DOCSLIB.ORG

Makes Your Fingers Dance! a Handy Instrument with an Enormous Sound

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Makes Your Fingers Dance! a Handy Instrument with an Enormous Sound makes your fingers dance! A handy instrument with an enormous sound. 142 315 LookingA Patented for Instrumentthe Problem Table of Contents PageConclusion No SoundThe Xaphoon is a patented instrument. MusicThe is the Xaphoon bridge ....................................................................between people and culture. 4 • The mouthpiece is not far enough into the mouth. • TheThe tenor original saxophone MAUI reedXAPHOON is not completely® is produced covering from thebamboo opening. in Hawaii in The Xaphoon was developed as an instrument to carry along with you. The Construction .............................................................. 5 the United States by the inventor, Brian Wittman. Poor or Unclean Sound So play the Xaphoon wherever you are and greet those, who don't understand ® • OneThe or CLASSIC more holes XAPHOON are not correctly, the standardized covered. version, was also developed your language, with your Xaphoon music. by the inventor and is produced in Indiana in the United States. Playing Instruction ........................................................... 6-7 • The tenor saxophone reed should be replaced. • The mouthpiece is not far enough into the mouth. • Too much lip pressure. A typical mistake for someone who plays the clarinet. Finger Position Tabels ..................................................... 8-9 Lots of Screeching Sounds • Mouthpiece is too far into the mouth. Overblowing, Lip Pressure, Pitch Adjustment ................ 10 • and/or too much lip pressure. Fluctuating Pitch The Reeds ........................................................................ 11 • Lip pressure is not constant. The Instrument Sounds Too High Care of the Maui Xaphoon .............................................. 12 • Too much lip pressure. The Instrument Sounds Too Low The Origin of the Xaphoon .............................................. 13 • Not enough lip pressure.Your local specialized retailer (space for company stamp) The Instrument Only Produces Very High Sounds • The mouthpiece is too far into the mouth. Looking for the Problem .................................................. 14 • and/or there is too much lip pressure. The Reed Is Wavy, When It Is Wet Conclusion ....................................................................... 15 • Wet the entire reed for a long time Gather inspiration from your surroundings and the people you meet. • or change the reed. The Reed Has Cracks or a Corner Is Missing • As long as it sounds accepdtable, you can continue to use it. Compilation and production of this manual and Xaphoon general sales for Europe: • If the quality becomes poorer, change© Copyright the tenor 2003 saxophone reed. Xaphoon Europe ∙ Matthias Kraft The Cover Does NotAdinda Fit Correctly- Flemmich - Straße 14 ∙ 79100 Freiburg ∙ Germany • The bamboo does not [email protected] exactly round ∙ www.xaphoon.de and therefore the cover may only fit correctly in a certain position. 124 513 CareThe Xaphoonof the Maui Xaphoon The OriginThe of Constructionthe Xaphoon The Original •chromatic The most important thing is that the instrument be allowed to dry after t washe justconstruction a few years of ago, each that MAUI only a XAPHOONhandful of people begins knew with about a raw the playing. xaphoon.bamboo Today, stock, the which xaphoon comes has from become the wet a serious forests alternativeof East Maui to thein 440 Hz the a' • A small weight with a thin string and a cloth handkerchief tied recorder,Hawaii. a beginningA four-meter instrument long bamboo or an poleinstrument only has played one piece before with chang the- two octaves TcorrectIing to otherlength reed and instruments. the proper diameter for a good C instrument. This grows to the end is the normal cleaning aid. fromThe ideathe mature for the "Bambusareed instruments spinosa" has about its origin one-half in the meter Arabian above area. the The ground cha- overblowing• First in the remove duodecimo the reed, put the weight into the pipe and pull the in a very dense bamboo forest, which is formed from a single mother plant. cloth through. This is the most conserving variation. lumeau, which is the precursor of the clarinet and the xaphoon, had a bright tenor saxophone reed Itsound always due regrows to its small like mouthpiece.giant grass andInitially, bamboo the chalumeaubelongs to had the nograss keys, fam but- • The flute cleaning swabs work, but are not the most suitable ily.later Each one ofand these then bamboo two keys canes until is the somewhat clarinet differentdeveloped with from respect this and to size, then because they can easily damage the mouthpiece. itsthe internal clarinet diameter completely and displaced its texture, this which very makessimply mass constructed production instrument. almost • Occasionally, you can oil the instrument, especially on the inside, with impossible.Still today, there are classical pieces, which were written for the chalumeau, sterile oil. Infrom order the to Baroque. satisfy the large worldwide demand, the CLASSIC XAPHOON • The Maui Xaphoon can get wet. Playing in the rain does not damage it wasThe developed.xaphoon is It basically is a very a precisefurther Xaphoon,development which of theis produced chalumeau in seriesby the either. But it has to be allowed to dry out. fromAmerican the material Brian Wittman,used for the who clarinet comes and from oboe California mouthpieces. and now