Multiphonics on the double bass

An investigation on the development and use of multiphonics on

the double bass in contemporary music

Håkon Thelin

2011

DEFINITIONS Page
Introduction to Multiphonics on the Double Bass 2
Left-Hand-Finger Positions 6
Bow 8
Pizzicato Multiphonics 18

MULTIPHONICS ILLUSTRATED
Semitonic Multiphonics 18
Quartertonic Multiphonics 21
Bow-Above-Finger Multiphonics 25
Pizzicato Multiphonics 27
Colourative Effects 28

Acknowledgements, literature and list of scores 38

Eivind Buene: Blacklight for two double basses

Charts of multiphonics

1
 DEFINITIONS

Introduction to Multiphonics on the Double Bass

Introduction
Multiphonics in wind instruments has been around for a while. Nowadays you often hear
saxophone players utilizing the technique in jazz and contemporary music. In brass
instruments the effect probably dates back even longer, and can be found in music even from
the classical period: here the musician sings along with the lip-controlled pitch, and thus
creates a quite audible series of difference tones. Woodwind players mostly use special
fingering in combination with very precise embouchure. In string instruments, multiphonics is
mainly a filtering technique, where the potential energy of certain partials of an (in most
cases) open-string fundamental is restrained by a left-hand finger pad lightly touching the
string. This favours the conditions for some of the remaining partials, separately or in narrow
clusters.

In this survey I will keep strictly to the research of clearly defined and reproducible multiphonic
sounds. The vast arrays of sounds that can be created with prepared instruments or
amplification are not subject to this scrutiny.

The article is presented in two main parts. In the first part called DEFINITIONS I explain the
left-hand finger positions that are used to play multiphonics, present new concepts of bow
placement and describe how to play pizzicato multiphonics. And I also suggest solutions on
how to notate the different multiphonics. The second chapter called MULTIPHONICS
ILLUSTRATED presents musical examples of multiphonics, from the basic use to complex
colourative effects.

What is multiphonics?
By carefully positioning the bow and a lightly touching finger on the string, the string spectrum
can be conditioned to provide narrow bands of pronounced energy. This leaves the
impression of multiple complex tones with the normal (Helmholtz) fundamental as the lowest
pitch. The phenomenon is seen to be caused by two additional signal loops, one on each side
of the finger, which through the repeating slip pattern get phase locked to the full loop of the
fundamental. Within the nominal period, however, the slip pulses will not be uniform like they
are during the production of a normal “harmonic“, but may vary considerably in shape, size,
and timing. For each string there are large numbers of bow/finger combinations that bear the
potential of producing such tones. There are also two classes, depending on whether the bow
(2.class), or the finger (1.class), is situated closest to the bridge. Touching the string with the
finger closest to the bridge, as in class-one, will somewhat emphasize the (Helmholtz)
fundamental, a particular audible effect of a narrow cluster that accumulates around the
loudest sounding partial. In the class-two of multiphonics the partials are (usually) more
spread out in the spectrum. Examples of the respective partial clusters are shown in figure 1
and 2.

2
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Fig. 1. A class-one multiphonics where a narrow cluster that accumulates around the loudest sounding
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Fig. 2. A class-two multiphonics where the partials are spread out in the spectrum. The figure is a copy
of figure 8 in Guettler and Thelinʼs article Bowed-string multiphonics analyzed by use of impulse
response and the Poisson summation formula. See this article for a precise description of the figure.

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The position of the bow on the string determines the tone that is muted in the sounding
spectrum, while the left-hand finger position determines which tones will be prominent in the
sound. Multiphonics is applicable to double bass and cello, while less practical on shorter-
stringed instruments.

Historical notes
The first comprehensive description of multiphonics is dated to 1995, when French bassist
Jean-Pierre Robert published his bilingual book Les modes de jeu de la contrebasse – un
dictionaire de son/Modes of playing the doublebass – a dictionary of sound in collaboration
with IRCAM (Institut de Recherche et Coordination Acoustique/Musique). This research,
23.456! 7/89! 0! -3011: which started in 1985, also made a noticeable impact on composers working in Paris and at
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IRCAM at the time. A similar description on the production of multiphonic sounds was later
found in the article A personal pedagogy (2000) by the American bassist Mark Dresser.
Dresser has been further exploring multiphonics, without being much influenced by the
European achievements, and his discoveries where presented in the article Double bass
multiphonics, published in the October 2009 issue of The Strad.
The composer Michael Liebman presented a detailed study on multiphonics on the
cello and double bass in a compilation consisting of his piece Movement of Repose and the
article New Sounds for cello and double bass, which were published in 2010. His study on
new sonic possibilities of string instruments began in 1998 and manifested itself quickly in the
compositions Movement of Repose (1998) for cello and Sonata for double-bass (2001), in
which the second movement Legato sonore shows multiple variations of the multiphonic
technique, as well as the articles Multiphonics Neue Moglichkeiten im Cellospiel (Das
Orchester 4/2001) and Multiphonics: new sounds for double bass (2001, unpublished).
Multiphonics played with the finger position between bow and bridge (bow-above-
finger multiphonics) was performed by Italian double bassist Fernando Grillo already during
the 1970s.

Fernando Grillo, apparently in action with multiphonics of the first class. Picture from
http://www.discogs.com/viewimages?artist=Fernando+Grillo

Stefano Scodanibbio was for a short period the student of Grillo and in his early works
e/statico (1980) and Joke from Sei Studi (1981/83) we find some of the first notated examples
of double bass multiphonics. Bertram Turetzky, author of The Contemporary Contrabass
(1989, rev.ed.) and one of the worldʼs foremost experts on 20th century double bass,
surprisingly doesnʼt mention the bow-above-finger multiphonics in his book but points out that
he knows of no music employing string multiphonics. Nevertheless, he says, they do exist
and, as with most other harmonic techniques, the contrabass is especially well suited to the
task (Turetzky, p.138). He continuo to shortly describe the production of ”some multiphonic”
sound by giving specific instructions of finger position, bow pressure and bow placement
(p.139).
It is unclear which piece was the first to directly employ multiphonic techniques other
than the bow-above-finger multiphonics. Prior to 1990, multiphonic sounds have in some
cases influenced composers to use the timbre and chords as generative sound material and
concrete analytical musical tools. In her work Io (1986-87), for ensemble with live electronics
and computer-generated tape, Kaija Saariaho draws harmonies from double bass
multiphonics, whose spectrum is played on tape and then orchestrated for the ensemble.
Saariaho also used cello multiphonics as generative source for harmonies in the earlier piece
Lichtbogen (1986) for small ensemble and live electronics. Composed in 1999, the piece Ciel
étoilé scored for percussion and double bass adopt several multiphonics that is obtained
directly from the research of Jean-Pierre Robert. In the solo double bass piece Thrust (1989,
rev. 1991), by Saariahoʼ fellow Finnish composer Kimmo Hakola, the whole last part marked
Rubato (Adagio) is dedicated to the exploration of multiphonic sounds. Hakola lived in Paris
and worked at IRCAM during the 1980s, and his use of multiphonics is directly influenced
from the work done by Robert and fellow musicians, composers and researchers in France at

4
the time. Thrust is the first piece I have found with semitonic multiphonics, and Hakola also
presents one of the most complex usages of the technique to this date!
Philippe Boivin uses quartertonic multiphonics in the fifth movement Spectral from his
work Cinq algorithmes pour contrebasse seule (1991). Boivin was a long time collaborator
with Jean-Pierre Robert, a working relationship that already manifested itself in the
remarkable piece Zab ou la passion selon st. Nectaire (1981). In 1996, the Argentine
composer Carlos Mastropietro wrote the piece En una cara for solo double bass where he
uses both semitonic and quartertonic multiphonics. Mastropietro learned about multiphonics
reading Fingerboards and overtones (1991) by Michael Bach, an artistically sketched book on
contemporary cello technique. He then conducted his own experiments on a double bass,
searching for ”a good technique for the left hand and the bow”. The result was an innovative
use of multiphonics, presented in his personal notation, chord analysis and definitions. The
piece gained some attention when it won the first prize at the 2000 International Society of
Bassists (ISB) Composers Competition in the USA. A big leap forward was done with the
research of Michael Liebman. This Russian pianist and composer, now living in Israel,
discovered in 1997 what he calls the new multiphonic technique for cello and bass, and
identify it as a similar sounding technique to that described by Bruno Bartolozzi in The new
sounds for woodwind (1967). Liebman conducted his research independently, without any
knowledge of the European and American advances. His thorough study introduces many
new concepts concerning definitions, notation and combinations with other techniques. The
second movement, Legato sonore, of his Sonata for double bass (2001) is an advanced
musical exploration of his discoveries. Many of my own descriptions of chord colorization and
combined techniques use expressions that are established by Liebman.

