notation of multiphonics christopher redgate and -

There are several methods available for notating multiphonic fingerings on the oboe. These range from detailed fingerings with instructions including breath pressure and embouchure position through to more aleatoric, non-fingering/non-pitch specific approaches.1

Where a composer uses only the occasional multiphonic, one or other of these approaches will suffice. However, when there are large numbers of multiphonics in quick succession and/or the composer wishes to communicate complex details of fingerings and pitch, the current notation systems are inadequate.

Notation for multiphonics should be based upon fingering patterns rather than upon the specific pitches revealed. This is because the pitches themselves, with a few notable exceptions,2 give the oboist no idea of how to generate the desired effect.

When a large number of multiphonics are written in succession, the familiar methods of notation are rather cumbersome and can be very difficult to read. The information the performer needs (fingerings, dynamics etc.) is usually divided up; fingerings above the staff and rhythm and dynamics on the staff sharing the space with complex pitch material. Multiphonic notation therefore remains rather underdeveloped. Unless the notation system can be improved it could well prove detrimental to the development and use of this extraordinary sonic resource.

As multiphonics are now being used by many composers and increasingly becoming a major part of the instrument’s sonic repertoire, it is vital that a notation system is developed that can support the complexities of compositional demands and the practicalities of the performer’s needs.

Of the notation systems currently available, that which Heinz Holliger developed in his Studie über Mehrkläng3 has the greatest potential for development.4,5 It has been observed however that this is a notation system developed by an oboist for oboists and therefore is not very composer friendly.6 The same observation could be made for each of the prominent notation systems currently in use. The problem of notating multiphonic fingerings is that they are ‘fingerings’; they are developed so that the oboist can read them and reproduce the required multiphonic.7 An in-depth knowledge of the instrument’s key-work is therefore required in order fully to comprehend these systems. As most composers are not oboists and do not have such knowledge of the instrument’s key work, it is essential that the composer is able to copy out precisely all the information.

Holliger’s system notates the fingerings on the staff and these fingerings show the performer precisely what should be done in order to produce the required results.8 This system is very performer friendly and is a good starting point for a more sophisticated notation system.

We have written an overview of these notation systems which is available on the PRIMO website 1. http://primo.sas.ac.uk/eprints/

Exceptions include the notation of dyads where the fingerings, which are often based upon the pitches notated, 2. can be looked up easily and in many cases will already be known to the performer.

See Holliger (1971/1980)3. This notation system was developed specifically for this particular work and therefore, while it offers a very 4.

useful way of notating some multiphonics it needs to be substantially revised in order to meet the demands of today’s music.

This notation has been used very occasionally in a few other places most notably in Chenna and Salmi (1994) 5. Burgess and Haynes (2004) p. 2756. We are aware that there are additional problems with the production of multiphonics beyond the notation issues 7.

and that the same fingering may on different instruments produce a different multiphonic. This particular problem is beyond the scope of this article.

In Holliger’s study the notation offers the performer all the fingerings required. The notation does not offer the 8. precise sonic results that will result from the fingerings and so from this notation there could be a number of slightly different results. See Burgess and Haynes (2004) p 275

Notation of MultiphonicsChristopher Redgate and Paul Archbold

Basic Notation Symbols

A diamond notehead representing a foundation fingering is central to both Holliger’s system and to ours. A ‘foundation fingering’ is a standard fingering that can be recognised instantly by a performer. With stem pointing down this notehead is also the focal point of rhythmic activity, and can be a hollow diamond or a filled-in diamond.

