The Art of Multiphonics: a Progressive Method for Trombone

The Art of Multiphonics serves as a resource for trombone players and teachers wanting to develop multiphonic technique in order to approach the literature for which this technique is required. Its further aims are to provide accurate and relevant information regarding (1) subjective tones and beats, (2) the tuning of multiphonic intervals, and (3) vocal technique. Designed to be accessible to players of intermediate to advanced abilities, this method contains progressively arranged exercises for vocal and split-tone multiphonics. The first five chapters of the method are devoted to vocal multiphonics and contain individual subchapters that focus on one aspect of the larger section. Sections one and two contain interval studies. Chapter one contains exercises where the sung note lies in unison or above the played note; chapter two contains exercises where the sung note lies in unison or below the played note. Each subchapter found in the first two sections corresponds to specific intervals and begins with the most basic exercise. Following preliminary exercises, each subchapter progresses toward parallel and contrary motion while building on previously established technique. Chapter four begins with a simple part-crossing exercise before advancing to multiphonic flexibility exercises. This chapter also includes subsections devoted to more advanced part-crossing exercises, short-and-long-range glissandi, and exercises that incorporate all previously learned techniques. The chapter on split-tone multiphonics (chapter five) is placed at the end of the method because this technique is seen less frequently and is more difficult than vocal multiphonics. Split-tone multiphonics is introduced through a series of lip-bending exercises beginning on the second partial. The appendices include the method with two short practice routines to supplement the player’s daily routine. These routines are designed to ensure that continuous progress is made and that previously established technique is not lost. Additional documents found in the appendices include a list of solo literature requiring multiphonics, a subjective tone table, and a beat table