The way forward

In the material from Robert, Liebman and Dresser we find extensive information about the
physics, technical production and timbre variations of multiphonic sounds, together with chord
schemes (spectral analysis) that illustrate the most known multiphonic sounds. However, the
acoustical implications in terms of string waveforms, etc. was never touched upon by these
authors. And neither Robert nor Dresser has in their research any reference to multiphonics
used in written music. My main aim of this presentation is therefore to illustrate multiphonics
thru examples from composed works, were I will look at the practical use of the technique,
from the production of single chords to effects that determine chord coloration. Initially, I
compare previous research and suggest new definitions and suggestions for notation. And in
the article Bowed-string multiphonics analyzed by use of impulse response and the Poisson
summation formula, professor Knut Guettler presents his research into the acoustical realm
surrounding the production of multiphonic sounds. This article has been accepted for
publication (2011) in Journal of Acoustical Society of America.
Until recently, most research and use of multiphonics was done independently,
without any interaction and knowledge of the work of others. We see that experiments have
been done by a handful of composers and performers in Europe, Russia/Israel and America.
Still there is an insufficient knowledge of the technique, if not non-existent, among musicians.
Multiphonics on the double bass is a specialized technique, yet it carries a great potential for
creating new sonorities, expanding the timbre of the instrument, and forming new theoretical
and practical grounds for compositions. Since 2001 my own experiments with multiphonics
have inspired several composers to explore the technique as well as incorporating it into my
own music. So far, I have been involved in the creation of ten works where multiphonics have
been used. The rising number of works with multiphonics has given me the opportunity to get
experience with both composing and performing with the technique. And for the first time, I
present a review of how the technique has been used in more than a dozen works.
I end my survey with presentation of a double bass duo from the composer Eivind
Buene called Blacklight. This duo is originally part of the larger piece Into the Void (2008) for
wind orchestra (with double bass) and a soloist group of saxophone, accordion, double bass
and drums. In Blacklight he uses a combination of semitonic, quartertonic and bow-above-
finger multiphonics in a contemplative and calmly breathing piece. The duo is relatively easy
to play and is accessible also for intermediate students or players. It serves well as an
introduction to multiphonic techniques and sounds.

5
 Left Hand Finger Positions

Semitonic, Quartertonic and Artificial multiphonics

We can organize the second-class of multiphonics, where the bow is situated closer to the
bridge than the left hand, in three general groups of left-hand finger positions. Each group is
clearly defined through its own characteristics of sound and playability.

1. Semitonic multiphonics. Played with fingers in a natural chromatic scale related

position. Multiphonics is created by manipulating bow placement, bow pressure and
bow speed. This is the most common way of producing a multiphonic sound.
2. Quartertonic multiphonics. Played with quartertone finger position. Multiphonics is
either created on the corresponding harmonic, as with semitonic multiphonics, or by
the interference between neighbouring harmonics. Generally, light bow pressure and
fast bow speed is needed to create this type of multiphonics. Manipulations of left-
hand finger pressure can greatly enhance certain partials in the cord or make the
fundamental tone more present.
3. Artificial multiphonics. This type can be played both as a semitonic multiphonics
and as a quartertonic multiphonics. Semitonic artificial multiphonics can be produced
with the artificial harmonics of major seconds, minor and major thirds and augmented
fourths. Artificial multiphonics of major seconds, minor and major thirds are best
performed in the lower positions and they get gradually more difficult to control in the
higher positions (above the first thumb position). Artificial multiphonics of augmented
th th
fourths is best performed from the 4 or 5 position and upwards (because of the
stretching of the fingers). Quartertonic artificial multiphonics is produced with the
finger lightly touching the string at a distance of a fourth diminished of a quartertone
from the depressed thumb. The sound is then coloured by the interference of the
neighbouring harmonics/partials. Glissando is possible with artificial multiphonics.

Notation of finger positions for 2.class multiphonics (Semitonic, quartertonic and

artificial multiphonics)
Multiphonics is always notated with the harmonic diamond sign, in tablature notation
indicating finger positions rather than musical pitches. I suggest using the symbol M. above or
below the note to indicate that it is a multiphonic sound, together with the indication on which
string to play the note (in Roman numerals).

Fig. 1. Examples of semitonic multiphonics

Fig. 2. Examples of quartertonic multiphonics

6
Fig. 3. Examples of artificial multiphonics

Finger pressure
The realisation of certain multiphonics demands a specific left hand finger pressure
technique. Variation of finger pressure can in most cases create small changes in the
colourisation of the sound due to a suppression or reinforcement of certain overtones. Light
finger pressure gives a stronger presence of the fundamental sound, but at the same time it
becomes more difficult to keep a totally stable sustained chord. I suggest using the
abbreviation l.f.p. (light finger pressure) for specifically indicating a light finger pressure.

Fig.4. Notation of finger pressure

Bow-above-finger multiphonics
For the first-class of multiphonics, the finger is positioned close to the end of the fingerboard
or beyond the fingerboard, between bow and bridge. Bow-above-finger multiphonics has
generally greater dynamic potential than other multiphonics, but comes with more limited
possibilities of being combined with other playing techniques.

Notation of finger positions for first-class multiphonics (Bow-above-finger

multiphonics)
I recommend using a symbol created by Stefano Scodanibbio for notating bow-above-finger
multiphonics (see fig. 5).

Fig.5. Symbol for notating bow-above-finger multiphonics

This symbol can either indicate a random finger position as shown in fig. 6, or a precise finger
position as shown in fig. 7 and 8.

Fig. 6. Stefano Scodanibbio: e/statico

7
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A general area can for example be marked with Molto tasto while the specific point of contact
can be marked as 19 cm. In cases where a chord can be performed in adjacent ”areas”, e.g.
pont. and ord./pont., bow position is marked as pont. – o/p.

The double bass has no standard size. And string length and length of fingerboard vary
greatly between different instruments although string manufacturers consider a length of 106
cm to be standard. The areas and positions indicated in Liebmanʼs table doesnʼt exactly
match all instruments, and he asks for the player to be aware that minor position corrections
may be required for each individual instrument.

Central harmonic nodes

In my attempt to make more precise definitions of bow placement I followed Liebmanʼs chart
of multiphonics, writing down the exact harmonic node where the bow is placed within the
th th nd th
given areas. I ended up defining the 9 , 11 (22 in the fifth octave) and 13 partial as
central harmonic nodes on where to place the bow.

The bow position for the creation of semitonic and quartertonic multiphonics will now be
given according to a central harmonic node, which is similar on all instruments. The resulting
new chart shows precisely where the bow should be theoretically placed on the string. Once
tried and practised, it also gives a more precise visual image of where to place the bow. It is
seldom necessary to place the bow at any exact given harmonic node, but usually it is
enough to be ”within the area” of the node. For reasons unclear, some multiphonics require a
th
more precise placement of the bow than others. Further, the areas (1-2 cm) around the 13
th
and 11 harmonic nodes on both sides of the fourth octave, can be found to be the most
flexible and available bow positions for producing multiphonics.

8
Fig.2. Chart by Håkon Thelin and Knut Guettler. Natural harmonics to be used for bow positions in
multiphonics. Notice that all harmonics can be found at several places along the string. Vertical arrows
indicate which node to use, starting with no arrow at the uppermost node. At the bottom of the plot,
Liebmanʼs bow positions are included for comparison. Even though the harmonicsʼ positions in this
figure are marked on single strings only―for reasons of clarity―they can of course be used on every
string. The figure is based on 106 cm string length and can be scaled up to fit over the strings.

thelin-harmonics
Fig. 3. Chart by Håkon Thelin that show the harmonic nodes bow position for semitonic and quartertonic
multiphonics on all the strings. Notice that the vertical arrows indicate which node to use, starting with

!
no arrow at the uppermost node.

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9
Bow Resistance
In his article on Double bass multiphonics (The Strad, October 2009) Mark Dresser defines
bow resistance as a combination of pressure (bow force) and bow speed. It is difficult to
define any general behaviour of bow resistance, each multiphonics require a specific
combination of pressure and speed which can only be learned by experience. Michael
Liebman (Movement of Repose, New sounds for cello and double bass, 2010, page 30) uses
four general designations for bow pressure, from ”light pressure” to ”drilling pressure” (very
strong bow pressure). In multiphonics the pressure is not always in direct correlation to the
dynamics, and the notion is more accurate for portraying the character of playing chords. In
some cases, Liebman also make use of the designations ”slow bow” and ”quick bow” to
describe the bowing speed. With multiphonics, as with normal (Helmholtz) tones, the volume
of sound is, in most cases, proportional to bow speed. In my new chart of multiphonics I mark
bow resistance only in special cases, where it is absolutely decisive for the production of the
multiphonics. I suggest using Liebmanʼs designations for pressure and speed, with a reduced
category of pressure and with capital letters for easier reading:

Fig.4: Chart by Håkon Thelin on bow resistance

Pressure: Speed:

Light pressure - L.pr Slow bow

Normal pressure - N.pr. Quick bow
Heavy pressure - H.pr.

In an email conversation on bow angle which I had with the American double bass player
Mark Dresser, Dresser describes another multiphonic effect which is obtained by drawing the
bow at a diagonal angle: ”with the tip downwards and the bow placed at the lower third of the
string so the angle is transversing several nodes consistently. With some pressure, and
speed, one can get a warbling phasing multiphonic effect, creating a loop of several partials
phasing. Sounds like a turkey 'gobbling' or a kind of yodeling effect”.

Notation systems for the bow

The notation of the left-hand position causes no problem, as a normal note with a diamond or
rectangular head will do nicely, and is readily understood by the musician. The position of the
bow is somewhat harder to indicate in a concise manner, as the sign should be small and
placed either below or above the fingered note. Liebman suggests two ways of indicating the
bowʼs position: (1) a series of Italian expressions ranging from “molto tasto” to “molto
ponticello”. These ranges are predefined with approximate distances from the bridge. (2) By
describing the distance from the bridge in centimetres.

10
 II
Ex. 5a. Example of notation by Liebman (from “Legato Sonore”). By playing the lower stave with the bow
Performance Time - 8'

Legato Sonore
placed in proper distance from the bridge; the harmonics (multiphonics) shown in the upper two staves

./ ,-
will be dominant.

