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Multiphonic
Multiphonic
Multiphonic
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A multiphonic is an extended technique on a monophonic musical instrument (one that generally produces only one note at a time) in which several notes are produced at once. This includes wind, reed, and brass instruments, as well as the human voice. Multiphonic-like sounds on string instruments, both bowed and hammered, have also been called multiphonics, for lack of better terminology and scarcity of research.

Multiphonics on wind instruments are primarily a 20th-century technique, though the brass technique of singing while playing has been known since the 18th century and used by composers such as Carl Maria von Weber. Commonly, no more than four notes will be produced at once, though for some chords on some instruments it is possible to get several more.

Technique

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Woodwind instruments

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Multiphonic played on an oboe using alternative fingering
Frequency spectrum of this sound

On woodwind instruments—e.g., saxophone, clarinet, oboe, bassoon, flute, and recorder—multiphonics can be produced either with new fingerings, by using different embouchures, or voicing the throat with conventional fingerings. There have been numerous fingering guides published for the woodwind player to achieve harmonics. Multiphonics on reed instruments can also be produced in the manners described below for brass instruments.

It is said to be impossible to recreate exactly the conditions between one player and the next, due to minute differences in instruments, reeds, embouchure, and other things. This, however, is not entirely true; the multiphonic will depend on the room temperature and other such things, but essentially multiphonics sound the same due to the harmonic structure of the multiphonic. A multiphonic fingering that works for one player may not work for that same player on a different instrument, or a different player on the same instrument, or even after switching reeds. This is often the result of slightly different construction of two instruments from different makers.

Brass instruments

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In brass instruments, the most common method of producing multiphonics is by simultaneously playing the instrument and singing into it. When the sung note has a different frequency than the played note (preferably within the harmonic series of the played note), several new notes that are the sums/differences of the frequencies of the sung note and the played note are produced; leading to the popular term trumpet/trombone/horn growl. This technique is also called "horn chords". The tone sung doesn't necessarily have to be in the played tone's harmonic series, but the effect is more audible if it is. The tone quality of brass multiphonics is influenced strongly by the voice of the player.

Another method is referred to as "lip multiphonics", in which a brass player alters the airflow to blow between partials, in the harmonic series of the slide position/valve. The outcome is just as stable as any multiphonic and perfectly structured. When the frequencies add together or subtract from each other (essentially merge), the fundamental is recreated. For example: A 440 and A 220. This would combine to make 660, creating a new fundamental of the second lowest B of the piano.

A third method, known as 'split tones' or double buzz, produces multiphonics when players make their lips vibrate at different speeds against each other. The most common result is a perfect interval, but the range of intervals produced can vary broadly.

Trombone multiphonics
Demonstration of throat singing on trombone.
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String instruments

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String instruments can also produce multiphonic tones when strings are bowed or hammered (as in piano multiphonics) between the harmonic nodes. This works best on larger instruments like double bass and cello.[1] Another technique involves the rotational oscillation mode of the string, which might be twisted to adjust the rotational tension. Other multiphonic extended techniques used are prepared piano, prepared guitar and 3rd bridge.

Vocal multiphonics

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The technique of producing multiphonics with the voice is called overtone singing (typically with secondary resonant structure) or throat singing (typically with additional tones from throat trills).

There is another technique done in whistling, where whistlers hum in their throats while whistling with the front parts of their mouths. This is well known for achieving a spacey "ring modulation" sound (e.g. by Jim Carrey in The Truman Show).[citation needed] All three vibrations—whistle, voice and throat trill—can be combined also.

How multiphonics work

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In general, when playing a wind instrument, the tone that comes out consists of the fundamental—the pitch usually identified as the note being played—as well as pitches with frequencies that are integer multiples of the frequency of the fundamental. (Only pure sine wave tones lack these overtones.) Normally, only the fundamental pitch is perceived as being played.

By controlling the air flow through the instrument and the shape of the column (by changing fingering or valve position), a player may produce two distinct tones not part of the same harmonic series.

Notation

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Multiphonics may be notated in score in a variety of ways. When exact pitches are specified, one method of notation is simply to indicate a chord, leaving the performer to figure out what techniques are necessary to achieve it. Common on woodwind music is to specify a particular fingering underneath the required note; as different fingerings produce different qualities of sound, a composer who is concerned about the precise effect created may wish to do this. (The same fingering can cause different result on instruments from different manufacturers, due to variations in construction.) Approximate pitches may be specified by wavy lines or in cluster notation to designate acceptable ranges of sound. There is, however, a wide range of notation used to designate multiphonics, with several individual composers preferring notations not in common use. Piano multiphonic notation can include, among other factors, the numbers of sounding partials or fingering distances on the string. Such notations have been developed in recent studies by C. J. Walter and J. Vesikkala.[2]

Use in literature

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The first real use of multiphonics in literature are of the brass "horn chord" style. Carl Maria von Weber used this technique in horn compositions, leading up to his well-known Concertino for horn and orchestra of 1815.[citation needed]