Ex. 1 Foundation fingerings, diamond noteheads and stems

The foundation fingering is then modified by a range of strategies including removing/adding keys, half-hole and quarter-hole. The following system offers clear symbols for these modifications.9

Ex. 2 Hole modifications

Note that the line used for both half-hole and quarter-hole is at a diagonal so that there can be no confusion with a ledger line.Keys that need to be added include:

Ex. 3 Added side keys and trill keys

The oboe has three fingerings for F: a standard fingering, a forked fingering and a ‘long F’. In this notation system these are notated in the following way. An F natural at the bottom of the staff should be fingered as a standard F natural (see ‘basic fingerings’ Ex. 1). The ‘long F’ is notated on the top line of the staff, (as can be seen in Ex. 3) and the ‘forked’ F, which is absorbed into other fingerings, does not require a specific notation. An F# on the staff is simply the F# key.

The C# and D trill keys are notated in the centre of the staff as shown in Ex.3.

Notation examples(NB changed noteheads!)

Basic fingerings

holes

closed hole

quarter hole

half hole

open hole

side keys

C# trill key

D trill key

long F key

ex. 4

ex. 5

ex. 6

2

ex. 7

ex. 8

ex. 92

2

ex. 10

ex. 11

ex. 12

ex. 13


Basic fingerings

holes

closed hole

quarter hole

half hole

open hole

side keys

C# trill key

D trill key

long F key

ex. 4

ex. 5

ex. 6

2

ex. 7

ex. 8

ex. 92

2

ex. 10

ex. 11

ex. 12

ex. 13


Basic fingerings

holes

closed hole

quarter hole

half hole

open hole

side keys

C# trill key

D trill key

long F key

ex. 4

ex. 5

ex. 6

2

ex. 7

ex. 8

ex. 92

2

ex. 10

ex. 11

ex. 12

ex. 13

In Holliger’s original notation his modifications are represented by writing ‘a’ or ‘-a’ or ‘1/2 g’ etc.9.

When a key needs to be added to a fingering it should be notated filled-in and when a key is to be cancelled it should be hollow:

Ex. 4 Hollow and filled in notation

It is therefore possible to notate simple multiphonics in an easily readable form as follows:

Ex. 6 Simple multiphonic notation

In Ex. 6 the first and second multiphonics both employ a fingering with E as its foundation. The diamond noteheads in the first two are therefore the same. The first multiphonic requires a half-hole on the A key and so there is a hollow notehead with a diagonal line through it. In the second multiphonic the only change is that the A key is fully opened. The third multiphonic requires a D foundation with an A half-hole while the last multiphonic has a G foundation with the C key opened. You will note also the simple rhythmic material added to the diamond noteheads.

The octave keys are notated by using the numbers 1, 2 and 3 which are placed above the multiphonic fingerings.

Ex. 7 The 2nd octave key notated


Basic fingerings

holes

closed hole

quarter hole

half hole

open hole

side keys

C# trill key

D trill key

long F key

ex. 4

ex. 5

ex. 6

2

ex. 7

ex. 8

ex. 92

2

ex. 10

ex. 11

ex. 12

ex. 13


Basic fingerings

holes

closed hole

quarter hole

half hole

open hole

side keys

C# trill key

D trill key

long F key

ex. 4

ex. 5

ex. 6

2

ex. 7

ex. 8

ex. 92

2

ex. 10

ex. 11

ex. 12

ex. 13


Basic fingerings

holes

closed hole

quarter hole

half hole

open hole

side keys

C# trill key

D trill key

long F key

ex. 4

ex. 5

ex. 6

2

ex. 7

ex. 8

ex. 92

2

ex. 10

ex. 11

ex. 12

ex. 13

Occasionally a foundation fingering is required which is modified with a half-hole and, therefore, following the logic of the system, a double-headed notehead is used for these occasions. The double notehead consists of the diamond notehead, indicating the foundation fingering, and a round notehead on the same pitch which indicates that a half-hole (or quarter-hole) is required. This is needed because the diamond notehead, which carries the rhythm, sometimes needs to be filled-in.