produces Initiallythe instruments the piece in of Maui, bamboo Hawaii cane inis hisdried workshop for four. monthsThe mouthpiece before it canwas • It is recommended that you remove Thethe reed special after thing playing and theand reallydry it newsepa - bechanged used to and produce its own an finger-holeinstrument. systemThe mouthpiece was developed, is made which first so makes that thethe rately, so that the entire mouthpiece is aspectexposed of tothis the instrument air. is the full and standardsound more pitch sonorous can be heard. and the Of instrument course, the can wall now thickness be played and chromaticallythe diameter sonorous sound. • If the bamboo Xaphoon remains moist too long, a coating develops on the haveover antwo influence octaves. on the sound quality of the instrument, but the quality of inside and the sound is impaired. In an emergency, this can be removed with the mouthpiece is the primary factor affecting the playing qualities, sound strong vinegar. It is simply constructed, easy to hold and The xaphoon has allowed, for the first time in history, a greater number of andpeople the pitchaccess adjustment to this type when of instrument playing. All and bamboo this is partseven areworldwide. burned slowly In the carry. For a reed instrument, it is small over a flame, which gives them the dark color shade and also provides bet- and handy. The Xaphoon is relatively easy meantime, an independent xaphoon culture has developed. The first record- terings durability. with the xaphoonThis guarantees have been that pu bneitherlished andresidual the xaphoon moisture is norplayed bamboo- at con- to learn to play and so it is an instrument eating larvae remain in the walls. for professionals and for beginners as certs and used in instruction. well. TheThe holesstandardized are burned XAPHOON, into the bamboo which haswith just a red-hot been introduced iron punch. into After the marfine- tuningket, now and provides the reworking the xaphoon of the in mouthpiece, its "high tech" mineral variation. oil is applied and the instrument is polished smooth with a cloth. Care of the Classic XaphoonsThe best part: It is new and therefore The name was developed from Allthe MAUIbamboo XAPHOONS (sax)ophone areto tested for their playing qualities again before there are no rules for playing the instru- they are packaged and shipped. ment. bamboo (sax)xophoon to bamboo xaphoon • This is super simple: After playing, simply remove the reed and wipe out and finally to Maui xaphoon. the instrument. You can even wash the instrument under running water. 106 711 Overblowing,Playing Instructions Lip Pressure, Pitch Adjustment Playing InstructionsThe reeds Mouth Positionhe overblown sounds (the veryhe high Xaphoon sounds, is whichnot difficult are som toe learntimes Now placehe thereeds index can befinger a science and the in themselves.thumb of the Until left you hand have on somethe upper prac - made unintentionally at the beginning)to play. can At bethe reached beginning by placingit may thebe holes. Blowtice into using the the instrument mouthpiece again. and This the is reeds, middle a C.simple If you commercially continue to mouthpiece somewhat farther intosomewhat the mouth tiring, and but increasing you are quickly the lip cover theavailable holes from tenor the saxophonetop to the bottom reed is finger sufficient. by finger, Only youtenor will saxophone get one Tpressure. The instruments – if youTrewarded want to with try it a – nicecan besound. overblown At the twice. begin - noteTreeds lower are used each for time the untilXaphoon. you reachThe reeds low influence,C. The low depending sounds can on theonly qual be - ning, it is recommended that you don't take producedity and the if allthickness, the holes the above tone qualitythis note and are the well-covered. playing qualities. the playing of the instrument too seriously. Lip Pressure If a reed develops wavesFirst in play it, when only withit becomes the left wet, hand, or even if it ifis thebroken lower or The most important thing is to get a feeling worn, then it is difficultsounds to play are the naturally instrument more and
Load more

Recommended publications
  • The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument
    Columbus State University CSU ePress Theses and Dissertations Student Publications 5-2016 The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument Victoria A. Hargrove Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Hargrove, Victoria A., "The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument" (2016). Theses and Dissertations. 236. https://csuepress.columbusstate.edu/theses_dissertations/236 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT Victoria A. Hargrove COLUMBUS STATE UNIVERSITY THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT A THESIS SUBMITTED TO HONORS COLLEGE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE HONORS IN THE DEGREE OF BACHELOR OF MUSIC SCHWOB SCHOOL OF MUSIC COLLEGE OF THE ARTS BY VICTORIA A. HARGROVE THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT By Victoria A. Hargrove A Thesis Submitted to the HONORS COLLEGE In Partial Fulfillment of the Requirements for Honors in the Degree of BACHELOR OF MUSIC PERFORMANCE COLLEGE OF THE ARTS Thesis Advisor Date ^ It, Committee Member U/oCWV arcJc\jL uu? t Date Dr. Susan Tomkiewicz A Honors College Dean ABSTRACT The purpose of this lecture recital was to reflect upon the rapid mechanical progression of the clarinet, a fairly new instrument to the musical world and how these quick changes effected the way composers were writing music for the instrument.
