Appendixes‘The following list of the keys of a typically equipped Boehm flute references a drawing (Figure 8, below) of the mechanism of the instrament itself. The descriptions apply to instruments usually encountered in France and the United States; warnings are made of certain important variants that would affect the use of the fingering charts given throughout this work. Each key is assigned a finger which alone (save for two exceptions) may handle that key in normal playing. Any fingering requiring the use of a finger on a key to which it ig not assigned requires in effect an abnormal hand position. Such fingerings always bear footnotes to this effect and, when used, must be spaced in the musical flow in such a way that the player has time both to get into the required configuration and to get out of it. In particular, it is not possible — except for a few players with exceptionally large fingertips — to open either of the two trill keys and simultaneously close completely any of the numbered keys beside it with one finger, if the flute in question is of the French model. Lefthand mechanism No.1 key Closed by index finger. Beflat thumb key (Thumb lever.) Depression by thumb closes both thumb key and the plate between No. 1 and No. 2 keys. Benatural thumb key (Thumb key ordinarily in use.) Closed by thumb. No.2 key Perforated on the French model. Depression by middle finger closes No. 2 key and the plate between it and No. 1 key. No.3 key Perforated on the French model. Depression by ring finger closes No.3 key and the plate immediately below it. Gesharp key Opened by little finger.plate. Beflat shake No. 4 key D trill key No. § key Note D=sharp trill key No. 6 key D=sharp key Cesharp key Cenatural key APPENDIX A: STANDARD KEYS OF THE FLUTE 41 Note: The above information regarding the No. 3 key and the G=sharp key does not apply to the open G-sharp fingering system, not frequently encountered out- side of Eastern Europe. In that system, the G-sharp key closes the plate im- mediately below the No.3 key. Operation of the No.3 key does not affect this Righthand mechanism (Lacking on some older piccolos, most alto flutes, all bass flutes.) Depression by knuckle of index finger closes the plate between No.1 and No.2 keys. Note: ‘The shake on some flutes made in Germany, Britain, and the United States before 1920 is called the B=natural thumb key. Other arrangements have been made on special order. Perforated on the French model, Depression by index finger closes No.4 key, the plate above it, and the plate between No.1 and No. 2 keys. (Lacking on most bass flutes.) Depression by middle finger (less often by index finger) opens the lower of two small plates (not shown in diagram) above No. 1 key. Perforated on the French model. Depression by middle finger closes No. 5 key and the plate above No. 4 key. The split E mechanism, an extra-cost option, changes the operation of the No. 3 and No. 5 keys in an effort to improve the somewhat faulty e,=natural of the standard closed G-sharp finger system, Closing the No. 5 key also closes the plate below the No.3 key without affecting the No.8 key itself, which is only in- directly linked to that plate. Note well that this mechanical arrangement alters the actual key configuration of any fingering in which the No.3 key is open and the No.5 Key is closed or on the rim. The data contained here apply only to flutes not equipped with the split E mechanism, so far as such fingerings are concerned. (Lacking on most bass flutes.) Depression by ring finger (less often by middle finger) opens the upper of two small plates (not shown in diagram) above No. 1 key. Perforated on the French model. Depression by ring finger closes No, 6 key and the plate above No. 4 key. Opened by little finger. Held open in most normal fingerings to provide full venting; serves as a point of support when holding the instrument. (Lacking on piccolo.) Closed by little finger. (Lacking on piccolo.) Depression by little finger closes C= natural key and C=sharp key.42 APPENDIX A: STANDARD KEYS OF THE FLUTE Benatural key (Optional equipment, available for the most part on concert flutes only.) Closed by little finger and ordinarily independent of other keys. (Sometimes in lefthand mechanism, operated by little finger.) No. 1 key B-slat thumb hey CB) Beratural thumb key () No. 2 key No. 3 key G-sharp key (64) B-Flat shake (s) No. + key uL Denetural trill key (Dts) {JUL No. 5 key HO Desharp trill key (Dt tr) Lt Mo. 6 key D-sharp key (D#) C-sharp key (C#). Cnatural key (Ch) NY Bematural ke'y (5h) Figure 8. Standard flute keys.Appendix B: Normal Fingerings ‘phe first fingerings given