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harmonics nasalization, which tends to filter out the fundamental and focuses greater
attention on the harmonics.
The examples discussed below demonstrate harmonics reinforced over
either a single pitch or a continuously changing fundamental. One or more
harmonics may be individually reinforced over a single pitch, both ad libitum and
as a designated, specific harmonic. The vocalist's skill may even allow the
composer to write a melody with the harmonics. A rapid movement through a
series of harmonics will probably shift the listener's attention to timbral changes
rather than recognition of specific pitches. A shimmering effect may result from
rapid oscillation between two adjacent harmonics (see below).
Improvisation over a unison fundamental pitch represents one musical
context for reinforced harmonics. Early improvisations done by the Extended
Vocal Techniques Ensemble during rehearsal sessions were frequently
structured in the following manner: A single pitch comfortable for both men and
women was chosen, usually F# (184 Hz) 3 or G (196 Hz) below middle C (261 Hz),
and sustained without break by staggered breathing. An approximate duration was
set, perhaps 5-10 minutes, during which an emphasis first on the lower harmonics
was to gradually progress to the inclusion of higher harmonic reinforcement
within a specified dynamic structure of perhaps soft to loud. Tape recordings of a
number of these early sessions are filed in the archive of the Center for
Music Experiment at the University of California, San Diego.
The first notated composition written for EVTE, The Owl and the
Pussycat by Deborah Kavasch, includes an improvisatory section on a unison G
(196 Hz) built on the last word of the text, " moon." The score (Figure 1) indicates
that only those harmonics in a fifth or octave relationship to the fundamental are
to be reinforced at first: others can be reinforced later. The instruction "Create a
dancing texture, active" is made possible by including several techniques in
combination with or as a variation of the basic individual harmonic reinforcement.
The "dancing" characteristics arise principally from those tec hniques which
rapidly change the pitches of the harmonics or which interrupt or alter
the fundamental and harmonics. The term "glissandi" refers to ascending or
descending sweeps through a series of harmonics. An oscillation between
harmonics, which is subsequently referred to as " harmonic oscillation," results
from a backward and forward movement of the tongue and is quite effective when
produced rapidly between two harmonics. If the fundamental pitch is low, two
high adjacent harmonics are easily oscillated: if the fundamental is high, two low
adjacent harmonics respond well. Oscillation of the funda mental, similar to
vibrato, changes the pitch of the fundamental at regular or varying speeds,
causing the reinforced harmonic to change pitch at the same rate. The
rapid, repeated note effect of ululation (see III. Ululation) rather evenly and
quickly interrupts the fundamental, these pulsations help emphasize the
harmonics as well. When another voice adds a fundamental pitch one octave
higher than the original fundamental, it generates a new but closely related series
of harmonics which increases the complexity of the texture'4 (Tape Example 1).
to each vowel are reinforced without vibrato. This emphasis of a par ticular
harmonic determined by the specified vowel aids in tuning the unison and
provides a type of countermelody to the drone, in this instance two
countermelodies. Amplification with microphones for each vocalist aids in projecting the
harmonics.
Nasalized, reinforced harmonics ad libitum on specific pitches provide a
striking beginning to Edwin London's Psalm. of These Days II (Tape Example 4).
The intelligibility of the word "Lord" varies due to the changing harmonics as well
as its long duration (threemeasures). Although the initial unison D# (311 Hz)
expands to a four-note chord spanning a minor seventh, the fundamental pitches
together with their harmonics of the " r" in "Lord" are still close enough to create a
rather dense texture. Compare this with a later example of reinforced harmonics
on the same word, in which the fundamental pitches are spread over approximately a
two and one-half octave range (Tape Example 5).
