Strange Sounds

Quicksilvertuba · Post by **Quicksilvertuba** » Wed Oct 26, 2005 12:33 am

when you say "polyphonics" do you mean "multiphonics"? I have never heard of polyphonics, but I know what multiphonics is and I believe it isn't as hard as many people believe. Of course, it's like making your tounge into a clover, some people do it naturally and some can't do it (me!). However, I do believe pretty much anyone can learn to do it with practice. How I learned to do it is to start away from the horn. You should try whistling and humming at the same time. it will make a really weird (cool) sound if you do it right. If you hear too much whistle then try humming more (essentially less air) and vice versa. Then try it with a free buzz or with the aid of a mouthpiece and then the horn. It will sound strange at first but once you figure it out it is actually a very important tool for very serious tuba players (Encounters II solo etc...)

Charlie Goodman · Post by **Charlie Goodman** » Wed Oct 26, 2005 9:30 pm

PsycedeilicTuba wrote:
As far as terminology I think polyphonics and multiphonics are the same thing like yams and sweet potatoes.

Polyphony is when there is more than one line playing the melody and they intertwine, such as most of Bach's music. It really has nothing to do with humming and playing.

Quicksilvertuba · Post by **Quicksilvertuba** » Fri Oct 28, 2005 11:23 pm

PsycedeilicTuba wrote: What is a dover?

The font doesn't work for this word on this site but it should read: C L O V E R. Like with 4 leaves.

Quicksilvertuba · Post by **Quicksilvertuba** » Sat Oct 29, 2005 8:16 pm

the pioneer of what you are talking about has to be oystein baadsvik. I could never imagine a tuba doing what he does to it. http://www.baadsvik.com has some great stuff! just look under the audio link on the left.

Kevin Hendrick · Post by **Kevin Hendrick** » Sun Oct 30, 2005 12:30 am

tekknofieber wrote:... is it possible to play any two notes at the same time, or do they have to be in the same harmonic series? I was having lots of trouble with anything but perfect fifths and major thirds.

P5s and M3s are among the easiest intervals to stabilize, but you can sing/play any two notes (I find it's usually easier if the sung note is higher than the buzzed one). P4s and M6s are fairly easy (the difference tone for a P4 is two octaves down from the upper note; for an M6 it's a fifth below the lower note). The most difficult ones (for me, at least) are the m2 and M7.

tekknofieber wrote:... is it just bad intonation that causes the 'clashing' sensation that happens when I play a few combinations of notes?

It can be, if the pitches are a little too close together or a little too far apart (usually on M3, P4, P5, and M6). For other intervals, the difference tone may be other than what you're expecting to hear (see P4 and M6 above), or it may be so low that you can't identify it as a pitch (but can still hear and feel it).

windshieldbug · Post by **windshieldbug** » Sun Oct 30, 2005 1:08 am

If you hit the right notes, the overtones of the notes you play and hum can result in an actual chord... guarenteed to freak-out your audience if done correctly!

Kevin Hendrick · Post by **Kevin Hendrick** » Sun Oct 30, 2005 1:19 am

windshieldbug wrote:If you hit the right notes, the overtones of the notes you play and hum can result in an actual chord... guarenteed to freak-out your audience if done correctly!

About 30 years back, the "included music" in one issue of the TUBA Journal was a set of barbershop quartets for solo tuba (wish I still had it!). Of course, we all had to try 'em out -- it was freaky how well they worked. Wonder if they're still available from ITEA?