for each pitch are traditional, accepted by all authorities as standard on the closed Gesharp flute or piccolo, up to d,, Above that pitch authorities dif- for, in large measure because of differences among instruments. Only rarely can a piccolo attain a pitch higher than cy*natural or e,-sharp; some older instruments will not exceed b,=flat, Alto flutes are also in some measure restricted above dy; bass flutes vary unpredictably. The extreme high-register fingerings @r° therefore my own, reflecting the suggestions of various players, and include without apology fingerings requiring the French model. ‘Alternate fingerings are also my own, with the help of many others too numerous to cite, ‘Their status as primary fingerings varies and so requires some enumeration (see Figure 9): 1, ayssharp and ayesharp. ‘The three fingerings should be chosen solely on the basis of convenience in context. The second and third fingerings produce identically the same con- figuration. 2. egeshaxp. The parenthetical second fingering may be used to facilitate register crossings and to lower slightly the sharp pitch of the main fingering. The optional D=sharp key is purely for the sake of convenience. 3. fg. The parenthetical second fingering may be used to add refinement to the tone aua- lity of this note in normal playing. (The normal fingering gives a strangely coarse timbre for reasons as yet unexplained.) 4, fg-sharp. This case is very similar to 3. 5. gq*sharp. The parenthetical fingering is used to lower the pitch, which is too sharp on some instruments, but at the expense of somewhat deadened tone quality. Its use is unneces- sary on most B foot instruments. 6, ay. The use of the C=sharp key instead of D-sharp slightly refines the timbre and raises the pitch, which is often slightly flat with the Desharp key. 4344 APPENDIX B: NORMAL FINGERINGS 7. a,=sharp. Choose between the first two fingerings on the basis of individual instru- ments. The first is too flat but gives a timbre more in character with the rest of the in- strument than the second. The third is known as the "Mignon" fingering because of its use at the top of an ascending pianissimo E=flat seventh arpeggio in the Ambroise Thomas opers of that name. It is slightly sharp-pitched and can be played quite softly. 8. by. The parenthetical fingering is slightly flatter than the usual fingering, which is too high on some flutes; however, the ring finger must cover a key normally under the middle finger of the right hand, awe 9. cg The parenthetical fingering is available only on B foot flutes and is used to lower the very high pitch of the standard fingering. Closing the No. 5 hole lowers the pitch more than half-holing, which is possible only on the French model. 10, e,=sharp. Choose the fingering that is best on the particular instrument, Tt makes no difference on some. 11, dy. The C=natural key improves the note on some flutes, worsens it on others. 12, dy=sharp. The second and third fingerings are slightly flatter than the first. Choose the one that is best on the particular instrument. 13. eg, The first fingering is too high; the second corrects the pitch. 14, fg. The first fingering is too flat; the second corrects the pitch and blows more easily. 15, f,sharp. The first fingering is fairly reliable on B foot flutes on! the second works on about 1 percent of C foot flutes.+ oo cox 8 8 : Z HI} © oclooox ecofooon z 8 +2 3 tI] pesleoox — 41||/|] » ooloook E 3 eae cos 4 po ofo 00% 2 solo x 3 HU] J Re cle ook wo algo o& a pedsoog 4 poole ook a H} se * = . = 8 IH] + lo 00g a0 os 0.0% a & < Ee tle 00x 3 pe slooog wo slooox i Hl eo eo os 4 abe be Figure 9, Standard fingerings of the Boehm flute.Appendix C: Trill Fingerings ‘As in Appendix B, the traditional fingerings are given first, followed by variants that for various reasons are desirable and sometimes preferable, I depart from this convention only in the case of the very difficult a,-b, trill, of which the standard fingering is so un- satisfactory as to be virtually useless. ‘The notation used here is the same as elsewhere in this work, except for the additional wiggling character that denotes key movement (# ). Multiple key movements must be made simultaneously; it is of course difficult to synchronize these if they are in opposite hands or in nonadjacent fingers. Such trills must be executed slowly. ‘The ¢,~sharp-d,~sharp trill must be avoided at all cost; the reason for this fact should be plainly apparent from the bracketed notes in the chart below. (Figure 10.) The g5-8, and ag-b, trills should not be attempted on piccolo; in fact, any trill with an upper note higher than by=flat