    [Show full text]
  • New and Lesser Known Works for Saxophone Quartet: a Recording
    New and Lesser Known Works for Saxophone Quartet: A Recording, Performance Guide, and Composer Interviews by Woodrow Chenoweth A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2019 by the Graduate Supervisory Committee: Christopher Creviston, Chair Joshua Gardner Michael Kocour Ted Solis ARIZONA STATE UNIVERSITY May 2019 ABSTRACT This project includes composer biographies, program notes, performance guides, composer questionnaires, and recordings of five new and lesser known works for saxophone quartet. Three of the compositions are new pieces commissioned by Woody Chenoweth for the Midwest-based saxophone quartet, The Shredtet. The other two pieces include a newer work for saxophone quartet never recorded in its final version, as well as an unpublished arrangement of a progressive rock masterpiece. The members of The Shredtet include saxophonists Woody Chenoweth, Jonathan Brink, Samuel Lana, and Austin Atkinson. The principal component of this project is a recording of each work, featuring the author and The Shredtet. The first piece, Sax Quartet No. 2 (2018), was commissioned for The Shredtet and written by Frank Nawrot (b. 1989). The second piece, also commissioned for The Shredtet, was written by Dan Puccio (b. 1980) and titled, Scherzos for Saxophone Quartet (2018). The third original work for The Shredtet, Rhythm and Tone Study No. 3 (2018), was composed by Josh Bennett (b. 1982). The fourth piece, Fragments of a Narrative , was written by Ben Stevenson (b. 1979) in 2014 and revised in 2016, and was selected as runner-up in the Donald Sinta Quartet’s 2016 National Composition Competition.
    [Show full text]
  • Written and Recorded Preparation Guides: Selected Repertoire from the University Interscholastic League Prescribed List for Flute and Piano
    Written and Recorded Preparation Guides: Selected Repertoire from the University Interscholastic League Prescribed List for Flute and Piano by Maria Payan, M.M., B.M. A Thesis In Music Performance Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved Dr. Lisa Garner Santa Chair of Committee Dr. Keith Dye Dr. David Shea Dominick Casadonte Interim Dean of the Graduate School May 2013 Copyright 2013, Maria Payan Texas Tech University, Maria Payan, May 2013 ACKNOWLEDGEMENTS This project could not have started without the extraordinary help and encouragement of Dr. Lisa Garner Santa. The education, time, and support she gave me during my studies at Texas Tech University convey her devotion to her job. I have no words to express my gratitude towards her. In addition, this project could not have been finished without the immense help and patience of Dr. Keith Dye. For his generosity in helping me organize and edit this project, I thank him greatly. Finally, I would like to give my dearest gratitude to Donna Hogan. Without her endless advice and editing, this project would not have been at the level it is today. ii Texas Tech University, Maria Payan, May 2013 TABLE OF CONTENTS ACKNOWLEDGEMENTS .................................................................................. ii LIST OF FIGURES .............................................................................................. v 1. INTRODUCTION ............................................................................................
