Subject: Re: extended vocal tech...
From: jef chippewa (firstname.lastname@example.org)
Date: Thu Nov 18 2004 - 14:26:55 EST
you'll find that although some people may have a very efficient
manner of notating such things for specific pieces/aesthetics,
"extended vocal techniques" notation is hardly standardized, and if
it seems to be, the standard will generally be "very" regional. the
best thing to do is to check out as many scores as you can which use
various vocal techniques - from a broad range of stylistic
backgrounds - and compile the various notations. although some
notations used in well-known pieces may seem to be inefficient, it is
sometimes best to use them nonetheless, because of their familiarity
(as long as they aren't completely incomprehensible).
beat furrer has a couple of flute-voice pieces that you could look
into, and for sure check out ferneyhough's "time and motion study 3"
(16 voices + electronics and sound objects). his score uses
footnotes, in a sense, numbers in the score indicate references to
detailed notes at the start of the score. sometimes it is more
efficient to explain what you want than to attempt to find or develop
a pertinent graphic- or symbol-based notation for it
berio's sequenza; aperghis' series of a capella pieces, i've
forgotten their name, maybe "incantations", no i don't think that's
it...; then there's always diamanda galas and miranda someone;
spahlinger's "sotto voce" is a great one, although few libraries seem
to have this one, i know none in canada do (i think it is published
by peermusic-europe/hamburg); lachenmann has a piece for flute voice
and piano (i think) whose name i think is "temA"...
learning the international phonetic alphabet can also be very
helpful. the IPA had a couple of free fonts on their website the
last time i checked.
.jef.chippewa. mailto:email@example.com .shirling.&.neueweise. http://newmusicnotation.com
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