Oboe Notation of Multiponics

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There are several methods available for notating multiphonic ngerings on the oboe. These rangefrom detailed ngerings with instructions including breath pressure and embouchure position throughto more aleatoric, non-ngering/non-pitch specic approaches.1

Where a composer uses only the occasional multiphonic, one or other of these approaches willsufce. However, when there are large numbers of multiphonics in quick succession and/or thecomposer wishes to communicate complex details of ngerings and pitch, the current notationsystems are inadequate.

Notation for multiphonics should be based upon ngering patterns rather than upon the specicpitches revealed. This is because the pitches themselves, with a few notable exceptions,2 give theoboist no idea of how to generate the desired effect.

When a large number of multiphonics are written in succession, the familiar methods of notation arerather cumbersome and can be very difcult to read. The information the performer needs (ngerings,dynamics etc.) is usually divided up; ngerings above the staff and rhythm and dynamics on thestaff sharing the space with complex pitch material. Multiphonic notation therefore remains rather

underdeveloped. Unless the notation system can be improved it could well prove detrimental to thedevelopment and use of this extraordinary sonic resource.

As multiphonics are now being used by many composers and increasingly becoming a major part ofthe instrument’s sonic repertoire, it is vital that a notation system is developed that can support thecomplexities of compositional demands and the practicalities of the performer’s needs.

Of the notation systems currently available, that which Heinz Holliger developed in his Studie überMehrkläng 3 has the greatest potential for development.4,5 It has been observed however that this isa notation system developed by an oboist for oboists and therefore is not very composer friendly. 6 The same observation could be made for each of the prominent notation systems currently in use.

The problem of notating multiphonic ngerings is that they are ‘ngerings’; they are developed sothat the oboist can read them and reproduce the required multiphonic.7 An in-depth knowledgeof the instrument’s key-work is therefore required in order fully to comprehend these systems. Asmost composers are not oboists and do not have such knowledge of the instrument’s key work, it isessential that the composer is able to copy out precisely all the information.

Holliger’s system notates the ngerings on the staff and these ngerings show the performer preciselywhat should be done in order to produce the required results.8 This system is very performer friendlyand is a good starting point for a more sophisticated notation system.

We have written an overview of these notation systems which is available on the PRIMO website1.

http://primo.sas.ac.uk/eprints/

Exceptions include the notation of dyads where the ngerings, which are often based upon the pitches notated,2.

can be looked up easily and in many cases will already be known to the performer.

See Holliger (1971/1980)3.

This notation system was developed specically for this particular work and therefore, while it offers a very4.

useful way of notating some multiphonics it needs to be substantially revised in order to meet the demands of

today’s music.

This notation has been used very occasionally in a few other places most notably in Chenna and Salmi (1994)5.

Burgess and Haynes (2004) p. 2756.

We are aware that there are additional problems with the production of multiphonics beyond the notation issues7.and that the same ngering may on different instruments produce a different multiphonic. This particular problem

is beyond the scope of this article.

In Holliger’s study the notation offers the performer all the ngerings required. The notation does not offer the8.

precise sonic results that will result from the ngerings and so from this notation there could be a number of

slightly different results. See Burgess and Haynes (2004) p 275

Notation of MultiphonicsChristopher Redgate and Paul Archbold


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Basic Notation Symbols

A diamond notehead representing a foundation ngering is central to both Holliger’s system andto ours. A ‘foundation ngering’ is a standard ngering that can be recognised instantly by aperformer. With stem pointing down this notehead is also the focal point of rhythmic activity, andcan be a hollow diamond or a lled-in diamond.