will prove unreliable or impossible on plecolo, ‘The bass flute, of course, lacks the Denatural and D-sharp trill keys; this renders the written ¢y-do, cgssharp-d,=sharp, ¢-dy, and e,*sharp-dy-sharp trills impossible, (The downward ! trills, given later, obviate some other problems on bass flute — such as the written c,*sharp-dy, cy*sharp-d,, and g,*sharp-a, trills.)APPENDIX C: TRILL FINGERINGS 47 Fa Pale ah ae . [Pager lihh Doriteat Tee tbebret oft ited tinea MOO. debple deen, : o Wte'saltke 3 Sate sical : 3S fuhale bith eer! Oe te che cw Mca ge age OT bt ware) le pt —— pt — le ~ + 0 0 40 ep Wel key Bee o 8 8 8 ale wae OH 2 2 2,2 closed] slesed] 2 * ee Ole oeecraa anne ae) “~ eo 8 8 ote ot ° Sem Thaw ” 1) Lalbe) buleeli ed paleo) polbd holt golte) SN ~— wei, ag ees atone) 2. 2 2 2 so od 8 oo 8 3 $3 & De a me Figure 10, Upward trills.48 APPENDIX C: TRILL FINGERINGS bate) gale) 4d bdtd peda alte = wo 5 8 8 2 2 2 2 o@ oo PEP LEE | rppere | Cnr ae eto one im, "0 tro Slat) weak, tee Vas . # 0 eile 8 3 2 eats a a oy Fees alt) 1 Upeord 3 Ean is Lemay ¢ 2 42 Left) 0 [feud] et aoe 2g pits ae meets 8 Sate ” » 2 (oe) jabs) hate a F @ F~~_& F249 Giger ate Ae Cheboeds Hye ely 5 eee tage 2 lal emren star ane| Som 8 3 S Poor] Be om 8 ce a a uO Figure 10 (Continued).APPENDIX C: TRILL FINGERINGS 49 ‘The following fingerings (Figure 11) are traditional with the French masters and are given for the sake of completeness, but not without reservations owing to changes in the size of the tone-holes made at the time of the adoption of the modern 440-Hz a,. Since in each case the main note is fingered as usual, the only fingering given is that of the auxiliary (downward neighbor) pitch, which is in each case considerably sharper than the same pitch normally fingered. - ‘These fingerings are used in rapid passagework and as turns for upward trills. Only an abridged list is given, since special fingerings for this purpose are not needed elsewhere on the instrument. ‘eee yen [ase on mort ‘piecelor) F biole partly covered] Stor coat boning Be pris ty qecing Baath gives bel rani] Figure 11. Selected downward trills.Appendix D: Fingerings for Quarter Tones Fingerings are given for the quarter tones of the 24-tone scale only; refer to Appendix B for normal fingerings, often helpful in forming a preview of the playability of a pro- jected passage. Quarter tones for which no fingering is given are not playable to the best of my knowledge on flute, Fingerings for plateau system are given wherever possible, but their availability is limited. Not all fingerings given here are workable on piccolo. Ge fe fe do de a gr ate 3 Figure 12, Quarter-tone fingerings. 50APPENDIX D: FINGERINGS FOR QUARTER TONES 51 wo he tote he tate te he he fo te Be he te 1S te F F a F yee ae of fe Reece teers |e oe Bu at 0 6 ate te o 7 0 z = eee 8 ee ore el et et ones tek 2 ace bo we Bie) 4 . . ° . uJ . aot 2 ° Om “Dk ° ° ° ° ° ° be De is iF F F . . Fo fo . ° ° a ° o poe aes 2 am o & ° ° ° ° oe aa ot eae . te on Dan : 5 3 3 : Sone De De CH Figure 12 (Continued).Appendix E: Fingerings for 381-Tone Scale Natural pitehes given here do not and are not meant to correspond with those in 12-tone femperament, though in some cases a fingering will correspond for lack of a better one. The fingering list given below (Figure 13) is set up so that 8 equals the a, of 12-tone temperament, which is also Helmholtz's usage. A certain degree of humoring with the embouchure is needed to bring the pitches into temperament, and the fingering list includes an indiscriminate mixture of normal tones, weak ics. Pitches, and simple and complex harmon- Any experienced flutist can instantly distinguish betw. ven the fingering types, but for other readers the services of a flutist are indispensable in giving some impressions of what the various pitches sound like. Siven'below is approximately equivalent to a seventeenth- or possibly slightly better than the latter, masters of the Baroque, it is necessary in the case of 3: vantage of these unevennesses, that of a 12-tone chromatic scale executed on keyed flute, or eighteenth-century single- Just as was the practice of the '1-tone writing to take positive ad- Pitches for which no fingering is given are essentially Particular ¢,=flat, b-sharp, d,=double flat, 4 8, "flat, a,=double sharp, and ¢ unavailable. These include in lat, ¢,=double sharp, e, =double flat, 1grele es g & seat greleet oes: ane poner A vale b4) 9 eojvoog 608 be Ye te be xe he 005 [oo] FS cry 4 + oolooos, q ss ojocok 31-tone fingerings. & & oe q se ehsod 8 8 Z g g 8 & 8 2 8 z g a 8 g a ai g a & & g ao at spslooos é * Figure 13. a © x gocle ook Fy 40 Fo Cawkweed54 APPENDIX E: FINGERINGS FOR 31-TONE SCALE be te te Me te be ee he ME te be re he F ne 5 FO cilishty 40 Fe Fe Ole) + 6 slightly oF lg fe 3 ted 4 2 23 as oe oar 8 wd : oo 3 eee ie 3 3 8 3 gt eS mn te Dt mh Dt Dh mM be pe hae BE 4. 