\new Staff \relative c { \time 4/4 r2 \clef "bass^8" c~\fermata | c4 c-.( b-. a-.) | g2 <fis c''' ees> | <g g'' d'>1\fermata | <b g'' d'> | <c c'' e> | <g g'' d'>\fermata | \clef "treble" <c' c' g'>1*1/4 <c c' a'> <c c' g'> <c c' a'> | <c c' g'>1*1/2 <g g' d' f>\fermata | R1 | R1^\fermata | \bar "||" \time 3/4 }

Woodwind multiphonics and brass lip multiphonics did not make appearances in classical music until the 20th century, with pioneering compositions such as Luciano Berio's Sequenzas for solo wind instruments[3][4] and Proporzioni for solo flute by Franco Evangelisti using them extensively in 1958.[5] Multiphonics are widely today used in contemporary classical music.[6]

The technique is used in jazz as early as the 1920s by Adrian Rollini on his bass saxophone. Then it was largely forgotten until Illinois Jacquet used them in the 1940s. Multiphonics were also widely used by John Coltrane, and jazz flautist Jeremy Steig.[citation needed]

See also

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References

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Further reading

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Multiphonic

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from Grokipedia
A multiphonic is an in music that enables the production of two or more distinct pitches simultaneously on an instrument traditionally designed to sound only a single note at a time, or through . This phenomenon arises when the instrument's air column or vibrating mechanism is induced to oscillate at multiple frequencies concurrently, resulting in a complex often perceived as clusters or chords. Multiphonics are most commonly associated with woodwind and instruments, though they can occur on strings, , or via vocalization, and have become a staple in contemporary and experimental compositions since the mid-20th century. The technique's historical roots trace back to the in playing, where horn virtuosos like Antoine-Joseph Hampel and Giovanni Punto experimented with singing while playing to produce dual tones, a method later documented in early 19th-century accounts, such as trombonist "Schrade"'s performance that astonished . However, multiphonics as a deliberate gained prominence in the of the 1960s, with Italian composer Bruno Bartolozzi's 1967 book New Sounds for Woodwind systematically cataloging fingerings for woodwind multiphonics and inspiring widespread adoption. For instruments, pioneers like Vinko Globokar, Stuart Dempster, and Albert Mangelsdorff advanced vocal multiphonics—singing one pitch while buzzing another through the mouthpiece—elevating it from a novelty to a expressive tool in over 50 compositions since 1964. Production mechanisms vary by instrument family. In woodwinds, such as the or , multiphonics are typically achieved through alternative fingerings that excite multiple pipe resonances simultaneously, allowing the reed or air jet to vibrate at combined frequencies; this often requires precise control and can produce stable or unstable tones depending on the reed's nonlinearity. Brass multiphonics, by contrast, rely on either vocal methods—where the performer sings a note into the mouthpiece while playing another—or split-tone techniques, in which the lips buzz between adjacent harmonics (often the first and second partials) to split the sound, though the latter is more challenging and limited in range. On the , for instance, catalogs of hundreds of multiphonics exist, organized by scalar models where one pitch follows a logical sequence across fingerings. These sounds often incorporate subjective tones, such as difference or summation frequencies, and demand for clarity, enhancing performers' skills in breath control, tuning, and aural . In musical practice, multiphonics expand timbral possibilities, enabling composers to evoke dense textures, microtonal harmonies, or effects in solo and ensemble works. Notable examples include Luciano Berio's Sequenza V for (1966), which integrates vocal multiphonics for dramatic expression, and Folke Rabe's Basta (1982), a seminal solo showcasing split tones and dynamic contrasts. Beyond classical realms, brass players have adapted the technique for improvisational growls and clusters, as explored in works by Øystein Baadsvik. Pedagogical resources, including progressive methods and analyses, continue to democratize access, with recent research emphasizing their perceptual qualities over simplistic chord analogies to better inform composition and performance.

Introduction

Definition and Characteristics

Multiphonics is an in that enables the simultaneous production of multiple distinct pitches on monophonic instruments, such as woodwinds and brass, through unconventional fingering, , or voicing adjustments. This technique generates a number of frequency vibrations within a single air column, typically resulting in two or more audible tones that function as independent pitches rather than mere overtones. Key characteristics of multiphonics include their harmonic complexity, often featuring dissonant intervals such as ninths or thirds between the primary tones, which contribute to a rich but unstable sonic profile. Timbral variations range from smooth and velvety surfaces in simpler bichords to rough and compact textures in more complex configurations, with dynamic ranges spanning from ppp to ff depending on the intensity and partial reinforcement. Perceptually, these sounds evoke effects like roughness from rapid beating patterns when closely spaced partials interfere, or partial fusion when tones blend into a chord-like entity, enhancing expressive possibilities in avant-garde compositions. In contrast to harmonics or , which consist of integer multiples of a single within the harmonic series, multiphonics involve discrete fundamentals that may not align harmonically, leading to inharmonic and greater timbral unpredictability. Typical profiles exhibit spectra with two or more fundamental frequencies—such as E3 and C6 on or adjacent partials on —accompanied by unevenly spaced , producing beating and interference that underscore their dissonant character. These arise from nonlinear interactions in the instrument's acoustics.

