving specific instructions of finger position, bow pressure and bow placement

(p.139).It is unclear which piece was the first to directly employ multiphonic techniques other

than the bow-above-finger multiphonics. Prior to 1990, multiphonic sounds have in somecases influenced composers to use the timbre and chords as generative sound material andconcrete analytical musical tools. In her work Io (1986-87), for ensemble with live electronicsand computer-generated tape, Kaija Saariaho draws harmonies from double bassmultiphonics, whose spectrum is played on tape and then orchestrated for the ensemble.Saariaho also used cello multiphonics as generative source for harmonies in the earlier pieceLichtbogen (1986) for small ensemble and live electronics. Composed in 1999, the piece Cielétoilé scored for percussion and double bass adopt several multiphonics that is obtaineddirectly from the research of Jean-Pierre Robert. In the solo double bass piece Thrust (1989,rev. 1991), by Saariaho! fellow Finnish composer Kimmo Hakola, the whole last part marked

Rubato (Adagio) is dedicated to the exploration of multiphonic sounds. Hakola lived in Parisand worked at IRCAM during the 1980s, and his use of multiphonics is directly influencedfrom the work done by Robert and fellow musicians, composers and researchers in France at



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the time. Thrust is the first piece I have found with semitonic multiphonics, and Hakola alsopresents one of the most complex usages of the technique to this date!

Philippe Boivin uses quartertonic multiphonics in the fifth movement Spectral from hiswork Cinq algorithmes pour contrebasse seule (1991). Boivin was a long time collaboratorwith Jean-Pierre Robert, a working relationship that already manifested itself in theremarkable piece Zab ou la passion selon st. Nectaire (1981). In 1996, the Argentine

composer Carlos Mastropietro wrote the piece En una cara for solo double bass where heuses both semitonic and quartertonic multiphonics. Mastropietro learned about multiphonicsreading Fingerboards and overtones (1991) by Michael Bach, an artistically sketched book oncontemporary cello technique. He then conducted his own experiments on a double bass,searching for ”a good technique for the left hand and the bow”. The result was an innovativeuse of multiphonics, presented in his personal notation, chord analysis and definitions. Thepiece gained some attention when it won the first prize at the 2000 International Society ofBassists (ISB) Composers Competition in the USA. A big leap forward was done with theresearch of Michael Liebman. This Russian pianist and composer, now living in Israel,discovered in 1997 what he calls the new multiphonic technique for cello and bass, andidentify it as a similar sounding technique to that described by Bruno Bartolozzi in The newsounds for woodwind (1967). Liebman conducted his research independently, without any

knowledge of the European and American advances. His thorough study introduces manynew concepts concerning definitions, notation and combinations with other techniques. Thesecond movement, Legato sonore, of his Sonata for double bass (2001) is an advancedmusical exploration of his discoveries. Many of my own descriptions of chord colorization andcombined techniques use expressions that are established by Liebman.

The way forward In the material from Robert, Liebman and Dresser we find extensive information about thephysics, technical production and timbre variations of multiphonic sounds, together with chordschemes (spectral analysis) that illustrate the most known multiphonic sounds. However, theacoustical implications in terms of string waveforms, etc. was never touched upon by theseauthors. And neither Robert nor Dresser has in their research any reference to multiphonicsused in written music. My main aim of this presentation is therefore to illustrate multiphonicsthru examples from composed works, were I will look at the practical use of the technique,from the production of single chords to effects that determine chord coloration. Initially, Icompare previous research and suggest new definitions and suggestions for notation. And inthe article Bowed-string multiphonics analyzed by use of impulse response and the Poissonsummation formula , professor Knut Guettler presents his research into the acoustical realmsurrounding the production of multiphonic sounds. This article has been accepted forpublication (2011) in Journal of Acoustical Society of America.

Until recently, most research and use of multiphonics was done independently,without any interaction and knowledge of the work of others. We see that experiments havebeen done by a handful of composers and performers in Europe, Russia/Israel and America.Still there is an insufficient knowledge of the technique, if not non-existent, among musicians.Multiphonics on the double bass is a specialized technique, yet it carries a great potential for

creating new sonorities, expanding the timbre of the instrument, and forming new theoreticaland practical grounds for compositions. Since 2001 my own experiments with multiphonicshave inspired several composers to explore the technique as well as incorporating it into myown music. So far, I have been involved in the creation of ten works where multiphonics havebeen used. The rising number of works with multiphonics has given me the opportunity to getexperience with both composing and performing with the technique. And for the first time, Ipresent a review of how the technique has been used in more than a dozen works.

I end my survey with presentation of a double bass duo from the composer EivindBuene called Blacklight . This duo is originally part of the larger piece Into the Void (2008) forwind orchestra (with double bass) and a soloist group of saxophone, accordion, double bassand drums. In Blacklight he uses a combination of semitonic, quartertonic and bow-above-finger multiphonics in a contemplative and calmly breathing piece. The duo is relatively easy

to play and is accessible also for intermediate students or players. It serves well as anintroduction to multiphonic techniques and sounds.



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Left Hand Finger Positions

Semitonic, Quartertonic and Artificial multiphonics

We can organize the second-class of multiphonics, where the bow is situated closer to thebridge than the left hand, in three general groups of left-hand finger positions. Each group isclearly defined through its own characteristics of sound and playability.

1. Semitonic multiphonics. Played with fingers in a natural chromatic scale related

position. Multiphonics is created by manipulating bow placement, bow pressure andbow speed. This is the most common way of producing a multiphonic sound.

2. Quartertonic multiphonics. Played with quartertone finger position. Multiphonics is

either created on the corresponding harmonic, as with semitonic multiphonics, or bythe interference between neighbouring harmonics. Generally, light bow pressure andfast bow speed is needed to create this type of multiphonics. Manipulations of left-hand finger pressure can greatly enhance certain partials in the cord or make thefundamental tone more present.

3.

