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Multiphonics of the Grand Piano – Timbral Composition and Performance with Flageolets

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Multiphonics of the Grand Piano – Timbral Composition and Performance with Flageolets Multiphonics of the Grand Piano – Timbral Composition and Performance with Flageolets Juhani VESIKKALA Written work, Composition MA Department of Classical Music Sibelius Academy / University of the Arts, Helsinki 2016 SIBELIUS-ACADEMY Abstract Kirjallinen työ Title Number of pages Multiphonics of the Grand Piano - Timbral Composition and Performance with Flageolets 86 + appendices Author(s) Term Juhani Topias VESIKKALA Spring 2016 Degree programme Study Line Sävellys ja musiikinteoria Department Klassisen musiikin osasto Abstract The aim of my study is to enable a broader knowledge and compositional use of the piano multiphonics in current music. This corpus of text will benefit pianists and composers alike, and it provides the answers to the questions "what is a piano multiphonic", "what does a multiphonic sound like," and "how to notate a multiphonic sound". New terminology will be defined and inaccuracies in existing terminology will be dealt with. The multiphonic "mode of playing" will be separated from "playing technique" and from flageolets. Moreover, multiphonics in the repertoire are compared from the aspects of composition and notation, and the portability of multiphonics to the sounds of other instruments or to other mobile playing modes of the manipulated grand piano are examined. Composers tend to use multiphonics in a different manner, making for differing notational choices. This study examines notational choices and proposes a notation suitable for most situations, and notates the most commonly produceable multiphonic chords. The existence of piano multiphonics will be verified mathematically, supported by acoustic recordings and camera measurements. In my work, the correspondence of FFT analysis and hearing will be touched on, and by virtue of audio excerpts I offer ways to improve as a listener of multiphonics. It is observed that to produce of multiphonics the musician needs to have specialized knowledge, a small amount of technique and detailed instructions from the composer. Multiphonics are not impossible to produce, contrary to what a lack of prior literature would suggest. Keywords piano, multiphonic, composition, timbre, notation, microtonality Other Information SIBELIUS-AKADEMIE Abstract Kirjallinen työ Titel Anzahl Seiten Multiphonics of the Grand Piano - Timbral Composition and Performance with Flageolets 86 + appendices Name des Verfassers Semester Juhani Topias VESIKKALA Frühling 2016 Program Studierichtung Sävellys ja musiikinteoria Abteilung Klassisen musiikin osasto Abstract Meine Studie soll ein breiteres Wissen über die Klaviermehrklänge und dessen kompositionelle Verwendbarkeit in der Musik unserer Zeit ermöglichen. Von der vorliegenden Texteinheit werden Pianisten und Komponisten gleichermaßen profitieren, und er bietet die Antworten auf die Fragen: "was ist ein Klaviermehrklang", "wie klingt ein Mehrklang" und "wie soll man einen Mehrklang notieren". Neue Vokabulär wird definiert und Ungenauigkeiten in der bisherigen Terminologie werden abgeschafft. Die multiphonische Spielart (mode of playing) wird von der Spieltechnik (playing technique) und den Flageolets getrennt. Darüber hinaus werden Mehrklänge im Repertoire anhand Aspekten der Komposition und der Notation verglichen, und kompositorische Übertragbarkeit in ähnlichen Klängen auf anderen Instrumenten oder auf den mobilen Spielarten (mobile modes of manipulated playing) des manipulierten Klaviers (manipulated grand piano) werden ausgelotet. Mehrklänge werden von Komponisten in verschiedensten Weisen benutzt, wodurch die notationellen Lösungen sich auch unterscheiden. Diese Studie untersucht Notationsweisen und wird eine für die meisten Fällen geeignete Notation vorschlagen ebenso wie die am häufigsten vorkommenden Mehrklänge in Notation eintragen. Das Bestehen der Klaviermehrklänge wird mathematisch nachgewiesen, sowie mit Tonaufzeichnungen und Kameramessungen. In meiner Arbeit berühre ich an der Übereinstimmung der FFT-Analyse und des Gehörten und biete durch Klangbeispielen Mittel dafür, sich as Zuhörer der Mehrklänge zu verbessern. Es wird festgestellt, dass Mehrklänge zu produzieren vom Pianisten kognitive Besonderfähigkeiten und einiges technisches Können, und vom Komponisten detaillierte Anweisungen erfordert. Es ist nicht unmöglich, Mehrklänge zu erzeugen, obwohl die Mangel an vorhandener Literatur darauf hinweisen würde. Suchwörter Klavier, Mehrklang, Komposition, Klang, Notation, Mikrotonalität Weitere Information SIBELIUS-AKATEMIA Tiivistelmä Kirjallinen työ Työn nimi Sivumäärä Multiphonics of the Grand Piano - Timbral Composition and Performance with Flageolets 86 + appendices Tekijä(t) Lukukausi Juhani Topias VESIKKALA