Ex. 1 Foundation ngerings, diamond noteheads and stems

The foundation ngering is then modied by a range of strategies including removing/adding keys,half-hole and quarter-hole. The following system offers clear symbols for these modications.9

Ex. 2 Hole modications

Note that the line used for both half-hole and quarter-hole is at a diagonal so that there can be noconfusion with a ledger line.Keys that need to be added include:

Ex. 3 Added side keys and trill keys

The oboe has three ngerings for F: a standard ngering, a forked ngering and a ‘long F’. In thisnotation system these are notated in the following way. An F natural at the bottom of the staffshould be ngered as a standard F natural (see ‘basic ngerings’ Ex. 1). The ‘long F’ is notated onthe top line of the staff, (as can be seen in Ex. 3) and the ‘forked’ F, which is absorbed into otherngerings, does not require a specic notation. An F on the staff is simply the F key.

The C and D trill keys are notated in the centre of the staff as shown in Ex.3.

Basic fingerings

holes

closed hole

quarter hole

half hole

open hole

side keys

C trill key

D trill key

long F key

In Holliger’s original notation his modications are represented by writing ‘a’ or ‘-a’ or ‘1/2 g’ etc.9.


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Notating the Keywork of the Oboe

This notation system represents the keywork of the oboe on the staff. Fig. 1 shows a annotatedpicture of a Howarth oboe: we have not labelled every piece of keywork but only the keys which arepertinent to our discussions.

l e f t h a n d

r i g h

t h a n d

C hole

F# hole

F key

C key

-D (d trill)

-C# (c# trill)

Ab key

Eb key

B key

Bb key

C# key

Eb key

A hole

E hole

G hole

D hole long F

holes

LEFT HAND

trillkeys

side keys

longF

holes

RIGHT HAND

F key

side keys

Fig.1 Keywork of the oboePhotograph provided by Howarth of London- the oboe is a Howarth XL Conservatoire system.


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The basic keywork of the oboe (as can be seen in g.1) includes three front keys (we have calledthem ‘holes’ in the diagram in order to distinguish them from the ‘keys’) for both the left-hand andright-hand: index nger, 2nd and 3rd ngers. There is also an F key which is played by the 3rdnger of the right hand. Each of these keys can be represented on the staff simply by using thepitch to which they relate: C, A, G for the left hand and F , E, F and D for the right hand.

In addition to these keys each little nger has a cluster of keys. The left hand has G , Eb, B, Bb andlong F while the right hand C, C and Eb. The Bb, B, Eb, C and C keys should be notated at the

bottom of the staff while the G is notated on the second line. Each key is therefore represented onthe staff by the pitch with which an oboist would associate it. The G can also be notated as an Ab – there are occasions when one is preferable to the other. They are the same key on the oboe.10

Keeping the Fingerings as Simple as Possible

Some of the ngerings are very complex requiring the performer to nger and read unusualand unfamiliar combinations of keys. Of primary concern is the reduction of as much ‘clutter’ aspossible. There are two specic ways in which this is achieved.

The diamond notehead mentioned above represents not only an individual key but a complete

ngering. For example: if an Eb

is notated as a diamond notehead it represents the use of all sixkeys on the front of the oboe plus the Eb key.11 There is therefore no need to notate the other keysas the Eb represents all of them.

Ex. 8 Keys represented by the Eb foundation ngering

However this idea can be taken further. The ngering system as described above would usuallyoffer the lowest key in use as the foundation ngering as we have seen in Ex. 8.

There are many instances where, especially for clarity and simplicity, the foundation ngering maynot be the lowest key in use but one further up the instrument. This is especially the case when angering includes a low B or Bb (ex. 9a) but the next key in use is much higher up the instrument. Inorder to save a number of extra symbols it is simpler and less cluttered to read when the higher keyis the foundation ngering and the B or Bb is simply an added key (ex. 9b).

Ex. 9 Multiphonic notated with different foundation ngerings12

As there are several options of this kind on the instrument, it is up to the performer to choose which key is10.

most suited to the situation.There exist on the oboe two E11. b keys one for the left hand little nger and one for the right hand little nger. In

other forms of notation the placing of the letters Eb denotes which of these is to be used. In practice this is not

really needed as any experienced oboist will automatically choose the most obvious.

