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The goal of these etudes is to help students gain technical command of multiphonics and to become familiar with the phrasing, interpretation and notation of contemporary music. Multiphonics, or the simultaneous production of more then one note, are an important element of the new experimental style know as musique contemporaine, or contemporary music. The following studies are not a compressive listing of multiphonics, rather they introduced them progressively in a musical context. Technical mastery of multiophonics will require students to gain fluency in two areas. The simpler task is to learn the often awkward cross-fingerings characteristic of multiphonics. This is just a question of practicing individual multiphonics as they are encountered. More challenging is learning how to make multiphonics speak which will require a mastery of voicing, the correct placement of everything behind the lips, including the tongue, oral cavity, soft palate and throat. The best way to accomplish this is to become fluent in harmonics or overtones. A series of exercises on harmonics have been provided as preliminary studies. In addition to helping produce multiphonics the study of harmonics will also facilitate altissimo and a general improvement in sound production. If harmonics and multiphonics speak it is a good indication that proper embouchure, air support and voicing are being used.
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Contents: 01. What Once Was 02. Jubilation
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Contents: A Little Irish Waltz for Tree Fellas Part 1, A Little Irish Waltz for Tree Fellas Part 2, A Little Irish Waltz for Tree Fellas Part 3, An Outbreak of Syncopation, Dancing With a Spanish Chook, Filthy Dirty Socks, Eve's Family, Half Dozen of the Other, Thong Lake, Hot Polka, I Feel OK, Kangaroo, Not, Another Show Tune, Notes Art, Sort of Blues, Spaghetti and Meatballs, Swine Flue, Swingaringarosie, Swingaringarosie 2, The Wooden Leg March, Try it a Bit Faster
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Contents: A Little Cha Cha, A Little Off Beat, The Way Home, Different Noodles, Fish 'n' Chips, Groovy Baby, It's Not Where You Think It Is, Latin Holiday, Low Tide, Secret Agent, Possums in the Roof, Strange Sounds From the Forest, Suede Shoes, Things That Go Bump in the Night, Whistling
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Night Drive is almost entirely constructed out of a 24–quaver pattern that results from the interlocking of a 4–note motive against a 3–note motive.
This technique builds upon a very similar idea found in the music of Steve Reich and in particular his 1967 work Piano Phase, which interlocks a 3–note motive against a 2–note motive.
In Night Drive, the majority of new rhythmic and melodic shapes are created by substituting rests for beats, resulting in new patterns and shifting rhythmic emphasis. The original pattern was formulated at the piano and the subsequent variations were all shaped with the sound and technique of a solo alto saxophone in mind.
To me, this is travelling music – fast in tempo, steadily driving through the night.
The work was written for my long–time friend and musical collaborator, Barry Cockcroft.