Ex. 5 Foundation fingering with half-hole

ex. 26

ex. 27

ex. 28

ex. 29

ex. 30

1

2

3

3

Notating the Keywork of the Oboe

This notation system represents the keywork of the oboe on the staff. Fig. 1 shows a annotated picture of a Howarth oboe: we have not labelled every piece of keywork but only the keys which are pertinent to our discussions.

left

hand

right

han

d

C hole

F# hole

F key

C§ key

-D (d trill)

-C# (c# trill)Ab keyEb key

B§ keyBb key

C# key

Eb key

A hole

E hole

G hole

D hole long F

holesLEFT HAND

trillkeys

side keys longF

holesRIGHT HAND

F key side keys

holesLEFT HAND

trillkeys

side keys longF

holesRIGHT HAND

F key side keys

Fig.1 Keywork of the oboePhotograph provided by Howarth of London- the oboe is a Howarth XL Conservatoire system.

The basic keywork of the oboe (as can be seen in fig.1) includes three front keys (we have called them ‘holes’ in the diagram in order to distinguish them from the ‘keys’) for both the left-hand and right-hand: index finger, 2nd and 3rd fingers. There is also an F key which is played by the 3rd finger of the right hand. Each of these keys can be represented on the staff simply by using the pitch to which they relate: C, A, G for the left hand and F#, E, F and D for the right hand.

In addition to these keys each little finger has a cluster of keys. The left hand has G#, Eb, B, Bb and long F while the right hand C, C# and Eb. The Bb, B, Eb, C# and C keys should be notated at the bottom of the staff while the G# is notated on the second line. Each key is therefore represented on the staff by the pitch with which an oboist would associate it. The G# can also be notated as an Ab – there are occasions when one is preferable to the other. They are the same key on the oboe.10

Keeping the Fingerings as Simple as Possible

Some of the fingerings are very complex requiring the performer to finger and read unusual and unfamiliar combinations of keys. Of primary concern is the reduction of as much ‘clutter’ as possible. There are two specific ways in which this is achieved.

The diamond notehead mentioned above represents not only an individual key but a complete fingering. For example: if an Eb is notated as a diamond notehead it represents the use of all six keys on the front of the oboe plus the Eb key.11 There is therefore no need to notate the other keys as the Eb represents all of them.

Ex. 8 Keys represented by the Eb foundation fingering

However this idea can be taken further. The fingering system as described above would usually offer the lowest key in use as the foundation fingering as we have seen in Ex. 8.

There are many instances where, especially for clarity and simplicity, the foundation fingering may not be the lowest key in use but one further up the instrument. This is especially the case when a fingering includes a low B or Bb (ex. 9a) but the next key in use is much higher up the instrument. In order to save a number of extra symbols it is simpler and less cluttered to read when the higher key is the foundation fingering and the B or Bb is simply an added key (ex. 9b).

Ex. 9 Multiphonic notated with different foundation fingerings12


Basic fingerings

holes

closed hole

quarter hole

half hole

open hole

side keys

C# trill key

D trill key

long F key

ex. 4

ex. 5

ex. 6

2

ex. 7

ex. 8

ex. 92

2

ex. 10

ex. 11

ex. 12

ex. 13


Basic fingerings

holes

closed hole

quarter hole

half hole

open hole

side keys

C# trill key

D trill key

long F key

ex. 4

ex. 5

ex. 6

2

ex. 7

ex. 8

ex. 92

2

ex. 10

ex. 11

ex. 12

ex. 13

As there are several options of this kind on the instrument, it is up to the performer to choose which key is 10. most suited to the situation.

There exist on the oboe two E11. b keys one for the left hand little finger and one for the right hand little finger. In other forms of notation the placing of the letters Eb denotes which of these is to be used. In practice this is not really needed as any experienced oboist will automatically choose the most obvious.

This multiphonic fingering (no. 176) is taken from Veale and Mahnkopf (1998).12.

This enables us to simplify a considerable number of fingerings and to represent them with fewer modifications.

An obvious example occurs when a basic fingering uses all (or most) of the fingers in the left hand but adds only one or two in the right or the left hand little finger keys. It is much simpler to notate the left hand fingering as the main fingering (not the little finger notes) and to add in the one or two extra keys. This enables the notation to remain relatively uncluttered: in Ex. 10a the ‘full’ notation is shown, while in Ex. 10b it is the simplified version.

