Contrabassoon microtones and multiphonics

I'm looking for information on microtones and multiphonics for the
contrabassoon (fingering charts would be nice). I've got Johnny Reinhard's
article on the bassoon--seems to be a fair amount of stuff available. But
the contra is a different beast. Any pointers would be much appreciated.
Thanks,

Stan

Dear Stan,

I have produced 3 works for contrabassoon. And there are plenty of
multiphonics. Most of those I use on contra or produced through overdrive on
"regular" notes. Of course you could apply bassoon principles to contra
effectively.

Try using Low Bb and then remove a different finger for a different
multiphonic. Repeat on Low B natural, etc. Repeat up the bassoon for about
an octave.

Also, find a basic multiphonic (Like a low G without the B tone hole). Then
color the chord with additional keys in diverse combinations.

Circular breathing helps a lot, too. It gives greater concentration for
pitch focus and generation.

good luck, there is a treasure chest of sound available. Johnny Reinhard

> Try using Low Bb and then remove a different finger for a different
> multiphonic. Repeat on Low B natural, etc. Repeat up the bassoon
for about
> an octave.
>
> Also, find a basic multiphonic (Like a low G without the B tone
hole). Then
> color the chord with additional keys in diverse combinations.

I'm wondering, how do you percieve the tonal content of these
multiphonics? (and those of all other instruments as well.) Surely
there are at least three or four distinct tones, when it's not merely
a undescribable chaos. So how do you work them into a piece? Do you
mix them with the same pitches (that are part of the sounding
multiphonic) played "normally", or on other instruments? Is it easy to
find several multiphonics which are tonally related to each other?

/Mats Öljare

In a message dated 4/4/03 5:53:34 PM Eastern Standard Time,
oljare@hotmail.com writes:

> I'm wondering, how do you percieve the tonal content of these
> multiphonics? (and those of all other instruments as well.)

They are clusters of sounds, some more harmonious than others, perhaps.

Surely > there are at least three or four distinct tones, when it's not merely
> a undescribable chaos. So how do you work them into a piece?

I can harmonize them in certain ways. I can wrap them closer together
improve their cogency to set pitches, for example. Sometimes, it's the other
way around: there is a multiphonic than is searching for pitch partners.

Do you > mix them with the same pitches (that are part of the sounding
> multiphonic) played "normally", or on other instruments?

Often I glide in and out of multiphonics, usually settling on a single pitch.
From a single pitch I can, as well, include its partners in a chord.

Is it easy to > find several multiphonics which are tonally related to each
> other?
>
> /Mats Öljare

Absolutely.

best, Johnny Reinhard

--- In tuning@yahoogroups.com, Mats Öljare <oljare@h...> wrote:

/tuning/topicId_43230.html#43249

>
> > Try using Low Bb and then remove a different finger for a
different
> > multiphonic. Repeat on Low B natural, etc. Repeat up the bassoon
> for about
> > an octave.
> >
> > Also, find a basic multiphonic (Like a low G without the B tone
> hole). Then
> > color the chord with additional keys in diverse combinations.
>
> I'm wondering, how do you percieve the tonal content of these
> multiphonics? (and those of all other instruments as well.) Surely
> there are at least three or four distinct tones, when it's not
merely
> a undescribable chaos. So how do you work them into a piece? Do you
> mix them with the same pitches (that are part of the sounding
> multiphonic) played "normally", or on other instruments? Is it easy
to
> find several multiphonics which are tonally related to each other?
>
> /Mats Öljare

***Quite frankly, I find that it's quite difficult to work
multiphonics into a piece, since they come out differently with
different instruments and different performers.

Best, frankly, just to let a *player* choose his/her multiphonic to
work in with whatever context he/she chooses or perceives is going on
at that point in the piece...

J. Pehrson

I saw Johnny Reinhard last night at the Microfest L.A. where he performed Lou Harrison's solo piece for bassoon. He mentioned looking up bassoon microtones on Googles. I think this website is what he is talking about:

http://idrs.colorado.edu/bsnfing/finghome.htm

I noticed that there is a section on contrabassoons.

--rt

PS How did the original message get a 2004 date?

Stan Hoffman wrote:

>I'm looking for information on microtones and multiphonics for the
>contrabassoon (fingering charts would be nice). I've got Johnny Reinhard's
>article on the bassoon--seems to be a fair amount of stuff available. But
>the contra is a different beast. Any pointers would be much appreciated.
>Thanks,
>
>Stan
>
>
>
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