    [Show full text]
  • Unit 10.2 the Physics of Music Objectives Notes on a Piano
    Unit 10.2 The Physics of Music Teacher: Dr. Van Der Sluys Objectives • The Physics of Music – Strings – Brass and Woodwinds • Tuning - Beats Notes on a Piano Key Note Frquency (Hz) Wavelength (m) 52 C 524 0.637 51 B 494 0.676 50 A# or Bb 466 0.717 49 A 440 0.759 48 G# or Ab 415 0.805 47 G 392 0.852 46 F# or Gb 370 0.903 45 F 349 0.957 44 E 330 1.01 43 D# or Eb 311 1.07 42 D 294 1.14 41 C# or Db 277 1.21 40 C (middle) 262 1.27 http://en.wikipedia.org/wiki/Piano_key_frequencies 1 Vibrating Strings - Fundamental and Overtones A vibration in a string can L = 1/2 λ1 produce a standing wave. L = λ Usually a vibrating string 2 produces a sound whose L = 3/2 λ3 frequency in most cases is constant. Therefore, since L = 2 λ4 frequency characterizes the pitch, the sound produced L = 5/2 λ5 is a constant note. Vibrating L = 3 λ strings are the basis of any 6 string instrument like guitar, L = 7/2 λ7 cello, or piano. For the fundamental, λ = 2 L where Vibration, standing waves in a string, L is the length of the string. The fundamental and the first 6 overtones which form a harmonic series http://en.wikipedia.org/wiki/Vibrating_string Length of Piano Strings The highest key on a piano corresponds to a frequency about 150 times that of the lowest key. If the string for the highest note is 5.0 cm long, how long would the string for the lowest note have to be if it had the same mass per unit length and the same tension? If v = fλ, how are the frequencies and length of strings related? Other String Instruments • All string instruments produce sound from one or more vibrating strings, transferred to the air by the body of the instrument (or by a pickup in the case of electronically- amplified instruments).
    [Show full text]
  • Recorder Performance Rubric
    Basics Recorder Recorder Performance Rubric 2 Skill 4 3 Practice, Practice, 1 Standing Ovation Stage Ready Practice Try Again Demonstrates correct Demonstrates some posture with neck and Demonstrates mostly aspects of proper posture Does not demonstrate Posture shoulders relaxed, back proper posture but with but with significant need correct posture straight, chest open, and some inconsistencies for refinement feet flat on the floor Has difficulty Demonstrates low Demonstrates ability Demonstrates demonstrating and deep breath that to breathe deeply and inconsistent air appropriate breathing Breath supports even and control air flow, but stream, occasionally for successful Control appropriate flow of steady air is sometimes overblowing, with some playing—large shoulder air, with no shoulder Technique inconsistent shoulder movement movement, loud breath movement sounds, and overblowing Demonstrates Does not demonstrate Consistently fingers Demonstrates adequate basic knowledge of proper instrumental the notes correctly and Hand dexterity with mostly fingerings but with technique (e.g., incorrect shows ease of dexterity; Position consistent hand position limited dexterity and hand on top, holes displays correct and fingerings inconsistent hand not covered, limited hand position position dexterity) Performs with a steady Performs with Performs all rhythms Does not consistently tempo and the majority occasionally correctly, with correct perform with steady Rhythm of rhythms with accuracy steady tempo but duration, and with a tempo or but
    [Show full text]
  • Chalumeau in Oxford Music Online Oxford Music Online
    18.3.2011 Chalumeau in Oxford Music Online Oxford Music Online Grove Music Online Chalumeau article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/05376 Chalumeau (from Gk. kalamos , Lat. calamus : ‘reed’). A single-reed instrument of predominantly cylindrical bore, related to the clarinet (it is classified as an AEROPHONE ). The term originally denoted a pipe or bagpipe chanter, but from the end of the 17th century was used specifically to signify the instrument discussed below. 1. History and structure. It seems likely that the chalumeau evolved in the late 17th century from attempts to increase the volume of sound produced by the recorder; the retention of the latter’s characteristic foot-joint is evidence of the close physical relationship between the two instruments. Two diametrically opposed keys were soon added above the seven finger-holes and thumb-hole of the chalumeau, bridging the gap between the highest note and the lowest overblown 12th. The relatively large dimensions of the vibrating reed and the mouthpiece to which it was tied, however, were principally designed to produce the fundamental register. The clarinet itself evolved when the thumb-hole was repositioned, the mouthpiece was reduced in size to facilitate overblowing, and the foot-joint was replaced by a bell to improve the projection of sound. Since the clarinet functioned rather unsatisfactorily in its lowest register, the chalumeau was able for a time to retain its separate identity. J.F.B.C. Majer remarked that since the technique required was broadly comparable, a recorder player could handle the chalumeau, though the latter is described as ‘very hard to blow because of its difficult mouthpiece’ (‘ratione des schweren Ansatzes sehr hart zu blasen’).