Both nasalized and non-nasalized harmonics are reinforced over slowly
gliding fundamental pitches against a background of computer-generated tape
sounds in Joji Yuasa's My Blue Sky in Southern California (Tape Example 6). The
fundamental pitch is chosen at random by the vocalist and gradually ascends or
descends as indicated in the graphic score. Unusual effects are achieved by pitch
changes in both the fundamental and harmonics which may move at varying rates
in similar or opposite directions to each other. In order to be easily heard in this
very loud and dense section, the vocalists tend to choose and nasalize the higher
harmonics (towards UP, creating a rather buzzy, piercing quality in the long pitch
glides.
In another section of the same composition, the oscillation between several
pairs of low harmonics of a rather high fundamental (approximately A 880 Hz) is
heard against a sparse background of very soft clicks and other similar
short, nonpitched sounds (TapeExample 7). The higher the fundamental, the more
difficult it becomes to reinforce its highest harmonics. In this instance, the
oscillations occur between various combinations of the first three or four
harmonics (including the fundamental), which may acocunt for the pulsating
whistle effect during part of the example. Oscillations between low harmonics (of
a high or low fundamental) may also be more striking because of the greater
intervallic distance between the pitches of the lower harmonics. For example, the
oscillation between the (1) fundamental (or first harmonic) and second harmonic
covers one octave; (2) second and third harmonics covers a fifth; (3) third and
fourth harmonics covers a fourth; (4) fourth and fifth harmonics covers a major third,
and so on, the distance always smaller.
At one point in Deborah Kavasch's Tintinnabulation, harmonic oscillations
occur simultaneously in several voices. The fundamental pitches are each a half
step apart (F 350 Hz, F# 370 Hz, and G 392 Hz) with the harmonic oscillations of
each pitch determined by the same [ill] vowel alternation (Figure 2). Such a close
pitch combination results in an overall pulsating or shimmering effect rather than
the perception of individual harmonics (Tape Example 8).
The opening section of The Owl and the Pussycat, preceding the
narrator's first entrance, builds a gradually thickening texture of soft ululations.
The score (Figure 3) indicates the progression of time in minutes and seconds
and shows a graphic outline of approximate pitch levels and directions. Each box
represents from top to bottom the high to low pitch range of the individual
vocalist. The taped example (Tape Example 10) demon strates the effect of
several voices softly ululating an aspirated [u] in relatively low pitch ranges. The next
example (Tape Example 11) includes ululation of some of the vowels and
consonants of the word "pussycat." Appropriate vowels and consonants are
deliberately aligned with similar ones in the narrator's text. Ululations can be
used not only with short or long passages of a single vowel or to extend and
color individual words but to articulate melodic phrases as well. The vocalists
ululate several short melodic fragments set to the words, "0 lovely Pussy," "0
Pussy, my love," and " What a lovely Pussy you are." This 90-second section
gradually expands in total pitch range and density, and ends with a sudden shift
from soft to loud ululations. The taped example (Tape Example 12) is excerpted
from the first part of the section.
Figure 3: Ululations in The Owl and the Pussycat (Tape Example 10)
ululation of glottal clicks. The ululated whispers attempt to support the imagery
suggested by the text (" A day of tears is that day" ) (Tape Example 13).
The latter part of Example 13 includes a soft ululation of two alternating
pitches. This sound may be related to the production of a glottal whisper to
which voice is added. Although it can be produced throughout most of
the egressive singing range, it is usually referred to as a cross-register ululation.
This type of ululation usually settles into the interval of a third and is most easily
produced on the vowels [i] and [u]. Because it is not as reliable as the simple
ululation or the louder cross-register ululation, it should be allowed a certain
amount of preparation time. It is least tiring in the lower female
range (approximately middle C to C 526 Hz). (As is true of certain variations of
theEVTE's techniques, the soft cross-register ululation has been perfected by only
one member of the ensemble and is probably less likely to be produced by a majority of
vocalists.)
A more extended use of the soft cross-register ululation appears in
Roger Reynold's A Merciful Coincidence. In Tape Example 14, the ululations cover
a wide pitch range and appear as background material near the end of the piece.
