Daniel KIENTZY

LES SONS MULTIPLES

AUX SAXOPHONES
, . .,• ...·.,,, ,.

pour saxophones sopranino� soprano,

alto, tenor et baryton
 Daniel KIENTZY

LES SONS MULTIPLES

AUX SAXOPHONES
pour saxophones
sopranino, soprano, alto, tenor et baryton

Photo de couverture
© Eric MAHOUDEAU
.t�-C) n /(-:i1�'1IA
11·1STRUMENTS /'US!CJI.LS - f'ARTITU!1ES
Sant Pero 7 - Tel. 725 CS 02
E-0<3201 S/,BADELL

EDITIONS SALABERT 22, rue Chauchat

75009 PARIS Tel.: (1) 48-24-55-60
MadeinFrance

7943
Schema des cles de saxophone/ Schema of saxophone keys page 2

Nomenclature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Tableau d'exemples avec explications/ Table of examples with explanations . . . . . . . . . . . . . . . 4-7

Concordances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Liste de sons multiples/ Multiple sound list

I ) Sopranino 9

2 ) Soprano 22

3) Alto 33

4 ) Tenor/ Tenor 49

5 ) Baryton/ Baritone 67

£.A.S. 17543
 0

. .S.
1:./\ 17543
 3

NOMENCLATURE DES SYMBOLES LIST OF SYMBOLS

ET LEUR SIGNIFICATION WITH THEIR MEANINGS

q I/4 de ton en dessous � I /4 tone below

1:> 3/4 de ton en dessous 1, 3/4 tone below

f I/4 de ton en dessus + I /4 tone above

' 3/4 de ton en dessus f 3/4 tone above

t haut ( � moins de I/4 de ton en dessous) t up � less than 1/4 tone below)

♦ bas ( 1 moins de I /2 ton en clessus) t down

! less than 1/2 tone above)

(t> legerement haut slightly up

(tl legerement bas slightly down

(p)p �ntre pp et p rp,p between pp and p

(m)p entre (tnlp between p and mp
p et mp
(mj) entre mp et mJ (mf) between mp and mj

(mJ.f entre mJ et ;f (m).f between mf and f

<i'i entre
if et Jf <t1J between j and Jf

+S : beaucoup de souffle tS : a lot of breath

S : un peu de souffle 5 : slight breath

-
..::::::::_ : prendre plus de bee

�: serrer
..::::::::.._ : take more reed

-.::::::::::.. : tighten
t
�: lacher -,:::::::::: : relax

* : bruits de clef * : key noises

(*) : bruits de clef legers (*): slight key noises

: batterie lente (avec cette note) • : slow shake (with this note)
�
(4-2): batterie lente (avec ce S.M.) (4�): slow shake (with this multiple sound)

E.A.S 17543
 4

I II 111 IV V VI VII
No Sons Repetition Doigte Batteries Sons Autres Possibilites HARYTON
-- Possibles separes
______,.__________

Tr.np Nl.lalleei Avec

28
Fm
(.2} (111 (-16) 19 LlJ

�·-··�� •• I
f (20) (�) (2'1J .29-

-4�A
- I
�1 - 11- '18 - '19-

---
1'I
- 89
.
"
�
1
mp
J
5 (!3
1 Ed
�T 71 e,
- -1 p p mp p
n 1J ,,---._ w

'
29 1.8- £1 (24) (.2i)

��-1
.28 (�) 18 - 19
- -iA
is c" I '* I
I I
,,
- mp + �
• f
.f'-1ii J 7
'ii mp19- ·
PmjP

Exemple d'utilisation de 2 ,ons multiples

Baryton : 28 et 29

II
mp '--------- �
�----@ ______,
======-- p -m--==tt"==== 6
:=;

� �_J

/ 9H2 h.1 f:diriu11s Salaherr P11ri1

© /11tl:'nwri1111al E.A S. 17543
Tu11.1 druirs rl!Sr!ITc;,
c11r1vriglu .1ec11reJ all rig/us rncrrn/ f)!J//1' (1){/,\ /llff\

FD/TIO \S S 1 /4 Hl:R TS .·1 2 2. rul:' Clwurlwt 7

5 UU9 I' -t I< IS
 5

EXPLICATIONS DU TABLEAU

Numero du son multiple (l'oir cassertcJ.

Transposition a !'usage des saxophonistes.