7 xe be | 8 8 SF caigty FE oF 26H 26h 268 0 low) oO : 28 RS OS 33 3 3°38 3 DF Dt Dt DE oF oe r OF F . * 0 0 #0 6 oo 3 8 oD FS 4 Ce woh oO ee 7 BM Et fe et ore 2 8 Fe tS ot am ea) og be bt te Ge He te F F . . . o 8 Foot Gliglty, Chighh . . e : 46 Gee high] Zoe oO oo > oS oS Sone Soe ow on 2 DF Dt cr c Figure 13 (Continued),Appendix F: Available Multiphonics ‘This list of multiphonics and simtlar sounds was prepared by running a computer program that printed out a complete list of available fingerings for French model flute equipped with the B foot but no other optional or special keys. These fingerings were then played through and their available multiphonies were rather selectively listed, while the least reliable ones and many duplications were omitted. The materials thus obtained were ordered by pitch and retested —in the process small errors in pitch notation were corrected and many more un- reliable multiphonics and duplications were eliminated. A third pass was made in preparing the descriptions of multiphonics; still more corrections and eliminations were made at this stage. ‘Two Verne Q. Powell flutes, serial numbers 18 and 591, were used in preparing the list. The for er of these lacks the B foot, but it proved possible to interchange the foot joints of the two’ struments; therefore much testing was done with hybrid instruments. In addition, Thad the use during part of the testing process of a head joint in white gold made by N.D. Lamberson of Oskaloosa, Iowa. Its playing characteristic were profoundly different from those of cither of the Powells, which in turn differed greatly between themselves, but little or no unsettling effect on the production of the various multiphonics was found, much to my surprise, The embouchure chimneys of the three instruments varied in height from a low and free-blowing 0.187 inch (Powell number 18) to a high and very resistant 0.212 inch (N. D. Lamberson head, which was used with Powell number 18), as opposed to the more typical height of 0,195 inch of Powell number 591. Interchanging the B and C foot joints was found to have virtually no effect on the produc- tion of multiphonies not containing pitches of cy or higher. ‘The extremely high pitches — €4 and above — were profoundly affected, however, and many multiphonies containing such extremely high pitches had to be eliminated for this reason. (In general, the B foot im- Proves the extreme high range; some fingerings are changed slightly. However, the overall timbre of the instrument is affected by the B foot —in some cases bettered, in some cases 85$6 APPENDIX F: AVAILABLE MULTIPHONICS worsened, depending on the instrument and oni the taste of the player.) ‘The multiphonics were notated using a system of temperament containing 31 pitches, equally spaced, to the octave, the pitches in parentheses denoting enharmonic equivalences (Figure 14). . With very few exceptions, the simplest enharmonic form relative to C= natural was used regardless of the chords being spelled. Several considerations impelled me to employ the relatively unfamiliar 91-tone scale in preference to the more popular 12 tone, divided as is commonly done into quarter tones making a 24-tone scale, A somews Se ee he a bee Gb) be he be eal at ba We be Figure 14, The 31-tone scale with enharmonic equivalences. sketchy list of these considerations includes the following: (a) No special symbols such half-sharp ( #), one-and-a-half sharp (# ), half-flat ( f ), or one-and-a-half flat ( bh| are needed, Instead the normal accidental symbols are used to their fullest significance, (b) The representation of the major third is greatly improved over that of 12- or 24-tone equal temperament, and the fifth, though slightly worse than that of the 12-tone, is stil quite good. Also, the augmented sixth of the 31-tone is a very close approximation of th pure seventh (ratio of 7 to 4), which has no equivalent in the 12- or 24-tone and which o curs ina number of multiphonies that would otherwise be non-notable, This equivalence also lacking in the otherwise superior 53-tone system. (c) The diesis, or interval betvy adjacent steps in the 31-tone system, is the highest degree of precision that can be expe of a flute with technology at its present level. The assignment of a flute pitch to one or another slot in the 53-tone system is too minute a task; in other words, flutes are not capable of such a high