The designation "soft" in the term "soft cross-register ululation" refers more to the
physical sensation of the vocalist in producing the pulsation, or interruption of the
sound, than to the actual dynamic level. In this example the higher ululations
become much louder but are still softer than a regular cross-register ululation at a
comparable pitch level.
The term "cross-register ululation" refers to an ululation produced in the
area of a natural register break 6 . It results in a rapid alternation of two pitches,
which creates the illusion of two pitches ululated simultaneously. The intervallic
distance between the two pitches varies with the individual vocalist but
usually falls into one of two categories. The first category emphasizes narrow
intervals, i.e., approximately a minor second to a fifth. The intervallic distance
can be controlled so that either one specified interval or a continuous glissando
from narrowest to widest interval (or vice versa) can be produced. The glissando
appears to be most easily produced by the upper pitch, which moves towards
or away from the stationary lower pitch.' This glissando of one of the pitches
is best controlled in the register break around middle C. The second category
emphasizes wide intervals, i.e., approximately a sixth to an octave or ninth. There
does not seem to be the same degree of intervallic control possible in the wider
cross-register ululation, which generally locks into one interval. This type usually occurs
in either the male or female voice around the middle C register break area. Either
type of cross-register ululation may occur in male or female voices but both types do
not generally occur in one voice.
Cross-register ululation, as described above, requires more energy than
simple ululation and is necessarily rather loud. It sounds particularly loud in the
male voice since the first register break at which it can be produced includes
pitches fairly high in the male chest voice range. For the same reason, crossregister ululations in the female voice around the second register break area are
usually extremely loud.Ululations crossing into the whistle stop area, however, are
often much softer. Those cross-register ululations which occur higher in the voice
are usually more tiring than the lower ones and should be used with consideration.
Nonpitched chant combined with vocal fry and glottal whispers produces
a quite different total sound. These techniques are combined in both live and
taped voices in Requiem (Tape Example 29), using the words
"dona eis requiem. Amen" at the end of the " lacrymosa" section.
Low chant, even when soft, is generally quite resonant and full. This
may explain in part why it can effectively produce a settled feeling or
a cadential sense of resting point or arrival. Isolated examples of
this cadential quality appear at the end of Psalm of These Days II on the last
syllable of " forever" (refer to Tape Example 26) and on the word "sleep"
in Pastoral (Tape Example 30). A more extended use of chant to produce the
sense of a strong final cadence appears in the continual overlapping of live and
taped voices chanting a low B (123 plus 61 Hz) in the last section of Requiem (Tape
Example 31).
Two instances of chant in Psalm of These Days II illustrate a sudden
shift in several parameters when chant immediately follows normal sung tones
without vibrato. In both examples (Tape Example 32, 33) pitches become much
lower and dynamics much softer, and there is an obvious timbral shift to a
thinner, buzzier quality. Even though three of the four voices in the first example
drop only one pitch, the addition of the lower octave suggests a large intervallic
leap. The pitch shift in the second example is much more extreme, the distance in each
voice covering two to three octaves. In both instances, the sudden dynamic reduction
is a function of the chant technique, especially since only gen eral rather than
individual microphone amplification is used.
Chant functions as an ornament to the word "my" in Psalm of These
Days 11 (Tape Example 34). In this instance, the instructions for two of the four
voices indicate "multi-phonic chant on and off." Each voice sustains one pitch
with several similar ornamental figures of rapid pitch changes resembling a trill,
the chant adding a lower octave at random.
Complex Multiphonics
The term "complex multiphonics" rather loosely designates a cluster of
sounds produced egressively or ingressively by one voice. The cluster may
be perceived as a number of non-intervallically related pitches resembling noise
or as a complex mixture of vocal fry with other sounds or pitches. The total
mixture can cover a narrow or wide band of sound at various general pitch
levels (low, medium, high) as well as on and around specific, perceivable
pitches. Complex multiphonics vary greatly among individual vocalists but are
fairly consistent for each individual. Those which are most reliable for the
individual vocalist can generally be reproduced with a similar degree of
complexity at approximately the same pitch levels.