Artificial multiphonics. This type can be played both as a semitonic multiphonicsand as a quartertonic multiphonics. Semitonic artificial multiphonics can be producedwith the artificial harmonics of major seconds, minor and major thirds and augmentedfourths. Artificial multiphonics of major seconds, minor and major thirds are bestperformed in the lower positions and they get gradually more difficult to control in thehigher positions (above the first thumb position). Artificial multiphonics of augmentedfourths is best performed from the 4 th or 5th position and upwards (because of thestretching of the fingers). Quartertonic artificial multiphonics is produced with thefinger lightly touching the string at a distance of a fourth diminished of a quartertonefrom the depressed thumb. The sound is then coloured by the interference of theneighbouring harmonics/partials. Glissando is possible with artificial multiphonics.

Notation of finger positions for 2.class multiphonics (Semitonic, quartertonic andartificial multiphonics)Multiphonics is always notated with the harmonic diamond sign, in tablature notationindicating finger positions rather than musical pitches. I suggest using the symbol M. above orbelow the note to indicate that it is a multiphonic sound, together with the indication on whichstring to play the note (in Roman numerals).

Fig. 1. Examples of semitonic multiphonics

Fig. 2. Examples of quartertonic multiphonics



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Fig. 3. Examples of artificial multiphonics

Finger pressure The realisation of certain multiphonics demands a specific left hand finger pressure technique. Variation of finger pressure can in most cases create small changes in thecolourisation of the sound due to a suppression or reinforcement of certain overtones. Lightfinger pressure gives a stronger presence of the fundamental sound, but at the same time itbecomes more difficult to keep a totally stable sustained chord. I suggest using theabbreviation l.f.p. (light finger pressure) for specifically indicating a light finger pressure.

Fig.4. Notation of finger pressure

Bow-above-finger multiphonicsFor the first-class of multiphonics, the finger is positioned close to the end of the fingerboardor beyond the fingerboard, between bow and bridge. Bow-above-finger multiphonics hasgenerally greater dynamic potential than other multiphonics, but comes with more limitedpossibilities of being combined with other playing techniques.

Notation of finger positions for first-class multiphonics (Bow-above-fingermultiphonics)I recommend using a symbol created by Stefano Scodanibbio for notating bow-above-fingermultiphonics (see fig. 5).

Fig.5. Symbol for notating bow-above-finger multiphonics

This symbol can either indicate a random finger position as shown in fig. 6, or a precise fingerposition as shown in fig. 7 and 8.

Fig. 6. Stefano Scodanibbio: e/statico



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Fig. 7. Håkon Thelin: oibbinadocS Fig.8. Eivind Buene: Blacklight

Bow

The placement of the bow is essential to create and control a multiphonic sound. MichaelLiebman defines the bow position into seven areas of 3.15 cm, with the distance measuredfrom the bridge. He creates this table:

Fig.1. Table of bow positions created by Michael Liebman. Movement of Repose, New sounds for celloand double bass , 2010, page 30.

Molto ponticello 0 cm

Ponticello 3.15 cm

Ordinare/Ponticello 6.3 cm

Ordinare 9.45 cm

Ordinare/Tasto 12.6 cm

Tasto 15.75 cm

Molto tasto 18.9 cm

A general area can for example be marked with Molto tasto while the specific point of contactcan be marked as 19 cm. In cases where a chord can be performed in adjacent ”areas”, e.g.pont. and ord./pont., bow position is marked as pont. – o/p.

The double bass has no standard size. And string length and length of fingerboard varygreatly between different instruments although string manufacturers consider a length of 106cm to be standard. The areas and positions indicated in Liebman!s table doesn!t exactlymatch all instruments, and he asks for the player to be aware that minor position correctionsmay be required for each individual instrument.

Central harmonic nodes In my attempt to make more precise definitions of bow placement I followed Liebman !s chart

of multiphonics, writing down the exact harmonic node where the bow is placed within thegiven areas. I ended up defining the 9th, 11

th (22

nd in the fifth octave) and 13

th partial as

central harmonic nodes on where to place the bow.

The bow position for the creation of semitonic and quartertonic multiphonics will now begiven according to a central harmonic node , which is similar on all instruments. The resultingnew chart shows precisely where the bow should be theoretically placed on the string. Oncetried and practised, it also gives a more precise visual image of where to place the bow. It isseldom necessary to place the bow at any exact given harmonic node, but usually it isenough to be ”within the area” of the node. For reasons unclear, some multiphonics require amore precise placement of the bow than others. Further, the areas (1-2 cm) around the 13

th

and 11th harmonic nodes on both sides of the fourth octave, can be found to be the most

flexible and available bow positions for producing multiphonics.

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Fig.2. Chart by Håkon Thelin and Knut Guettler. Natural harmonics to be used for bow positions inmultiphonics. Notice that all harmonics can be found at several places along the string. Vertical arrowsindicate which node to use, starting with no arrow at the uppermost node. At the bottom of the plot,Liebman!s bow positions are included for comparison. Even though the harmonics ! positions in thisfigure are marked on single strings only"for reasons of clarity"they can of course be used on everystring. The figure is based on 106 cm string length and can be scaled up to fit over the strings.

Fig. 3. Chart by Håkon Thelin that show the harmonic nodes bow position for semitonic and quartertonicmultiphonics on all the strings. Notice that the vertical arrows indicate which node to use, starting with

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Bow ResistanceIn his article on Double bass multiphonics (The Strad, October 2009) Mark Dresser definesbow resistance as a combination of pressure (bow force) and bow speed . It is difficult todefine any general behaviour of bow resistance, each multiphonics require a specificcombination of pressure and speed which can only be learned by experience. Michael

Liebman (Movement of Repose, New sounds for cello and double bass , 2010, page 30) usesfour general designations for bow pressure, from ”light pressure” to ”drilling pressure” (verystrong bow pressure). In multiphonics the pressure is not always in direct correlation to thedynamics, and the notion is more accurate for portraying the character of playing chords. Insome cases, Liebman also make use of the designations ”slow bow” and ”quick bow” todescribe the bowing speed. With multiphonics, as with normal (Helmholtz) tones, the volumeof sound is, in most cases, proportional to bow speed. In my new chart of multiphonics I markbow resistance only in special cases, where it is absolutely decisive for the production of themultiphonics. I suggest using Liebman!s designations for pressure and speed, with a reducedcategory of pressure and with capital letters for easier reading:

Fig.4: Chart by Håkon Thelin on bow resistance

Pressure:

Light pressure - L.prNormal pressure - N.pr.Heavy pressure - H.pr.

