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a different type of multiphonics rolling tones
Posted: Sat Mar 12, 2016 6:39 pm
by jbaylies
so I've recently learned of rolling tones on woodwinds and realized it's the same thing I tried desperately to avoid when I was reworking my high-register embouchure a few years ago. It's a type of multiphonics that occurs when you play between two partials and both notes sound at once.
Are there any tubists that have made good use of this extended technique? Recordings would be greatly appreciated
Re: a different type of multiphonics rolling tones
Posted: Sun Mar 13, 2016 12:13 am
by jbaylies
I posted this to facebook and got some great replies:
https://www.facebook.com/groups/2274570 ... 419780906/" target="_blank
Re: a different type of multiphonics rolling tones
Posted: Mon Mar 14, 2016 1:49 am
by Heavy_Metal
For those of us who don't do Facebook, can you post some examples?
Re: a different type of multiphonics rolling tones
Posted: Mon Mar 14, 2016 7:50 pm
by jbaylies
I'll repost what Aaron Hynds wrote for ya:
Oh boy, one of my favorite topics: split tones! It is a relatively recent addition to the extended technique repertoire of the tuba, but it is a potent one. It has been a part of many other instruments' toolbox for a little while now, especially the trombone. A notable example is Xenakis' "Keren" for solo trombone, which uses them extensively.
For a great resource on split tones, check out the Face|Resection project, put out by a buddy of mine named Matt Barbier--he's the master at this technique. Here's the blog, and some basics on the technique:
http://www.mattbarbier.com/blog/split-tone-basics" target="_blank" target="_blank
It is starting to make its way into the solo rep of the tuba. One example is in Ray Evanoff's brass trio, "Proxy":
https://soundcloud.com/ray-evanoff/proxy" target="_blank" target="_blank
Another would be Nicholas Deyoe's "19 E. Main St. Alhambra, CA 91801" (shameless plug: this work was written for me!):
https://soundcloud.com/aaron-hynds/19-e ... olas-deyoe" target="_blank" target="_blank
Whenever I practice this technique, I think about creating two separate "buzz zones" in the embouchure--the technique depends on the simultaneous buzzing of multiple frequencies, which are slotted by the horn into adjacent partials. It's a lot of work at first, but eventually (as with any technique on the tuba) practice will only make it better and more efficient.
Hope this helps! I'll dig around and find some other works that use the technique.