    [Show full text]
  • Natural Trumpet Music and the Modern Performer A
    NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Laura Bloss December, 2012 NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER Laura Bloss Thesis Approved: Accepted: _________________________ _________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Chand Midha _________________________ _________________________ Faculty Reader Dean of the Graduate School Mr. Scott Johnston Dr. George R. Newkome _________________________ _________________________ School Director Date Dr. Ann Usher ii ABSTRACT The Baroque Era can be considered the “golden age” of trumpet playing in Western Music. Recently, there has been a revival of interest in Baroque trumpet works, and while the research has grown accordingly, the implications of that research require further examination. Musicians need to be able to give this factual evidence a context, one that is both modern and historical. The treatises of Cesare Bendinelli, Girolamo Fantini, and J.E. Altenburg are valuable records that provide insight into the early development of the trumpet. There are also several important modern resources, most notably by Don Smithers and Edward Tarr, which discuss the historical development of the trumpet. One obstacle for modern players is that the works of the Baroque Era were originally played on natural trumpet, an instrument that is now considered a specialty rather than the standard. Trumpet players must thus find ways to reconcile the inherent differences between Baroque and current approaches to playing by combining research from early treatises, important trumpet publications, and technical and philosophical input from performance practice essays.
    [Show full text]
  • Jazzflits.Nl
    1 12de JAARGANG, NR. 227 24 NOVEMBER 2014 IN DIT NUMMER: 1 NIEUWS 4 JAZZ OP PAPIER 5 JAZZ OP DE PLAAT Kim Versteynen, Pieter Bast, Rick Kostelijk, Ivo Perelman, Branford Marsalis, Wadada Leo Smith e.a. 15 JAZZ OP DE PLANKEN Medeski, Scofield, Martin & Wood, November Music, JIR 2014 e.a. EN VERDER ONDER MEER: 21 New York Calling (Roos Plaatsman) 22 JF in Belgrado (Schot, Huguenin) 26 JF in Boston (Bart Hollebrandse) JAZZ FLITS 228 staat 8 DECEMBER op http://www.jazzflits.nl JAZZFLITSEN ONAFHANKELIJK JAZZMAGAZINE SINDS 2003 EDISON NATIONAAL VOOR SEBASTIAAN VAN BAVEL Pianist Sebastiaan van Bavel krijgt Monk Competition-winnaar Marquis Hill. (Persfoto) voor zijn album ‘As The Journey Begins’ de Edison Jazz Nationaal MARQUIS HILL WINT THELONIOUS MONK 2014. De onderscheiding wordt op 27 november in Eindhoven uitge- INTERNATIONAL JAZZ TRUMPET COMPETITION reikt. De Amerikaanse trompettist Marquis Hill is 9 november in Brad Mehldau & Mark Guiliana ontvan- Los Angeles uitgeroepen tot de winnaar van de Thelonious Monk International Jazz Trumpet Competition gen de Edison Jazz Internationaal voor 2014. De Thelonious Monk Jazz Competition is een zeer hun cd ‘Mehliana: Taming The Dragon’. prestigieuze wedstrijd. De winnaar doet in de regel nog Miles Davis’ album ‘The Original Mono van zich spreken. Recordings’ is volgens de Edison-jury de beste historische uitgave. De categorie Marquis Hill (27) komt uit Chicago. Hij geeft daar les op de Jazz Vocaal heeft nog geen winnaar. Die University of Illinois en speelt in het Chicago Jazz Orchestra. wordt later bekendgemaakt. Hill maakte enige albums voor onafhankelijke labels. Als winnaar In de Edison-jury zaten dit jaar Cor Bak- van de Monk Competition mag hij nu een cd voor Concord ker, Michelle Kuypers, Mijke van Wijk, Records maken.