degree of precision. (4) The degree of precision given by 31-ton notation is the minimum that would be useful to facilitate the work of those composers wH use exact numerical ratios rather than temperaments in their work. Lip adjustments wi half a diesis to make a pitch true are almost always reasonable; adjustments of one-hAPPENDIX F: AVAILABLE MULTIPHONICS 57 semitone or even one-quarter semitone in 12-tone may well be unreasonable in context. {e) The surprising discovery was made that the French model flute, with or without the B foot, is capable of a better approximation of @ 31-tone scale than of a 24-tone or quarter- ‘tone scale. In general, the higher the register, the narrower the tremolo that can be performed with reasonable certitude without awkward lip movefnients. ‘This is because of the conflicting ‘overtone series in the alternating tones. The partials get closer together and harder to isolate as one goes into the higher range. This is over and above the fact that the fingerings in the upper range are relatively clumsy because of the amount of key manipulation in- volved, unless simple harmonics are used in their stead. Table 1 gives the usual maximum ‘range of tremolos. ‘Tremolos wider than a major second involving pitches above g,-sharp are generally im- practical, as are lip tremolos of the octave between the lower or fundamental octave and the second register. ‘Table 1 ‘Maximum range of tremolos by register. Lower Pitch Upper Pitch Maximum Safe Interval lower octave lower octave minor seventh; possibly (b-cy=sharp) (b-cy=sharp) major seventh lower octave second register augmented fourth; (d,-cgsharp) possibly fifth second register second register perfect fourth second register third register if upper note is dy, (dy-g,7sharp) augmented fourth? otherwise major third third register third register minor third88 APPENDIX F: AVAILABLE MULTIPHONICS 00S €-19S qeangeu @p Son WSLS dzeys etqnop 2 @ ost 9° OLS 3eTS-3TEU XP 9h 2°296 aetz “p oon 4 HSS dzeys Jee 2°0SS daeys % 2 ose 9° BES dzeys-stey 2 ene T8eS 3813 PTAnop 2p Ore 2" 926 Teangeu %o 5 oof €°€2S yeangeu 2 re S'HIS daeys 'q ose 90S davys-3rey Tq eee 2°€0S ety L 008 6 et qeanqeu Tq 46t 0° 264 qeanzeu Iq SST a 18h davys aqqnop be : 1 ost 8° 6Lt aers-stey Tq gut S"olt aes Tq 00T e998 daeys a T09t daeys 7 0S 6 2Sh daeys-31eq, 6 6° 6h 3e1F eTANOP 54 ° O° Onn Teangeu ‘e ° 0° Oth yeanjeu squey .._ Aouenbazg woata sug Aouenberg uoatd quewezedwey, auol-1¢ guouezeduay avos-42 ‘sweqsks yozqd eu03-1€ snsten 2u0z-42 Jo setouenbery 2 eraeLgot 6228 daeys 8 z g 2 Sot 0° L08 dxvys-312U gz SHOT L? 408. eT eTQnop 5e Q 900T 6 98h yeangeu “3 2 & 7 z 000T or aed, yeangeu “8 5 896 S° 69h dzeys etTqnop “F 2 2 056 2 19h aeTy-3TeU, i 626 Sesh avis “8 2 a 2 006 or ond, daeys °F a 068 6 SEL daeus 23 g egg 9° 6th aety etqnop “8 2 s z 0s8 6'etL daeys-31eU “F =. €18 L'€0L qeangeu °z : & s . A oog $969 qeanqeu 3 ¥ ah 1889 daeys °o e a 2 osh 9°8L9 daeys-31eU a se 629 aes °3 e 2 ook ¢° 659 qeanzeu < 169 5 0°99 qeangeu 22 859 * Geng daeys erqnop “P 2 0s9 S*0n9 aeTs-3TEU 619 & 629 aes z 2 009 229 dxeys “p 18S €°ST9 daeys &p 2 z oss S409 daeys-31e4 “P eH L109 aeqz eTqnop 32 £0S 4188S yeangeu “p sque9 —- Aouenbazg wpata s3ua9 Aouanbead ypata quowezedwey, evoL-TE quoweseduay, 2uol-42 (penutquop) 2 erqeL SS ee ee ee ee ee ee lel etl rll rel rll ll ellUelCUmrNICS AVAILABLE MULTIPHO F: APPENDIX 60 0021 T9IT €2tt squeg 0° 088 Teanjzeu ge 00eT 9°959 dzeys etqnop °3 OSIT STHe wets Oo1t Aouanbaaz uoata squeg quamezeduey, ouor-T¢ “(panuyzquog) 2 etqey, 0° 088 yeanjeu 6 458 APT -FTeY Se g'ogg daeys °g Aouanbaxy ypata quewvzeduoy, ou0y- 42APPENDIX F: AVAILABLE MULTIPHONICS 61 ‘Those who wish to translate the given 31-tone material to 24-tone or quarter-tone notation should make use of the equivalence table, Table 2, where A=natural equals A=natural, To use the listings as conveniently as possible, reference should be made to a particular pitch in a particular octave register. Typically, this one pitch may be but one of several possibilities for the situation: if so, then the following process should be repeated for the various possibilities until the multiphonic best suited to the situation emerges. Refer to the Index to Multiphonic List, 1. This is an index by pitch, ascending in 31-tone sequence from lowest to highest. Under each pitch heading all multiphonics containing that pitch as an original (not a derived) frequency are listed by number. 2, _ Find the listed multiphonics in the chart in front of the Index. ‘The multiphonies are numbered sequentially, lowest pitches first. 