Speed:

Slow bowQuick bow

In an email conversation on bow angle which I had with the American double bass playerMark Dresser, Dresser describes another multiphonic effect which is obtained by drawing thebow at a diagonal angle: ”with the tip downwards and the bow placed at the lower third of thestring so the angle is transversing several nodes consistently. With some pressure, andspeed, one can get a warbling phasing multiphonic effect, creating a loop of several partialsphasing. Sounds like a turkey 'gobbling' or a kind of yodeling effect”.

Notation systems for the bowThe notation of the left-hand position causes no problem, as a normal note with a diamond orrectangular head will do nicely, and is readily understood by the musician. The position of thebow is somewhat harder to indicate in a concise manner, as the sign should be small andplaced either below or above the fingered note. Liebman suggests two ways of indicating thebow!s position: (1) a series of Italian expressions ranging from “molto tasto” to “moltoponticello”. These ranges are predefined with approximate distances from the bridge. (2) Bydescribing the distance from the bridge in centimetres.



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Ex. 5a. Example of notation by Liebman (from “Legato Sonore”). By playing the lower stave with the bowplaced in proper distance from the bridge; the harmonics (multiphonics) shown in the upper two staveswill be dominant.

However, in this area of the string, the (accomplished) player will be more familiar with thepositions of the highest harmonics (flageolet tones), and should without too much of aproblem be able to place the bow there, regardless of non-standardised string lengths andother trivialities. In example 5b, I suggest a notation for bow position, where the upper-caseletters determine the choice of string, the number gives the harmonic, and the arrow indicateswhich harmonic node to use, starting with no arrow at the highest node. (See Figure 3.)

Ex. 5b. Alternative notation of bow position and string choice based on natural harmonics: E13 ! andA11! mean bow positions of the 13th and 11th harmonics, second node, on the E and A string,respectively. See Figure 1 for explanation.

More examples of this notation are seen in the following figures. In example 5c there areseveral different bow positions to choose from, and the player is free to select from these. Inexample 5d, the bow moves from the position 13! to the slightly lower position 11!, to enablemultiphonics on adjacent strings to be played together.

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Ex. 5c. Glasperlenspiel, Håkon Thelin

Fig. 5d. Glasperlenspiel, Håkon Thelin

Bow position for bow-above-finger multiphonics I find the best bow position for bow-above-finger multiphonics to be around a fourth or a fifthabove the fingered note . Finger glissando is possible with the bow-above-finger multiphonicsand the bow must be moved in proportion to the left hand. I didn!t find it necessary tointroduce any specific notational systems for the bow-above-finger multiphonics.

Bow position for multiphonics on the 4th

-7th

natural harmonics on each string

The bow position for bow-above-finger multiphonics applies also for ordinary semitonic multiphonics played at the major 3rd

, 5th and minor 7

th partial of the third octave, as well as the

fourth octave; these special cases are best played with the bow about a fourth or a fifth below the fingered note.

Bow position for artificial multiphonics Defining bow placement for artificial multiphonics proved to be a major challenge. Theexperiments told me that each finger position demanded a bow position in equal proportion tothe left-hand. For each half step (semitone) the position of the artificial multiphonics movesupwards the string, the bow should similarly rise to the next harmonic node. The bow positionis measured in semitones from the fingered harmonic tone, and two different distances, of 22and 29 semitones, can be used. With these distances as a starting point, the bow can also intheory be moved to other octave positions, but the practical use limits the positions to 34 and

41 semitones, an octave higher, when playing certain artificial multiphonics. Two differentcombinations of speed and pressure are also used, either normal pressure and normal speed(N.pr.) or high pressure (H.pr.) and slow speed (Slow bow).



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Fig. 6. Bow positions for semitonic artificial multiphonics on the E-string. Harmonic partial indicate thesounding harmonic partial, bow node position indicate on which harmonic node to place the bow on thestring, notation indicate the score notation for the bow, and fingering indicate the score notation for theleft-hand. A general mark on the playability is included below the staffs. The finger positions for artificialmultiphonics are major second, minor and major third, and augmented fourth.



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Example of score notation of artificial multiphonicsAn example of notation, taken from the piece Glasperlenspiel, is shown in example 7. Thebow is placed on the 10

th harmonic partial and moved in parallel glissando with the left hand

when the artificial multiphonics slides up two semitones.

Ex. 7. Glasperlenspiel, Håkon Thelin



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Pizzicato multiphonics

Pizzicato multiphonics are easy to produce, and are most effective and clear from the 3rd

-8th

partial. Place the left hand finger over the harmonic with very light pressure and pluckenergetically close to the bridge. As the string is plucked release the left hand finger from thestring. This is also possible with right hand finger pizzicato technique. Place the right handthumb lightly over, or on the side of, the harmonic and pluck energetically with index finger.Release the thumb from the string as the string is plucked. This technique was first shown tome by the Finnish bassist and composer Teppo Hauta-aho, and the first written description isby Mark Dresser in the article Double bass multiphonics (The Strad, October 2009).

Notation of pizzicato multiphonicsI suggest using the symbol M. above or below the harmonic to indicate that it is a multiphonicsound, together with the indication on which string to play the note (in Roman numerals). Inexample 1, the multiphonics is played with the right hand finger pizzicato technique.

Example 1. Håkon Thelin: Glasperlenspiel

MULTIPHONICS ILLUSTRATED

Semitonic Multiphonics

Multiphonic sounds are most commonly produced with the semitonic finger positions, whichalso provide the basis for the most comprehensive timbral variation and combinatory use withother techniques. In Kimmo Hakola!s Thrust from 1989 (rev. 1991) we find some of the firstexamples of semitonic multiphonics:

Example 1: Thrust

Ex. 1. Kimmo Hakola: Thrust , page 6, Rubato (Adagio)



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The finger positions of the multiphonics are notated on the bottom stave while the resultingsounds are notated in parenthesis on the top stave. In example, 1 all multiphonics are playedin the first octave on the G-string (marked with number ”I”). Hakola uses an ”M” on the notestem for marking the multiphonics, which works well within the frame of the piece. There areno markings for bow placement and bow resistance in the beginning of the line, but it is to beassumed that the bow should be in an ordinary position from the beginning. From the middle

of the line the bow moves gradually to sul ponticello (SP) and the three last multiphonicsounds are played with the bow poco sul ponticello . This suggests that Hakola eitherindicates a bowing position that works well for these multiphonic sounds, or that he willenhance certain overtones by moving the bow closer to the bridge.

