DOCSLIB.ORG

Extended Techniques

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Extended Techniques Extended Techniques Tonguing Double and triple tonguing A technique to articulate twice for each single stroke of the tongue. Single tonguing = tah tah tah Double tonguing = Ta-ka-ta-ka Triple tonguing = Ta-ka-da-ta-ka-da Detailed article on the Internet: http://www.peabody.jhu.edu/2001 Audio example: Decruck : Sonate, Final Flutter tongue A softer effect than growl, achieved by rolling R’s Fluttering is often abbreviated on sheet music as "flt." or "flz. Audio example: Tanada : Mysterious Morning III Slap tongue A percussive sound, created as a result of the release of suction in the mouth and the popping sound that the reed produces which amplifies as it travels through the horn. 1. Explosive slap- unpitched 2. Woodblock slap- unpitched, dry sound 3. Pizzicato- clearly pitched melodic slap, soft or loud, entire range of saxophone 4. Slap tone- slap attack followed by normal tone Detailed article on internet: http://www.saxophone.us/sax/saxophone_slap_tonguing.html Audio examples: Lauba: Jungle Rudy Wiedoeft: Sax-o-phun Ligeti: Six Bagatelles, 1 st movement Tonal effects Multiphonics Playing multiple notes/more than one note at once. Multiphonics can be produced specific with fingerings, embouchure or voicing in the throat. A mulitphonic fingering that works for one player may not always work on a different saxophone, depending on the model etc. Dynamics also affect the efficiency of multiphonics. N.Sullivan Audio example: Roland Kirk: Rip, Rag and Panic Growl Sullivan N. Growling is achieved by singing, humming, or growling, using the back of the throat while playing normally. Audio example: Roland Kirk: My Girl Microtones Microtones are intervals smaller than a semitone. "Hello! Mr. Sax" by Jean-Marie Londeix has an extensive fingering chart for microtones for SATB saxophones. Audio example: Denisov: Sonate, 2 nd movement Subtone 1. Airy subtone, drop jaw, slow air flow. 2. Clear subtone for extremely quiet playing . Audio examples: Trad: Danny Boy ( Ben Webster) Sclavis/Habenera: L’enfance ethique Glissando Glissando is a sliding technique of bending the note using voicing (tongue and throat placement) and at the same time sliding up or down to another fingered note. Audio examples: Schulhoff: Hot Sonate Gershwin: Rhapsody in Blue Altissimo Saxophone altissimo is generally considered to be playing above a written high F#. Various voicing techniques such as air stream, tongue, throat and embouchure means players can play above the standard range of the saxophone. Altissimo is an advanced extended technique and definitely worth saving until players have a healthy looking embouchure. A notable proponent of the altissimo range was Sigurd Raschèr, who preferred the term top tones. Raschèr is also the author of "Top Tones For the Saxophone", which is the most widely used and known method book for developing altissimo playing. N.Sullivan A good starting point in learning altissimo is finding the overtones of a low Bb/B/C as well as building up flexibility on the mouthpiece. Audio examples: Xenakis: Xas Brecker: Delta City Blues Circular breathing Use circular breathing to create a continuous sound, i.e. continue playing without breathing. 1- blow normally, filling your cheeks as you exhale 2- stop breathing from diaphragm and squeeze air out of mouth from cheeks 3- once this is easily achieved, breath in through nose whilst squeezing air from cheeks 4- start blowing normally before cheeks are empty Stages 2 and 3 are most tricky and run together quickly, so practise them separately. Circular breathing is easiest when there is more pressure, so use a thin stream of air when blowing normally. Likewise, it’s easier on soprano then alto saxophone compared to baritone and tenor. Audio example: Lauba: Balaphon Some examples of how extended techniques are notated Noda: Mai (solo alto saxophone) Berio: Sequenza (solo soprano saxophone) Tanada: Mysterious morning III (saxophone quartet) Weisberg: So Long (saxophone quartet) Bibliography Ingham, R., The Cambridge Companion to the Saxophone (Cambridge University Press, 1999) Londeix, J. -M., Hello Mr. Sax (Leduc, 19..) Londeix, J. -M., 150 Years of the Saxophone (Cherry Hill, 1994) Londeix, J. -M., A Comprehensive Guide to the Saxophone Repertoire 1844-2003 (Roncorp, 2003) Umble, J., Jean-Marie Londeix Master of the Modern Saxophone (Roncorp, 2000) Teal, L., The Art of Saxophone Playing (Summy Birchard Music, 1963) Kientzy, D., Les Sons Multiples aux Saxophones (Editions Salabert, 1982) Dorn, K., Saxophone Technique-Volume I, Multiphonics (Dorn Publications, 1975) Gross, J., Multiphonics for the Saxophone (Advance Music, 1998) Rousseau, R,. Saxophone High Tones (Bloomington, IN: Etoile Music, Inc., 1978) Rascher, S. R., Top Tones for the Saxophone (New York: Carl Fischer, Inc., 1941) Kynaston, T., Circular Breathing for the Wind Performer (Miami, FL: Warner Bros. Publications, 1978) Caravan, R,. Preliminary Exercises and Etudes in Contemporary Techniques for Saxophone: Introductory Material for the Study of Multiphonics, Quarter Tones and Timbre Variation (Dorn Publications, 1980) Londeix, J.-M., Tablature des doigtés comparés harmoniques (Leduc, 1971/76) .