II Notes composant le son multiple. Li!s notes c/0111i11a11tl!s sonr ge11erale111e11r eel/es (flli peurenr elre
exlrailes (co/01111e VJ).
Duree la plus breve dans laquelle on peut la faire entendre. Sauf i11dirntio11 la cluree la plus tongue
ne clepcncl lfUC du soujjle: la conso11111wrio11 d'air es/ plus grande que 11our une nole «normale».
a
On ne peur ( quelques exceplions Jmis) uliliser le soujjle conlinu.
Certains sons multiples ne peuvent «sortir» s'ils ne sont precedes que d'une des notes qui les com­
posent ou d'un autre son multiple. La petite note indique la duree minimum de la note ou du son
multiple preparatoire. Lx .· Sowani110 I. Tenor 80.
a
!,es p lus j'acifes sortir son! ceux clont la J'(J/eur peur erre la p lus bri:l'e.
Les p lus facilc.1· a
e11c/wi11er son/ ccux en/re lesq11el/es 011 pcur faire cles halferies (colunne V).

Ill Rythme le plus bref clans lequel on peut repeter le son multiple. Dans certains sons multiples i11s­
rahfcs. /es rcipet i rions se j(m r al'ec cles mpporls cf'in r ensil e 1·ariables e111 re /e.1· no tes qui Jes COIII/HJ­
se11 t.
Nuances possibles.

IV Ooigtc necessaire a !'emission du son multiple ( 1·oir sche111a).

(Peu cfe SOJJra/10 possecle fa c/e C 6)_

V Numero des sons multiples avec lesquels ii est possible de faire des batteries (]) .Cerrai11es batte­
li111iree. Lr: soprani110, bal!erie 101//0l: cl uree 1/WXillllllll 5''.
ries / JC'llJ'('/1/ Cll'Oir l/1/(' cfuree
Notes avec lesquelles ii est possible de faire des batteries ®.
Celles-ci s'obtiennent a partir du
doigte co/01111e IV avec les modifications indiquees. L\·: -+-Lb, -4, etc
Cerraines ballcries sons multip les I notes peui·ent a1•oir w1e cl uree limilee:
o· 6" /o 4" If'. 3" I• acl libitwn

VI On peut extraire certaines notes composant le son multiple. Si ct' son! clcs � . f,, ou q el/es 11 'ont
pas le 111c:111e ti111bre qu ·a1•ec le cloigle 11or111a l. ( Voir co/01111c VJ/. si cl/cs ne cfoiPcnr ,,as l;tre prece­
cfec.1· JJClr le son 1/lllflip/c) .

VII �utre !'utilisation �e sons multiples inte�cales �ntre des 1�otes �<n?rmales» (y ou enchaine�s a
cl autres sons multiples (§) . II est parfo1s possible de faire preceder ou su1vre le son multiple,
d'une des notes qui le compose utilisant le doigte specifique : colonneIV @
L'indication de duree de la note cxtraite est la plus breve possible. Sauf i11c/icalio11 co11 traire sa
c/11ree 11 'esr li111iree (file' f)ll/' le soujfle.
Le son multiple a Jes caracteristiques indiquees colonnes l l ct Ill. Sauf indication contraire, les
nuances de la note extraite sont celles indiquees colonne VI.
Le rythme donne est le plus bref possible, la lenteur, sauf impossibilite notee, n'a pas de limite.
La duree donnee en [EJ est celle pour Jes cas ou on depasse la simple sequence note extraite - son
multiple - note extraite @
Cette duree s'adresse alors aussi bien aux sons multiples qu'a la note extraite.
On 11e11r rn111hi11er /cs clijjerenres possibilites de U'ffe cofonnc. t·.\.. co111111encer par ///IC' cles compo­
santes er. t'tant passe par le son 11111/riple jinir par wze aurre. si celfe c/emihe /)('llf apparairre a11res
leson 1nufti11fe @.
Un doigte de son multiple permet parfois d'emettre des notes isolees ne faisant pas partie de celui-ci
generafe111cnr clans le s uraigu de /'i11srru111e111 e t la nuance j(1rtl! Q).
L ·e11chai11cn1e11r note cxtraire Ison 111u/1ip lc est plu s ou 111oins progressij' (fondu). raremenr sec.

