I can't hear your voiceover, so apologies if you have previously addressed the question .. is there any functional relationship between the notated pitches and the sounds produced? (ie: is the pitch class still relevant?) .. I take the notation to = E microtone flat, but what I hear is actually a composite of mostly inharmonic frequencies that are probably only meaningful to those of us with an extraordinarily well trained ear for pure frequency values - thus difficult to organise in a coherent compositional context for an 'unschooled' audience. If I was notating a piece using multiphonics I would tend to favour a 'Feldmanesque' H M L type of indeterminate notation .. perhaps more evolved if added complexity yielded a reliable and consistent result .. ie: a pitch and a symbol that indicates 'random multiphonic' .. would this work? Your video is an excellent resource, but I can't hear the voiceover .. this may be an issue with my device or your recording (FYI)
Hi John -- there isn't a voiceover (I've tried to just add the titles to cover anything worth knowing). The pitches that I include are more or less the ones that the clarinetist needs to know about, because they really help to find the ideal position for the embouchure/throat position to produce the sounds. I can definitely sympathise with what you're saying here -- there may be a better way to notate for the composer in terms of organisational material for the process of composition however in terms of practicality for playing I think this is the way to go!
I can't hear your voiceover, so apologies if you have previously addressed the question .. is there any functional relationship between the notated pitches and the sounds produced? (ie: is the pitch class still relevant?) .. I take the notation to = E microtone flat, but what I hear is actually a composite of mostly inharmonic frequencies that are probably only meaningful to those of us with an extraordinarily well trained ear for pure frequency values - thus difficult to organise in a coherent compositional context for an 'unschooled' audience. If I was notating a piece using multiphonics I would tend to favour a 'Feldmanesque' H M L type of indeterminate notation .. perhaps more evolved if added complexity yielded a reliable and consistent result .. ie: a pitch and a symbol that indicates 'random multiphonic' .. would this work? Your video is an excellent resource, but I can't hear the voiceover .. this may be an issue with my device or your recording (FYI)
Hi John -- there isn't a voiceover (I've tried to just add the titles to cover anything worth knowing). The pitches that I include are more or less the ones that the clarinetist needs to know about, because they really help to find the ideal position for the embouchure/throat position to produce the sounds. I can definitely sympathise with what you're saying here -- there may be a better way to notate for the composer in terms of organisational material for the process of composition however in terms of practicality for playing I think this is the way to go!