Load more

Recommended publications
  • Why Do Singers Sing in the Way They
    Why do singers sing in the way they do? Why, for example, is western classical singing so different from pop singing? How is it that Freddie Mercury and Montserrat Caballe could sing together? These are the kinds of questions which John Potter, a singer of international repute and himself the master of many styles, poses in this fascinating book, which is effectively a history of singing style. He finds the reasons to be primarily ideological rather than specifically musical. His book identifies particular historical 'moments of change' in singing technique and style, and relates these to a three-stage theory of style based on the relationship of singing to text. There is a substantial section on meaning in singing, and a discussion of how the transmission of meaning is enabled or inhibited by different varieties of style or technique. VOCAL AUTHORITY VOCAL AUTHORITY Singing style and ideology JOHN POTTER CAMBRIDGE UNIVERSITY PRESS PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge CB2 IRP, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 2RU, United Kingdom 40 West 20th Street, New York, NY 10011-4211, USA 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1998 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1998 Typeset in Baskerville 11 /12^ pt [ c E] A catalogue record for this book is available from the British Library library of Congress cataloguing in publication data Potter, John, tenor.
    [Show full text]
  • Downloads/9215D25f931f4d419461a88825f3f33f20160622021223/Cb7be6
    JOAN LA BARBARA’S EARLY EXPLORATIONS OF THE VOICE by Samara Ripley B.Mus., Mount Allison University, 2014 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate and Postdoctoral Studies (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2016 © Samara Ripley, 2016 Abstract Experimental composer and performer Joan La Barbara treats the voice as a musical instrument. Through improvisation, she has developed an array of signature sounds, or extended vocal techniques, that extend the voice beyond traditional conceptions of Western classical singing. At times, her signature sounds are primal and unfamiliar, drawing upon extreme vocal registers and multiple simultaneous pitches. In 2003, La Barbara released Voice is the Original Instrument, a two-part album that comprises a selection of her earliest works from 1974 – 1980. The compositions on this album reveal La Barbara’s experimental approach to using the voice. Voice Piece: One-Note Internal Resonance Investigation explores the timbral palette within a single pitch. Circular Song plays with the necessity of a singer’s breath by vocalizing, and therefore removing, all audible inhalations and exhalations. Hear What I Feel brings the sense of touch into an improvisatory composition and performance experience. In October Music: Star Showers and Extraterrestrials, La Barbara moves past experimentation and layers her different sounds into a cohesive piece of music. This thesis is a study of La Barbara’s treatment of the voice in these four early works. I will frame my discussion with theories of the acousmatic by Mladen Dolar and Brian Kane and will also draw comparisons with Helmut Lachnemann’s musique concrète instrumentale works.
    [Show full text]
  • Circular Breathing ‘A New Approach’ by Stephen Moschner
    Circular Breathing ‘a new approach’ By Stephen Moschner Contents Introduction ............................................................................................................................................ 2 What is Circular Breathing? ................................................................................................................ 3 Where is Circular Breathing used? ...................................................................................................... 3 Stage 1 - Breathing System and Fundamentals ...................................................................................... 4 2 systems of breathing ........................................................................................................................ 4 Blowing a Raspberry ........................................................................................................................... 5 Breathing OUT ..................................................................................................................................... 5 Breathing IN ........................................................................................................................................ 6 Breathing IN and OUT ......................................................................................................................... 6 Stage 2 – Human Bagpipes...................................................................................................................... 7 Inflating the Bag .................................................................................................................................