3. Pick a working possibility and look up its number in the Descriptive Notes behind the Index. Please heed all warnings contained therein; failure to do so is to ask for trouble. If the limitations of a particular multiphonic are not appropriate to the de- mands of the situation, then by all means find something else or adapt the situation to the multiphonic. 4. If you are not writing for a player equipped with French model flute with B foot, then the indications "F, " "B,"" and "FB" above the fingerings must be taken into ac count. These notations mean respectively, "French model required," "B foot re~ quired, " and "French model with B foot required." Where possible, Ihave given plateau fingerings preferentially, even if a French model fingering works better, in cases where multiple fingerings exist. 5. If desired, convert the notation to some form of 12- or 24-tone notation using Table Some phenomena are mentioned as aleatoric fingerings rather than as true multiphonics. In any case, but especially with these, the Descriptive notes should be heeded scrupulously. One last warning must be made — namely, that some of the present test results are not applicable to flutes equipped with the split E mechanism. Specifically, any fingering in which the No. § key is closed or on the rim and the No.3 key is open can be expected to be~ have differently on a flute with the split E mechanism than on a flute not so equipped. This 4s not a statement of prejudice against such a device; the fact is simply that this writer did not have such an instrument at his disposal. The split E mechanism is expensive and rather unusual in the United States and France; it is generally applied on closed G=sharp flutes and especially piccolos in eastern Europe.The Multiphonics 05 k od eecleces, “wlll, 8 lL eeelened LL eeejeund “Ul «ofl 16 LL eeslone = “oll x & eocleons Prey y-4 Ww ro au ih64 THE MULTIPHONICS 20 FB 19 17 eooinees uy LL eeeQey we al] 24 23 al i as a eoe(sany “sll F 32 eoeiane rel ao sectenck ‘alll fons “Al zFB a = tL eeefgood eoulece & aanjonsd i = allt 44 4 be Ee THE MULTIPHONICS. "65 48 eeelooo8 “sll 47 35 eeslooos, er - 34 42 46 + FB‘THE MULTIPHONICS, 67 F os 69 eorjensS sail68 THE MULTIPHONICS 81 OF 32 OF 33 i 000} De "R00 = . z101 al sae 1b xa 102 F ae xe 18 ase mz 9 ch 106 OF . Z sa § D¥ 110 F be Se 8 ° ch F at leoe ie Leoni THE MULTIPHONICS .69 100 B net ct 104 F xo 48 be.. 70 THE MULTIPHONICS 13 F uaF US FFB O16 a) 4) met atl ne z ba 8 ° ° c+ & ms ses ch ce Phy g al 3 81 Peoorjexe tt } a =a ee ee ee eae ceed ee ee ‘THE MULTIPHONICS - 71 129 F 130 FB 131 F 132 F wete ag nee Sg g #2 =F a == 8 cy ch 133 F 134 F 135 F 136 F i: BS) xo¥$ ag A HB Soe tuo BH ae Bet Fes 6 De Dt a ~t n at noe i. & ooo} 9 &92 THE MULTIPHONICS a ns nm tao 4 al ll ronelene iBOS a > exe lane ii FB) ai onajene & = ia eoolene y 173 6 aot if. 166 FOF «) ») bed Ts AF comjene eoule Q & 9 s te 3 noe > z fi ooo} gy = ‘THE MULTIPHONICS 73 ae le os am & n ie & a oe i74 THE MULTIPHONICS im F 19 F 12 78 ha og 22 = =z = | 3=% cc cy 181 182 F 184 F 2. Tes Te Pe ae ee ye 48 z icemeeo #233 BES mame 3 te we B #8 rod I Q *76 THE MULTIPHONICS 213 F oh a ae w& ~“ iF x a ‘le Sy wa ps mn ae i o a Goenjne S&S °° ke > al i Yreclsoe —y lf sie aw Lragisse 220 F me Ag Re Zoe #3 Dt 224 F227 FOF THE MULTIPHONICS 77 228 F 2. » e te v2 Te Boa Bot uz Soe o 8: SS. a= 3 3 ENS De De a 232 F 236 a is ¢ Yooojore gooojoxe18 THE MULTIPHONICS 255 F va Te sake fro: a & t orxely i aol oe ona fs a lal" ¥emn)sce x wy an v b {ooojooe ° * 0 270 F 27L ie a) _b) ote 48 33 8, :30 THE MULTIPHONICS 273 274 FB ase te 276 ° ° ° be i a zo'8 te °3 SE 3 $ z= i zm 8 ce ChBY ch D 277 *F 278 F 279 F 2 a nad = : : 32% ca ceTHE MULTIPHONICS 81 297 *F mont’ bho. : vols be we 3 toe ta = & 301 302 F 303 304 tobe Hh Qovelece82 THE MULTIPHONICS 305 F 306 307 F ra “8 3 xe 8 me #3 FE Bou == ——e e ch mh cy 309 F 311 F 312 ae 33 Hy r2'8 = bn Bon 8 8 $ ° ay Bt ch 313 F 315 F g q ae “E at HE 8 xe 3 == 3 i 317 319 te 4g ae ths © bo © i De cH‘THE MULTIPHONICS 83 334 F84 THE MULTIPHONICS 337 F 339 340 » 2 8 $ ae ace #285 223 3 = 83 : 3 Sue Be BeTHE MULTIPHONICS | 353 354 355 35686 THE MULTIPHONICS 371 F 372 F i ko fo 3 S38 a= 2 x= 8 ve | = ce ck 373 F 374 F F 375 F 376 F a) b) i Xo @ ie ate $ “Se § iz 3 wie gg ee wees a= 2 BEG EZ = 3 ——_— so — ° =——_e . ch Ch De cH= = = ° aS eorjoee on g £ — roolsee Qeoolree Dovojases, 7 _ encinee pL w& 8 > 3% wae e Soe ima @ =e ch88 THE MULTIPHONICS 402 *F 403 F he 8 ro 8 22% aise) 3 a 3 a] == 3 == DHE 407 *F Wis 9 a 8 7 — es 410 F 4 4) be e ° ea g mes 3 é : ch é = ° axTHE MULTIPHONICS ‘9 Qedolece 417 F 418 F 419 420 a) 6) 7 ° a we 3 te i 2 2% ct ee eee =——=s — Se —e oe ch af90 ‘THE MULTIPHONICSTHE MULTIPHONICS 9192 THE MULTIPHONICS 473 