11: ultiple
.
LY : Sopram110. 3.1
_ �
,
�JJ � �
Les so11.1111ultipfes </ lli conriennenl clu soujjle « S » (colonne Ill) 11eu1·e11t etre a/tern es soujjl<:.' / son
J
I
I - I I I
.S .S 5 5
Nora: - a !'exception de la colonne I, tout est ecrit en son reel.
- le mouvement est J : 60

E.A.S. 17543
 6

I 11 Ill IV V YI VII

-
1\/0
Sounds Repetition Firgering Shakes Separate Other possibilities BARITONE
- -----------------
Possible

nTI
Tr:u� Dynamics With Sound-;

· · w ·1
28 (2) (11) (16) 19
[jJ
-I ·
i (RO) (!23) (2.7) .29-

= �·
-4�A 31 - 17-78 - 19-

$i
�
- - _
� 89
.,

i-
mp
i
56
1 I TI mpj

ill
P-1 f -e-
p p mpp
n
'
2,9 -:1.8- 21 (.24) (2�)
� ,--._

---
� (�) 18-19

t
{A
- I ·1
I
,, � I

·�-��-p
� mp 'l./
5C3
+=. i 1 mP
p
te-
+ f.
PmjP
-r-

Example of the use of 2 multi ple sounds

Baritone: 28 and 29

1. 1' 1.
3A �
2A
U- 4C3
56

'---­
========-- p m" tfo

E.A.S, 17543
 7

EXPLANATORY NOTE

I Number of the multiple sound. (See cassette recording).

Transposition for the use of saxophone players.

II Notes comprising the multiple sound. The predominating notes are generally those which can be
played separately (column VI).
Shortest duration for which it is audible. Unless otherwise indicated the longest duration depends
only upon the length of breath ; the amount of air needed is greater than for a «normal» note. Con­
tinuous breathing (with a few exceptions) is impossible.
Certain multiple sounds cannot be produced if they are preceded or followed by another'multiple
sound. The small note indicates the minimum length of the notes or of the preparatory multiple
sound. Ex : Sopranino 1, Tenor 80.
The easiest to produce are those whose value can be the shortest.
The easiest to join are those between which shakes are possible ( column V).

III The quickest rhythm in which a multiple sound can be repeated. In certain unstable multiple
sounds repetitions are made with varying degrees of intensity among their component notes.
Possible dynamic levels.

IV Fingering required for production of the multiple sound. (See schema).

(Few soprano saxophones have the C 6 key).

V Number of the multiple sounds with which shakes are possible @ . Certain shakes may have a li­
mited duration. Ex: sopranino, shake 101/102: maximum duration 5".
Notes with which shakes are. possible @ . The latter can be obtained by modifying the fingering
in the manner indicated in column IV. Ex : + Eb, - 4, etc...
Certain shakes between notes and multiple sounds may have a limited duration
O • 6" / o 4" / f · 3" / • ad libitum.

VI Certain component notes of a multiple sound can be played separately. If these are # , � or �
they do not have the same tone-quality as with normal fingering. (See in column VI if they must
not be preceded by the multiple sound).
VII Over and above the use 9{ multiple sounds interposed between «normal» notes G) or joined to
other multiple sounds � , it is sometimes possible to precede or follow the mul!lele sound by
one of its component notes by using the fingering expecially indicated : column IV "-9.
The indication for the length of the note thus extracted is that of the shortest possible. Unless
otherwise indicated its length is limited only by one's breath.
The multiple sound has the characteristics given in columns II and III. Unless otherwise indicated
the dynamic levels of the extracted note are those given in column VI.
The rhythm given is the quickest possible, slowness of tempo being unlimited (unless impossibility
is indicated).
The lenght given in IE applies to instances in which the simple sequence extracted note - multiple
sound - extracted note is exceeded @
This lenght in consequence applies as much to the multiple sounds as to the extracted note. It is pos­
sible to combine the different possibilities of this column. For example, one may begin with one of
the component elements and, having passed by the multiple sound, end with another, if this can fol­
low the multiple sound G)
The fingering sometimes allows the production of individual notes which are not to be found in the
corresponding multiple sound. This is generally the case in the uppermost register and at the dyna­
mic level forte (!)
The joining of the extracted note with the multiple sound is more or less gradual (merging) rarely
abrupt.
The multiple sounds which contain the breath sign « S » ( column III) can be alternated: breath/
multiple sound.
Ex : Sopranino, 35. J gi f i i
j j
I -1 _j _J .. I
.s .s s .s
NB.: - apart from column I, all notes are written at sounding pitch.
- the tempo is

E.A.S. 17543
8

CONCORD ANCES

Ba11e111e111 (c/11) (arec) Shake (fimn) (ll'ith)