Example 2: Foxfire Zwei In my own transcription of Foxfire Zwei (1993/2007) by Helmut Oehring (originally written forbass clarinet), I mark the multiphonics with the ”M” above or below the note head or stem,and the designated string with numbers (I-IV). Example 2 shows multiphonics on the thirdstring. This particular multiphonics is very easy to produce, and I have not indicated bowplacement, bow resistance and sounding tones. My suggestion for bow placement is abovethe fourth octave, around the 9

th, 11

th or 13

th central harmonic node.

Ex. 2. Helmut Oehring: Foxfire Zwei (arr. Håkon Thelin)

Example 3: oibbinadocS Generally, I use a simple notation similar the one used in example 2. As seen in examples 3aand 3b, from oibbinadocS – the first piece in which I used multiphonics, I didn !t find itnecessary to notate the placement of the bow, as the multiphonics is easy to play.

Ex. 3a. Håkon Thelin: oibbinadocS

Ex. 3b. Håkon Thelin: oibbinadocS

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Example 4: Thrust Going back to Thrust , the next two examples show semitonic multiphonics on strings I-III andin the first and second octave.

Ex. 4a. Kimmo Hakola: Thrust, page 6, Rubato (Adagio)

Ex. 4b. Kimmo Hakola: Thrust, page 7, Rubato (Adagio)

Examples 5-7: Glasperlenspiel Semitonic multiphonics with markings for bow placement is shown in example 5 through 7.In example 5 there are multiple possible bow positions to choose from, and the markings canbe viewed as guide to the #area! in which to place to bow. I found it convenient to only suggest the bow positions, since the context of the sound allows for slight transformations of timbreand dynamics.

Ex. 5. Håkon Thelin: Glasperlenspiel

Examples 6 and 7 display situations where a specific bow position is preferred for theproduction of multiphonics. The transformation from an open string to multiphonics signifies

the first situation. The finger gradually touches the string above the E-flat harmonic, whichhelps defining the multiphonic sound more easily. A precise bow position is marked, and thebow can be moved towards this position during the transformation of the sound. A precisely



21

positioned bow will help the final establishment of a stable sound, which gradually fadesthrough a slow decrescendo.


In example 7 the bow moves from the position B13! on the E-string to the slightly lowerposition B11!, to enable multiphonics on both the A and E-string to be played together. Thecluster sound of the two chords is particularly difficult to control, as the distribution of bowpressure between the two strings, as well as the bow speed, must be practised to find theoptimal combination for a balanced sound.


Quartertonic Multiphonics

Example 1-3: Spectral The French composer Philippe Boivin uses quartertonic multiphonics in the fifth movementSpectral of his piece Cinq algorithmes pour contrebasse seule (1991). A bowing techniquedescribed as “spectral phase difference” by Jean-Pierre Robert (Modes of playing thedoublebass, 1995, 42) is employed throughout the movement. This technique gives theimpression of hearing two consecutive attacks for each bow shift in a rapid flautandomovement, thus reinforcing the harmonic spectrum of the open strings. The multiphonics is

meant to expand the harmonic spectrum, creating even richer overtone sounds.



22

Ex. 1. Philippe Boivin: Spectral, bar 10-17

Ex. 2. Philippe Boivin: From the performance instructions to Cinq algorithmes pour contrebasse seule

Generally, a fast bow and light finger pressure will help to produce the wanted effects. Thestrings are all tuned to D during a short and improvised prelude, and Boivin stresses theimportance of the player!s voice in bringing out clear harmonics in the colouring of the vocalswhich blend in with the instrument!s sounds.



23

Ex. 3. Philippe Boivin: Spectral, bar 35-36

The multiphonic sounds are often played in combination with ordinary harmonics ormultiphonics on adjacent strings. The second and third string is tuned in octaves, thusreinforcing the tonal harmonic spectrum. The sound is very open and free, assisted by theresonance of the open strings.

Example 4: oibbinadocS Playing simultaneously on adjacent strings can dramatically transform the multiphonicsounds. In my own composition oibbinadocS (2004), a quartertonic multiphonics on the A-string is played in combination with a natural harmonic trill on the D-string. The effect is verymuch the same as in the similar examples from semitonic multiphonics; a stable chordcoloured by the interweaving roll of overtones.

Ex. 4. Håkon Thelin: oibbinadocS

The technical challenge in this particular example is to keep the first finger steady on theprecise point of the multiphonics on the string while the second and fourth finger do a fast trillon the higher string (this involves a rather big stretch for the fingers). At the same time, thebow must be positioned in a way that both the multiphonics and the harmonics in the trillspeak out clearly. This demands a bow position close to the bridge, and the position thatworks best, in my experience, is around the 18

th harmonic partial.

Example 5: Foxfire Zwei In the transcription of Foxfire Zwei (1993/2007), I used a multiphonics that has similar soundqualities as the quartertonic multiphonics, which is, however, not included in the chart. Thefinger is positioned close to the nut and the indicated bow position is poco sul tasto , a lowerposition than for most quartertonic multiphonics. An airy oscillation between adjacentharmonics and the fundamental is the wanted effect, aided by the gradual change of left handpressure. The bow position (poco sul tasto ) brings out a deep, rumbling fundamental soundon top of which the high harmonics can mingle.

