A FEW EASY MULTIPHONICS FOR BASSOON

John Steinmetz

More than the other woodwinds, the bassoon is capable of rich, varied, beautiful multiphonic sounds. I made this list for a composer friend who asked about multiphonics.

The list is purposely short, so there isn't a bewildering array of choices, and includes only fingerings that I find fairly consistent and relatively easy to produce. I hope these will work for all German-system bassoons. (Some stiff reeds may not work.)

I'm not altogether satisfied with the notation. Any ideas out there in colleague-land? My thoughts on notation:

1. Keep it simple, sight readable. 2. Don't bother notating the sound for the performer since it's often so complex,

confusing, and variable from player to player. 3. Simplicity and clarity are more important than standardization. 4. Notation indicates the fingering, not the sound.

Note: In Mr. Steinmetz's notational system, the lower note-head represents the primary fingering used as a base. Upper, diamond-shaped note-heads signify keys to be added to or subtracted from the basic finger pattern. In addition the plus or minus letter and/or numerical values appearing under the notes indicate, by subscript code, additional fingers or keys to be added to, or subtracted from, the basic pattern. (L. H. Cooper)