The major difference between complex egressive and
ingressive multiphonics lies in the amount of air used to produce them.
Theegressive version, referred to as " forced blown" by EVTE, requires a large
amount of air, is usually fairly loud, and can be sus tained for a short time only.
Although it is possible to produce complex ingressive multi- phonics with a large
amount of air, this yields a gasping sound and may lead to coughing or choking.
However, if a very small amount of air is gradually drawn in, very
complex multiphonics can be sustained for a much longer time (one long breath).
The physical sensation is similar to ingressive vocal fry. Both types
of multiphonicsare best amplified with microphones to avoid undue strain on
the vocalist in an attempt to make them louder. Both ingressive
andegressive multiphonics tend to tire the voice more quickly than other
techniques and should be used carefully.
A short burst of multiphonics supports the climax of a middle section
of Requiem at the words " confutatis maledictis, flammis accribusaddictis" (when
sentence is passed on the damned and all are sent to piercing flames" ). The
upper two of four taped voices hold a long, high ingressive multiphonic while the
lower two have several repeated lower egressive bursts (refer to Tape Example
16). The combination ofthese multiphonics with high whistles, vocal fry, and
cross-register ululations creates a complex texture covering a
wide, approximate pitch range. In a much longer section in Still (Tape Example
35), the illusion of a light wind gradually developing to hurricane proportions is
achieved through various combinations of whistles, high ingressive pitches, and
complex multiphonics.
Since complex multiphonics do not always "speak" immediately, it is
wise to allow for some preparation. Several possible types of preparation may
include: (1) using other loud or complex sounds to cover the entrance of
the multiphonic; (2) instructing the vocalist with the most reliable multiphonic to
enter first if several voices are to produce multiphonics; (3) preceding
the multiphonic with a sound from which it is relatively easy to build
the multiphonic. One example of the last suggestion occurs in Requiem in
the "Rex tremendaemajestatis" section (Tape Example 36). In both taped and
live parts, vocal fry is followed by high, complex multiphonics. The physical
sensation in producing both techniques is somewhat similar, and one seems to
follow the other quite easily. The long sustainedmultiphonic on "salva me" near
the end of the example is prepared by the shorter preceding multiphonics in the
same voice and its entrance is covered by multiphonics in other voices.
A more extended example (Tape Example 37) of
complex multiphonics set to a text occurs towards the end of A Merciful
Coincidence. The overlapping of most of the entrances helps mask any
awkward beginning and allows each multiphonic to grow out of the preceding one.
Complex multiphonics can also effectively contrast with, or punctuate,
single pitches. In one section of A Merciful Coincidence, the three vocalists, in
various overlapping combinations, articulate the text over a sustained, nonvibrated, rather piercing C (523 Hz). Specified consonants are "barked," resulting
in a multiphonic which briefly interrupts the sustained tone (Tape Example 38). A
similar example occurs later in the piece (Tape Example 39). The text is
articulated on a single pitch E, 659 Hz. Each word is short, loud, and further
resonated by a piano sound board which exaggerates the contrast between
the straight tones and multiphonics.
Conclusion
techniques: specific vocal harmonics may be indicated by diamondshaped noteheads; ululations may be indicated by the notation for tremolo. When
long melodic passages are produced with reinforced har monics, separate staves
for the fundamental pitches and harmonics might be useful. The composer must
decide what form of notation is most accurate and meaningful to the per former.
The extended vocal techniques chosen for discussion in this paper
represent only a portion of EVTE's sound vocabulary, which in turn represents
only part of an undefined limit of .vocal sounds. Through the work of vocalists
such as the members of the EVTE, a colorful and extensive vocabulary of reliably
and consistently reproducible sounds is made available to other vocalists and
composers interested in expanding traditional vocal boundaries.
List of References
Celona, John Anthony. 1975. Micro-Macro (computer generated tape and voices.
Unpublished.