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Ex. 5. Helmut Oehring: Foxfire Zwei (arr. Håkon Thelin)

Example 6: Thrust A similar multiphonics to the one displayed in example 5 appears in Kimmo Hakola !s Thrust (1989), where the finger position is very close to the nut (slightly above the open string). Hereagain the effect is an oscillation between adjacent harmonics and the fundamental. Contraryto the previous example, the expression here is strong, almost wild, with an intense mingle ofhigh and low frequencies. I would suggest the bow position(s) to remain between ordinario and molto sul ponticello .

Ex. 6. Kimmo Hakola: Thrust, page 8, rubato [ andante ]

Example 7: Sonata for double bass Only a few instances of quartertonic multiphonics appear in Michael Liebman !s Sonata fordouble bass (2001). Liebman uses the technique of gradual transformation as an input to themultiphonic sound; coming from a single flageolet in a quartertone finger position, with a verylight bow pressure (L.pr.), the gradually intensified pressure (N.pr.) carefully transform theflageolet sound into a chord effect. These occurrences are shown in examples 7a and 7b. Inexample 7b, the transformation from a flageolet into a chord effect happens towards the

middle of the system (the accidentals applying to the whole system).

Ex. 7a. Michael Liebman: Legato Sonore, page 1, third system

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Bow-above-finger multiphonics

Bow-above-finger multiphonics generally more easy to play than class-two type multiphonics,but doesn!t offer as many variations in sonority. Since most of the multiphonics are producedwith the finger is positioned close to the end of the fingerboard or beyond the fingerboard,between bow and bridge, they require some preparation time unless being used in phraseswhere the left-hand is already playing high up on the strings. It is possible to play relativelyloud and violent with bow-above-finger multiphonics, but also extremely soft with a smooth,even sound.

Example 1: e/statico

Stefano Scodanibbio composed e/statico in 1980 as one of his first pieces for the doublebass. The piece investigates isolated sonorities, in which various sound shapes, usuallyseparated by pauses, seem to be juxtaposed without any meditation. In example 1, the fingeris places somewhere beyond the end of the fingerboard on the D-string, between bow andbridge, and the multiphonic sound lives its own short life during the two bow strokes that areindicated.

Ex. 1. Stefano Scodanibbio: e/statico

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26

Example 2: Joke

A loud, #noise!-like gesture surprise us in Scodanibbio!s Joke , the first movement from his SeiStudi (1981-83). The double bass really screams through this rather swift glissando of bow-above-finger multiphonics, performed on strings one and two.

Ex. 2. Stefano Scodanibbio: Joke , from Sei Studi

Examples 3-4: oibbinadocS

In oibbinadocS (2004) I use a technique where I combine bow-above-finger multiphonics with

a natural harmonics. The sounds are played on each side of the bow: The harmonics isfingered with the thumb above the bow (closer to the nut), while the multiphonics is fingeredbelow the bow (closer to the bridge). The position of the left-hand is being anticipated thoughdouble-stops of harmonics, and only a slight movement is needed to bring the bow into thenew position between the fingers. Examples 3 and 4 are from the very beginning and end ofthe piece.

Ex. 3. Håkon Thelin: oibbinadocS Ex. 4. Håkon Thelin: oibbinadocS

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Pizzicato multiphonics

Pizzicato multiphonics is used extensively in all of the two-hand flageolet pizzicato passagesin my piece Glasperlenspiel (2010). I wanted the effect of loud, ringing tones to equal thetones that are being hammered by the left hand on the fingerboard. A passage is shown inexample 1, where pizzicato multiphonics can be studied in bar 90 and bar 92-95. The left-hand flageolet pizzicato and hammer-on is notated with upward stems, while the right-handpizzicato is notated with downward stems.




28

Colourative Effects

In the following, I will present effects that determine the colouration of multiphonic sounds .

There are multiple combined techniques that are used in a great number of works, and myaim has been to provide a thorough presentation of existing techniques and their practicalutilisation in a selection of composed works. The multiphonic technique is still in its earlystages of development, and there are many more sounds to be discovered. This generalpresentation can be seen as a first excursion in to the field of multiphonic sound effects andwill hopefully serve as an impulse or inspiration for further explorations into this technique, byboth performers and composers.

TransformationSemitonic multiphonics can be transformed into harmonics, ordinary tones or other sounds. InFoxfire Zwei, I use the gradual change between multiphonics, harmonics, fundamental and airsounds, to create living sounds, constantly changing the colour of the multiphonics. Inexample 1, the sounds change gradually between multiphonic, harmonic and air sounds(created by damping the string with the left hand and playing with a light bow). The changesbetween multiphonic and harmonic sounds are caused by small changes in bow position,pressure and speed.

Ex. 1. Transformation between multiphonic, harmonic and air sounds. Helmut Oehring: Foxfire Zwei (arr.Håkon Thelin)

Transformations from harmonic to multiphonics are possible through changing the spot atwhich the bow touches the string and by applying additional pressure to the string (Liebman,Movement of Repose, New sounds for cello and double bass, page 31). The bow must bemoved to a central harmonic node , which facilitates the creation of the multiphonic sound. Asmooth transition can be controlled by manipulation of bow pressure and bow speed. Usuallythis means applying more pressure to the string and bowing with a slightly reduced speed.Illustrations of this effect are shown in example 2 and 3. In example 2, the bow should moveto the central harmonic node position 13 when modulating into the multiphonic sound.

Ex. 2. Transformation from harmonic to multiphonics. Håkon Thelin: Light

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Ex. 3. Transformation from harmonic to multiphonics. Michael Liebman: illustration from Movement ofRepose, New sounds for cello and double bass

In Thrust , Kimmo Hakola makes use of sound transformations by alternating multiphonics andordinary tones. The effect is a rather quick in-and-out transformation of the sound. The bowpressure must be precisely synchronised with the left hand movement in order to get the fulleffect of the changing sounds.

Ex. 4. Transformation between multiphonics and ordinary tones. Kimmo Hakola: Thrust, page 7, Rubato(Adagio)

The transformative process seen in example 5 shows an artificial multiphonics on the E-string, to be played together with the open A-string. This artificial multiphonics dissolves intoan open string, which again is gradually converted into a multiphonic sound as the fingerslowly dampens the string over the E-flat harmonic. The bow position indicated above the

stem (B E22! and B13) is notated in accordance to figure 3 and example 5b in the chapter onBow placement .