    [Show full text]
  • William Parker and the AIDS Quilt Songbook Kyle Ferrill
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 William Parker and the AIDS Quilt Songbook Kyle Ferrill Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC WILLIAM PARKER AND THE AIDS QUILT SONGBOOK By KYLE FERRILL A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2005 The members of the Committee approve the Treatise of Kyle Ferrill defended on March 28, 2005. _____________________________________ Stanford Olsen Professor Directing Treatise _____________________________________ Timothy Hoekman Outside Committee Member _____________________________________ Roy Delp Committee Member _____________________________________ Larry Gerber Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Figures .................................................................................... Page v Abstract .......................................................................................... Page vii 1. Introduction and Biography ............................................................... Page 1 Infection and Action ....................................................................... Page 2 The premiere and publication of The AIDS Quilt Songbook .......... Page 6 2. Analysis of the Songs.......................................................................
    [Show full text]
  • Saxophone! the Abcs of Classical Saxophone Performance
    Let’s Play Saxophone! The ABCs of Classical Saxophone Performance Music For All Summer Symposium Otis Murphy Professor of Saxophone Jacobs School of Music Indiana University Bloomington, Indiana Saxophone History Equipment -The Instrument -The Mouthpiece -Reeds -Ligature -Care of the Saxophone Tone Production -Breathing -Posture -Inhalation -Silent Inhalation -Exhalation -Catch Breath -Embouchure -Formation/Position -Mouthpiece & Neck Exercises -Troubleshooting -Tone Quality -Tonal Focus -Tonal Balance -Intonation -Resonance -Vibrato -Producing the Vibrato -Exercises for Vibrato 2 Articulation -Kinds of Articulation -Tip-To-Tip Tonguing & Anchor Tonguing -Articulation Exercises -Articulation 0 -Stop Tonguing -Speed Exercises -Breath Attacks -Note Releases -Low Register/High Register Note Attacks -Articulation Problems Technique -Hand & Finger Positions -Playing Posture (Standing & Sitting) -Saxophone Keyboard -Octave Key -Finger Coordination -Wide Intervals -Combining Technique & Articulation -Basic Technique: Scales & Arpeggios -Alternate & Advanced Fingerings -Trouble Shooting Practicing & Performing Extended Techniques -Circular Breathing -Quarter Tones -Multiphonics -Double Tonguing 3 Saxophone Maintenance Suggestions EQUIPMENT Cleaning paper Pouch for mouthpiece and neck Cork grease Powder paper End cap Q-tips Handkerchief/polishing cloth Saxophone swab (neck/body/mouthpiece) ID tag for instrument Screw drivers Key oil Small paint brush or makeup blush brush Leak light Spring hook (crochet hook) Pipe cleaners TROUBLESHOOTING Adjustment of key above middle C key Sticky pads Metallic clicks G# key adjustment, 1-4 & 1-5 adjustment Key rollers Low B-C# adjustment Octave key/neck adjustment Front F key adjustment Protection of mouthpiece tip 4 Saxophone Scale Exercises: Breaking All the Rules The classical saxophone has an ever-growing body of contemporary repertoire, employing unusual harmonic language and requiring the use of extended performance techniques on the instrument.