Ex 10 Simplified notation13

Having the option of choosing an alternative foundation fingering opens up the possibility of being able to notate a multiphonic in different ways. This can be useful when writing passages in multiphonics as it can simplify the notation even further.

Ex. 11 Simplified notation

Notation Influenced by Design

Due to the design of the oboe there are some fingerings that require a different treatment. These may seem a little strange and possibly a bit illogical to the non-oboist.

The bottom Bb and B keys when depressed can have an effect upon the bottom C key. This is not standardized in oboe manufacture or across the systems. The notation system assumes that when the bottom Bb or B are used as a foundation fingering (i.e. with a diamond notehead) then the C key is also depressed (ex.12a), (in order to play a bottom Bb or B the oboist will often depress this key as a matter of course and so it is obvious in this notation system to maintain this convention).14 However when the Bb and B keys are employed as a modification of another fingering (not notated as diamond headed pitches) then the C key is not depressed (ex. 12b). This will save the notation of unnecessary information. When a Bb or B is a foundation fingering but the C key is not required then the modification should be shown with a hollow C (ex. 12c);

Ex 12 Bb and B notation issues15


Basic fingerings

holes

closed hole

quarter hole

half hole

open hole

side keys

C# trill key

D trill key

long F key

ex. 4

ex. 5

ex. 6

2

ex. 7

ex. 8

ex. 92

2

ex. 10

ex. 11

ex. 12

ex. 13


Basic fingerings

holes

closed hole

quarter hole

half hole

open hole

side keys

C# trill key

D trill key

long F key

ex. 4

ex. 5

ex. 6

2

ex. 7

ex. 8

ex. 92

2

ex. 10

ex. 11

ex. 12

ex. 13


Basic fingerings

holes

closed hole

quarter hole

half hole

open hole

side keys

C# trill key

D trill key

long F key

ex. 4

ex. 5

ex. 6

2

ex. 7

ex. 8

ex. 92

2

ex. 10

ex. 11

ex. 12

ex. 13

This multiphonic fingering (no. 333) is taken from Chenna and Salmi (1994). 13. Performers playing a great deal of contemporary music or multiphonics should ensure that the C key works 14.

independently of the B and Bb keys.These multiphonic fingerings (Nos. 6, 243, 16) are taken from Veale and Mahnkopf (1998) 15.

When the C# or Eb keys are indicated in conjunction with the Bb and B keys the C key cannot be used.

The Eb and G# fingerings, when used as foundation fingerings, also require special treatment. The Eb fingering automatically takes down D while G# (or Ab) automatically takes down G. However there will be occasions in multiphonic fingerings where the respective D or G key needs to be released. These should be notated as follows:

Ex. 13 and 14 Notation with released G16 and D17 keys

When the Eb key is used but the E key needs to be released a D# should be used as the foundation fingering.

Ex. 15 Eb key (D# key) with E key released18


Basic fingerings

holes

closed hole

quarter hole

half hole

open hole

side keys

C# trill key

D trill key

long F key

ex. 4

ex. 5

ex. 6

2

ex. 7

ex. 8

ex. 92

2

ex. 10

ex. 11

ex. 12

ex. 13


Basic fingerings

holes

closed hole

quarter hole

half hole

open hole

side keys

C# trill key

D trill key

long F key

ex. 4

ex. 5

ex. 6

2

ex. 7

ex. 8

ex. 92

2

ex. 10

ex. 11

ex. 12

ex. 13

2

ex. 14

ex. 15

ex. 16

1

ex. 17

ex. 18

ex. 19

1

2

ex. 20

1 2

3 1

5 1 2

1

5

ex. 21a

N

M

ex. 21b

N

M

ex. 22

3 3 3 3 3 3

ex. 23

3 3 3 3 3 3

N

ex. 24

M

4:3

5:4

3:2

4:3

3:2

2

This multiphonic fingering (no. 351) is taken from Chenna and Salmi (1994).16. This multiphonic fingering (no. 30) is taken from Veale and Mahnkopf (1998). 17. This multiphonic fingering (no. 220) is taken from Chenna and Salmi (1994).18. Passage taken from David Gorton’s 19. Errinerungsspiel for oboe and SoundSpotter and used by permission of

the composer. Passage taken from Diana Burrell’s 20. Vespers used by permission of United Music Publishers. London.

