Re: recorder multiphonics

Hi David,

Yes, what I'm calling multiphonics are the same as the recorder clicks and squeaks,
I'm sure, or related anyway - you can also get interesting effects by
leaking slightly from some of the fingers, to simulate intermediate positions
one can reach on the way from one note to another.

May be usable eventually - only been practicing for a week or so so early
days. Has anyone used these effects in recorder music, anyone know?

Also I wonder if you've noticed the fingering for E in the third register
(beyond the "usual range") is always rather flat, and needs to be made
sharper in the usual context in which it is played? A bit of a problem note
in fact as it is very hard to bend its pitch by standard shading / leaking
finger techniques.

� - 2

(a very useful note to have for trying out flute music just beyond the recorder
era, and so it is awkward that it should be so flat).

I've found out why - it is a perfect 5/2 above the 0 - 2! Blow a bit harder
and you get the 3/1, again, perfectly in tune. Both notes are hard to
bend the pitch of at all, so they give great reference points to hear
what a perfect major third sounds like on the recorder.

I wonder if the changes in volume independent of pitch could be heard
clearly on the recording? It has made such an amazing difference in the
last week or so, hardly sounds like a recorder any more in some ways as
one is so used to the recorder having a pretty uniform volume and only
varying the attack and duration for the notes.

Imagine what a consort of recorders would sound like with all the parts
varying in volume all the time - wouldn't sound the same at all would it!

However, I've found out that this is a known thing but highly controversial
as to whether it occurs at all, and not considered to be a siginficant effect.

But, I know it does from my own playing, and hearing it. No doubt whatsoever,
not talking about a small barely hearable effect here, but a really big
effect.

Can now bend the pitch of most of the notes (even recalcitrant
ones like the � - 2) to pretty much wherever I want it in the general
vicinity of the note, and play _really_ quiet or loud, or play a tune that
gracefully trails away into quiet notes, and could never do that before.

Though, is easier if the fingering gives a note in the middle of the pitch area
one wants as one has more flexibility to play about with

Here is an alternative fingering for the just major third E of the C major
chord for the low and middle register on the recorder:
0 1 2 3 4 5 6 - 7
� 1 2 3 4 5 6 - �
to match the beautifully in tune

� - 2

� - 2 has a reasonably nice sustained tone for the high register, but is
a little slow sounding for a fast tune. Then, � - 2 for the G in the third
register is also slow sounding, but reasonably nice sounding too.

I've devised a little exercise for learning to use turbulence to vary pitch and
volume.

First, try blowing into the mouthpiece in a normal fashion with the breath very
steady - gentle and steady - one wants a perfectly smooth airstream with
no turbulence.

Now, blow ACROSS the mouthpiece with a very narrow airstream - will need
to blow a little harder to get the same volume. Do it with extremely narrow
airstream like whistling, and you will get a whuttering kind of sound
like an owl hoot, so go to just short of that point.

You should notice the pitch of the note is a fair bit sharper.

Then having noticed the effect, one will eventually be able to make it
also by just varying the way you breath into the recorder while playing
normally, and without having to play across the top any more - I found
it the other way round of course, by playing normally first, but this
way is easier I expect.

Robert

Robert Walker wrote:

> Also I wonder if you've noticed the fingering for E in the third register
> (beyond the "usual range") is always rather flat, and needs to be made
> sharper in the usual context in which it is played?

I suppose it depends on what is the usual context for you. As you discovered, it's a true 5/4. I see
that as in tune, not flat.

> I wonder if the changes in volume independent of pitch could be heard
> clearly on the recording?

Oh, yes! Startling.

> However, I've found out that this is a known thing but highly controversial
> as to whether it occurs at all, and not considered to be a siginficant effect.

Typical of academia head-in-the-sand behavior. It's more comfortable to ignore the truth and hope it
goes away than to uncover something unconventional.

> But, I know it does from my own playing, and hearing it. No doubt whatsoever,
> not talking about a small barely hearable effect here, but a really big
> effect.

Nice work! Thanks for the fingering charts and exercise suggestions. You are MR. Recorder! :-)

--
David J. Finnamore
Nashville, TN, USA
http://personal.bna.bellsouth.net/bna/d/f/dfin/index.html
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