Kevät 2016 Koulutusohjelma Suuntautumisvaihtoehto Sävellys ja musiikinteoria Osasto Klassisen musiikin osasto Tiivistelmä Tutkimukseni tarkoituksena on mahdollistaa pianon multifonien nykyistä laajempi tuntemus ja sävellyksellinen käyttö aikamme musiikissa. Tekstikokonaisuudesta on yhtäläistä hyötyä pianistille ja säveltäjälle, ja se tarjoaa vastauksen kysymyksiin "mikä on pianon multifoni", "miltä multifoni kuulostaa" ja "miten multifoni nuotinnetaan". Uutta sanastoa määritellään ja aiemman terminologian epätarkkuuksia karsitaan. Multifonien soittotapa (mode of playing) erotetaan soittotekniikasta (playing technique) ja huiluäänistä (flageolets). Lisäksi vertaillaan multifoneja sisältävää ohjelmistoa sävellyksellisistä ja nuotinnuksen näkökulmista sekä tutkitaan multifonien sävellyksellistä siirrettävyyttä muiden soittimien samankaltaisiin ääniin tai muokatun pianon (manipulated grand piano) muihin liikkuviin soittotapoihin (mobile modes of manipulated playing). Säveltäjät käyttävät multifoneja eri tavoin, joten myös nuotinnusratkaisut eroavat. Työssä tarkastellaan notaatiotapoja ja tehdään ehdotus useimpiin tilanteisiin sopivasta notaatiosta sekä nuotinnetaan yleisimmin tuotettavat multifonisoinnut. Pianon multifonien olemassaolo todennetaan paitsi matemaattisesti, myös akustisten äänitysten ja kameramittausten avulla. Työssäni sivuan FFT-analyysin ja kuulokuvan vastaavuutta ja ääniesimerkein tarjoan keinoja harjaantua multifonien kuulijana. Todetaan, että multifonien tuottaminen vaatii soittajaltaan tiedollista erikoisosaamista ja hieman tekniikkaa sekä säveltäjältä tarkkaa ohjeistusta. Multifoneja ei ole mahdotonta tuottaa, kuten aiemman kirjallisuuden vähyydestä voisi päätellä. Hakusanat piano, multifoni, säveltäminen, sointiväri, notaatio, mikrotonaalisuus Muita tietoja Index i Abstract ............................................................................................................................ i 1. Introduction ................................................................................................................... 1 1.1 Preliminaries and Aim of the Work ....................................................................... 1 1.2 Terminology and Definitions ................................................................................. 2 1.2.1 Essential Terminology .................................................................................... 2 1.2.2 Playing Multiphonics – Mechanics, Precision, and Timing ........................... 6 1.2.3 Microtonal Implications.................................................................................. 8 1.3. Literature Review and Refinements of Terminology .......................................... 9 1.3.1 Multiphonics Source Literature ...................................................................... 9 1.3.2 The Flageolet vs. Multiphonic Distinction ................................................... 13 1.3.3 Availability of the Nodes .............................................................................. 14 1.4. Structure of the Guidebook & Suggested Chapters ............................................. 16 1.5 Researcher Position .............................................................................................. 16 2. Acoustic Foundations of Piano Multiphonics ............................................................. 17 2.1 How and Why Does a Multiphonic Sound? ......................................................... 17 2.2 Associations with Other Instruments and Sound Sources ................................... 19 2.3 Numerics of Multiphonics .................................................................................... 19 2.4 Difference Tones and Extraneous Frequencies .................................................... 22 3. Measurement Methods and Refining Perception ........................................................ 24 3.1. Line Camera Measurement ................................................................................. 24 3.2.1 Audio Recording Guidelines ........................................................................ 27 3.2.2 Laboratory Setting ........................................................................................ 29 3.2.3 Analysis ........................................................................................................ 30 3.3 Producing and Listening to and for Multiphonic Sounds ................................ 33 4. Multiphonics in Composition ...................................................................................... 36 4.1 Compositional Practice and Strategies ................................................................. 36 4.2 Timbral and Spectral Considerations ................................................................... 38 4.2.1 B.Furrer: Wüstenbuch, 2009........................................................................
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