30

Ex. 5. Transformation from artificial multiphonics, via open string, to semitonic multiphonics. HåkonThelin: Glasperlenspiel

Tremolo Tremolo is possible on most multiphonics. The effect is usually a noisy, complex, and often,unstable sound. The types of multiphonics that are easy to play, give the most stable noise-like sounds when playing tremolo . Example 6 includes this effect with tremolo multiphonics onthe second and third strings, the sounds being initiated by slightly accentuated grace notes.All the multiphonic sounds in this example are rather easy to play.

Ex. 6. Tremolo . Håkon Thelin: Shared moments

Example 7 illustrates ordinary multiphonics going into tremolo multiphonics and vice versa.

Ex. 7. Going in and out of tremolo . Helmut Oehring: Foxfire Zwei (arr. Håkon Thelin)

When applying tremolo on multiphonics that are more difficult to play, careful attention must

be given to finger pressure, bow position and bow pressure, for the sound generally fluctuatesmore randomly between the overtones.

Multiple variations of the tremolo effect are possible, e.g., changing bow speed (slow or fasttremolo), changing bow pressure (greater pressure creates a harder, more noisy sound whileless pressure gives a brighter, airy sound), and changing bow position (this can enhancecertain overtones of the cord as well as the overall timbre of the cord).

Vertical vibrato, hammer-on multiphonics and legato tremoloMichael Liebman employs what he calls a vertical vibrato to multiphonics: ”By rapidly varyingthe amplitude of finger pressure on a string from slight to deep (almost, but not actuallytouching the fingerboard), we achieve the vertical vibrato[...]” (Movement of Repose, Newsounds for cello and double bass , 2010, page 35). Hitting the string against the fingerboardcreates a variant of this technique. Liebman writes ”[…] in such cases, in addition to themultiphonic chord, a "flickering" tone is produced corresponding to the point where the finger



31

touches the fingerboard” (Ibid., page 35). The presence of the stopped note in the sound canalso be controlled by how hard the finger hits the fingerboard. I will refer to this technique ashammer-on multiphonics.

Liebman further describes an open string tremolo where the player rapidly alternatesbetween touching the string and raising the finger. An effect I would describe as a legatotremolo between the multiphonics and the open string. It is possible to control the presence of

the fundamental tone through the force of the finger that pulls the string; contrary to the faintfundamental sound that is perceived when the finger is only lifted (and not pulled) from thestring.

In example 8, the first action is a vertical vibrato (where the finger does not touch thefingerboard), followed by a legato tremolo between the multiphonics and the open string. Iwould interpret this particular legato tremolo as to be performed only with a slightly liftedfinger, so that the change of timbre is only scarcely audible, and led naturally on from thevertical vibrato. The third action in example 8 is a rhythmical vibrato , the effect being createdwhen the finger softly hits the harmonic a half note above the multiphonics. Make sure thatthe multiphonic sound is kept constant throughout the action.

Ex. 8. Vertical vibrato, legato tremolo and rhythmical vibrato. Michael Liebman: Sonata for double bass,

2.movement Legato sonore

The different types of vibrato, legato tremolo and hammer-on multiphonics are relativelyidiomatic techniques. They open up a wide area of rhythmical possibilities as well as meansof colouring multiphonic sounds. In Shared moments (2009), I use hammer-on multiphonics,which, during the course of interpretation was played as a sound that rapidly alternatesbetween and blends the multiphonics, stopped note and open string. The notation in example9a and 9b, however, is still the same as with hammer-on multiphonics. The techniques can beseen in the context of the longer musical line in example 9c.

Ex. 9a. Hammer-on multiphonics. Håkon Thelin: Shared moments

Ex. 9b. Hammer-on multiphonics. Håkon Thelin: Shared moments



32

Ex. 9c. Hammer-on multiphonics. Håkon Thelin: Shared moments

Example 10 shows a legato tremolo on the A-string with a flageolet trill on the F on the D-

string, while a variation is shown in example 11 where a legato tremolo on the A-string iscombined with an artificial harmonic on the D-string. The two multiphonics used in these

examples are easy to play and most bow positions work well. The occurrence of artificialharmonics, however, calls for a placement of the bow somewhere towards the bridge,although not necessarily sul ponticello .

Ex. 10. Legato tremolo combined with artificial harmonic trill on the adjacent string. Håkon Thelin: Light

Ex. 11. Legato tremolo combined with artificial harmonic on the adjacent string. Håkon Thelin: Light

In a passage from Glasperlenspiel, shown in example 12, I use legato tremolo and hammer-on multiphonics in a play with timbre and harmonies. The first action is a legato tremolo onthe D-string, where the multiphonic sound blends with the opens string. A crescendo brings



33

the sound into a hammer-on multiphonics on the E-string. The hammered C perceives as afundamental, with intermingling partials of the E-string multiphonics. The open strings,plucked as appoggiaturas with the left hand, resonate with the legato tremolo multiphonics,which is now stripped from the C fundamental. The sound again rises through a crescendointo hammer-on multiphonics on the A-string, where the E-flat fundamental intermingles withthe A-string partials, sounding together with the appoggiaturas of the E and G-strings.

Ex. 12. Legato tremolo and hammer-on multiphonics. Håkon Thelin: Glasperlenspiel

A technique that is not shown here, but waiting to be explored later on, is the legato tremolobetween multiphonics and either an open string, harmonic or stopped note on an adjacentstring .

RichochetExample 13 illustrates the opening of Shared moments . The musical gesture of this openingis repeated several times during the entire piece and can be seen as a play with timbre andresonance between the four strings. Each note is coupled with a unique attack: the shortnotes are played with left hand pizzicato and with the tip of the bow, while the long notes areplayed with a bouncing bow. A ricochet on a multiphonics then establishes the first extendedtone with an accentuated and quick bouncing bow in order to release the multiphonic sound.This sound leads to the second attack where a (quick) ricochet transforms into a verticalbouncing bow, called rimbalzo verticale by Stefano Scodanibbio, which is characterised by asoft, flickering sound.