7'' 8-10''

& & !& & 3& 2 32 3

! '(& ) * &
' &&
&
&& &&
1 ' &&
(multipfonics)

" * & & &

% & % )%
sul E
* $$ sul A *
$$$$$$$$ m.t.
0&
n. pr. t-m.t. t-m.t.

+ &0 +&
18.5-19 cm. 17.5-18.5 cm.

*&
17.5-18.5 cm.

# *

However, in this area of the string, the (accomplished) player will be more familiar with the
positions of the highest harmonics (flageolet tones), and should without A too much of a
&2 &2 string &lengths and &
(! ' &&& ) the& upper-case
& 2 In example 5b, I suggest a &notation for bow position, where ( 333 )
problem be able to place the bow there, regardless of non-standardised
! other trivialities. &
' && 22 & & && 3 ' &&
letters determine the choice of string, the number gives the harmonic, and the arrow indicates
which harmonic node to use, starting with no arrow at the highest node. (See & Figure 3.) 3
" 4 4 6
2 & & & 3 &
% notation oftasto
Ex. 5b. Alternative
%
bow position and string choice based on natural harmonics: E13! and
m.t.
A11! mean bow positions of the 13th and 11th harmonics, second node, on the E and A string,
t-m.t.
18.5 cm. 15 cm. 20.5 cm.
respectively. See Figure 1 for explanation.

+5 2 & 2
17.5-18.5 cm.

30
(vertical vibr.) move back l. pr. (v. vibr.)
&2 !5 & 52 &2 &
(sul A)
& 3 &
#

! 2 8
! ( ' 333 22 ) '3 2 ( 7 && 22 ) 3
! &&&
3
(7 3 )
3 3
3
3
3
3 3 3
3
3 &
3 3
3 3 3 3 *
32 &
' && 22 33 33 33 33 33 33
one of these

32 flageolets
&
" * 3 9 9 9 9 4 3 3 *
will result

32 &2 & 3 3 3 3 3 3
% % %
sul E sul A sul E %
% % % % %
17.5-18.5 cm.
More examples of this notation are seenm.t. in18.5-19
the following
cm. figures. In example19.5 5c cm.
there 18.5-19
are cm.

+3 2 ! +3 2 8& 7 &0 ! +3 3 30 3
l. pr. n.
several different bow l. pr.to n.
pr. positions pr.
choose from, n. pr.the
l. pr. and l. pr. n. pr.is free
player (sempre)
to select from these. In
3 33 3 5 & 33 3 3
#
example 5d, the bow moves from the position 13! to the slightly lower position 11!, to enable

*
multiphonics on adjacent strings to be played together.

1* The sharp applies to the whole line

The note is not the sound result, but the place on the fingerboard

*)distance from low side of the bow's hair to the bridge

-12-

11
Ex. 5c. Glasperlenspiel, Håkon Thelin

Fig. 5d. Glasperlenspiel, Håkon Thelin

Bow position for bow-above-finger multiphonics

I find the best bow position for bow-above-finger multiphonics to be around a fourth or a fifth
above the fingered note. Finger glissando is possible with the bow-above-finger multiphonics
and the bow must be moved in proportion to the left hand. I didnʼt find it necessary to
introduce any specific notational systems for the bow-above-finger multiphonics.
th th
Bow position for multiphonics on the 4 -7 natural harmonics on each string
The bow position for bow-above-finger multiphonics applies also for ordinary semitonic
rd th th
multiphonics played at the major 3 , 5 and minor 7 partial of the third octave, as well as the
fourth octave; these special cases are best played with the bow about a fourth or a fifth below
the fingered note.

Bow position for artificial multiphonics

Defining bow placement for artificial multiphonics proved to be a major challenge. The
experiments told me that each finger position demanded a bow position in equal proportion to
the left-hand. For each half step (semitone) the position of the artificial multiphonics moves
upwards the string, the bow should similarly rise to the next harmonic node. The bow position
is measured in semitones from the fingered harmonic tone, and two different distances, of 22
and 29 semitones, can be used. With these distances as a starting point, the bow can also in
theory be moved to other octave positions, but the practical use limits the positions to 34 and
41 semitones, an octave higher, when playing certain artificial multiphonics. Two different
combinations of speed and pressure are also used, either normal pressure and normal speed
(N.pr.) or high pressure (H.pr.) and slow speed (Slow bow).

12
Fig. 6. Bow positions for semitonic artificial multiphonics on the E-string. Harmonic partial indicate the
sounding harmonic partial, bow node position indicate on which harmonic node to place the bow on the
string, notation indicate the score notation for the bow, and fingering indicate the score notation for the
left-hand. A general mark on the playability is included below the staffs. The finger positions for artificial
multiphonics are major second, minor and major third, and augmented fourth.

13
14
15
16
Example of score notation of artificial multiphonics
An example of notation, taken from the piece Glasperlenspiel, is shown in example 7. The
th
bow is placed on the 10 harmonic partial and moved in parallel glissando with the left hand
when the artificial multiphonics slides up two semitones.

Ex. 7. Glasperlenspiel, Håkon Thelin

17
 Pizzicato multiphonics
rd th
Pizzicato multiphonics are easy to produce, and are most effective and clear from the 3 -8
partial. Place the left hand finger over the harmonic with very light pressure and pluck
energetically close to the bridge. As the string is plucked release the left hand finger from the
string. This is also possible with right hand finger pizzicato technique. Place the right hand
thumb lightly over, or on the side of, the harmonic and pluck energetically with index finger.
Release the thumb from the string as the string is plucked. This technique was first shown to
me by the Finnish bassist and composer Teppo Hauta-aho, and the first written description is
by Mark Dresser in the article Double bass multiphonics (The Strad, October 2009).

Notation of pizzicato multiphonics

I suggest using the symbol M. above or below the harmonic to indicate that it is a multiphonic
sound, together with the indication on which string to play the note (in Roman numerals). In
example 1, the multiphonics is played with the right hand finger pizzicato technique.

Example 1. Håkon Thelin: Glasperlenspiel

MULTIPHONICS ILLUSTRATED

Semitonic Multiphonics

Multiphonic sounds are most commonly produced with the semitonic finger positions, which
also provide the basis for the most comprehensive timbral variation and combinatory use with
other techniques. In Kimmo Hakolaʼs Thrust from 1989 (rev. 1991) we find some of the first
examples of semitonic multiphonics:

Example 1: Thrust

Ex. 1. Kimmo Hakola: Thrust, page 6, Rubato (Adagio)

18
 Examples
The finger positions of the multiphonics are notated on the bottom stave while the resulting H. Thelin
sounds are notated arcoin parenthesis on the top stave. In example, 1 all multiphonics are played
sim. M. note

& 42 b ˙
molto s.p.
airHakola uses an ”M”
" Œ
in the first1octaves.p.on the G-string (marked
s.p. with number ”I”). pocoon s.t. the
stem for marking the multiphonics, which works well within the frame of the piece. ?
˙
III
l¥
There are
Contrabass
! p
no markings for bow placement and bow resistance in the beginning of the line, but it is to be

F
assumed that the bow should be in an ordinary position from the beginning. From the middle
of the line the bow moves gradually to sul ponticello (SP) and the three last multiphonic
sounds are played with the bow poco sul ponticello. This suggests that Hakola either

? j
¥ ‰ Œ
5 Graduallythat
change left hand pressure, going inmultiphonic
and out of multiphonic andorfundamental
indicates a bowing position works well for these sounds, that he sounds
will

¥ ¥ ¥
enhance certain overtones by moving the bow closer to the bridge.
¥
Example 2: Foxfire Zwei Ø #
In my own transcription of Foxfire Zwei (1993/2007) by Helmut Oehring (originally written for
bass clarinet), I mark the multiphonics with the ”M” above or below the note head or stem,

U¥
M. with
and the designated string numbers
gradually(I-IV).
betweenExample 2 harmonic
shows multiphonics
and air sounds on the third
#¥ ¥ ¥ ¥
Change multiphonic,

? Œ ‰.
string. II
10 This particular multiphonics is very easy to produce, and I have not indicated bow

R
placement, bow resistance and sounding tones. My suggestion for bow placement is above

p
th th th

#
the fourth octave, around the 9 , 11 or 13 central harmonic node.

Ex. 2. Helmut Oehring: Foxfire Zwei (arr. Håkon Thelin)

U
M.

? #· · · ·
15 III As even multiphonics as possible

&

Rubato3:espressivo
Example oibbinadocS
q = ± 54
U
Generally, I use a simple notation similar the one used in example 2. As seen in examples 3a

¥ ¥ ¥ ¥¥
and 3b, Ifrom oibbinadocS – the first piece in which I used multiphonics, I didnʼt find it
II of the bow, as the multiphonics is easy to play.
necessary to notate the placement

Ex. 3a. #Håkon

¥ Thelin: oibbinadocS
¥
¥œ
3 3 3

œ ¥ #œ ¥ #œ ¥ #œ
19

& ¥ #œ œ. bœ ¥bœ ¥.
3

#œ œ #¥.
p F P If
II I
II I

U
¥ ¥¥
b ¥ ¥ ¥j # ¥¥ , # ¥ ¥
III

¥
I II

· · ¥ œ
3

. ¥ .
I

# œ ?
# œ¥ œ¥ œ¥ Œ ¥# ¥ # ¥
b
23 3

& #œ #œ #œ
III

#œ
3

¥ ¥ J ¥ IIF
Ex. 3b. Håkon
II I ¥ ¥
Thelin: oibbinadocS
III p II
3 p
U
IV III IV

‰¥ ¥j œ ¥ ¥ ¥ œ ¥ ( # ¥>) ¥ II b ¥ 3 j ‰¥ ¥j ¥
I I II
III II I I

? (# ¥ ) ¥ ¥ $$ ¥ œ¥¥
II

#¥ & ¥ ¥ b œ¥ œ œ¥ # œ¥¥ ¥ b œ #¥
29 s.p.| N s.p.| N

œ œ . 3 3 II #¥
> œ œ.
ß III f p > F
IV III

ß
III
I

19
Example 4: Thrust
Going back to Thrust, the next two examples show semitonic multiphonics on strings I-III and
in the first and second octave.

