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This is part 2 of a two-part series on Emergent Multiphonics (i.e. those that start on one note and blossom).

Admittedly that is most multiphonics so it may seem a little bit cheeky to propose this as a blog post except that here I’ve organised them very carefully by starting pitch, so that composers interested in using multiphonics for their pitch material can do so with a bit of confidence.

I think it’d be wise to read part one, if you haven’t already, as there’s a lot of useful information there which I won’t bother repeating. The first series showed multiphonics that start on the bottom note and overblow, and this series shows multiphonics that start on the top note and allow the lower note(s) to emerge. These multiphonics are slightly rarer, perhaps more fixed in their quality, but in my opinion are often the more beautiful of the two.

There is some crossover with other posts here, most notably that on dyad multiphonics, and that on underblown multiphonics (though I’ve only done these for the bass and eb clarinets so far!). I refer you to those for cross-referencing purposes! :)

Interestingly, with the last post I wasn’t trying to show all of the options: with so many possibilities for overblowing, I simply tried to give 2-3 top pitches for each fundamental. In this post, in a lot of cases, these are the only options for these pitches.

Hope you enjoy and make use of this list!

Pitch Option 1	Fingering	Pitch Option 2	Fingering	Recording