TubeNet

I guess you answered your question yourself already:
Increasing numbers of new compositions make use of multiphonics. Actually I don´t really feel they´re regarded as a novelty or THAT special.

A performing major should use their time at college to become proficient in standard material and the techniques required to reproduce what´s written in the music, and add some personality in the process.
As pieces requiring multiphonics continue to merge into standard tuba literature, this technique will merge into the tubist´s educational schedule as well. (I can´t think of a reason against it as well).

In addition, a fine sense of pitch and good ears are necessary to perform multiphonics. Those skills, even if developed via MPh., always are a great thing to acquire for any type of music.

It's not that multiphoncs are all that new nor limited to the tuba.

Karl Maria von Weber wrote a piece for horn in the early 19th century that called for multiphonics.

Ian Anderson of the rock group Jethro Tull has used multiphonics liberally since the 1960's while playing flute.

I attended a low brass master class back in the early 70's, I think it was at WVU, with sessions on multiphonics, extended "sound" techniques and free improv' . All are great for becoming "one-with-your-horn".


dm "I need more practice now" morris

It is NOT a parlor trick. However, I will leave it to you to debate if non-tuba-playing composers use it correctly or effectively.

It is my opinion that any serious (and quite a few less serious) tuba student should at least be familiar with the technique, what it entails, and how to produce it. The resultant tones require a good ear and good tone from both voice AND horn simultaneously to begin with.

The last thing one would like is to have it be required in a part, and no idea how to do it correctly. Certainly more arcane techniques are now part of the tuba student's study...

I've almost always found multiphonics to be distracting and not very musical, no matter how well done or who the performer is.

John

Hello all,
Believe it or not, I have recently found great benefits from multi-phonics. About 6 months ago, I added multi-phonics to my daily warm-up routine.
1. singing the fifths then thirds during low long tone exercises. This has opened up my low register, and also improved my intonation.
2. hold pedal & sing lip slurs, then do the lip slurs.
Possibly all mental, but whatever works!!
Give it a shot! jobey

The Beast wrote: However, now with the rising popularity of tunes like "Fnugg" or "The Warrior Comes Out to Play," as well as modern composers writing in multiphonics for their unaccompanied solos, muliphonics seems to be becoming an important tool in a tubist's bag of tricks.

You know that Baadsvik has actually (to the best of my knowledge) been the pioneer of some "Parlor tricks" for tuba. Some of which include the "lip slap" and "coin in the mouthpiece while playing".

Who knows, maybe someday these things will become an increasingly important part of tuba literature.

Quicksilvertuba wrote: You know that Baadsvik has actually (to the best of my knowledge) been the pioneer of some "Parlor tricks" for tuba. Some of which include the "lip slap" and "coin in the mouthpiece while playing".
Who knows, maybe someday these things will become an increasingly important part of tuba literature.

Perhaps for an elite few. I really doubt the masses are going to be using those techniques very often.

The Beast wrote:I cant wait for a book of multiphonic edutes...

I believe that is likely to happen.

The only thing that could lift multiphonics out of the parlor trick category is making good music with these effects. Even better, making music that paying customers will come to hear!

It seems to me that, after listening a lot to tubists who are reputed to be good at it (I can't tell), this technique is not going to get out of the "world premiere" category (you know, those pieces that are played once, and only once). I think the tuba is too low-pitched and too conical for this technique to work well.

I have heard multiphonics used successfully on the trombone. A skilled player plays one note, sings another, and the instrument non-linearities produce sum and difference tones. One person can play a lovely chorale, both making good music and pleasing an audience.

Cheers,
Allen
(who runs for the exit when "...and for prepared piano" appears on the program)

... shouldn't one run for the exit when "...and for unprepared piano" appears on the program?

Allen wrote:The only thing that could lift multiphonics out of the parlor trick category is making good music with these effects. Even better, making music that paying customers will come to hear!

I agree completely.

Allen wrote:It seems to me that, after listening a lot to tubists who are reputed to be good at it (I can't tell), this technique is not going to get out of the "world premiere" category (you know, those pieces that are played once, and only once). I think the tuba is too low-pitched and too conical for this technique to work well.

You're probably right about not getting out of the "world premiere" category. I'm not sure I agree about the tuba being to low-pitched. Actually, I believe multiphonics has the potential to be a viable technique. I also believe it will still be a parlor trick. Isn't this true with our desire to hear solos with double and triple tonguing? I believe much of double and triple tonguing falls into the same category, but we enjoy listening to it. To me, the tuba is at its best in very melodic solos, perhaps sprinkled with some technical passages. That's just my opinion.