Balleries le11tes ..... S/0111 shakes

Cha11ge111e11 I c/e Ii111hre Change uf tune - quality

(pri11cipale111ent du La rj)
(1mr rapport a I U)
Chro11wtiq11e . .
Cle 7 ti c/e111i ...
Dans ce son 111ultiple, le La e's/
a/lenue /Jllr rap/JUrl a ce/ui du 1 4 II est
possible cl cilremer 14 et l4 selon 1111
ryth1111:' ad lihitu111.
Doil ,;Ire precede (suii'i) de
Doil (;Ire precede clu son lllllltiple I Oil 83
E11cltai11e111e111 i1111,recis (instah/e). .
Fait /eghe111e111 hai.1ser
FlaIIe111e11t (sur) ......
Gare/er ce cloigte ...........
C!isse lent (011 rG/Jic/e). . . . . .. . ..
ldentiqw! ti 41+, a1·ec Mi. .. . .....
nwins for! (plu.1 fcJrt)
II est difficile c/e 11wi11te11ir !cs . .
3 SO/IS ense111h/es
JI est possihle cl ·eti111i11er le Mi b
c/u Son 11111/ti11le
!nstahle (et 11011 ribre)
L 'a/temance c/01111e 1111e surte de.
flalle111e111 rnr le Mi
Le 1y!l11ne du Re b est ad lihit11111 . .
Les • pas trop rapides. pas rro11 longs ..
Le Si h ap1}(/ra ft arec la cle 5. .. ... ..... .
Lies ou sans a11aq11e . . . . ....... .
,nf Cl J ii _l' a i11/e1fere11ces .
p Cl 1nf /es 110/('S SOIi/ dislillc!C'S ..... .
Pas 11/us long c111 ·u11c' l
Possihi!il(' fla/lC'll/('/1{ (II'('(' cle 7
Plus haul (11/us bas) que. ..
§ rend ce son 11111ltiple roulant
Ry1l11ne du La+ (Si b) ac/ lihitwn
(nwis bref)
Trc;.1· (difficile) . ...
Tres lent excellent .
Vuir (aussi possihilites cl ·altemer ces cloigtes) ..
(111ai11/_1· of the A �)
(as cu111parec/ 11·i IIt I /3)
Cltronwtic
1\/ith key 7 !wlf-<.J/Jell
/11 this 111ultiple so1111cl tlte A is a/le1111ated
In cu1111Jariso11 11·i1/i that o/ I ../. It is /Jossihle
to altemate 14 and l4 in a rhy1/11n
ac/ lihitu111
Must he precec/ec/ (f<Jllo11·ecl) by
Must he precec/ec/ hy 11111/tiple so1111c/ I or 83
l/nclear (unstah/c} connection
Causes s/iglzl lo11·ering
Finger-l'ibrato /Close slwke (011)
l\eep this f111geri11g
S/011• for fast) glissando
Tlte same as !tit. 1l'iIh /:'
weaker (stronger)
It is difficult to hold lite
three sounds si11111/1aneously
It is JJossible ro eli111i11ate the I:· h
fi·o111 the 111u!riple sound
l1nswhle (anc/ 11·itho11r 1·ihrato)
Altenwrio11 Kin,.1· a kind of fi11ger-1·ihrato
on , he L
The rhyt/11n of the D h is ac/ libit11111
The • 1101 too fast. 1101 tuo lung
The B h appears ll'itlt key 5
Tied or 11·ithout attack
inf to ! there are heats
p to 11-,J lite notes are distinct
So longer than a )
J-'i11ger-1·ibrato po.1sihlc ll'i!h key 7
1/igher (/o 11•er) I /Ja11
6 gi1'es a rolli11g-1u11e to tltis multi/JI<: sotlll(i
Rltyt/1111 of the A+ (B h)acl /ihitwn
(hut short)
Ve1T (c/ijjirnlt)
Lxcellent rery s/011·
See (also {JUSsihilities of alternating
these fingerings)

E.A.S. 17543
 9
SOPRANI�
N o
] Sons Repetition So ns I Au tres Possibilites I
-- separes