ee A N a ele ~ i & li @enjero £ 470 F Fo bose Z 472 F 467 F racic 3B A ~ i le Yooolano 1 i, ooooeo y *THE MULTIPHONICS 9394 THE MULTIPHONICS 497 499 FBOF 499 F 2 6) Fed k2po'g ae YoooloceTHE MULTIPHONICS 513 F Sather fy 516 F F a) b) o) 6) vag meg 2G B=e BEC g Hees e =e =—s% & ce ce De DE Ch Jas F 18 "zl RER[Reo 2 *96 THE MULTIPHONICS 529 530 F vats 25h, wee 7 Q rok fo iS “a 7 neo = is Qxov} 532 F To Bt oe545 oO Ht sooleee eC a ¥ * ® x > cs Fi i Yooo|eso *98 THE MULTIPHONICS F 3 bST9 & ce x ‘Oo 7 zoo v ” rele hag =e == 8 ch 573, F FOF 574.F ob) o) oho Te ne ho betes Lie ace BE Bo age F weg of 6 = =6 De ce 2 g & ~ ig art je30 is 8 fl 000} g & S567 i Levele fl FE Gy Mitta x ws weg|sso py Q o nn - 3 fs $6 a |QQo ooo IRI eay|aso il 2 tad «a = & £ = o x ~ a 85 at 5 onl sTHE MULTIPHONICS S577 FB 580 F be teatro tS “hee sz “ce a= TRF OF 58 F OF sat OF see a) 6) the #2Go Go te is 8 rege TSE poe aa & Be 38 fe Bao a 9 =s ==3 8 s 6 ch cy D¥ 599 FB S9L F 592 F £. #2 Go bo Go eer eg 42 Bor aa 3 mE 3 chBh oe 99aes peered tL o0{e00 exeloood 3 ,goclecos w eanens Beek Sul) yy S sal w souls w psoeloes oelooe sy we sovleussy Sell seul 8 A” 5 aay w& he golowes uw goeleoes Bsa) § sl 8 Sell = Si =z $ 8 w jostlesos oorlovog: oe fe e & ssulll ells §609 610 F LE OUM og #2T%0 ue "ce Wee 2=% THE MULTIPHONICS 101 él7 F 619 F Q #e 0 5 ‘a 2 Ser Soe UZ Ba 8 8 a 8 7 De Dt 623 F tbo ee102 THE MULTIPHONICS 635 4a? 2 xa= Son $ — Se De at fstxo own} v *THE MULTIPHONICS ‘103 642 F 644 FF ho os ‘ Bee 23, as a= 8 g ° ch ce 654 F 655 F 656 FTHE MULTIPHONICS reaeleed! = r x as oxcle 3 De, (ct)THE MULTIPHONICS 105 673 F 674 F 675 F 676 F 2) 6) vr BE wo 3 bee Eo eo . 2° in g ==8 ==6 ; ck106 THE MULTIPHONICS 699 tho wb od | T Yoeeloeo &Hoesjooos 717 710 F co 22 _ 14 OF ali THE MULTIPHONICS 107 703 F veo wm § 2 & 119 F ko Ge es:108 THE MULTIPHONICSae oanlo 5 g *110 THE MULTIPHONICS & = Bis eeo 3 == 3 y 3 i Lxer|reo778 wo Fe 2 xe 8 & —— a 8 == 8 8 $ a * THE MULTIPHONICS 111 77d 790 F we a == 9 ———s0 ck112. THE MULTIPHONICS 7385 F 78% FO OF 787 =F 798 OF803 F wake = SS Zorn ck THE MULTIPHONICS 113114 THE MULTIPHONICS 922 F 324 to Te vo be #3 H a= Fon = gr ce De 815 F 926 ~*F 927 828 F 12 Te HE Te #2 Bot *a_ 8 Gon B= Bou g & De Dtrn a a. ‘2 Te Te is 8 “ZO Sor B= ee B= Be De 948 OF bo e baka 8B = Bor, z y EA116 THE MULTIPHONICS é 3 x fi Yooojoee‘THE MULTIPHONICS 117 ie Jone i Born ot ch 973 «=F er) THE Soe 3 De cH 978 379 90 F nee 4g me were YS = Sn 3 Fon Se ch1s THE MULTIPHONICS hb Hl Yoor|oee a - 4THE MULTIPHONICS 119 901 F if a jase 38 YoookTHE MULTIPHONICSTHE MULTIPHONICS 121 929 F 2308 932 be t2 F Fg Hee Bee #38 ee. ss | a 5 Bn ge Sou =—— 8 De ce 933 FF 934 936 F we 2 = 4 Bin BY Wa Oo 3 8 = \o x & a Ny aS @ mn : : s sult & 2 ees ze & gn on ME Be som ==28 g : ce ce cH co122 THE MULTIPHONICS 945 947 F IAG be bbe via aed HE “Opn, JAF 950 2 7 a :‘THE MULTIPHONICS 123 xe Fw Selo & “8 na ~ x If repleco * Jeo i c# Di‘24 THE MULTIPHONICS 977 -F 979 F Tha ve ie 4g ¢ 8 tn F383 594 the F xe ws 8 z 6 So 985 FF 986 FF 99l OF 992 F eo if Xg ip Bs f Vaen| * ex | g o # 2THE MULTIPHONICS .125 993 =F PAF 9 oseen ies 996 F 100] F 1002 F 1003 + ° DO reTHE MULTIPHONICS 127 ne Fo128 THE MULTIPHONICS 1041 F 1042 FB 1043 1044 F1062 be fe tees Bs ar . ‘Sct Goin Be 1069 F 1070 onteg g zs *& 5 ter iF oog|aso y a 1067 F 9 1071 vei THE MULTIPHONICS 129 1060 F we 3 SB bct oe 1068 + ck 1072 F yb) bb 343 fz Sect 4 o 8 t SpttSoet, = De Ce ch430 THE MULTIPHONICS 1073 F 107% F 407% F 42 9 240 #2. Fo ae wz 1g vz 'B Spt. HE Son be ° 102s 1096 F 1087 FB 10388 FTHE MULTIPHONICS 131 ae as 3s aA Oo }oog|o00 * Dt132 THE MULTIPHONICS 1105 1106 1107 F 1108‘THE MULTIPHONICS 133, 1124 F ogalyeo e in § ~ “ot leno FR 8 HOD If134 THE MULTIPHONICS 1137 (F) 1138 1139 F 12 8 28 4343 = go zs = gem, == doeTHE MULTIPHONICS 135 1160 zx sS ™ * e Zopolnes136 THE MULTIPHONICS 1169 1170 F un) F Lia a) 4) os e e e b. ° we 3 2 wag vase 4, be 3 3 m= > oe Soe == gore SSMgrre So, == Spat De ct cH cH De 1173 L174 F IL75 F batyn t es ofa ne = ect ae Zeon B zo mo oO Sott = Sore == Bott Dt D¥ cH138 THE MULTIPHONICS 1201 F 1202 F F ° 8 x a 5 B1 oa z * fet, y1ai7 1218 1219 FB 8 9 teourn fge"8 1226 FOF 1227 F a) b) fe "omg U4 OR) Spender, De Ch THE MULTIPHONICS 139 1220 F . 