Ex. 4a. Kimmo Hakola: Thrust, page 6, Rubato (Adagio)

Ex. 4b. Kimmo Hakola: Thrust, page 7, Rubato (Adagio)

Examples 5-7: Glasperlenspiel

Semitonic multiphonics with markings for bow placement is shown in example 5 through 7.
In example 5 there are multiple possible bow positions to choose from, and the markings can
be viewed as guide to the ʻareaʼ in which to place to bow. I found it convenient to only suggest
the bow positions, since the context of the sound allows for slight transformations of timbre
and dynamics.

Ex. 5. Håkon Thelin: Glasperlenspiel

Examples 6 and 7 display situations where a specific bow position is preferred for the
production of multiphonics. The transformation from an open string to multiphonics signifies
the first situation. The finger gradually touches the string above the E-flat harmonic, which
helps defining the multiphonic sound more easily. A precise bow position is marked, and the
bow can be moved towards this position during the transformation of the sound. A precisely

20
positioned bow will help the final establishment of a stable sound, which gradually fades
through a slow decrescendo.

Ex. 6. Håkon Thelin: Glasperlenspiel

In example 7 the bow moves from the position B13! on the E-string to the slightly lower
position B11!, to enable multiphonics on both the A and E-string to be played together. The
cluster sound of the two chords is particularly difficult to control, as the distribution of bow
pressure between the two strings, as well as the bow speed, must be practised to find the
optimal combination for a balanced sound.

Ex. 7. Håkon Thelin: Glasperlenspiel

Quartertonic Multiphonics

Example 1-3: Spectral

The French composer Philippe Boivin uses quartertonic multiphonics in the fifth movement
Spectral of his piece Cinq algorithmes pour contrebasse seule (1991). A bowing technique
described as “spectral phase difference” by Jean-Pierre Robert (Modes of playing the
doublebass, 1995, 42) is employed throughout the movement. This technique gives the
impression of hearing two consecutive attacks for each bow shift in a rapid flautando
movement, thus reinforcing the harmonic spectrum of the open strings. The multiphonics is
meant to expand the harmonic spectrum, creating even richer overtone sounds.

21
Ex. 1. Philippe Boivin: Spectral, bar 10-17

Ex. 2. Philippe Boivin: From the performance instructions to Cinq algorithmes pour contrebasse seule

Generally, a fast bow and light finger pressure will help to produce the wanted effects. The
strings are all tuned to D during a short and improvised prelude, and Boivin stresses the
importance of the playerʼs voice in bringing out clear harmonics in the colouring of the vocals
which blend in with the instrumentʼs sounds.

22
 Ÿ~~~~~~~~~
¥ ¥ ¥ ¥ # œ
¥ # ¥ ¥ ¥ # œ n ¥ III#II¥ .
I II I
II M.
œ
III III II I

# ¥ ¥
III II I

œ œ ¥ bar 35-36 ¥
II I

œ#œ ?
¥ ¥ # ¥ # ¥ # œ¥(œ ) œ¥
3
Ex. 3. Philippe Boivin: Spectral,

II 3
6 3

! &

¥ ¥ ¥ #¥ ¥ n ¥ #œ ¥
3

#¥ bœ œ ¥ ¥ œ #often
¥ played
¥ æ # ¥ in# ¥combination
#¥
æ third string is tuned in octaves, thus
The multiphonic sounds are with ordinary harmonics or

p
multiphonics on adjacent strings. The second and
III IV reinforcing the tonal harmonic spectrum.
III TheII sound is very open and free, assisted by the
5
resonance of the open strings.
5

Ÿ~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~
¥ (¥ ) ¥ ¥ Playing
¥ Insimultaneously
N. Example 4: oibbinadocS

#¥ ¥ ¥ string¥ is played
# ¥ ¥in combination ¥
¥¥harmonic ,
( ) ¥ a quartertonic
¥ ¥
M. on adjacent strings can dramatically transform the multiphonic

¥ #¥
inæ the similar æexamples from semitonic multiphonics; a stable chord
sounds. my own composition oibbinadocS (2004), multiphonics on the A-

much the sameJ as

‰ # ¥
with a natural trill on the D-string. The effect is very

#
M. coloured by the interweaving roll of overtones.
III
M.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ex. 4. Håkon Thelin: oibbinadocS

,
#¥ ¥ # Â ¥¥ ( #¥ ) ¥¥ ¥¥ ¥¥
II

III
M.

The technical challenge in this particular example is to keep the first finger steady on the

!
precise point of the multiphonics on the string while the second and fourth finger do a fast trill

& and the harmonics in the trill

on the higher string (this involves a rather big stretch for the fingers). At the same time, the
bow must be positioned in a way that both the multiphonics
speak out clearly. This demands a bow position close to the bridge, and the position that

U
th
works best, in my experience, is around the 18 harmonic partial.

j‰ ¥ ¥ ¥ ¥ ¥¥ ¥ ¥ ¥
¥ œ œ œ œ œ # ¥ ¥ ¥ œ¥. ¥ bœ¥ ¥ bœ # ¥ ¥ ¥ ¥ # ¥
II II
III
Example 5: Foxfire Zwei

œ ? as the quartertonic multiphonics, which is, however, not included in the chart. The
¥¥ ¥¥ ¥¥¥
In the transcription of Foxfire Zwei (1993/2007), I used a multiphonics that has similar sound

finger is positioned close to the nut&and the indicated bow position is poco sul tasto, a lower
qualities

P o
ƒ
position
II than for most quartertonic multiphonics. An
III airy oscillation between adjacent

P
3
I
harmonics 3 and the fundamental is the wanted effect, aided by the gradual change of left hand
pressure. The bow position (poco sul tasto) brings out a deep, rumbling fundamental sound
on top of which the high harmonics can mingle.

23
 Examples
Ex. 5. Helmut Oehring: Foxfire Zwei (arr. Håkon Thelin)
arco
poco s.t. M.
sim.

2
molto s.p.
air
" Œ
s.p. s.p.
?
& 4 b˙ ˙
III

l¥
F ! p
? j ‰ Œ
Gradually change left hand pressure, going in and out of multiphonic and fundamental sounds

¥ ¥ ¥ ¥ ¥
Ø #
Performance Time - 8'
II
Legato Sonore UHakolaʼs Thrust
Example 6: Thrust M. Change gradually between multiphonic, harmonic and air sounds

? Œ m‹ ‰ .
A similar multiphonics II #¥ ¥ ¥ ¥ ¥

R
to the one displayed in example 5 appears in Kimmo
(1989), where the finger position is very close to the nut (slightly above the open string). Here

# the expression p
again the effect7''is an oscillation 8-10'' between adjacent harmonics and the fundamental. Contrary
to the previous ¡example, ¡ [¡
here is strong, ¡ wild, with an
almost ¢  mingle
¢¡  intense ¢ of
¡ Ž ¡ ¡
 ¡
¡ ¡
¡ ¡¡
U̇
high andM. low frequencies. I would suggest the bow position(s) to remain between ordinario

? #˙ ˙ ˙
As even multiphonics as possible
and molto ponticello.
¡¡
III sul (multipfonics)
" Ž
Thrust, page¡ 8, rubato [andante] ¡ ¡
— ¡ —
Ex. 6. Kimmo Hakola:
—
sul E
* __ sul A
________*
u¡
n. pr. t-m.t. m.t. t-m.t.
u v¡
U¡
Rubato espressivo
v¡
18.5-19 cm. 17.5-18.5 cm.
17.5-18.5 cm.
q = ± 54
%* Ž ¥II
¥ ¥ ¥
I

#¥ ¥ ¥
¥œ
3 3 3

& ¥ #œ œ. bœ ¥b œ ¥. œ ¥ #œ ¥ #œ ¥ #œ
3

#œ œ #¥.
p F P If
II I
II I A
¡ ¡ ¡ ¡
U
¡ ¡ [  ¡¡¡ ¡ ¢¢¢ ¡

¥ ¢¥ ¥
 ¡¡  ¡ ¡ ¡¡ ¢  ¡¡

j ¥ ,
# ¥ ¡ # ¥ ¢ ¥ ¡?
III

¥z bbœ¥ œ¥ ¥
I II
III ¡

& # ¥® œ# ¥ œ . ¥—#¡œ ¥ ® œ ¥.
3
I

# œ
3

œ ¥ ¥ ¥
"
# œ # ¥
3
¡
¥tasto Œ # ¥J —# ¥t-m.t.II
¥ ¥ ¥17.5-18.5
m.t.

p F p Sonata for
Example 7: Sonata for double
18.5 cm. 15 cm. bass 20.5 cm.
II I II

vp  ¡(2001).
cm.
u
Only a few
(vertical instances
vibr.) III of quartertonic
move back multiphonics l. pr. appear in
3 Michael
(v. vibr.) Liebmanʼs
 ¡ [ p a single ¡ flageolet ¢ in a quartertone
p  ¡  finger ¡ ¡
Ua very
IV III IV

¡ ¢
double bass Liebman uses the technique (sul A)
of gradual transformation as an input to the

light%bow pressure > j ¥7b.the

multiphonic sound; coming from position, with

‰ j ¥ ¥ ¥ ( # ¥ ) These j ‰
I II

flageolet sound into a¥chordœ effect.