This multiphonic ngering (no. 176) is taken from Veale and Mahnkopf (1998).12.


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This enables us to simplify a considerable number of ngerings and to represent them with fewermodications.

An obvious example occurs when a basic ngering uses all (or most) of the ngers in the left handbut adds only one or two in the right or the left hand little nger keys. It is much simpler to notatethe left hand ngering as the main ngering (not the little nger notes) and to add in the one or twoextra keys. This enables the notation to remain relatively uncluttered: in Ex. 10a the ‘full’ notation isshown, while in Ex. 10b it is the simplied version.

Ex 10 Simplied notation13

Having the option of choosing an alternative foundation ngering opens up the possibility ofbeing able to notate a multiphonic in different ways. This can be useful when writing passages inmultiphonics as it can simplify the notation even further.

Ex. 11 Simplied notation

Notation Infuenced by Design

Due to the design of the oboe there are some ngerings that require a different treatment. Thesemay seem a little strange and possibly a bit illogical to the non-oboist.

The bottom Bb and B keys when depressed can have an effect upon the bottom C key. This is notstandardized in oboe manufacture or across the systems. The notation system assumes that whenthe bottom Bb or B are used as a foundation ngering (i.e. with a diamond notehead) then the Ckey is also depressed (ex.12a), (in order to play a bottom Bb or B the oboist will often depress thiskey as a matter of course and so it is obvious in this notation system to maintain this convention).14 However when the Bb and B keys are employed as a modication of another ngering (not notatedas diamond headed pitches) then the C key is not depressed (ex. 12b). This will save the notationof unnecessary information. When a Bb or B is a foundation ngering but the C key is not requiredthen the modication should be shown with a hollow C (ex. 12c);

Ex 12 Bb and B notation issues15

2

2

This multiphonic ngering (no. 333) is taken from Chenna and Salmi (1994).13.

Performers playing a great deal of contemporary music or multiphonics should ensure that the C key works14.

independently of the B and Bb keys.

These multiphonic ngerings (Nos. 6, 243, 16) are taken from Veale and Mahnkopf (1998)15.

When the C or Eb keys are indicated in conjunction with the Bb and B keys the C key cannot beused.


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The Eb and G ngerings, when used as foundation ngerings, also require special treatment. TheEb ngering automatically takes down D while G (or Ab) automatically takes down G. Howeverthere will be occasions in multiphonic ngerings where the respective D or G key needs to bereleased. These should be notated as follows:

Ex. 13 and 14 Notation with released G16 and D17 keys

When the Eb key is used but the E key needs to be released a D should be used as the foundationngering.

Ex. 15 Eb key (D key) with E key released18

2

This multiphonic ngering (no. 351) is taken from Chenna and Salmi (1994).16. This multiphonic ngering (no. 30) is taken from Veale and Mahnkopf (1998).17.

This multiphonic ngering (no. 220) is taken from Chenna and Salmi (1994).18.

Passage taken from David Gorton’s19. Errinerungsspiel for oboe and SoundSpotter and used by permission of

the composer.

Passage taken from Diana Burrell’s20. Vespers used by permission of United Music Publishers. London.

Mixing Multiphonic and Monophonic Pitches

Multiphonics are often used in conjunction with standard pitches. The following examplesdemonstrate how multiphonic ngerings are integrated with standard ngerings. In most situationswhat is intended should be obvious as there are usually clear visual differences. However if thereis likely to be confusion, for example a single pitch is required but with an unusual ngering whichthen moves to a multiphonic there are two options available in order to maintain clarity. An ‘N’(normal) can be placed above the single note ngering and if needed an ‘M’ (multiphonic) above

the multiphonic ngering. (These could, if preferred, be added to the stem of the notes in question.) Alternatively, if a second staff is added to notate resultant pitches (see later) then this will bring allthe clarity that is required.