Ex. 13. Richochet . Håkon Thelin: Shared moments

Playing simultaneously on two adjacent stringsBy adding the additional tone of an adjacent string new colours may be added to a "tonal"sounding multiphonic chord. This change may vary from a slight coloration, to dissonance,and even to a complete transformation of the colouring.

1. Multiphonics with an open stringIn example 14 we see an artificial multiphonics played together with an open A-string. The

bow position for the artificial multiphonics is assigned to the 10

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harmonic partial on the E-



34

string. The added open A-string darkens the sound and gives a slight perceptible harmonic

feel in the minor third interval between the fundamental tones (G-A).

Ex. 14. Artificial multiphonics played together with an open A-string. Håkon Thelin: Glasperlenspiel

The static sound that we meet in the previous example comes to life through trills andglissando movements of the multiphonics in example 15. A rumbling, full sound is heard whenthe glissando slowly moves towards the sound of the open string. The fundamental and theovertones in the multiphonics create a complex, constantly changing, set of interference toneswith the open string drone. As in the previous example, the bow can be placed on the 10

th

harmonic partial on the E-string, but must be moved proportionally with the left-handglissando up the string.

Ex. 15. Artificial multiphonics trill played together with an open A-string. Håkon Thelin: Glasperlenspiel

2. Multiphonics with a natural harmonic

Ex. 16. Multiphonics with a natural harmonic. Maja S. K. Ratkje: On Wombs and Vowels

In her piece On Wombs and Vowels , Maja S. K. Ratkje uses a combination of multiphonicsand natural harmonics. This does not change the bright sounding colour of the overtones but



35

adds a dimension to the harmonic spectrum. The notation is practical and easy to read: In thefirst bar, the harmonics (top notes) are played on the first string while the multiphonics(bottom notes) are played on the second string. In the second bar, the multiphonics are thesame as in the previous bar but with the harmonics played on the third string. In bar three, wehave a new set of multiphonics on the third string that is played together with harmonics onthe fourth string. The gradual descent from high to low strings creates a change of colour from

bright to dark. On the low strings the cords have a full sound with much resonance, while thebrighter sounding chords on the higher strings sound more restrained and are also moredifficult to play. Bow placement is left to the decision of the performer. There are multipleoptions, in order to bring out the sound of the harmonic, however, a placement relatively closeto the bridge is preferable.

Examples 17 and 18 are taken from the double bass solo that opens Giants of jazz (1999-2001), a piece by the Norwegian composer Øyvind Torvund. The top stave indicatesthe rhythm of the bowing as well as the sounding note of the harmonics, which is notated onthe lower stave and played together with normal tones or other harmonics. Towards the endof the system, the phrases are closed with combined sounds of chords consisting ofmultiphonics and natural harmonics. The multiphonic chords are not notated, but are markedas a cluster sound.

Ex. 17. Multiphonics with a natural harmonic. Øyvind Torvund: Giants of Jazz

Ex. 18. Multiphonics with a natural harmonic. Øyvind Torvund: Giants of Jazz

3. Multiphonics with a natural harmonic trillAs illustrated in example 19, this combination lets us play multiphonics together with a trill ofnatural harmonics on an adjacent string.



36

Ex. 19. Multiphonics with a natural harmonic trill. Håkon Thelin: oibbnadocS

Here we move from a flageolet trill on the second string, coloured by the gradual movement ofthe bow, into a multiphonics together with a natural harmonics trill. The effects of both soundsare similar, the multiphonics functions as a stable summary of the floating overtones of theprevious action while the additional trill continues the established action and enrichens theharmonic spectrum.

Michael Liebman includes the same technique in his Sonata (example 20), but uses adifferent notation. He classifies this technique as ”chord and harmonic with tremolo”, anddescribes: “[…]such a tremolo effect produces a variety of additional overtones. In ponticello ,even a slightest shift of the bow gives a new overtone, thus varying slightly the effect on eachrepetition.” (Movement of Repose, New sounds for cello and double bass , 2010, page 38).The variety of additional overtones creates a strongly fluctuating sound, which can bedifferentiated even more by moving the bow towards the bridge.

Ex. 20. Multiphonics with a natural harmonic trill. Michael Liebman: Sonata for double bass, 2.movementLegato sonore

In example 21, I have used a sustained multiphonic sound together with a trill between aflageolet and the open string on the adjacent string. The combination shown here is easy toplay because I use one of the most stable semitonic multiphonics on the fourth string theaugmented 4

th in the first octave. In this case, it is, therefore, not necessary to notate a

specific bow position.

Ex. 21. Multiphonics together with a trill between a flageolet and the open string on the adjacent string.Håkon Thelin: Shared moments

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37

Example 22 shows the same technique as used in the previous example, yet shifted to thehigher strings (second and third strings).

Ex. 22. Multiphonics together with a trill between a flageolet and the open string on the adjacent string.Håkon Thelin: Light

4. Two multiphonics together It is generally very difficult to play sustained chords of two multiphonics together. Even thoughthe same bow placement applies for both multiphonics, the bow resistance (speed and, mostoften, pressure) differs from string to string, making it difficult to avoid slips that break thesound. In Glasperlenspiel I made an attempt of combining two multiphonics, with a definedbow position moving from B13! on the first single multiphonics, to the slightly lower position ofB11! for the combined multiphonics. The bow position one octave higher (B13 to B11) alsoworks well with these multiphonics, although the bow speed and pressure react differentlywhen changing octaves with the bow.

Ex. 23. Two multiphonics together. Håkon Thelin: Glasperlenspiel

5. Noise-like multiphonic soundsGlissando between semitonic and quartertonic multiphonics, combined with the open E-stringin a noisy passage are found in Kimmo Hakola !s Thrust (1989). The objective here is not tobring out clearly defined multiphonics, but to create as much noise and sound as possible!

Ex. 24: Noise-like multiphonic sounds. Kimmo Hakola: Thrust , page 2, Allegro



38

AcknowledgementsI wish to thank Knut Guettler for his significant contribution to this work. The whole section ofDefinitions is written in close collaboration with Guettler, and he kindly shares his ownresearch on the physics of multiphonics through the article “Bowed-string multiphonicsanalyzed by use of impulse response and the Poisson summation formula”. The work ofMichael Liebman, Mark Dresser and Stefano Scodanibbio has been an invaluable source and

inspiration. In addition they have given me feedback and answered my many questions. Ihave been in contact with almost all composers represented here. Their works are all veryimportant in incorporating double bass multiphonics into the repertoire of contemporarymusic.