    [Show full text]
  • Didgeridoo Notation
    DIDGERIDOO NOTATION MARKOS KOUMOULAS A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO DECEMBER 2018 © MARKOS KOUMOULAS, 2018 Abstract The didgeridoo is a unique musical instrument considered to be one of the world’s oldest instruments. It plays an integral part in Australian Aboriginal history, spirituality, rituals and ceremonies. Didgeridoo playing is solely based on oral tradition with varying techniques and interpretations among Aboriginal communities. For non-Aboriginal musicians and composers, the didgeridoo lacks the status of a “serious” instrument and is often viewed as a novelty instrument. This may be why there is a lack of didgeridoo notation and its misrepresentation in the western notation world. This paper presents a “Didgeridoo Notation Lexicon” which will allow non-didgeridoo composers to understand a readable legend and incorporate the didgeridoo into their compositions. The need for didgeridoo notation will be discussed and analyzed in comparison to previous notation attempts of composers and musicologists such as Sean O’Boyle, Liza Lim, Harold Kacanek and Wulfin Lieske. In the past, the inclusion of the didgeridoo in orchestral contexts has predominately been focussed on its associated Aboriginal imagery regarding dreamtime and spirituality. Conversely, my original composition fully integrates the didgeridoo within the orchestra as an equal instrument, not a focal point to advance a particular theme. I travelled to Cairns, Australia to interview world-renowned didgeridoo player, David Hudson. Hudson’s insight, experience and knowledge of the Aboriginal community supported the creation of a Didgeridoo Notation Lexicon.
    [Show full text]
  • Overtone Singing: History, Development, and Influence in Contemporary Music
    California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 12-2018 Overtone Singing: History, Development, and Influence in Contemporary Music Jocelyn Black California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Recommended Citation Black, Jocelyn, "Overtone Singing: History, Development, and Influence in Contemporary Music" (2018). Capstone Projects and Master's Theses. 402. https://digitalcommons.csumb.edu/caps_thes_all/402 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Overtone Singing: History, Development, and Influence in Contemporary Music Jocelyn Black Fall 2018 Capstone California State University, Monterey Bay 12-2018 It is believed in Tuvan tradition that all things have a soul or are inhabited by spiritual entities. The Tuva, indigenous peoples of Siberia and central Asia, developed Khöömei, a sacred throat singing technique, to establish contact with these spiritual entities and assimilate their power through the imitation of natural sounds (Cosi and Tisato 3). The Tuvan people believed the ethereal two-toned sound is the way the spirits of nature prefer to use to reveal themselves and to communicate with other living things. Polyphonic overtone singing or throat singing is an elaborate voice technique that is most identified with parts of Central Asia, but it is also practiced in northern Canada by the Inuit Women and by the Xhosa people of South Africa where the technique takes on various styles and meanings.
    [Show full text]
  • An Approach to Standardizing Pedagogy for Extended Techniques on Tuba
    An Approach to Standardizing Pedagogy for Extended Techniques on Tuba By Sean M. Kennedy, BM in Music Performance and MM in Music performance A Document In Tuba Performance Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS Performance (Tuba) Approved Dr. Kevin Wass Chair of Committee Dr. Andrew Stetson Dr. Lisa Rogers Accepted Mark Sheridan Dean of the Graduate School August 2016 Copyright 2016, Sean M. Kennedy Texas Tech University, Sean Kennedy, August 2016 ACKNOWLEDGEMENTS I would like to first acknowledge Dr. Kevin Wass for helping me see the light at the end of the tunnel with this project. Without him, this document would not have happened. Thank you to my committee for all the hard work and guidance with this document. Velvet Brown, thank you for helping me realize that I could perform this “crazy” music at a high level. I would like to acknowledge Manny Rettinger for making me see that anything is possible. And thank you Dr. Richard White for making me learn that it is hard work and not talent that gets you through everything. ii Texas Tech University, Sean Kennedy, August 2016 TABLE OF CONTENTS Acknowledgements................................................................................................................ii Table of Contents .................................................................................................................. iii Abstract ................................................................................................................................
    [Show full text]
  • The Use of Ancient Musics in the Contemporary Choral Music Context: Unusual Instruments and Vocal Techniques in the Modern Concert Setting Gerard J
    The Use of Ancient Musics in the Contemporary Choral Music Context: Unusual Instruments and Vocal Techniques in the Modern Concert Setting Gerard J. Yun Southern Utah University Utah, USA The boundaries of Western classical concert music are regularly expanded through the use of non-traditional musical elements. During the last decade sound bites of unusual, and once unheard of, musics have found their way into our everyday musical landscape: radio shows, rock concerts, recordings, advertisements, and movie soundtracks. These unusual musical elements are already beginning to appear in the contemporary world of the choral music. Choral conductors, arrangers, and composers are eager to incorporate these unusual instruments and vocal techniques into their repertoires. But locating, learning, and applying the instruments, techniques, and aesthetics of these musics in live choral performance can prove to be prohibitive. In both instrumental and choral music there has been a growing interest in using musical influences from harmonic overtone singing, the Australian didjeridu, the Native American flute, and the Japanese shakuhaehi; none of which are a regular part of the Western music curriculum. Each of these has, however, appeared in contemporary choral literature, often with dramatic results and enthusiastic praise. In this discussion, I refer to these instrumental and vocal forms as "ancient musics;" that is, originating from indigenous cultures, often with an oral tradition of pedagogical transmission, and with a performance history prior to or outside of recorded European history. Why include these unfamiliar instruments and techniques in our choral performances? Why are these ancient musics so compelling? First because they are unusual, sounding as if they are literally from another world or perhaps one we knew long ago but have long forgotten.