�
I

je

I! ... ;!4a=,. r -I'-

"'JJ
rit-
--;;
�
-§
E::3+'/ -6
'J'1' J
-

n
i�:·
-

I�
� --------
WE,!': . ;1l:...µ�t::J���p�1�------
.·til

•1•� -
2-33 ��-

'::,!} ��-
'+

:
,k- � B�
_,2 -t,

3
- t , '!a
Il1f �-f=
;j• � 1.ir:
f
l q:;
•
,. 1• � i �� � mJ
: I
"'JJ
n r". J _, -a
(H
) µi ----7I
l, I
l
5
r
��
� -j.,r
mp
,
} B
....- ,:Ljr'
�-��
1

f:p • -p
1, l V I
i�
�Tc
6� ���{*�,
mp p
I �:
�---t-7:. ,· '',"'
,,f
-• - I
"�r-tj+·��-= q
� •i1-=t= =-=��t--====���r= �I
6
311,,
�:=j=:J
q

: �- -====le__
It!
.Y....: -4Tc
' 5
i
inatahle
6 , mJ 1 J-
.r
111]]
------
I� � ' J -
i

� I;� -
f_j�_ 2
3 .Bp

I J

E.A.S. I 7543
 10

Sons Repetition Doigte Batteries Sons Autres Possibilites SOPRANINO

Possibles separes
Transp.
Nuances Avec

n i
2
3 Bp
I+

m.f
� Ta ·���
p
ii -3 -{ 3 +1
r• ...........
!•' (•l <•> (I) l•l

PP 11!f
p
w
+S
J
11 Yir 1f f I
'/6

1
p �
mp
i3
J w
Ir r
1.-
-'--'-=
.... ■,
I•
'
PPP PPPP - �
+S +..S
n
1�or......-. 11�m1f'r I
_t-e-
.
4T.
5 f pp mj,ef f:
les LA
pp 'f pas i:.t·op rapides,

w w
pas trop lon_A"s.

=---
15 68

�,. " pp �
JJPP
+S i
+5 -'!
16 q-e-
-
��
j 'a
'--'
., .L L .JL
.JL
It mp
pp-=::::.:mj
+S
11

pp mp<J
p
instable
Fffi
it
6
'1

E.A.S. 175-+3
 Sons Repetition Doigte Batteries Sons Autres Possibilites SOPRANINO
- Possibles separes
Transp. Nuances Avec

Fni
mJ
JIJJ
20

in:}table

w
+S mp
n
ftfr
Lt]
�-
1 E -
� "'"� 1
<"if �
11
1) p p "'P
voi1· 19 5 -1-S
22
J 1 C2
.2 0 i
3
5
pp
7
Ep
(111)p
23
�
� ,1I
·-
i ...
"
-e-

rl'is L bl•e
clit'fici/e ins.a

n 1 41-58

3 Bp
5
6 Cs mp mp
mp
mj 7.-c:::::::::.
.... mJ
25 63
-1.
2
31317
5
6 C:i
pp 'f
p
n
JJP PP mp
p p 111.f
+$
1 C2 80
2 Ci
_Bp
mp � C3
mJ 7

E.A.S. 17543
12

No Sons Repetition Doigte Batteries Sons Autres Possibilites SOPRANINO

Possibles separes
Transp Nuances Avcc

p
-5

J 1
2
3 }3p
mJ
;f .f
n
.,.,
pp pp I
Tres instable (Sl +.S

J 1
�
5o [hes
instable}
3 Bp
t+ Tf
I 5 'I'c
(mlp
-f=::'.
n
mp

p
s

5
mj 6 I

n (58) 16

5
G

1 C2
-
'-::::E:=::j::::===::!
5c Ci I I ,........__
3 Bp
5 L------1L
G L------1• "
ti
(1111JJ -=::::: pmj
instahle

E.A.S. 17543
 SOPRANINO
Sons Repetition Doigte Batteries Sons Autres Possibilites
Possibles separes
Tran�,.
Nuances Avec

Fm

�h
PP
p
ffi !Bl> i-18-(58) • f�

mJ 56 jffl PPPP �
l +t +€- mp

n
pp
p
n
mp PP mp
p
4i n 1
2
24
-0-
� .Br
1�·-�§1 F � F II bf f I
PPP m/J
12
____..,.-
p
fs j
o 01.l 1 44-

_,
� i,. I
3 Br 2t
-
4 4
(5tait 5 I
mp legereinent '/)
111;! !Jaisser J/ /
44

1111)
tnJ

111..f
111JJ

J 47 (50) Si-84 ------

{
2 f.a � f It
.....
3B I I
..... -
-----
4 .,�- ,_ ....
p
5 mp I/
7 p 11{-f
���

E.A.S. 17 5-1-3
14

- Batteries SOPRANINO
No Sons Repetition Doigte Sons Autres Possibilites
- Possibles , ,.

