I havent read the Kirby text, and Hans summation is very good. The stuff isnt new to me, as I used it on the bass trombone, where it is much easier due to the much larger mouthpiece & bore and the resulting very reduced resistance.
I had been around a few brass band instruments until I came to the bass trombone during my college time, where I had a good teacher (member of the Royal Opera orchestra). We both had good ears, so it was plenty of fun to play duets. Depending a little on the voicing of the duets we very often played quartets, as our very in tune playing often induced the summation and differential notes, which Hans tells of. The differential note often is used in church organs, where the space doesnt allow for the larger 16" stops. Here the aural effect of a 16" stop is achieved with meticulously tuned 8" and 5 1/3" stops representing the 2nd and 3rd partials of an imaginary 16" stop which everybody can hear, when the two said stops are both pulled. The combination most often is only allocated to the organs pedal keyboard. A lot of my income has come from teaching the recorder and leading large ensembles employing up to 6 sizes of this instrument. When doing pedagogical concerts for parents or school classes each size was presented. When the two sopraninos playing the SA lines in the 2" choir played on their own, the induced differential notes were so strong, that they nearly blew my eardrums. Not really, but the sound was not pleasant, when not covered by the full ensemble, where it actually helped re-enforcing the bass notes played on much larger instruments. The British brass band movement doesnt use horns, but their older history is relevant in this matter also. When Adolphe Sax created his Saxhorn family, he named the members in a fashion which we have touched on in earlier threads. The tenor was in Eb (but actually plays the alto function, the narrow Bb Saxhorn baryton/baritone plays the tenor, the wide Bb saxhorn basse/euphonium plays the bass or the soloing cello type stuff, and the lowest member was the Eb Saxhorn contrebasse en Mi bemol/tuba. There was no BBb tuba in the original saxhorn family. Neither had the US bands BBb basses until around 1880. The desire for a full contrabass fundamental on the final chords can be deducted from old brass band scores, where the euphoniums split out in a fourth on the last note. That implies that the fifth between the Eb bass and the 2nd euphonium plus the fourth between the 2 euphoniums both create a very audible note an octave below the lowest written note, the one of the Eb tuba. Some other poster compared Tuckwells execution of the multiphonics to a foghorn. I can tell you, that this is a sign of his very exact ears. If one succeeds in playing as well as singing exactly in tune on multiphonics, then it is a body-shattering experience. I have tried it myself, but it takes so much regular practising, that I gave up on it. It is called for so rarely, that I didnt want to waste more time on it. Sorry for straying, but I am a generalist and now mostly a historian. But then I have to say, that in my opinion the most successful brass sections in orchestras are those adding up their forces also through exact intonation. In horn sections this works best, when the section does not tune to the 1st (top line), but to the lowest line, be it written in the 2nd or 4th part. Klaus Smedegaard Bjerre --- "Hans.Pizka" <[EMAIL PROTECTED]> wrote: > According to Prof.R.Kirby (Sept.1st, 1925 Musical Times): > > Multiphonics on a brass instrument consists of a played note > plus a sung note (higher or lower) plus the summation ton > plus the differential tone. > > One has to know the series of overtones first & how they are > numbered: > > As written: C (fundamental)=1, c=2 (first octave), g=3 > (fifth), c1=4 (double octave), e1=5 (third), g1=6 (fifth), > bb1=7 (seventh), c2=8 (triple octave), d2=9 (second), e2=10 > (third), f2+ or f#2- =11 (fourth to tritonus or half > octave), g2=12 (fifth), a2- or g#2+ =13 , bb2 =14, > b2-natural=15, c3=16 (quadrupel octave). > > All to be transposed soundwise according to main tonality of > the tube. All is to be set in relativity to the sounding > tube, means to F on the F-horn, to E on the F-horn plus 2nd > valve etc. > > You get the differential note by subtracting the lower > numbered pitch (sung or played) from the higher numbered > (sung or played). > > Example 1: play c1 (number 4) & sing g1 (number 6) creates c > (number 2) as differential note. > > The summation note is the result of the addition of the > numbers of played & sung note. > > Example 2: play c1 (number 4) & sing e1 (number5) creates d2 > (number 9) as summation tone. > > Example 3: play e1 (step 5) & sing g1 (step 6) to receive > the fundamental C (step 1) as differential note & f2+ (step > 11) as summation tone. > or > Example 4: play g (below staff = step 3) & sing e1 (step 5) > to receive low c (step2) as differential note & c2 (step 8) > as summation tone. > or > Example 5: play e1 (step 5) & sing c2 (step 8) to receive g > (below staff = step 3) as differential note & g#2+ (step 13) > as summation tone. > > Observe, that the higher you play the "played" note the more > difficult it might come to sing the right pitched note. And, > it is absolutely necessary, to keep superb intonation, which > might be very difficult depending on your guttural voice. > > Things work best the less "foreign" notes or chordes will be > employed. __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