Ex. 16 Moving from a normal pitch with an unusual ngering to a multiphonic19

Ex. 17 Mixing multiphonic and standard pitches20

(NB the numbers above the pitched notes refer to alternative ngerings, not octave keys)

1

2

3 1

5

1

2

1

5

N

M

:

:

:

:

:


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Notating passages of multiphonics

On many occasions when writing passages with continuous multiphonics it will be possible, insteadof writing out every single multiphonic ngering in its entirety, to notate only the changes that areneeded. This is possible when the foundation ngering changes only occasionally. In such casesthe foundation ngering includes a long beam (below the staff) indicating its duration while themore rapid changing ngerings are notated with beams above the ngerings. This is a contextualnotation, where only the key changes from the preceding multiphonic are notated.21

This can be seen clearly in the following passage from Paul Archbold’s Fluxions. Written out fullythe opening bars of the passage looks like this:

Ex. 18 Paul Archbold Fluxions - full notation22

The only foundation ngering given in this passage is the rst multiphonic. The minor ngeringchanges being made in this passage mean that many of the ngers remain static with only one ortwo changing at a time. (Examples include cancelling the ‘long f’, opening of shut keys and closingof open keys.)

When making a reduction of this kind there is an important difference in the way the notation works.When multiphonics are fully written out, as in Ex. 18, each ngering cancels out the previousngering. However, when the ngerings are reduced so that only changes are notated there is theneed to cancel some keys. The obvious example from the above is the long F key use in ex. 19.Some longer multiphonic passages require major ngering changes such as the following passagefrom David Gorton’s Errinerungsspiel in which there is no effective way of simplifying the notation:

Ex. 20 David Gorton Errinerungsspiel 24

N

M

:

:

:

:

:

:

:

:

:

:

:

:

:

:

:

However this can be simplied in the following way:

Ex. 19 Paul Archbold Fluxions - simplied notation23

Such simplications require an in-depth knowledge of the oboe’s keywork and as such are probably best left21.

to the performer to adapt as required.

Passage taken from Paul Archbold’s22. Fluxions for oboe, small ensemble and electronics and used by

permission of the composer.

ibid.23.

Passage taken from David Gorton’s24. Errinerungsspiel for oboe and SoundSpotter and used by permission of

the composer.


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These should be notated fully and where simplications can be found these should be done by theoboist. In such cases the composer’s job will be to copy correctly the ngerings in full. 25

When writing out a succession of fully-notated ngerings there is no need to cancel out previousngering as this is done automatically by the new ngering.

It is authors’ intention to publish a list of multiphonic ngerings cross referenced to the major multiphonic25.

ngering resources at www.21stcenturyoboe.comNo matter which of the notation systems is used it is essential that any and all information pertaining to the26.

ngerings should be available to the performer. Never separate the information between a full score and a

performing part.

Passage taken from27. Ausgangspunkte by Roger Redgate, used with permission of Lemoine, Paris.

Notating Pitch

For many composers it is essential that the pitch content of multiphonics is notated alongside thengerings.26 As we have already stated the pitch content gives the oboist no indication of how toproduce the sounds but it is a very useful guide when testing multiphonic ngerings and makingsure that the notated ngering produces what the composer expects.

The ideal place to notate pitch content is on a second staff above the main ngering line ratherin the way scordatura can be notated for string players. This can offer all the pitch informationnecessary as well as clarifying complex situations where the music alternates between standardpitches and multiphonics. In addition it leaves the main staff clear for the notation of the ngerings,which is what the oboist needs.

Ex. 21 Roger Redgate Ausgangspunkte 27

This example demonstrates movement from single pitches at the beginning of the bar tomultiphonic pitches in the centre of the bar. The last section of the bar includes a multiphonic trillwith single pitch interjections. This can be seen in the notation by the use of M and N. The upperstaff not only demonstrates the sounding pitches but also helps to maintain clarity in what is a verycomplex passage. It can also be observed in the nal part of the bar that in the ngering notationthe single pitches are being ngered in unusual ways. This is in order to maintain the uency of thetrilled multiphonic.