II I I the gradually I

¥a flageoletb ¥ into¥ a ¥chord $ b œ¥ œ¥happens¥ towards¥ # ¥ the

III (L.pr.), intensified3 pressure (N.pr.) carefully transform

? 7b,¥ the ¥ transformation

œ ( # ¥from $effect
II

b œ # ¥
II

#¥ ¥ ¥ ¥ œ œ ¥ œ¥ ¥ ¥
s.p.| N occurrences are shown in examples 7a and In s.p.| N

&
œ of theœsystem . # ¥
example )

> œ œ . III
middle (the accidentals applying to the whole system).
ß f p >
3

F
II
IV 3

ß
III III
Ex. 7a. Michael Liebman: Legato Sonore, page 1, third system
7
I

[  ¢¢   O¡ [ ¡¡¡ O¢ ¢ ¢ ¢ ¢ ¢
¢ ¢  ¡ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¡ ¢ ¢ ¢ ¢ Ž
¢ ¡
 ¡¡  ¢¢ ¢¢ ¢¢ ¢¢ ¢¢ ¢¢
one of these

¢ flageolets
¡
" Ž ¢     ® ¢ ¢ Ž
will result

¢ ¡ ¡ ¢ ¢ ¢ ¢ ¢ ¢
— — —
sul E sul A sul E — — — — — —
17.5-18.5 cm. m.t.18.5-19 cm. 19.5 cm. 18.5-19 cm.

v [ v¢  7¡ O ¡u [ v¢ ¢ ¢u ¢
l. pr. n. pr. l. pr. n. pr. l. pr. n. pr. l. pr. n. pr. (sempre)

% ¢ ¢ ¢¢ ¢ p ¡ ¢¢ ¢ ¢
Ž
* The note is not the sound result, but the place on the fingerboard
The sharp applies to the whole line

* distance from low side of the bow's hair to the bridge 24

-12-
Ex. 7b. Michael Liebman: Legato Sonore, page 3, first system
7 
D¡  ®
¡¡  O ¡®  ¡¡ [¡ [  ¡¡¡¡ [¡ [ ¡¡  [ ¡  ¡¡¡  ¡¡®¡  O ¡ ¢  ¢ ¡¡¡¡   Ž ¢ Ž ¡
¡
¡
¡
¡ ¡  ¡¡  Ž ® ¡¡ ¡ ¡  
7 
¡ ¡¡  ¡ ¡ ¡
" ® ® Ž ®
¡ ¡ ¡ ¡ ¡ ¡ ¡
— —
pont., pont.-p./o.

7
t.-m.t. 4-5 cm. 5.5 -7 cm.
n. pr.

16.5-18.5 cm. l. pr. l. pr. n. pr. l. pr.

¡  sul A
% v¡  Ž ® ¡
lightest
possible touch n. pr.
lightest
sul D D

D ¡ ¡  Ž D ¡ ¡¡ ® ¡  ¢  [¢  ¡ Ž¢ Ž¡
possible touch
D

¡® ¡
D A A

® ¡  ¡

D
[ v¡¡ ¢¢u  [ v¢ 
3

¢¢
¡¡  ¡
 O ¢¢ ¢ Ž O¡
¡ ¢¢¢ ¡¡¡  Bow-above-finger ¢ 
¢¢ multiphonics ¢¢ 

[ ¡¡ ¡¡  ¡¡ ¡¡¡  ¡¡ ¡ 
¢ ¡ ¢ ¡  ¢ ¢  ¡
¡  ¡
¡  ¡¡ ¡ 
Ž Ž
¢¢ ¢¢ ¡  ¡¡  ¡Ž ¡ ¡¡ 
"
Bow-above-finger 3
multiphonics generally more easy to play ¢ than class-two ¡  type ¡ 
multiphonics, ¡
¢ Ž
¡ ¢ ¡ variations¡ in sonority. ¢Since ¢  ¡ ¡ ¡
but doesnʼt¢ offer as
Ž
many  most
— the fingerboard ¢of the
Ž ¡
multiphonics ¡
are
Ž ¡
produced
with the finger—is positioned close to the end of or—beyond the fingerboard, —
between bow and bridge, they require some preparation
sul E G
time unless being used in phrases
sul D sul A sul E
sul D sul Asulsul
E A sul E sul G sul D
where the left-hand is already playing high up on the strings. It is possible to play relatively
¡ ¡
16.5-17.5 cm.

% ¢ ¢
p.-p./o. 5-6 cm. (ad lib. v. vibr.)

®¢ ¡ ¢ ¡  Ž ¡ Ž ¡
loud and violent3with bow-above-finger multiphonics, but also extremely soft with a smooth,
% ¢ ¡ Ž
¡ ¡
even sound.
Ž ¢ Ž
Example 1: e/statico
Stefano Scodanibbio composed e/statico in 1980 as one of his first pieces for the double
bass. The piece investigates isolated sonorities, in which various sound shapes, usually
separated by pauses, seem to be juxtaposed without any meditation. In example 1, the finger
one of these
is places somewhere beyond E
flageolets the end of the fingerboard on the D-string, between bow and

¢¢ sound ¢¢lives its own

¢¢ short ¢¢life during
¢ the ¢two bow¢ strokes
¢ that are
will result
bridge, and the multiphonic
 ¡¡  ¢¢ ¢ O ¢ ¢¢ ¢ ¢ ¢¢ ¢ ¢ ¢¢ ¢ ¢  ¢¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¡¡ `
indicated.   ¢ ¢
¢ ¢
¢ ¢
¢ 
¢ ¢ ¢ ¢ Ž
 ¡¡  ¢¢ ¢¢ ¢¢ ¢¢ ¡¡
" ¡
Ex. 1. Stefano Scodanibbio: e/statico
Ž Ž Ž Ž Ž Ž Ž Ž
¡ º ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¡
—
— sul D sul E sul D sul G

Ž`
pont.
5 -5.5 cm. Gliss. Grasp Gliss. ord.

% ¡ " % ¢ ¢ ¢ ¢ ¢ ¢ ¢ ¢
by two fingers
¡ 
ºP  P P P P ¢ ¢  ¢ ¢  ¢ ¢  ¢ ¢ 

-14-

25
 ! &
Examples
¥¥ ¥arco# ¥ ¥ n ¥ # œ ¥
| N

¥
3

¥
# ¥ b œExample ¥ œ # ¥ ¥ æ# ¥ # ¥ # ¥
œ œ 2: Joke molto s.p. sim.
æ M.
2
air first movement from hispoco
Sei s.t. III
" Œ
s.p. s.p.
II swift glissando of bow- ?
&54 b ˙ multiphonics, performed on˙5strings one and two.p
A loud, ʻnoiseʼ-like gesture surprise us in Scodanibbioʼs Joke, the

l¥
II III IV Studi (1981-83). The double bass really screams through this
III rather