    [Show full text]
  • A Handbook of Cello Technique for Performers
    CELLO MAP: A HANDBOOK OF CELLO TECHNIQUE FOR PERFORMERS AND COMPOSERS By Ellen Fallowfield A Thesis Submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music College of Arts and Law The University of Birmingham October 2009 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract Many new sounds and new instrumental techniques have been introduced into music literature since 1950. The popular approach to support developments in modern instrumental technique is the catalogue or notation guide, which has led to isolated special effects. Several authors of handbooks of technique have pointed to an alternative, strategic, scientific approach to technique as an ideological ideal. I have adopted this approach more fully than before and applied it to the cello for the first time. This handbook provides a structure for further research. In this handbook, new techniques are presented alongside traditional methods and a ‘global technique’ is defined, within which every possible sound-modifying action is considered as a continuous scale, upon which as yet undiscovered techniques can also be slotted.
    [Show full text]
  • 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.
    [Show full text]
  • Heckelphone / Bass Oboe Repertoire
    Heckelphone / Bass Oboe Repertoire by Peter Hurd; reorganized and amended by Holger Hoos, editor-in-chief since 2020 version 1.2 (21 March 2021) This collection is based on the catalogue of musical works requiring heckelphone or bass oboe instrumen- tation assembled by Peter Hurd beginning in 1998. For this new edition, the original version of the repertoire list has been edited for accuracy, completeness and consistency, and it has been extended with a number of newly discovered pieces. Some entries could not (yet) be rigorously verified for accuracy; these were included nonetheless, to provide leads for future investigation, but are marked clearly. Pieces were selected for inclusion based solely on the use of heckelphone, bass oboe or lupophone, without any attempt at assessing their artistic merit. Arrangements of pieces not originally intended for these instruments were included when there was clear evidence that they had found a significant audience. The authors gratefully acknowledge contributions by Michael Finkelman, Alain Girard, Thomas Hiniker, Robert Howe, Gunther Joppig, Georg Otto Klapproth, Mark Perchanok, Andrew Shreeves and Michael Sluman. A · B · C · D · E · F · G · H · I · J · K · L · M · N · O · P · Q · R · S · T · U · V · W · X · Y · Z To suggest additions or corrections to the repertoire list, please contact the authors at [email protected]. All rights reserved by Peter Hurd and Holger H. Hoos, 2021. A Adès, Thomas (born 1971, UK): Asyla, op. 17, 1997 Duration: 22-25min Publisher: Faber Music (057151863X) Remarks: for large orchestra; commissioned by the John Feeney Charitable Trust for the CBSO; first performed on 1997/10/01 in the Symphony Hall, Birmingham, UK by the City of Birmingham Symphony Orchestra under Simon Rattle Tags: bass oboe; orchestra For a link to additional information about the piece, the composer and to a recording, please see the on-line version of this document at http://repertoire.heckelphone.org.
    [Show full text]
  • Exploration of an Adaptable Just Intonation System Jeff Snyder
    Exploration of an Adaptable Just Intonation System Jeff Snyder Submitted in partial fulfillment of the requirements of the degree of Doctor of Musical Arts in the Graduate School of Arts and Sciences Columbia University 2010 ABSTRACT Exploration of an Adaptable Just Intonation System Jeff Snyder In this paper, I describe my recent work, which is primarily focused around a dynamic tuning system, and the construction of new electro-acoustic instruments using this system. I provide an overview of my aesthetic and theoretical influences, in order to give some idea of the path that led me to my current project. I then explain the tuning system itself, which is a type of dynamically tuned just intonation, realized through electronics. The third section of this paper gives details on the design and construction of the instruments I have invented for my own compositional purposes. The final section of this paper gives an analysis of the first large-scale piece to be written for my instruments using my tuning system, Concerning the Nature of Things. Exploration of an Adaptable Just Intonation System Jeff Snyder I. Why Adaptable Just Intonation on Invented Instruments? 1.1 - Influences 1.1.1 - Inspiration from Medieval and Renaissance music 1.1.2 - Inspiration from Harry Partch 1.1.3 - Inspiration from American country music 1.2 - Tuning systems 1.2.1 - Why just? 1.2.1.1 – Non-prescriptive pitch systems 1.2.1.2 – Just pitch systems 1.2.1.3 – Tempered pitch systems 1.2.1.4 – Rationale for choice of Just tunings 1.2.1.4.1 – Consideration of non-prescriptive
    [Show full text]