Many of the manuals and books which contain multiphonic ngerings also include instructions asto what breath pressure and embouchure position should be used. These indications can be addedabove a multiphonic ngering in the usual way, although personal experience suggests that mostof them are not really worth including as there can be so many variants in performer embouchuresand reeds. Where signicant and continuous changes are required an additional line can beincluded above the staff.

7:6

:

7:6

M M M M M M M

N N N N N N

7:6

:

:


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Translating From Other Notation Systems

The most common form of notation for multiphonics has been adapted in a number of ways overthe years. It is usually notated vertically above the staff. Versions of this have been used by manycomposers and by the leading manuals containing multiphonic ngerings. The six circles representthe six ngers on the front of the instrument (C, A, G, F , E and D as can be seen on ex. 22)

Ex. 22

These can be translated into our notation in the following way:

Ex. 23

A half-hole or open key is translated:

Ex. 24

or

The F key (not the long F) is translated as follows:

Ex. 25


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The various keys for the little ngers are represented by letters as follows:

Ex. 26

The octave keys can be represented in a number of ways. Either by numbers (as with ours) or withother symbols:

Ex. 27

It is therefore a very simple operation to translate from one system to the other.

The notation system discussed here can also be used for the other members of the oboe family,but remember that when using multiphonics on transposing instruments you do not necessarily geta straightforward transposition of the multiphonic even when the keywork remains the same.

The rst works to employ this notation system were Paul Archbold’s Fluxions, Diana Burrell’sVespers and Christopher Redgate’s Transcendental Etude No.3.

1

2

3

3

Eb

g (g )

F

B

BbC

C Eb


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A Note on Thumb-Plate Instruments

There are a number of keywork systems available for performers but by far the most common isthe Conservatoire System. All of the major lists of multiphonics were written by exponents of thissystem and it is the one that is shown in the photograph in this article. In the UK however, theThumb-plate System is very common.

Many modern Thumb-plate instruments are actually a dual system combining both the Thumb-plate

and Conservatoire mechanism. This means that there is no situation where the notation needs tobe system specic. If however a Thumb-plate instrument is being used that does not have the dualsystem there is one situation where the performer needs to revise the notation (or at least be awareof the issue).

If a multiphonic uses the F key but raises the G key or the G and A keys together then the thumb-plate should be released. The equivalent happens automatically on the dual system but not onthese older instruments.

Other Applications for this Fingering Notation System

There are a number of other areas where this system of notation could be applied and, in addition,some compositional possibilities which arise from it.

Wherever there is a need to notate ngerings or where the ngerings need to be notated in aneasily readable form, this notation can be applied. In particular the notation of rapid strings ofmicrotones or colour ngerings could benet greatly, especially when the second staff is employedto offer a ‘sounding’ guide.

Compositionally it offers the possibility, which was also inherent in Holliger’s original system, ofoffering a degree of aleatoric freedom by notating ngerings and leaving the exact results to theperformer.

Bibliography

Burgess, G. and Haynes, B., The Oboe, (New Haven: Yale Musical Instrument Series, 2004).Chenna, A. and Salmi, M., Manuale Dell’Oboe Contemporaneo, (Milano: Rugginenti Editore, 1994).Veale, P. C.-S., Mahnkopf, The Techniques of Oboe Playing (Kassel: Bärenreiter-Verlag

Karl Vötterle GmbH & Co., 1994).

Music

Archbold, Paul Fluxions Unpublished, 2009Burrell, Diana Vespers United Music Publishers, London 2010

Gorton, David Errinerungsspiel Unpublished, 2008Holliger, Heinz, Studie über Mehrklänge (Study in Multiphonics) in Pro musica nova: Studien zum

Spielen Neuer Music für Oboe Wiesbaden: Breitkopf & Härtel, 1980.Redgate, Christopher Transcendental Etude No.3 Unpublished, 2009Redgate, Roger Ausgangspunkte Lemoine, Paris 1982

Oboe Notation of Multiponics

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