Multiphonics on Trumpet?

Discussion in 'Trumpet Discussion' started by cobragamer, Feb 12, 2009.

  1. TrumpetEep

    TrumpetEep New Friend

    Jun 12, 2010
    Hey Everyone,
    I did my Masters degree concentrating quite a bit of time on Multiphonics and anything having to do with the voice. Check out the Chosen Vale web site and listen to "Phonic" by Mark Bobak. The multiphonics start at about 1:35. The piece was composed for me and that performance is an east coast premiere. There is TONS of voice in there. Influences were all from piece i've played including Gruber's Exposed Throat, Erickson's Kryl and the Berio Sequenza. I am going to post some of my other stuff soon once i have a web site up. Here's the link for Phonic and Kryl as well as other crazy stuff.
    Video | the Center for Advanced Musical Studies

    Here's another link to another performance of Kryl done on a different day at CV on Youtube.
    Last edited: Aug 1, 2010
  2. Silversorcerer

    Silversorcerer Forte User

    Jun 9, 2010
    Interesting performance Philipe, but recording in that particular room contributes so much reverberation that much of your technique is obscured. I'd love to hear some of that with less echo. There are some notes that seem to have the same split tone character that I'm producing, but most of what you are doing there, I can't make it out for the echo/reverb.
  3. TrumpetEep

    TrumpetEep New Friend

    Jun 12, 2010
    Thank you for listening. I agree, the chapel at Chosen Vale is quite boomy. I performed the piece quite fast there. Here is a different performance in the same room with a better microphone quality. The performance is also slower. Just scroll down. Video | the Center for Advanced Musical Studies

    In case you don't know, Chosen Vale is directed by Ed Carroll. Tom Dambly was the sound engineer.

    Regarding the split tone, I wasn't playing split tones. The distortion you heard is the combination of odd intervals between the voice and trumpet, often with more than an octave of displacement. There are dozens of permutations in Kryl. Check out Phonic by Mark Bobak as well. It includes many of these techniques but goes by a lot slower. More inward, yet extremely difficult to play with finesse.
  4. AKtrumpet

    AKtrumpet Piano User

    Jun 4, 2010
    It's not that hard IF you play in the double pedal C range. Just double tounge in that range and that should give you a taste.
  5. Glennx

    Glennx Pianissimo User

    Aug 16, 2009
    As an ex-bass trombone player who explored multiphonics with some success...after hearing Bill Watrous pop them out live in the middle of his 'Just Friends' solo and make & resolve a nice series of sus4's a suggestion for trying these.

    Vulgano Bro is dead right: one of the hard aspects is being able to sing as loud as the note you're playing through the horn, so start by playing low C or below. Then try singing a major 10th above your played note ie. if you're playing a low C, sing the E an octave and a 3rd above it. Try to balance the relative volumes so they're equal. Holding the sung pitch steady and clear isn't too hard, but holding the played note together on pitch can take some work. Once you've got that under control, move from the C to the low B while holding the E to create a suspended/resolved 4-3 cadence. Continue lowering first the played note, then the sung note (successive 4-3 suspensions) by a semitone until you reach the low F# (or whatever your lowest controlled note is) on the horn. If you get the right balance between your two notes and if they're nicely in tune, you might just get a 3-note chord sounding.

    These intervals are good to start with because they're easy to hear and tune. However, multiphonics are a lot easier to play on a larger horn (trombone, euphonium, tuba) because the played note is way lower, so your sung note is easier to sing; and the larger horn makes the whole effort a lot more resonant and easier to make chords appearing between the two input notes. Good luck!
  6. Silversorcerer

    Silversorcerer Forte User

    Jun 9, 2010
    What I am getting is definitely not done by "singing", which is a good thing because I am a bad singer! ;-) It is a lip tension effect of some kind. It is more of a sustained and carefully (very uncertain right now because I have not perfected this at all yet) blown chord with two very distinct pitches sounding. One is a harmonic of the other and it is apparent that in some cases the harmonic interval can be varied. In one case I am able to get two different chords that have one note in common. It can be done almost anywhere in the range of playing but sounds best to me in the middle to high range from open G up to C and somewhat above. Below G it starts sounding somewhat reedy like a low clarinet note.

    It seems to depend on lip tension and whether the lips are pushed forward or pulled back, or perhaps just the lower lip. I have been able to do it just buzzing my lips and without a horn, but not nearly as easy as with the horn. I'll try to get something recorded but it will not be really smooth or impressive because right now the tonguing attack usually causes it to break up at first before I can smooth it out.
  7. TrumpetEep

    TrumpetEep New Friend

    Jun 12, 2010
    I love the sound of a split tone. I believe that Tristram Williams recently premiered a piece by Liza Lim that was composed almost entirely of split tones at ITG this year. I'm sure it was fantastic. Trombone players are King of split tones because they can do them very loudly. Listen to Keren by Xenakis. It's a solo trombone piece that incorporates this technique. Wadada Leo Smith also does it in his solos and it is beautiful.
  8. frankmike

    frankmike Piano User

    Dec 5, 2008
    this myth here roams the forum from time to time. its time to stop it.
    I dont know much, but I know that rolling the tongue is fluttering and produces the sound similar to machine gun
    Growling on the other hand is done with the throat and it produces sound simmilar to some wild animal, like lion
  9. Dupac

    Dupac Fortissimo User

    Aug 19, 2008
    Bordeaux, France.
    And that's why it was used in Duke Ellington's "jungle" style (Bubber Miley, Cootie Williams, Ray Nance, ...).
  10. wiseone2

    wiseone2 Artitst in Residence Staff Member

    Nov 19, 2003

Share This Page