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Great! Thank you for sharing!

I'm a composer writing for violin right now. Is there any risk involved to the violin? I always have to keep that in mind before I give out scores lol

great video

This technique is called harmonic glissandi

The thing about horn multiphonics is that the sung note is higher than the played note. A good example is the end of the cadenza in the "Concertino" by Weber. For myself, I've somewhat developed "inverted" multiphonics, where the played note is higher than the sung note. Take for example the very beginning bars of Respighi's "Poema Autunnale" (originally for solo violin and orchestra), it has double notes that go somewhat in a parralel motion, but at one point they go down in separate ways. I've practiced many, MANY months to really try to imitate those motions on the horn, and I can say that it works, but with a heavy dose of concentration. I've also taken that modified technique on another solo string x orchestra piece, which is "Flos Campi" by Vaughan Williams. Yes, it has mainly monophonic sections (going in the upper limit of the horn when played an octave lower than the viola), but the few polyphonic parts are not just sudden, but they ask you to octaviate some parts so that you don't hurt your throat while playing-singing simultaneously. I'll upload a video showing that technical proweness in a few days. (all excerpts played will respect copyright laws)

Thank you for this video! I have a question if anyone can answer, why is the harmonic circle symbol placed under the open D string on examples 2 and 3, and example 1 shows the circle under both notes (also with a number 2)? I'm trying to understand why the open D string would have the harmonic symbol on it at all... thanks!

As a composer, I am curious about a legato harmonic tremolo between the 2nd and 3rd overtones of a single open string. For example, the G and D (an octave and a 12th above the open G fundamental). I did not see this among your examples, so I wonder whether it is possible and would sound good. Or might the particular fingerings or other factors make it a mess, especially if not done very slowly? Additionally: I would like to know whether my aforementioned double-harmonic could be transposed up one octave and played non-tremolo with good effect using both the G and D strings - thus a G and a D both sounding two octaves above their open-string fundamentals. I speculate having touch-4th sul G with touch-15th sul D OR touch-15th sul G with touch-4th sul D so that the harmonic fingerings are not at the same location on the neck. But I am not a violinist, so I can't even test these to see which version, if either, would even work. I am especially concerned that the span of the two aforementioned touch fingerings could be too great for the hand. Alternatively, might it actually work to touch both strings in the same location, such as touch-4th sul G with touch 4th sul D?

Thank you. I want to get that breathy sax ballad (Ben Webster, Stan Getz, etc.) sound on my soprano clarinet. Any advice ? All the best from Ottawa...

It's also called "bisbigliando"

Perfect video, exactly what I was looking for! :D

bravo

Thank you!

have you seen 'arco battute' (without 'col legno)... is it possible to do it with the hair only? (where battute is the plural of battuta - as in Italian the note is 'la nota' feminine and plural feminine will be 'battute').

0:08 Multiphonics 0:42 Examples Wide (more dynamic) Narrow (Mf-pp) 2:34 Alto Flute 3:20 Piccolo 4:44 <The Other Flute> <Tone Development through extended techniques>

0:08 Singing and playing 0:39 1:34 sustained singing 1:59 sustained playing 2:27 Alto flute 2:50 Piccolo Playing pitch lower better 3:49 Notation (Square Note Head)

0:08 Tongue Ram 0:48 M7 below (better first octave) 2:53 Alto Flute 3:21 Piccolo 4:13 Notation

0:08 Key clicks 0:25 0:42 notation 1:07 in high register 1:25 extended 2:03 M7 below (Tongue ram) 2:36 Alto flute (even better, don’t need to blow) 2:46

0:08 breathy sound/breathy tone 0:47 airy 1:11 Alto flute 1:47 Piccolo (not long, <5s) 2:40 articulated breathy tone 4:34 breathy and sound together

0:12 tuning

0:07 Trill 0:19 lip trills (whole steps) 1:20 valve trill

0:07 Stop Horn (buzzy sound, best in loud) 0:12 Stopped: + Opened: o 0:21 hand / stop mute 0:28 stop range (best in treble, loud) 0:31 by hand 0:46 stop mute (notate stop ahead) 3:30 mute change

0:07 Sound and flutter Mezzo to loud 0:25 sound to flutter/flutter to sound

0:07 Gliss and Rip (drama, excitement ) 0:15 Score Range (Harmonic series) 1:02 Sound example

0:07 Pitch Bend 0:30 Gliss 0:50 Range and interval 1:16 “buzzy sound” 3:06

0:07 Note Bending 0:11 chops (1) lip? 1:42 example

0:07 Multiphonics 0:20 sing below limit 0:52 octave flexible 1:17 pure interval (begin and end) 1:28 parallel and similar motion better 2:24 M10 3:16 Multiphonics with slides?

0:07 Air and Sound 0:43 Air to Sound/Sound to Air 0:48 sound to air (mouth open) 1:17 sound to air (extra buzz)

0:07 Air Sound 0:12 blow air through (1) 0:41 flip mouthpiece (2) 1:10 hold water key open (3)

0:07 Flutter Tongue

0:32 Harmonic series

👍👍👍👍

sounds almost flute like that last one?

Incredible, thanks for the demonstration. I am not a violinist, but want to record this sound! I'm sure it will take me some practice lol

4:38 - I think the instrument you're thinking of is Theremin.

Don't like the burned in subtitles, but still a very helpful video, having just been given a piece in my orchestra that requires col legno battuto with irregular jeté on random notes

these videos are GOLD! Thank you so so much Maddy!

Hello! Great video! Is there any list available of Blissbigando fingerings?

ohh, never realize cuhk have such edu, video

Extremely precise, clear and effective. Bravo!

Would it make sense to a performer if in a score the composer marked "from the back of the tongue" when there was a flutter tongue marking?

Started playing playing horn after 6 years on the trumpet and I’m proud to say I can do this already! Although I’m not too sure how impressive it is

Thanks!

Thank you very much, also for mentioning how to notate it! This sounds pretty cinematic and suspenseful in my opinion.

Thank you for the presentation

thx

This is great, it can be difficult for composers such as myself to find good info on extended techniques like these (as I usually play them in on my PC vs using prerecorded FX). So big 6 horn clusters where each player is bending microtonally should be possible with any note? (i.e. not more than a half step) Additionally, can you bend up with the chops? I appreciate your help!

great instructive video! thank you very much😊👍

is there a recommended source for the fingerings ?

Whether it comes relatively easy or takes a lot of practice comes down to language. There are many languages (or dialects) that have a trill where you roll your tongue so they acquire that skill just growing up.

Wanted a wind sound effect for a composition i am making but couldnt figure out how to get it, its great to know theres a technique like this! Love from a brass player