Historical Context

Multiphonic techniques have ancient roots in non-Western vocal practices, where performers produce multiple pitches simultaneously through specialized throat and breath control. , originating in the region of centuries ago, exemplifies this tradition, involving the amplification of harmonic overtones to create drone-fundamental and upper-voice lines in a single performer's voice. Similar multiphonic vocal methods appear in katajjaq from the , a predominantly female practice dating back centuries that emphasizes rhythmic interplay of overtones and whispers; Xhosa umngqokolo from , part of a broader vocal heritage; and Sardinian , all highlighting the global antiquity of multiphonics as a means of evoking natural resonances and cultural narratives. In Western music, multiphonics emerged as an instrumental extended technique in the 18th century among brass players, with hornist Antoine-Joseph Hampel employing them alongside hand-stopping, and his student Giovanni Punto incorporating the effect in performances as a novel "trick." By the mid-20th century, jazz saxophonist John Coltrane documented one of the earliest recorded instances on saxophone in his 1959 track "Harmonique," using relaxed embouchure to evoke harmonic clusters. The technique gained formal academic traction in woodwind contexts through Bruno Bartolozzi's 1967 book New Sounds for Woodwind, which cataloged multiphonics for oboe, flute, and clarinet, influencing experimental composers. Helmut Lachenmann further advanced its use in contemporary classical music with his 1970 solo clarinet piece Dal niente (Intérieur III), integrating multiphonics amid air sounds and key noises to dismantle traditional tonal structures. In brass instruments, pioneers like Vinko Globokar, Stuart Dempster, and Albert Mangelsdorff advanced vocal multiphonics—singing one pitch while buzzing another—in the 1960s, elevating it from novelty to expressive tool. Key developments in the late 20th century positioned multiphonics within spectralism and experimental music, expanding their conceptual role beyond novelty. In spectral music, pioneered by Gérard Grisey and Tristan Murail in 1970s France, multiphonics served to deconstruct and redistribute instrumental spectra; Grisey's Partiels (1975) analyzed a trombone tone into partials, assigning these partials to ensemble instruments for timbral evolution, while Murail employed spectral techniques to bridge harmony and noise in works like Gondwana (1971). Influences from experimental music, through composers like Lachenmann, emphasized sustained multiphonic textures for perceptual immersion. The technique extended to non-wind instruments in the 1970s–1980s via improvisation, particularly on strings—double bassist Fernando Grillo explored bow placements yielding multiphonics, followed by guitarist John Schneider's 1985 fingering charts in The Contemporary Guitar—marking a shift toward broader sonic palettes in avant-garde composition. Cultural adoption has spread multiphonics globally since the late , with Asian and African traditions adapting them in contemporary hybrids. In , shakuhachi players have incorporated multiphonics to evoke breathy overtones rooted in practices, while Chinese Qiang polyphonic integrates multiphonic elements in modern ensembles. African contexts, building on Xhosa foundations, see multiphonics in urban fusion genres blending traditional vocals with Western instruments. Post-2020, integrations in electronic and works proliferate, as in hybrid acoustic-digital performances where multiphonics interface with real-time processing for immersive soundscapes.

Acoustic Principles

Fundamental Mechanisms

Multiphonics arise from nonlinear interactions between the sound generator (such as a reed, air jet, or bow) and the (air column or ), enabling multiple stable modes to coexist rather than a single dominant mode. In wind instruments, nonlinear airflow through the reed or jet leads to complex pressure fluctuations that excite multiple resonances in the bore, while in strings, the frictional nonlinearity at the bow- contact allows higher harmonics to persist without suppressing the fundamental. These interactions often involve bifurcations in the regime, where a periodic single-mode transitions to a quasi-periodic state supporting two or more incommensurate frequencies, typically occurring when bore exceeds approximately 6-7%. Key physical processes include eddy shedding and vortex formation in air jets, which introduce excitation that couples disparate , and the or partial locking of vibrational modes through nonlinear feedback. In flutes, the air jet deflects across the labium, periodically shedding vortices that generate pulses capable of driving multiple bore modes simultaneously. coupling occurs when the driving mechanism's overlaps with several impedance peaks, allowing energy transfer between modes and resulting in polyphonic output with beating or combination tones from . The mathematical foundation involves the instrument's curve, Z(ω)=P(ω)/U(ω)Z(\omega) = P(\omega)/U(\omega), where peaks indicate resonances that the nonlinear exciter must match for sustained ; multiphonics emerge when two or more non- peaks are sufficiently strong to avoid complete . typically synchronizes oscillations to a common period in harmonic systems, but in multiphonics, partial or absent locking yields a quasi-periodic approximated as y(t)≈A1sin⁡(ω1t)+A2sin⁡(ω2t),y(t) \approx A_1 \sin(\omega_1 t) + A_2 \sin(\omega_2 t), where ω1\omega_1 and ω2\omega_2 are close but incommensurate frequencies, producing audible beats at ∣ω1−ω2∣|\omega_1 - \omega_2|. Nonlinear is modeled, for reeds, as U∝∣Pm−P∣\sgn(Pm−P)U \propto \sqrt{|P_m - P|} \sgn(P_m - P)
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