Mixing Multiphonic and Monophonic Pitches

Multiphonics are often used in conjunction with standard pitches. The following examples demonstrate how multiphonic fingerings are integrated with standard fingerings. In most situations what is intended should be obvious as there are usually clear visual differences. However if there is likely to be confusion, for example a single pitch is required but with an unusual fingering which then moves to a multiphonic there are two options available in order to maintain clarity. An ‘N’ (normal) can be placed above the single note fingering and if needed an ‘M’ (multiphonic) above the multiphonic fingering. (These could, if preferred, be added to the stem of the notes in question.) Alternatively, if a second staff is added to notate resultant pitches (see later) then this will bring all the clarity that is required.

Ex. 16 Moving from a normal pitch with an unusual fingering to a multiphonic19

Ex. 17 Mixing multiphonic and standard pitches20

(NB the numbers above the pitched notes refer to alternative fingerings, not octave keys)

2

ex. 14

ex. 15

ex. 16

1

ex. 17

ex. 18

ex. 19

1

2

ex. 20

1 2

3 1

5 1 2

1

5

ex. 21a

N

M

ex. 21b

N

M

ex. 22

3 3 3 3 3 3

ex. 23

3 3 3 3 3 3

N

ex. 24

M

4:3

5:4

3:2

4:3

3:2

2

2

ex. 14

ex. 15

ex. 16

1

ex. 17

ex. 18

ex. 19

1

2

ex. 20

1 2

3 1

5 1 2

1

5

ex. 21a

N

M

ex. 21b

N

M

ex. 22

3 3 3 3 3 3

ex. 23

3 3 3 3 3 3

N

ex. 24

M

4:3

5:4

3:2

4:3

3:2

2

Notating passages of multiphonics

On many occasions when writing passages with continuous multiphonics it will be possible, instead of writing out every single multiphonic fingering in its entirety, to notate only the changes that are needed. This is possible when the foundation fingering changes only occasionally. In such cases the foundation fingering includes a long beam (below the staff) indicating its duration while the more rapid changing fingerings are notated with beams above the fingerings. This is a contextual notation, where only the key changes from the preceding multiphonic are notated.21

This can be seen clearly in the following passage from Paul Archbold’s Fluxions. Written out fully the opening bars of the passage looks like this:

Ex. 18 Paul Archbold Fluxions - full notation22

The only foundation fingering given in this passage is the first multiphonic. The minor fingering changes being made in this passage mean that many of the fingers remain static with only one or two changing at a time. (Examples include cancelling the ‘long f’, opening of shut keys and closing of open keys.)

When making a reduction of this kind there is an important difference in the way the notation works. When multiphonics are fully written out, as in Ex. 18, each fingering cancels out the previous fingering. However, when the fingerings are reduced so that only changes are notated there is the need to cancel some keys. The obvious example from the above is the long F key use in ex. 19.Some longer multiphonic passages require major fingering changes such as the following passage from David Gorton’s Errinerungsspiel in which there is no effective way of simplifying the notation:

