Yahoo Tuning Groups Ultimate Backup tuning Re: recorder pitch bends and recorder multiphonics

Hi, recorder enthusiasts:

At the moment I'm practising a tremulo vibrato, flute style on the
recorder, varying volume while keeping pitch constant.

Also, varying pitch while keeping volume constant, to
make a pitch only vibrato (instead of the usual recorder's
pitch + volume vibrato).

Even, can vary the pitch by about a third of a semitone at
a steady f dynamic, then go through the same range of pitches
again about mp.

It's all done by varying the breath, with the same fingering,
and in lower register, so not by varying the pinch or anything.

Needs some concentration at present, and slow, but can see
it can be done in principle, and could become effortless
with some practice. Could have vibrato with whatever components
of tremulo or modulation one wished.

Also slow crescendos from p to f, or diminuendos, both on a
single note with fixed pitch - lovely on a sustained note in a tune.

Has anyone come across this turbulence technique at all.

It definitely works, and I find it hard to believe I
could be the first to discover it!

However, amateur AND professional recorder playing that I've heard has
a smaller dynamic range than one would expect if this
technique was generally used (unless used intuitively, when one has
smaller dynamic range because one doesn't know what can be done).

Also I haven't seen it described anywhere. I think possibly
it could be learnt fairly early on by amateurs
as it isn't really that hard to do once you get
the knack of it; one would just need to be shown it, and
given a few hints, I think. Though, I may well have been doing
it for some time without knowing, so it may be harder than it seems.

Range is f to p for the low register G on recorder.

It's just so lovely for varying dynamics, echo effects,
varying sustained notes, etc. Also will be great once
one can independently vary pitch or volume for the
vibrato.

I've also been practicing multiphonics on the recorder -
by playing between the break between two fingerings.

Some of them give triads with one of the notes
BELOW the recorder's pitch range.

I think perhaps they may be difference tones?

Easy one to play, but not so easy to hear
- if you play a G4 in the low register
at max volume, just before the break to the
higher register, you get a high G5 of course,
but rather quiet, a fairly quiet but easily
noticeable B5b (once one knows to look out for it),
E6b (the loudest partial at this point), a trace
of C6, AND a low G3 (fairly quiet).

No special techniques needed, just play a loud G4
with a steady breath, to just before the break,
and listen carefully for a quiet low G3.
It's very quiet: ppp, if the note is ff, though
one can make it a bit louder if you hit it exactly
right - maybe pp with some care :-).

However, they can be loud:

0 1 2 - 4 5

= A3b + A4b + B5.

You have to get the other two in tune to hear the A3b,
and when you do, it is as loud as the other two.

It takes a while to find this one - the B5 comes
in easily, but the breath pressure
has to be nearly exactly right before the A3b
sounds, and then some more adjustment is needed before it
gets really loud. Sometimes I find it faster than at other times.

I'm pretty sure it is a difference tone - the B5 is
slow sounding, and when it comes in at the start of
the chord after the A4b, the A3b sounds with it, immediately.

Also, the pitches are right for the 5th and 6th harmonics
with fundamental as the difference tone.

This is also an alternative fingering of F6# on the descant,
but I can't hear any trace of F6# in the chord.
One needs tolerant neighbours when practicing these.

With the turbulence technique, one can easily keep a steady
pitch for the A4b, while adding in the other two notes
to make the triad.

I'm doing a little tune for solo recorder + multiphonics
and difference tones.
However, needs tolerant neighbours to practice it!
May be nice when completely finished.

The notes are perhaps a bit harsh, but the in-tuneness
will help when finished, and maybe I'll find a way
to soften them a bit. When you are finding your way
to them, just sounds like a recorder being played
incredibly badly!

Other multiphonics with difference tones that I've
found, and may use in the piece:
0 1 - 3 4
0 1 - 3 4 - 6
0 1 - 3 4 - - 7
0 1 - 3 4 - 6 7
0 1 - 3 4 5 - 7
0 1 2 - 4 - - 7
0 1 2 - 4 - 6
0 1 2 - 4 5 ï¿½
0 1 2 3 4 5 - 7
all of which have loud difference tones below the range of
the recorder (at least seems fairly likely that's what
they are).

Ones with similar fingerings have widely varying
difference tones, though the same basic note.
So one could play a little tune on the difference
tones and high partials against a drone of the other note.

Anyone got any other multiphonics for the recorder
that I can try? (With or without difference tones).

Also, anyone want to hear this multiphonic going below recorder
range, or the varying of volume while keeping pitch steady?
I've got a microphone somewhere... I'll record a demo if it
really is a new thing and anyone wants to hear it.

:-)

Robert

Hi David

Here is a little recorder improvisation.

http://members.nbci.com/tune_smithy/improv/recorder_improv.ra

All the pitch bending and volume changes is done using the
breath, uses the plain recorder fingerings, and no changes
in the pinch for the high notes, and no shading of any of
the notes.

If some of the notes aren't hit exactly on in pitch sometimes
(e.g. first G in the tune is a bit flat - but then it should be sharp for
a loud note!), it's because I'm learning; in principle
one can put the pitch where-ever you want it in the range
with this technique.

Here are some multiphonics with difference tones.
http://members.nbci.com/tune_smithy/improv/recorder_multiphonics.ra

Here they are in a tune. Needs a lot of practice (this and the previous
one are the ones that need tolerant neighbours), but will give
the idea that they perhaps can be used compositionally.

http://members.nbci.com/tune_smithy/improv/recorder_multiphonic_tune3.ra

I can't get that one ftp-d properly yet - got into ncbi site for first time for
several days, but ftp to it is rather flaky at present.

So here it is again at ntlworld.

http://homepage.ntlworld.com/robertwalker/temp/recorder_multiphonic_tune3.ra
(will delete it prob. in a few days, as very short of space there).

I use the turbulence technique again to (try to) keep the notes constant in
pitch while adding in the multiphonic difff. tones, which would normally
require a large pitch bend of the note upwards.

Robert

Re: recorder pitch bends and recorder multiphonics

🔗Robert Walker <robert_walker@rcwalker.freeserve.co.uk>

🔗David J. Finnamore <daeron@bellsouth.net>

🔗Robert Walker <robert_walker@rcwalker.freeserve.co.uk>

🔗Robert Walker <robert_walker@rcwalker.freeserve.co.uk>

🔗David J. Finnamore <daeron@bellsouth.net>