    [Show full text]
  • Contemporary Music Notation for the Flute: a Unified Guide Ot Notational Symbols for Composers and Performers
    Graduate Theses, Dissertations, and Problem Reports 2019 Contemporary Music Notation for the Flute: A Unified Guide ot Notational Symbols for Composers and Performers Ms. Eftihia Victoria Arkoudis West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Composition Commons, Music Performance Commons, Music Practice Commons, and the Other Music Commons Recommended Citation Arkoudis, Ms. Eftihia Victoria, "Contemporary Music Notation for the Flute: A Unified Guide ot Notational Symbols for Composers and Performers" (2019). Graduate Theses, Dissertations, and Problem Reports. 3860. https://researchrepository.wvu.edu/etd/3860 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Contemporary Music Notation for the Flute: A Unified Guide to Notational Symbols for Composers and Performers Eftihia Victoria Arkoudis Dissertation submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree Doctor of Musical Arts in Music Performance Nina Assimakopoulos, M.M., Chair Evan A.
    [Show full text]
  • Regulars Features
    PHOTO: SCHORLE INSIDE Features 12 Lee Konitz: 1927-2020 Kenneth Morris pays tribute to a most influential master saxophonist 16 Vivaldi reimagined The latest project from the Swedish clarinettist Martin Fröst introduces three new clarinet concertos drawn from opera and oratorio arias by Antonio Vivaldi. Michael Pearce finds out more PHOTO: JONAS HOLTHAUS PHOTO: 16 Martin Fröst 19 Lost works Peter Cigleris writes about the process of discovering a range of forgotten 20th-century British works for clarinet and orchestra 22 Shining a light Dr Angela Elizabeth Slater introduces her project Illuminate Women’s Music and its current focus on the saxophone 25 Free sheet music Blip for solo tenor saxophone by Chris Jolly 12 29 Advanced clarinet techniques Lee Konitz Paul Saunders offers advice on glissando technique and circular breathing for clarinettists Regulars 30 Air control Clarinettist, technician and teacher 22 Andrew Roberts introduces his News Angela Slater 4 personal approach to sound generation 8 Tributes and the ideas that underpin it 10 Single Reed Doctor 34 Book of Deer CASSGB president Richard Ingham 38 Reviews tells us about his Music for the Book of 38 Concerts Deer suite – a new 12-movement work 39 CDs for mixed ensemble commemorating 42 Sheet music the Book of Deer, one of the earliest examples of Gaelic literature 48 Diary 52 Lessons in Lockdown 49 Letters Woodwind teacher Catherine Freeman 50 Classifieds reflects on the experience of adapting to online lessons while the world waits 51 Membership update for coronavirus to abate www.cassgb.org Clarinet & Saxophone, Summer 2020 3 NEWS COVID-19: Help and advice for musicians The charity Help Musicians UK has launched a website – coronamusicians.info – to serve as a central source of support and advice for musicians Jess Gillam Virtual Scratch on issues related to coronavirus.
    [Show full text]
  • An Examination of Two Contemporary Techniques in Five Works for Solo Bassoon: Descriptions and Performance Suggestions
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1997 An Examination of Two Contemporary Techniques in Five Works for Solo Bassoon: Descriptions and Performance Suggestions. Steve Vacchi Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Vacchi, Steve, "An Examination of Two Contemporary Techniques in Five Works for Solo Bassoon: Descriptions and Performance Suggestions." (1997). LSU Historical Dissertations and Theses. 6531. https://digitalcommons.lsu.edu/gradschool_disstheses/6531 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fiice, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. hi the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]