Ex. 20 David Gorton Errinerungsspiel 24

2

ex. 14

ex. 15

ex. 16

1

ex. 17

ex. 18

ex. 19

1

2

ex. 20

1 2

3 1

5 1 2

1

5

ex. 21a

N

M

ex. 21b

N

M

ex. 22

3 3 3 3 3 3

ex. 23

3 3 3 3 3 3

N

ex. 24

M

4:3

5:4

3:2

4:3

3:2

2

2

ex. 14

ex. 15

ex. 16

1

ex. 17

ex. 18

ex. 19

1

2

ex. 20

1 2

3 1

5 1 2

1

5

ex. 21a

N

M

ex. 21b

N

M

ex. 22

3 3 3 3 3 3

ex. 23

3 3 3 3 3 3

N

ex. 24

M

4:3

5:4

3:2

4:3

3:2

2

2

ex. 14

ex. 15

ex. 16

1

ex. 17

ex. 18

ex. 19

1

2

ex. 20

1 2

3 1

5 1 2

1

5

ex. 21a

N

M

ex. 21b

N

M

ex. 22

3 3 3 3 3 3

ex. 23

3 3 3 3 3 3

N

ex. 24

M

4:3

5:4

3:2

4:3

3:2

2

However this can be simplified in the following way:

Ex. 19 Paul Archbold Fluxions - simplified notation23

Such simplifications require an in-depth knowledge of the oboe’s keywork and as such are probably best left 21. to the performer to adapt as required.

Passage taken from Paul Archbold’s 22. Fluxions for oboe, small ensemble and electronics and used by permission of the composer.

ibid.23. Passage taken from David Gorton’s 24. Errinerungsspiel for oboe and SoundSpotter and used by permission of

the composer.

These should be notated fully and where simplifications can be found these should be done by the oboist. In such cases the composer’s job will be to copy correctly the fingerings in full.25

When writing out a succession of fully-notated fingerings there is no need to cancel out previous fingering as this is done automatically by the new fingering.

It is authors’ intention to publish a list of multiphonic fingerings cross referenced to the major multiphonic 25. fingering resources at www.21stcenturyoboe.com

No matter which of the notation systems is used it is essential that any and all information pertaining to the 26. fingerings should be available to the performer. Never separate the information between a full score and a performing part.

Passage taken from 27. Ausgangspunkte by Roger Redgate, used with permission of Lemoine, Paris.

Notating Pitch

For many composers it is essential that the pitch content of multiphonics is notated alongside the fingerings.26 As we have already stated the pitch content gives the oboist no indication of how to produce the sounds but it is a very useful guide when testing multiphonic fingerings and making sure that the notated fingering produces what the composer expects.

The ideal place to notate pitch content is on a second staff above the main fingering line rather in the way scordatura can be notated for string players. This can offer all the pitch information necessary as well as clarifying complex situations where the music alternates between standard pitches and multiphonics. In addition it leaves the main staff clear for the notation of the fingerings, which is what the oboist needs.

Ex. 21 Roger Redgate Ausgangspunkte 27

This example demonstrates movement from single pitches at the beginning of the bar to multiphonic pitches in the centre of the bar. The last section of the bar includes a multiphonic trill with single pitch interjections. This can be seen in the notation by the use of M and N. The upper staff not only demonstrates the sounding pitches but also helps to maintain clarity in what is a very complex passage. It can also be observed in the final part of the bar that in the fingering notation the single pitches are being fingered in unusual ways. This is in order to maintain the fluency of the trilled multiphonic.

Many of the manuals and books which contain multiphonic fingerings also include instructions as to what breath pressure and embouchure position should be used. These indications can be added above a multiphonic fingering in the usual way, although personal experience suggests that most of them are not really worth including as there can be so many variants in performer embouchures and reeds. Where significant and continuous changes are required an additional line can be included above the staff.