F ! p
above-finger

: s.p. Ÿ~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~

~~~~~~~ ¥ (¥ ) ¥? Gradually
Ex. 2. Stefano Scodanibbio: Joke, from Sei Studi

¥ change¥ left hand

N.

¥ #¥ ¥ ¥ ¥ #¥ ¥ ¥ (¥) ¥¥ , j ‰
¥ ¥
M. pressure, going in and out of multiphonic

¥ ¥ #¥ Œ
and fundamental sounds

¥ ¥ # ¥ æ æ ¥ ¥
‰ J Ø #
#M. III
M.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ U¥
M.
# ¥ ¥ ¥ ¥
Change gradually between multiphonic, harmonic and air sounds

¥ ? ‰#. ¥ ( #R¥ )
Π3-4: oibbinadocS ,
II

œ #¥ ¥ ¥ ¥ ¥
II

 I¥use a technique¥ where I combine

¥ bow-above-finger
¥ multiphonics with
Examples

# p
In oibbinadocS (2004)
a natural harmonics. The sounds are played on each side of the bow: The harmonics is
fingered with the thumbIIIabove the bow (closer to the nut), while the multiphonics is fingered

U̇
M.bow (closer to the bridge). The position of the left-hand is being anticipated though
? #˙
below the

˙ ˙
III M. As even multiphonics as possible
double-stops of harmonics, and only a slight movement is needed to bring the bow into the
new position between the fingers. Examples 3 and 4 are from the very beginning and end of
the piece.

!
Ex. 3. Håkon Thelin: oibbinadocS Ex. 4. Håkon Thelin: oibbinadocS
&
Rubato espressivo
q = ± 54
U
¥ U
¥
¥j ¥ ¥ ¥ ¥
I

¥ ¥ ¥ ¥ ¥
II
U ¥ ¥
# ¥ . ¥ œ œ œ œ #œ¥ ‰ # ¥ ? ¥¥ ¥ œ ¥ . ¥ b œ ¥ ¥ b œ # ¥ ¥ ¥ ¥ 3# ¥
II II
II III

¥œ
3 3 3

¥ ¥ ¥ . ¥ ¥ ¥ ¥&¥ ¥ ¥ œ &¥ # œ œ . ¥b œ ¥. œ ¥ #œ ¥ #œ ¥ #œ
¥œ ¥œ # œ œ # ¥ . b œ
J p
II
F P
I
f P o
ƒ
II

P
3
I I III
III 3 II I

U
II

III # ¥ , ¥ ¥ ¥
j ¥ #¥ ¥
III

¥ bbœ¥ œ¥ ¥
I II

œ œ ¥ œ
3

. ¥ .
I

# œ ?
3

& #¥ #¥ #œ ¥ ¥ #œ # œ¥ ¥ ¥ Œ ¥# ¥ # ¥
3

¥ ¥ J ¥ IIF p
II I
III p II
3

U
IV III IV

‰¥ ¥j œ ¥ ¥ ¥ œ ¥ ( # ¥>) j ‰ j ¥
I I II
II I I

¥ ¥ ¥ #¥
III

? (# ¥ ) b œ¥ ¥ ¥ # ¥ $$ b œ¥ œ¥
3 II

b
II

#¥ ¥ ¥ ¥ œ œ¥ œ¥ ¥ ¥
s.p.| N s.p.| N

&
œ œ. #¥
> œ œ .
ß III f p > I
3

F
II III
IV 3

ß
III

26
 Pizzicato multiphonics

Pizzicato multiphonics is used extensively in all of the two-hand flageolet pizzicato passages
in my piece Glasperlenspiel (2010). I wanted the effect of loud, ringing tones to equal the
tones that are being hammered by the left hand on the fingerboard. A passage is shown in
example 1, where pizzicato multiphonics can be studied in bar 90 and bar 92-95. The left-
hand flageolet pizzicato and hammer-on is notated with upward stems, while the right-hand
pizzicato is notated with downward stems.

Ex. 1. Håkon Thelin: Glasperlenspiel

27
 Colourative Effects

In the following, I will present effects that determine the colouration of multiphonic sounds.
There are multiple combined techniques that are used in a great number of works, and my
aim has been to provide a thorough presentation of existing techniques and their practical
utilisation in a selection of composed works. The multiphonic technique is still in its early
stages of development, and there are many more sounds to be discovered. This general
presentation can be seen as a first excursion in to the field of multiphonic sound effects and
Examples
will hopefully serve as an impulse or inspiration for further explorations into this technique, by
both performers and composers.
arco
poco s.t. M.
Transformation sim.

2
molto s.p.
air
" Œ
s.p. s.p.
?
& 4 b˙ ˙
IIIsounds. In

l¥
Semitonic multiphonics can be transformed into harmonics, ordinary tones or other
Foxfire Zwei, I use the gradual change between multiphonics, harmonics, fundamental and air

F !
sounds, to create living sounds, constantly changing the colour of the multiphonics. In
example 1, the sounds change gradually between multiphonic, harmonic and air sounds p
? j
(created by damping the string with the left hand and playing with a light bow). The changes

‰ Œ
Gradually change left hand pressure, going in and out of multiphonic and fundamental sounds

¥ ¥ ¥ ¥ ¥
between multiphonic and harmonic sounds are caused by small changes in bow position,
pressure and speed.
Ø #
Ex. 1. Transformation between multiphonic, harmonic and air sounds. Helmut Oehring: Foxfire Zwei (arr.
Håkon Thelin)

U¥
M.
#¥ ¥ ¥ ¥
Change gradually between multiphonic, harmonic and air sounds

? Œ ‰.
II

R
# p
U̇
M.
? # ˙ ˙ ˙
III As even multiphonics as possible
Transformations from harmonic to multiphonics are possible through changing the spot at
which the bow touches the string and by applying additional pressure to the string (Liebman,
Movement of Repose, New sounds for cello and double bass, page 31). The bow must be
moved to a central harmonic node, which facilitates the creation of the multiphonic sound. A
smooth transition can be controlled by manipulation of bow pressure and bow speed. Usually
Rubato espressivo

of this effect are U

this means applying more pressure to the string and bowing with a slightly reduced speed.
q = ± 54

¥ ¥ ¥
Illustrations shown in example 2 and 3. In example 2, the bow should move
¥¥
I II
to the central harmonic node position 13 when modulating into the multiphonic sound.
# ¥ ¥ ¥œ
3 3 3

& #œ œ #¥. ¥ #œ œ. bœ ¥b œ ¥. œ ¥ #œ ¥ #œ ¥ #œ
3
Ex. 2. Transformation from harmonic to multiphonics. Håkon Thelin: Light

p F P If
II I
II I

U
III # ¥ , ¥ ¥ ¥
j ¥ #¥ ¥
III

œ # œ ¥ . # œ¥¥ bbœ¥¥ œ¥¥ ¥ ¥

I II

& # ¥ œ# ¥ œ . ¥ # œ ¥
3
I
?
3

# œ
3

¥ Œ # ¥J # ¥ II
II I
III
¥ ¥ p II
3
¥ F p
U
IV III IV

‰¥ ¥j œ ¥ ¥ ¥ œ ¥ ( # ¥>) b œ¥ ¥j ¥ # ¥ $$ b œ¥ œ¥
‰ j ¥
I I II
II I I

¥ ¥ ¥ #¥
III

? (# ¥ )
3 II

b
II

#¥ &¥ ¥ ¥ œ œ¥ œ¥ ¥ ¥
s.p.| N s.p.| N

œ œ. #¥
> œ œ.
ß III f p >
3

F
II III
IV 3

ß
III
I

28
Ex. 3. Transformation from harmonic to multiphonics. Michael Liebman: illustration from Movement of
Repose, New sounds for cello and double bass

In Thrust, Kimmo Hakola makes use of sound transformations by alternating multiphonics and
ordinary tones. The effect is a rather quick in-and-out transformation of the sound. The bow
pressure must be precisely synchronised with the left hand movement in order to get the full
effect of the changing sounds.

Ex. 4. Transformation between multiphonics and ordinary tones. Kimmo Hakola: Thrust, page 7, Rubato
(Adagio)

The transformative process seen in example 5 shows an artificial multiphonics on the E-

string, to be played together with the open A-string. This artificial multiphonics dissolves into
an open string, which again is gradually converted into a multiphonic sound as the finger
slowly dampens the string over the E-flat harmonic. The bow position indicated above the
stem (B E22! and B13) is notated in accordance to figure 3 and example 5b in the chapter on
Bow placement.

29
Ex. 5. Transformation from artificial multiphonics, via open string, to semitonic multiphonics. Håkon
Thelin: Glasperlenspiel

Tremolo
Tremolo is possible on most multiphonics. The effect is usually a noisy, complex, and often,
unstable sound. The types of multiphonics that are easy to play, give the most stable noise-
like sounds when playing tremolo. Example 6 includes this effect with tremolo multiphonics on
the second and third strings, the sounds being initiated by slightly accentuated grace notes.
All the multiphonic sounds in this example are rather easy to play.

Ex. 6. Tremolo. Håkon Thelin: Shared moments

Example 7 illustrates ordinary multiphonics going into tremolo multiphonics and vice versa.

Ex. 7. Going in and out of tremolo. Helmut Oehring: Foxfire Zwei (arr. Håkon Thelin)

When applying tremolo on multiphonics that are more difficult to play, careful attention must
be given to finger pressure, bow position and bow pressure, for the sound generally fluctuates
more randomly between the overtones.

Multiple variations of the tremolo effect are possible, e.g., changing bow speed (slow or fast
tremolo), changing bow pressure (greater pressure creates a harder, more noisy sound while
less pressure gives a brighter, airy sound), and changing bow position (this can enhance
certain overtones of the cord as well as the overall timbre of the cord).

Vertical vibrato, hammer-on multiphonics and legato tremolo

Michael Liebman employs what he calls a vertical vibrato to multiphonics: ”By rapidly varying
the amplitude of finger pressure on a string from slight to deep (almost, but not actually
touching the fingerboard), we achieve the vertical vibrato[...]” (Movement of Repose, New
sounds for cello and double bass, 2010, page 35). Hitting the string against the fingerboard
creates a variant of this technique. Liebman writes ”[…] in such cases, in addition to the
multiphonic chord, a "flickering" tone is produced corresponding to the point where the finger

30
touches the fingerboard” (Ibid., page 35). The presence of the stopped note in the sound can
also be controlled by how hard the finger hits the fingerboard. I will refer to this technique as
hammer-on multiphonics.
Liebman further describes an open string tremolo where the player rapidly alternates
between touching the string and raising the finger. An effect I would describe as a legato
tremolo between the multiphonics and the open string. It is possible to control the presence of
the fundamental tone through the force of the finger that pulls the string; contrary to the faint
fundamental sound that is perceived when the finger is only lifted (and not pulled) from the
string.
In example 8, the first action is a vertical vibrato (where the finger does not touch the
fingerboard), followed by a legato tremolo between the multiphonics and the open string. I
would interpret this particular legato tremolo as to be performed only with a slightly lifted
finger, so that the change of timbre is only scarcely audible, and led naturally on from the
vertical vibrato. The third action in example 8 is a rhythmical vibrato, the effect being created
when the finger softly hits the harmonic a half note above the multiphonics. Make sure that