Litterature Anderson, Julian: Seductive solitary , article (p.616-619), The Musical Times, December 1992Bach, Michael: Fingerboards and overtones , Edition Spangenberg, München, 1991Bartolozzi, Bruno: The new sounds for woodwind, Oxford University Press, 1967Dresser, Mark: A personal pedagogy , Arcana: musicians on music, John Zorn (ed.),Hips Road and Grananry Books, 2000Dresser, Mark: Double bass multiphonics , article (Masterclass, p.72-75), The Strad, Vol. 120

No. 1434, October 2009Guettler, Knut and Thelin, Håkon: Bowed-string multiphonics analyzed by use of impulseresponse and the Poisson summation formula , article accepted for publication (2011) inJournal of Acoustical Society of America Liebman, Michael: Multiphonics: new sounds for double bass , unpublished article, 2001Liebman, Michael: Movement of repose, New sounds for cello and double bass , KompozitorPublishing, 2010Robert, Jean-Pierre: Modes of playing the doublebass, Editions Musica Guild, 1995Turetzky, Bertram: The Contemporary Contrabass, rev. version, University of CaliforniaPress, Berkely and Los Angeles, California, 1989

List of scores Philippe Boivin: Cinque Algorithmes pour contrebasse seule , 1990, Editions SalabertEivind Buene: Bass duo from Into the Void , 2008, Norwegian Music Information CentreLars-Petter Hagen: Hymn , 2008, Norwegian Music Information CentreKimmo Hakola: Thrust , 1989, Fazer Music Inc., FinlandMichael Liebman: Sonata for double-bass , 2001, manuscript from composerCarlos Mastropietro: En una cara , 1996, manuscript from composerHelmut Oehring: Foxfire Zwei, version for solo double bass by Håkon Thelin, 1993/2007,manuscript from composerMaja Solveig Kjelstrup Ratkje: On Wombs and Vowels , 2003, Norwegian Music InformationCentreMaja Solveig Kjelstrup Ratkje: Rondo-Bastard-Overture-Explosion , 2004, Norwegian MusicInformation CentreKaija Saariaho: Ciel étoilé , 1999, Chester Music

Stefano Scodanibbio: e/statico , 1980, manuscript from composerStefano Scodanibbio: Sei studi , 1981/1983, manuscript from composerHåkon Thelin: Glasperlenspiel , 2010, manuscript from composerHåkon Thelin: Light , 2008, manuscript from composerHåkon Thelin: oibbinadocS , 2004, manuscript from composerHåkon Thelin: Shared moments , 2009, manuscript from composerHåkon Thelin: Kárma , 2010, manuscript from composerØyvind Torvund: Giants of Jazz , 1999-2001, Norwegian Music Information Centre



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Charts of Semitonic and Quartertonic Multiphonics

The charts show the finger positions of the most usable semitonic multiphonics , on each

string up to the 4th octave. The central harmonic nodes (9°, 11°, 13° and 22°) indicate

possible placements of the bow, and the general numbers shown in the charts include all

positions explained in figures 1 and 2 in the chapter on the bow . Bow positions that are

practically unusable, and even impossible, are listed in the parentheses after the indication of

the general central harmonic node. These exceptions may vary from player to player and

between instruments, but my listings provide anyway a well-tested and general foundation for

the use of multiphonics.

The consideration of the playability of multiphonics quickly becomes an intimately personal

matter. The instrument set-up, choice of strings, and the performers own style of playing, are

all decisive qualities. Yet, I try to implement a general comparison between the different

multiphonics and make an overall division in difficulty. Most multiphonics has one or several

contact points for the bow on the string where it is easier to play the multiphonics than on

other contact points. Consequently, a multiphonics that is classified as !difficult" may also

have a contact point for the bow where it is easier to produce the chord.

The maj3, 5th and min7 of the third octave, as well as the fourth octave semitonic multiphonics

are played in a similar way, and with a similar type of bow resistance, as bow-above-finger

(first-class) multiphonics. They also sound similar, but are slightly more difficult in controlling

the stability of the cords.

Quartertonic multiphonics is more difficult to play than semitonic multiphonics. It is at this time

not appropriate to include more quartertonic multiphonics in the table due to the difficulties of

placing the finger at the exact point on the string, and thus bring out the defined overtone in

the given position.

In the prescription of the bow positions for quartertonic multiphonics , I add also the levels

above the main central harmonic nodes to the chart. For example, the levels above the 11

th

central harmonic node are notated as 22 and 33 (indicating the 22. and 33. harmonic node).

This comes in addition to the level below the central harmonic node, notated as 11!, which is

also used for the semitonic multiphonics.

The bow node positions for quartertonic multiphonics are illustrated in figure 1. Descriptions of

the bow node positions are given the chapter on the Bow. Only the central harmonic nodes

are indicated in the chart of quartertonic multiphonics, but all bow positions in figure 1 apply.

Within the first position (for quartertonic multiphonics) on each string it is possible, by very

small changes in the finger position, to bring out the 7th

, 8th

or 9th harmonic partial. Different

bow placements must be used to create multiphonics on each of these harmonic partials,

which is indicated in the chart. The 8th and 9

th harmonic partials are situated very close to the

precise placement of for example a quartertone above A on the G-string. By moving the finger

slightly closer to the perfect A, the 7th harmonic partial can be established as the sounding

harmonic partial.

It is relatively easy to play all quartertonic multiphonics , provided that the finger and bow

positions are exact. It becomes more easy to play the multiphonics as the bow moves closer

to the bridge, as it is usually more difficult to hit the exact node for the bow in the lower

positions.

Fig. 1. Bow node positions for quartertonic multiphonics

27 33

18 22 26

9 11 139! 11! 13!



Semitonic multiphonics














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Multiphonics on the Double Bass gtr