Rui C. Antunes
Explanation of Multiphonic Codes
e.g.: multiphonic G[5 9 4]
Each multiphonic is identified using a code, where the letter (e.g., G) refers to the string, and the numbers in brackets (e.g., [5 9 4]) indicate the partials included in the multiphonic.
Hence, the multiphonic G[5 9 4] refers to the multiphonic located on the G string, which includes partials 5, 9, and 4 of the G3. For each multiphonic, a score with the included partials is also provided, alongside their corresponding numbers
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Stability / Difficulty
Measured in a scale from A - E:
A = very stable
B = stable
C = somewhat stable
D = somewhat unstable
E = unstable
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These refer to the easiness of control of the multiphonics, directly linked to their stability.
The current classification was obtained by experimenting in 2 different violins and by averaging the obtained results / resulting classification.
It is emphasised that the classification is subjective and player/technique dependant. One observes, however, a natural tendency of some multiphonics to be transversally easy or difficult to play across different instruments
Bow Contact Points
(CP)
Measured in a scale from 1-6:
1 = at the bridge
3 = middle point beetween bridge and beginning of fingerboard
5 = very close to the beginning of the fingerboard
6 = on top of the beginning of the fingerboard
m.s.t. = contacts that are way beyond the beginning of the fingerboard
I use the relative system established by S. Fisher in his book "Warming up - Complete warm-up sequence for violin" (p.12) in the chapter about "Soundpoints practice". I use, however, the nomenclature "Contact Points" (CP). I also added a further point already on top of the fingerboard (nr. 6)
As the CP must, in most cases, be very precise in order to successfully obtain a full, partial-rich tone in multiphonic playing, I specify the exact location of the bow by notating the pitch that would sound if the string were fingered at that point.
e.g.: in the multiphonic 7, 13, 6 on the G-string - CP 6, the
precise location of the bow CP is on A5 1/2#
In some cases, because the CP is very close to the bridge it becomes hard to discern the pitch when trying to find a multiphonic. In such cases, I have opted to use the typical notation (notehead) for "as high as possible" ( ) together with the CP number, and what I called a Reverse CP, which is notated with the sounding pitch resulting from placing the left hand finger on the string and bowing on the opposite side of it (bow on the fingerboard side regarding the left hand)
e.g.: multiphonic 7, 13, 6 on the G-string - CP 2
General Note: Bowing close to the bridge will bring out more of the upper partials, while bowing close to or on the fingerboard will dampen mostly the upper partials. Bowing in the middle between bridge and the beggining of the fingerboard will normally bring the most balance between partials
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Bow Hair
1/2 Hair = bow sideways at 45º
Full Hair = vertical bow / full hair contact
When starting to bow a multiphonic with Full hair contact, it is important to note that it is substancially more diffcult to start in a Down-bow in comparison to starting in an Up-bow.
Bow Pressure
Measured in a scale from 1-5:
1 - Quasi flautando
5 - Almost Overpressure
(6 - Overpressure with no pitch content)
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There is always a minimum and maximum Bow Pressure (BP) value for each multiphonic.
Bow Speed
Notated in seconds
The number of seconds is measured for a whole bow
e.g.: multiphonic 7, 13, 6 on the G-string -
CP 2 requires a max. of 6 and a min.
of 3 sec. per bow
Regarding Bow Speed (BS), general conventions apply. This means that playing close bridge requires less BS and more BP, and playing close to and on the Fingerboard requires more BS and less BP.
This also applies to string thickness: on the lower strings one generally needs less BS and more BP, while in the upper, thinner strings the opposite relationship applies.
There is always a minimum and maximum BS value for each multiphonic, at which it it still can sound stable (also depends on the stability degree).
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