the multiphonic sound is kept constant throughout the action.

Ex. 8. Vertical vibrato, legato tremolo and rhythmical vibrato. Michael Liebman: Sonata for double bass,
2.movement Legato sonore

The different types of vibrato, legato tremolo and hammer-on multiphonics are relatively
idiomatic techniques. They open up a wide area of rhythmical possibilities as well as means
of colouring multiphonic sounds. In Shared moments (2009), I use hammer-on multiphonics,
which, during the course of interpretation was played as a sound that rapidly alternates
between and blends the multiphonics, stopped note and open string. The notation in example
9a and 9b, however, is still the same as with hammer-on multiphonics. The techniques can be
seen in the context of the longer musical line in example 9c.

Ex. 9a. Hammer-on multiphonics. Håkon Thelin: Shared moments

Ex. 9b. Hammer-on multiphonics. Håkon Thelin: Shared moments

31
Ex. 9c. Hammer-on multiphonics. Håkon Thelin: Shared moments

Example 10 shows a legato tremolo on the A-string with a flageolet trill on the F♯ on the D-
string, while a variation is shown in example 11 where a legato tremolo on the A-string is
combined with an artificial harmonic on the D-string. The two multiphonics used in these
examples are easy to play and most bow positions work well. The occurrence of artificial
harmonics, however, calls for a placement of the bow somewhere towards the bridge,
although not necessarily sul ponticello.

Ex. 10. Legato tremolo combined with artificial harmonic trill on the adjacent string. Håkon Thelin: Light

Ex. 11. Legato tremolo combined with artificial harmonic on the adjacent string. Håkon Thelin: Light

In a passage from Glasperlenspiel, shown in example 12, I use legato tremolo and hammer-
on multiphonics in a play with timbre and harmonies. The first action is a legato tremolo on
the D-string, where the multiphonic sound blends with the opens string. A crescendo brings

32
the sound into a hammer-on multiphonics on the E-string. The hammered C perceives as a
fundamental, with intermingling partials of the E-string multiphonics. The open strings,
plucked as appoggiaturas with the left hand, resonate with the legato tremolo multiphonics,
which is now stripped from the C fundamental. The sound again rises through a crescendo
into hammer-on multiphonics on the A-string, where the E-flat fundamental intermingles with
the A-string partials, sounding together with the appoggiaturas of the E and G-strings.

Ex. 12. Legato tremolo and hammer-on multiphonics. Håkon Thelin: Glasperlenspiel

A technique that is not shown here, but waiting to be explored later on, is the legato tremolo
between multiphonics and either an open string, harmonic or stopped note on an adjacent
string.

Richochet
Example 13 illustrates the opening of Shared moments. The musical gesture of this opening
is repeated several times during the entire piece and can be seen as a play with timbre and
resonance between the four strings. Each note is coupled with a unique attack: the short
notes are played with left hand pizzicato and with the tip of the bow, while the long notes are
played with a bouncing bow. A ricochet on a multiphonics then establishes the first extended
tone with an accentuated and quick bouncing bow in order to release the multiphonic sound.
This sound leads to the second attack where a (quick) ricochet transforms into a vertical
bouncing bow, called rimbalzo verticale by Stefano Scodanibbio, which is characterised by a
soft, flickering sound.

Ex. 13. Richochet. Håkon Thelin: Shared moments

Playing simultaneously on two adjacent strings

By adding the additional tone of an adjacent string new colours may be added to a "tonal"
sounding multiphonic chord. This change may vary from a slight coloration, to dissonance,
and even to a complete transformation of the colouring.

1. Multiphonics with an open string

In example 14 we see an artificial multiphonics played together with an open A-string. The
th
bow position for the artificial multiphonics is assigned to the 10 harmonic partial on the E-

33
string. The added open A-string darkens the sound and gives a slight perceptible harmonic
feel in the minor third interval between the fundamental tones (G♭-A).

Ex. 14. Artificial multiphonics played together with an open A-string. Håkon Thelin: Glasperlenspiel

The static sound that we meet in the previous example comes to life through trills and
glissando movements of the multiphonics in example 15. A rumbling, full sound is heard when
the glissando slowly moves towards the sound of the open string. The fundamental and the
overtones in the multiphonics create a complex, constantly changing, set of interference tones
th
with the open string drone. As in the previous example, the bow can be placed on the 10
harmonic partial on the E-string, but must be moved proportionally with the left-hand
glissando up the string.

Ex. 15. Artificial multiphonics trill played together with an open A-string. Håkon Thelin: Glasperlenspiel

2. Multiphonics with a natural harmonic

Ex. 16. Multiphonics with a natural harmonic. Maja S. K. Ratkje: On Wombs and Vowels

In her piece On Wombs and Vowels, Maja S. K. Ratkje uses a combination of multiphonics
and natural harmonics. This does not change the bright sounding colour of the overtones but

34
adds a dimension to the harmonic spectrum. The notation is practical and easy to read: In the
first bar, the harmonics (top notes) are played on the first string while the multiphonics
(bottom notes) are played on the second string. In the second bar, the multiphonics are the
same as in the previous bar but with the harmonics played on the third string. In bar three, we
have a new set of multiphonics on the third string that is played together with harmonics on
the fourth string. The gradual descent from high to low strings creates a change of colour from
bright to dark. On the low strings the cords have a full sound with much resonance, while the
brighter sounding chords on the higher strings sound more restrained and are also more
difficult to play. Bow placement is left to the decision of the performer. There are multiple
options, in order to bring out the sound of the harmonic, however, a placement relatively close
to the bridge is preferable.
Examples 17 and 18 are taken from the double bass solo that opens Giants of jazz
(1999-2001), a piece by the Norwegian composer Øyvind Torvund. The top stave indicates
the rhythm of the bowing as well as the sounding note of the harmonics, which is notated on
the lower stave and played together with normal tones or other harmonics. Towards the end
of the system, the phrases are closed with combined sounds of chords consisting of
multiphonics and natural harmonics. The multiphonic chords are not notated, but are marked
as a cluster sound.

Ex. 17. Multiphonics with a natural harmonic. Øyvind Torvund: Giants of Jazz

Ex. 18. Multiphonics with a natural harmonic. Øyvind Torvund: Giants of Jazz

3. Multiphonics with a natural harmonic trill

As illustrated in example 19, this combination lets us play multiphonics together with a trill of
natural harmonics on an adjacent string.

35
 ! &

¥¥ ¥ ¥ #¥ ¥ n ¥ #œ ¥ ¥ œ #¥
s.p.| N 3

¥
& #¥ ¥ œ œ
? #¥ bœ œ ¥ ¥ æ# ¥ # ¥ æ # ¥
P > p
ß
II III IV 5
III II

Ex. 19. Multiphonics with a natural harmonic5 trill. Håkon Thelin: oibbnadocS

s.p. : N. : s.p. Ÿ~~~~~~~~~~~~~~~~~~~~~ M. Ÿ~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~ ¥ (¥ ) ¥ ¥ ¥
N.

? ¥ (# ¥) ¥ ¥ ¥ # ¥ ¥ ¥ ¥ # ¥ ¥ ¥ ¥¥ (¥) ¥¥ ,
¥ #¥
‰ J #¥ æ æ
" p #
M. III
M.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Here we move from a flageolet trill on the second string, coloured by the gradual movement of

,
? ¥ #œ ¥ ¥ œ #¥
the bow, into a multiphonics together with a natural harmonics trill. The effects of both sounds

¥ # Â ¥¥ #¥ ¥¥ ¥¥ ¥¥
are similar, the multiphonics functions as a stable IIsummary of the floating overtones of the
previous action while the additional trill continues the( established
) action and enrichens the
harmonic spectrum.
Michael 5Liebman includes the same techniqueIII in his Sonata (example 20), but uses a
different notation. He classifies this technique as M.”chord and harmonic with tremolo”, and
describes: “[…]such a tremolo effect produces a variety of additional overtones. In ponticello,
even a slightest shift of the bow gives a new overtone, thus varying slightly the effect on each
? !
14
repetition.” (Movement of Repose, New sounds for cello and double bass, 2010, page 38).
The variety of additional overtones creates a strongly fluctuating sound, which can be &
differentiated even more by moving the bow towards the bridge.

U
j‰ ¥ ¥ ¥ ¥ ¥¥ ¥¥ ¥
Ex. 20. Multiphonics with a natural harmonic trill. Michael Liebman: Sonata for double bass, 2.movement

U . ¥ ¥
II

œ œ œ œ ¥ . ¥ ¥ b œ
Legato sonore II

Žb œ ¥ n œ b œ Ž #¥ ¥ œ #¥ ¥œ ¥ #¥ ¥
II III

& œ[œ[ ¡¡¡¡  ¡¡  ¥¡ ¥ ¥¥ ¥¥¡¡¡¡ ¥¡¡ . ¥ ¡¡ ¥ ¥ [ ¡¡¡¡¥ ¥  ¡¡¥ ¥ ¡ ?¤ œ¡¡¥ ¡¡ ¤b œ ¡¡¡¡¡¡ #¥
II
Ž
I
¡ &¡
‰œœ
¡ Ž
¡
J ¡ III P o
"F ƒ
II

¡ P
I III
3¡ 3 ¡ 3 3 ¡

¡
III
¡ ¡ Ž
—
sul A
pont.

Ž Ž
4-5 cm.

 ¡  ¡ ¡ ¡ ¡ ¤ ¡ ¡ ¡
% ¡ ¡
Ž Ž ¡  ¡   ¡ ¡ ¤ ¡¡ Ž "
Ž

In example L 21, I have used a sustained multiphonic sound together with a trill between a
flageolet ¡¡and the open string on¢¢the adjacent ¡¡¡  ¢¢¢
¢¢¢¢ ¡¡¡¡
string. The combination shown here is easy to
[ ¡¡ ¢¢ ¡ ¢  ¡¡¡ 
¡
play because I use one of the ¢
most ¢
stable ¡
semitonic ¢
multiphonics¡ on the fourth  string the
th
augmented 4 in the first octave. In this case, it is, therefore, not necessary to notate a
¡ ¡ ¡ ¡ ¡ K
"
specific bow position. 
 ¤ ® ¡ ¢  ¤
¡º 4 ¡ ¡ ¢ ¡ ¡ 