7:6

5:4

7:6

M M M M M M M

N N N N N N

7:65:4 7:6

Translating From Other Notation Systems

The most common form of notation for multiphonics has been adapted in a number of ways over the years. It is usually notated vertically above the staff. Versions of this have been used by many composers and by the leading manuals containing multiphonic fingerings. The six circles represent the six fingers on the front of the instrument (C, A, G, F#, E and D as can be seen on ex. 22)

Ex. 22

These can be translated into our notation in the following way:

Ex. 23

A half-hole or open key is translated:

Ex. 24

or

ex. 26

ex. 27

ex. 28

ex. 29

ex. 30

1

2

3

3

ex. 26

ex. 27

ex. 28

ex. 29

ex. 30

1

2

3

3

ex. 26

ex. 27

ex. 28

ex. 29

ex. 30

1

2

3

3

ex. 26

ex. 27

ex. 28

ex. 29

ex. 30

1

2

3

3

The F key (not the long F) is translated as follows:

Ex. 25

The various keys for the little fingers are represented by letters as follows:

Ex. 26

The octave keys can be represented in a number of ways. Either by numbers (as with ours) or with other symbols:

Ex. 27

It is therefore a very simple operation to translate from one system to the other.

The notation system discussed here can also be used for the other members of the oboe family, but remember that when using multiphonics on transposing instruments you do not necessarily get a straightforward transposition of the multiphonic even when the keywork remains the same.

The first works to employ this notation system were Paul Archbold’s Fluxions, Diana Burrell’s Vespers and Christopher Redgate’s Transcendental Etude No.3.

ex. 26

ex. 27

ex. 28

ex. 29

ex. 30

1

2

3

3

ex. 26

ex. 27

ex. 28

ex. 29

ex. 30

1

2

3

3

ex. 26

ex. 27

ex. 28

ex. 29

ex. 30

1

2

3

3

ex. 26

ex. 27

ex. 28

ex. 29

ex. 30

1

2

3

3

3

Eb

g#(g#)

F

BBb

CC# Eb

A Note on Thumb-Plate Instruments

There are a number of keywork systems available for performers but by far the most common is the Conservatoire System. All of the major lists of multiphonics were written by exponents of this system and it is the one that is shown in the photograph in this article. In the UK however, the Thumb-plate System is very common.

Many modern Thumb-plate instruments are actually a dual system combining both the Thumb-plate and Conservatoire mechanism. This means that there is no situation where the notation needs to be system specific. If however a Thumb-plate instrument is being used that does not have the dual system there is one situation where the performer needs to revise the notation (or at least be aware of the issue).

If a multiphonic uses the F# key but raises the G key or the G and A keys together then the thumb-plate should be released. The equivalent happens automatically on the dual system but not on these older instruments.

Other Applications for this Fingering Notation System

There are a number of other areas where this system of notation could be applied and, in addition, some compositional possibilities which arise from it.

Wherever there is a need to notate fingerings or where the fingerings need to be notated in an easily readable form, this notation can be applied. In particular the notation of rapid strings of microtones or colour fingerings could benefit greatly, especially when the second staff is employed to offer a ‘sounding’ guide.

Compositionally it offers the possibility, which was also inherent in Holliger’s original system, of offering a degree of aleatoric freedom by notating fingerings and leaving the exact results to the performer.

Bibliography

Burgess, G. and Haynes, B., The Oboe, (New Haven: Yale Musical Instrument Series, 2004).Chenna, A. and Salmi, M., Manuale Dell’Oboe Contemporaneo, (Milano: Rugginenti Editore, 1994).Veale, P. C.-S., Mahnkopf, The Techniques of Oboe Playing (Kassel: Bärenreiter-Verlag Karl Vötterle GmbH & Co., 1994).

Music

Archbold, Paul Fluxions Unpublished, 2009Burrell, Diana Vespers United Music Publishers, London 2010Gorton, David Errinerungsspiel Unpublished, 2008Holliger, Heinz, Studie über Mehrklänge (Study in Multiphonics) in Pro musica nova: Studien zum Spielen Neuer Music für Oboe Wiesbaden: Breitkopf & Härtel, 1980.Redgate, Christopher Transcendental Etude No.3 Unpublished, 2009Redgate, Roger Ausgangspunkte Lemoine, Paris 1982

notation of multiphonics christopher redgate and -

Documents