,,---.__
sepa:res

w
·fo1n•;p. Nuances Avec

·�
l¼-6
� 1
# flt
2 �Q

,_ -
3B

�,.
'--

5Ta
pp j � 111f. JJ 111
JJ 1 +s 11rf

-
mi
..
41 1 C1 l.+5 (5'fl 83
�-e-

--�J'ft1
.. -
��

77 - -
2
3:B
•9
.J._ -

�§a
It
• 5 P.PPPp
.f 'f
tiiJ
mpf
Pfip;ii/PPP P�P
w
111]) +lo -1 -5

n
•
t.t8
i C'-i 56 llJ
- -
$1'fTr I
' J- � ...I.-
3B ,.

<T I.I-
I• 5 pppp p ____.,,
pp
-u
1 ���
-5 -1
ij9
1. f..Q.. lJ ,-
,,�. � ur �
-I' -
..
..- £ - -► >> > >
3B
1
I

�
T �➔•
I• tnj 5 Tc
j + 6/ +(qi-VJ/ -t6/ +�

,�
j 'I....:::::::::::
-....,..

fFi 12
3

�·�
50

1
1 (45)

-e-
2
-f+
_,_ ..
��f
aB
,_
p
I/ p 6 n!f
111.f
'/
;f
i11stablei

-�·
rr,
3
51 45- 92
1. C2
A��
.. ff
- -
Q
3B ,J - �

��§
t+
� !.:; 5
1
mp!

w
(tnj
... � -i +Ep
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E.A.S. 17 543
 15
SOPRANINO
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 Sons Repetition Doigte Batteries Sons SOPRANINO
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E.A.S. 17 543
 17

No Sons Repetition Doigte Batteries Sons Autres Possibilites SOPRANINO

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E.A.S. 17543
18

N° Sons Repetition Doigte Batteries Sons Autres Possibilites SOPRANINO

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E.A.S. 17543
20

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E.A.S. 17543
 21

N° Sons Repetition Doigtc l3attcrics Sons Autrcs Possibilites SOPRANINO

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E.A.S. 17543
 23

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E.A.S. 1754-3
 24

Sons Repetition Doigte Sons Autres Possibilites SOPRANO

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F..A.S. 17 543
 25
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E.A.S. 17543
26

Sons Repetitior Doigte Batteries Sons Autres Possibilites SOPRANO

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E.A.S. 17543
 27

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Sons Repetition Doigte Sons Autres Possibilites SOPRANO

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E.A.S. 17543
 29
Sons Repetition Doigte Bat tcrics Sons r\utres Possibilites SOPRANO
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E.A.S. 17543
30

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 31
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32
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E.A.S. 17543
78
Sons Repetition Doigte Batteries Sons Autres Possibilites BARYTON
Possibles separes

w
Transp. Nuances Avec
♦h
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8i- 8.2-84--85
86

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L, '1,1mpc t·n h.,ut t·st pour le-, r,1, 011 le ,on multiple t',t prcn•de ou ,uivi p,,r t111 ,1111 multiple tompri, t•111re 72
cl 86.
la h,,mpc en bas, pour les .wtrcs cas.

b) ii est possible d'utiliser melodiqucment les notes Jes plus graves d'un son multiple compris cntrc 72 ct 86, et,
progrcssivement de passer aux sons multiples avant de rcvcnir a des notes isolees. Ex. : ( * ).
a
les sons multiples de 72 86 peuvent s'encha'iner extremement rapidemcnt.
a
les batteries entre Jes sons multiples 72 86 sont tres faciles.

a) the tail pointing upwards applies to the case where a multiple sound is preceded or followed by a multiple
sound from between 72 and 86.
the tail pointing downwards applies to all other cases.

b) - it is possible to use melodically the lowest notes of a multiple sound taken from between 72 and 86 and pro­
gressively to p,1s; to a multiple sound before returning to the single notes. Ex. : ( * ) .
the multiple ,ounds 72 to 86 mJy follow e<1rh other quickly.
th<' ,'1.ike, bc-twc<'n the multiple sounds 72 to 86 arc very c-.,s�.

( * )

81 'f9 8� 16 8f 'I 'I 14

EAS. 17543
 o
N Sons Repetition Duigte Bat tcrics
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Sons
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Som, Repetition Doigtc Ballcries Sons Autrcs Po'isibilitcs 13 ARY TO i\
Possibles scparcs
Transp Nuances

mp
(1n>S
96
n
55
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1.-.

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mp
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E.A.S. 17543