Ex. 21. Multiphonics together with a trill between a flageolet and the open string onŽ the adjacent string.
— Thelin: Shared moments
Håkon pont.-p./o. pont.- o./t. o./p.- ord.

P
D

5.5-7 cm. 5-13 cm. 7-11 cm.

" ¡ P ¤  ¢ ¢ ¡º  ¢ ¡ ¡ P 
A E
 Ž  4 ¤
º 4 ® P  
®
k
k
|(cresc.molto on E only) Q G

k
ƒƒƒƒ  ``
(cluster)

`` `
``
`
¡¡¡ Ž Ž Ž Ž ˆ ,
!
¡ S !
" ¤ ƒ ƒƒƒ ˆ ƒ ƒ
¤ S ˆ Ž ® Ž
¡  Ž 
4
—
!S
strong knock on strings
by L.H.near to the nut
! strong knock on strings
by L.h. in the

!
36

pizz. with snapping middle of the f.b.

" ¡¤  P ¤ m.p. ƒ Ž ƒƒ ƒ ˆ ƒ ƒ Ž
effect in the

P Ž
middle of the f.b. m.p.
¤
Example 22 shows the same technique as used in the previous example, yet shifted to the
higher strings (second and third strings).

Ex. 22. Multiphonics together with a trill between a flageolet and the open string on the adjacent string.
Håkon Thelin: Light

4. Two multiphonics together

It is generally very difficult to play sustained chords of two multiphonics together. Even though
the same bow placement applies for both multiphonics, the bow resistance (speed and, most
often, pressure) differs from string to string, making it difficult to avoid slips that break the
sound. In Glasperlenspiel I made an attempt of combining two multiphonics, with a defined
bow position moving from B13! on the first single multiphonics, to the slightly lower position of
B11! for the combined multiphonics. The bow position one octave higher (B13 to B11) also
works well with these multiphonics, although the bow speed and pressure react differently
when changing octaves with the bow.

Ex. 23. Two multiphonics together. Håkon Thelin: Glasperlenspiel

5. Noise-like multiphonic sounds

Glissando between semitonic and quartertonic multiphonics, combined with the open E-string
in a noisy passage are found in Kimmo Hakolaʼs Thrust (1989). The objective here is not to
bring out clearly defined multiphonics, but to create as much noise and sound as possible!

Ex. 24: Noise-like multiphonic sounds. Kimmo Hakola: Thrust, page 2, Allegro

37
Acknowledgements
I wish to thank Knut Guettler for his significant contribution to this work. The whole section of
Definitions is written in close collaboration with Guettler, and he kindly shares his own
research on the physics of multiphonics through the article “Bowed-string multiphonics
analyzed by use of impulse response and the Poisson summation formula”. The work of
Michael Liebman, Mark Dresser and Stefano Scodanibbio has been an invaluable source and
inspiration. In addition they have given me feedback and answered my many questions. I
have been in contact with almost all composers represented here. Their works are all very
important in incorporating double bass multiphonics into the repertoire of contemporary
music.

Litterature
Anderson, Julian: Seductive solitary, article (p.616-619), The Musical Times, December 1992
Bach, Michael: Fingerboards and overtones, Edition Spangenberg, München, 1991
Bartolozzi, Bruno: The new sounds for woodwind, Oxford University Press, 1967
Dresser, Mark: A personal pedagogy, Arcana: musicians on music, John Zorn (ed.),
Hips Road and Grananry Books, 2000
Dresser, Mark: Double bass multiphonics, article (Masterclass, p.72-75), The Strad, Vol. 120
No. 1434, October 2009
Guettler, Knut and Thelin, Håkon: Bowed-string multiphonics analyzed by use of impulse
response and the Poisson summation formula, article accepted for publication (2011) in
Journal of Acoustical Society of America
Liebman, Michael: Multiphonics: new sounds for double bass, unpublished article, 2001
Liebman, Michael: Movement of repose, New sounds for cello and double bass, Kompozitor
Publishing, 2010
Robert, Jean-Pierre: Modes of playing the doublebass, Editions Musica Guild, 1995
Turetzky, Bertram: The Contemporary Contrabass, rev. version, University of California
Press, Berkely and Los Angeles, California, 1989

List of scores
Philippe Boivin: Cinque Algorithmes pour contrebasse seule, 1990, Editions Salabert
Eivind Buene: Bass duo from Into the Void, 2008, Norwegian Music Information Centre
Lars-Petter Hagen: Hymn, 2008, Norwegian Music Information Centre
Kimmo Hakola: Thrust, 1989, Fazer Music Inc., Finland
Michael Liebman: Sonata for double-bass, 2001, manuscript from composer
Carlos Mastropietro: En una cara, 1996, manuscript from composer
Helmut Oehring: Foxfire Zwei, version for solo double bass by Håkon Thelin, 1993/2007,
manuscript from composer
Maja Solveig Kjelstrup Ratkje: On Wombs and Vowels, 2003, Norwegian Music Information
Centre
Maja Solveig Kjelstrup Ratkje: Rondo-Bastard-Overture-Explosion, 2004, Norwegian Music
Information Centre
Kaija Saariaho: Ciel étoilé, 1999, Chester Music
Stefano Scodanibbio: e/statico, 1980, manuscript from composer
Stefano Scodanibbio: Sei studi, 1981/1983, manuscript from composer
Håkon Thelin: Glasperlenspiel, 2010, manuscript from composer
Håkon Thelin: Light, 2008, manuscript from composer
Håkon Thelin: oibbinadocS, 2004, manuscript from composer
Håkon Thelin: Shared moments, 2009, manuscript from composer
Håkon Thelin: Kárma, 2010, manuscript from composer
Øyvind Torvund: Giants of Jazz, 1999-2001, Norwegian Music Information Centre

38
 Blacklight
(bass duo from 'into the void',
dedicated to Håkon Thelin)

eivind buene

diamond headed notes are multiphonics on the e-string. Touch string with normal flageolette finger pressure
except where indicated. b-numbers refer to harmonic node for placement of bow. the resultant pitches are
shown approximated on upper staff below (suoni reale), some with alternative results in paranthesis.
all mulitphonics have a more or less pronounced e sounding from the fundamental of the string.
when played as a separate piece (not in the context of 'into the void'), the piece ends in bar 61 (with repetitions)

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 Charts of Semitonic and Quartertonic Multiphonics
The charts show the finger positions of the most usable semitonic multiphonics, on each
th
string up to the 4 octave. The central harmonic nodes (9°, 11°, 13° and 22°) indicate
possible placements of the bow, and the general numbers shown in the charts include all
positions explained in figures 1 and 2 in the chapter on the bow. Bow positions that are
practically unusable, and even impossible, are listed in the parentheses after the indication of
the general central harmonic node. These exceptions may vary from player to player and
between instruments, but my listings provide anyway a well-tested and general foundation for
the use of multiphonics.

The consideration of the playability of multiphonics quickly becomes an intimately personal

matter. The instrument set-up, choice of strings, and the performers own style of playing, are
all decisive qualities. Yet, I try to implement a general comparison between the different
multiphonics and make an overall division in difficulty. Most multiphonics has one or several
contact points for the bow on the string where it is easier to play the multiphonics than on
other contact points. Consequently, a multiphonics that is classified as ʻdifficultʼ may also
have a contact point for the bow where it is easier to produce the chord.
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The maj3, 5 and min7 of the third octave, as well as the fourth octave semitonic multiphonics
are played in a similar way, and with a similar type of bow resistance, as bow-above-finger
(first-class) multiphonics. They also sound similar, but are slightly more difficult in controlling
the stability of the cords.

Quartertonic multiphonics is more difficult to play than semitonic multiphonics. It is at this time
not appropriate to include more quartertonic multiphonics in the table due to the difficulties of
placing the finger at the exact point on the string, and thus bring out the defined overtone in
the given position.

In the prescription of the bow positions for quartertonic multiphonics, I add also the levels
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above the main central harmonic nodes to the chart. For example, the levels above the 11
central harmonic node are notated as 22 and 33 (indicating the 22. and 33. harmonic node).
This comes in addition to the level below the central harmonic node, notated as 11!, which is
also used for the semitonic multiphonics.

The bow node positions for quartertonic multiphonics are illustrated in figure 1. Descriptions of
the bow node positions are given the chapter on the Bow. Only the central harmonic nodes
are indicated in the chart of quartertonic multiphonics, but all bow positions in figure 1 apply.
Within the first position (for quartertonic multiphonics) on each string it is possible, by very
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small changes in the finger position, to bring out the 7 , 8 or 9 harmonic partial. Different
bow placements must be used to create multiphonics on each of these harmonic partials,
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which is indicated in the chart. The 8 and 9 harmonic partials are situated very close to the
precise placement of for example a quartertone above A on the G-string. By moving the finger
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slightly closer to the perfect A, the 7 harmonic partial can be established as the sounding
harmonic partial.

It is relatively easy to play all quartertonic multiphonics, provided that the finger and bow
positions are exact. It becomes more easy to play the multiphonics as the bow moves closer
to the bridge, as it is usually more difficult to hit the exact node for the bow in the lower
positions.

Fig. 1. Bow node positions for quartertonic multiphonics

27 33
18 22 26
9 11 13
9! 11! 13!
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