Jones, David Evan. 1977. Pastoral (voice and prerecorded tape). Unpublished.
Kavasch, Deborah. 1980. The Owl and the Pussycat (seven voices),
Editions Reimers, Stockholm.
1976. Tintinnabulation (three voices and glockenspiel).
Unpublished.
1977. Sweet Talk (women's chorus). Unpublished.
1978. Requiem (four voices and prerecorded tape). Unpublished.
London, Edwin. 1977. Psalm of These Days II (four voices). Unpublished.
Reynolds, Roger. 1976. Voicespace: I. Still II. A Merciful Coincidence (taped
voices), C. F. Peters Corp., New York, NY..
Yuasa, Joji. 1976. My Blue Sky in Southern California (computer-generated
tape and voices). Unpublished.
List of Taped Examples
Reinforced harmonics in The Owl and the Pussycat by
Deborah Kavasch
2.
Reinforced harmonics in Sweet Talk by Deborah Kavasch
3.
Reinforced harmonics from simultaneous, different texts
in Requiem by Deborah Kavasch
4.
Reinforced harmonics in Psalm of These Days II 7 by
Edwin London
5.
Reinforced harmonics in Psalm of These Days II
6.
Reinforced harmonics over gliding fundamentals in My Blue Sky
in Southern California8 by Joji Yuasa
7.
High harmonic oscillation in My Blue Sky in Southern California
8.
Harmonic oscillations in Tintinnabulation by Deborah Kavasch
9.
Melody produced by reinforced harmonics in Requiem
10.
Ululations in The Owl and the Pussycat
11.
Ululations (vowels and consonants of" pussycat") in The Owl and
the Pussycat
12.
Ululation of melodic fragments in The Owl and the Pussycat
13.
Unvoiced ululations in Requiem
14.
Soft cross-register ululations in A Merciful
Coincidence9 by Roger Reynolds
15.
Simple and cross-register ululations in Requiem
16.
Cross-register ululations combined with other extended vocal
techniques in Requiem
17.
High cross-register ululations in Tintinnabulation
18.
Ingressive vocal fry as speech in The Owl and the Pussycat
19.
Low. pitched ingressive vocal fry in Requiem
20.
Ingressive vocal fry with reinforced harmonics in MicroMacro10 by John Celona
21.
Fast pitch and text changes of low ingressive vocal fry in Requiem
22.
Nonpitched vocal fry in Requiem
23.
Slow. nonpitched vocal fry in Requiem
24.
Slow, nonpitched vocal fry in Still11by Roger Reynolds
1.
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
This paper was previously published as Vol. 1, No. 2 of the Reports from the
Center which was released in No-vemb5r 1980, by the Center for Music Experiment at the
University of California, San Diego.
2
The Lexicon and Index are available upon request through the Center for Music
Experiment, University of California, San Diego, La Jolla, Ca. 92093.
3
All values expressed in Hz (cycles per second) are approximate.
4
The word "texture" in this paper refers to the combined effect of all parameters
in a musical composition.
5
Bracketed symbols refer to IPA (International Phonetic Alphabet).
6
For the purposes of this discussion, vocal registers are designated as follows.
Male voice: (1) chest, up to middle Carea: (2) falsetto, up to high C (1046.5
Hz) area: (3) whistle stop, above high C area. Female voice: (1) chest, up to
middle C area; (2) middle, up to E 330 Hz area: (3) head, up to E 660 Hz area:
(4) whistle stop, above high C area. These are arbitrary limits which may
overlap considerably in individual cases.
7
All taped examples from Psalms of These Days II are 1981
by Henmar Press Inc. Reproduction by permission of C. F. Peters Corpori.
8
All taped examples from My Blue Sky In Southern California are used by permission of
the composer.
9
All taped examples from A Merciful Coincidence are used by permission of the composer.
10
This taped example from MicroMacro is used by permission of the composer.
11
All taped examples from Still are used by permission of the composer.
12
All taped examples from Pastoral are used by permission of the composer.