28 mao Sree D b> ie 1232 a) 4) ° 2 8 FEERO., Sy, Soeebors, De140 THE MULTIPHONICS a pets Coen De DE 1246 8 okt. S oo 3 = 1240 F #2 eR ile a = - fi Yoor|aso oS1249 F 2 Bet . Bort, Dt & : 8 ad 5 i agols F 9 Ro | 1261 F the Te Bot, 6 Sort. 1250 F the To i Bet. THE MULTIPHONICS 141 1251 F 1252 F 4 rar ae a ry Soe == Bh 1255 1256 F ‘ a) : weg ue “Be hee S04, Set, Boy Cork Sotte Cokty De DE Dt oy Fe Te °f Fo 0. ie g [ a 4 hh Oh, Sth Dt DF Dt142 THE MULTIPHONICS 1265 F a ¥g Boe S Soe, & DtTHE MULTIPHONICS 143 1294 FB 1295 F.144 THE MULTIPHONICS1314 (F) THE MULTIPHONICS 145 1316 F Fe be az146 THE MULTIPHONICS 1341 F 134 F 1343 1344 F G04 be be sie ne = 3 vz "3 g Sot, 6 Soe DtTHE MULTIPHONICS 147 1349 x2 Bo #z 8 FE Oe, opr 1360 F be ws Wg Bl Sore143 THE MULTIPHONICS 1361 F 1364 F ve te 9 a0" iS 2 *e— CO; = Sow oh Bork ° =THE MULTIPHONICS 149 1324 F bo © s & © Set150 THE MULTIPHONICS 1393 13% F to 4g xe s. cm) o 2 1397 1398 F 1399 F 1400 the 49 3 mz 1409 FB 1403 F 1404 F ho a xo, 3 3 aiatte" 2 weg maz 8 == Bh == Bh, chBk De‘THE MULTIPHONICS 151 1424 bebe V4 Bieta gy HE de, ofFt De152 THE MULTIPHONICSTHE MULTIPHONICS 153 144 4154 THE MULTIPHONICS 1457 F 1458 : eeTHE MULTIPHONICS 155 isis ant exnjooe * x ch156 THE MULTIPHONICS 1497 F 1499 1499 tee 4 1501 F 1502 F 1503 F OF a) }) bo Fe he Bove Son S= Ht Hen De Seat1506 F 1507 F he Te 1513 F 1514 F 1515 F THE MULTIPHONICS 157 1509 F ho 4 1516 F158 THE MULTIPHONICSTHE MULTIPHONICS 159160 THE MULTIPHONICS 1558 F 1559 F | 1560 1561 1562 1563 F a) b) be Te Te xo if act 3 :THE MULTIPHONICS 161 a ° 3 & ° . : D c 1576 F ig; oe 1582 FB ne Te ae cheh162 THE MULTIPHONICS 11608 F 1609 F THE MULTIPHONICS 163 1603, F t gts te ~ 1613 F ) Tg tho Te az io — é c# ct164 THE MULTIPHONICS 1616 F 1617 F Leg F 1619 F 42% #ate *2 ts the Te * z 2 ae B me D 4s B =z 4 a —7 =<3 g 3THE MULTIPHONICS 165 1634 F 1635 #24. wn BE Se 1639 F 1640 F 1642 F 1643 F ho ts ete ven Fg e_ £ +e g 42.8 a 3 ee =s3 De ch S & 7 Fe aol Yevaloss166 THE MULTIPHONICS FB 1649 1650 1651 1648 F be Ee —= 6 == 8 e al‘THE MULTIPHONICS 167 1664 1665 F 1666 1667 F 42. Te *2 Te £" o 8 2 jsso ooo} y co 8 * ¥ ¥ 167% F 1677 F 1678 o * jecolece © . 8. D 3 7168 THE MULTIPHONICS 1681 F 1682 F to 2 nS bey bs "3 3 ° $ 8 1634 F 1685 (8) 1686 1687 F 442 To HQ og me . *2 4, g 8 3 De 1688 1689 F 1691 F ho bo 8 s 42 Fo #2 8 +e 8 wz B ° o 3 8 Dé F 1695 F Fo hes s 8 oO DRE oO 8 8 @ wa °. * v +ano|aee * 2 1710 F 3 3 = z 8 Z 8 $ Di De De 3170 THE MULTIPHONICSTHE MULTIPHONICS ‘171 1728 179 1730 F 1731 F #2 . ot Boe ime 2 g * 8 8 ch 1732 F 1733 F bho #2 F o8|s00 1740 F 1741 F 1742 «=F 1743 4)THE MULTIPHONICS 14 F 1745 F 1746 mn +#2 Fo 42 Fo we 8 #2 3B ; => ame 8 == 6 1748 F 1749 1750 F 1751 FO OF 1752 1753 F 1754 FF 1755 F 2) §) eet ee Beata g 8 8 8 7 exo|aeo ¥ a =1764 F . : 3 Som x c# 1768 F 1769 F VHD og Soe o Sore, c# 1772 7 1773 # | A}RRO a THE MULTIPHONICS 173 1763 F %e Fo aed 1770 F vee 1771@ rr Fon, : '008| (By)I rn ne ree renee caratanee eect eae eee eae 114 THE MULTIPHONICSTHE MULTIPHONICS 175 1795 =F tbo be 1796 F 1797 (@) 1793 F 1799 nm vedie sme enn] ea g a : 300/800 ooglono * - ° = £176 THE MULTIPHONICS 1909 F 1210 1311 1814 1315 F oy 1817 F #2. 4s 1823 F Qeoale 1384 F.Index to Multiphonic List by Pitch 10 11-15 1 17-20 21-26 21-33 34-43 44 4 46-49 50-55 56-100 101-117 118-157 158-188, 189-212 213-253 254-272 273-276 1, 45, 158, 277-290 44, 291-305 306-362 2, 50, 363-440 277, 306, 441-541 3, 273, 291, 363, 542-655 656-735 274, 292, $42, 543, 736-209 4, 5, 254, 54a, 610-909 6, 11, $45, 910-1032 7, 275, 364, 1033-1161 9, 12, 278, 307, 441, 546, 810, 1162-1275 10, 13, 279, 308, 547, 656, 736 510, 1033, 1276-1395 14-17, 280, 293, 294, 365, 548 657-661, 737, 738, 811, 911, 1034, 1396-1455 21, 22, 281, 295, 366, 662-667, 739-741, 812, 912, 1486-1470 18, 23, 27, 282, 296, 309-311, 813-815, 1035, 1471-1486 24, 25, 28, 29, 34, 283, 312, 313 367, 368, 816-818, 913, 1162, 1163, 1487-1509 9_bb tf 1mT 30-32, 35, 36, 314-320, 369, 442-444, 549, 914-519, 1036, 1037, 1510-1515 1, 37-41, 321, “445-447, 550, 1038-1041, 1516-1525 11, 19, 42, 448, 551, 668, 669, 1082, 1524, 1526-1529 56-60, 101, 118, 552, 553, 150, 1531 2, 20, 34, 46, 47, 61-71, 119, 1532, 1533 44, 72-82, 102-106, 120-127, 189, 742, 1534- 1547 3, 51, 83-91, 107, 108, 128, 129, 160-168, 1550-1572 48, 50, 92, 109-112, 130-135, 169-172, 169, 255, 920, 1573-1585 49, 61, 93-95, 136-140, 173-180, 190-195, 213-216, 819, 1530, 1986-1600 4, 96, 97, 143, 141, 142, 161-184, 196-201 217-224, 1601-1619 52, 53, 98, 143, 144, 160, 185, 202-207, 225- 235, 256-259, 1620-1633 7, 8, 54, 114, 115, 145, 146, 173, 208, 236- 246, 260-266, 370, 554, 1634-1651 3, 55, 116, 147, 148, 171, 186, 209, 210, 247, 248, 267-272, 276, 449, 1573, 1652-1658 10, 14, 56, 120, 149-151, 161, 211, 217, 249, 250, 284, 322, 364, 371-373, 450-458, 546, 955-560, 670, 921, 922, 1396, 1456, 165: 15, 152-154, 218, 251, 252, 255, 256, 265- 289, 323-325, 374-385, 459-467, 561-566, 1164, 1531, 1536, 1660-1666 5, 117, 149, 122, 155, 156, 189, 213, 214, 219, 253, 297, 326-339, 386-400, 468-462, 567-587, 671, 672, 743, 820, 1043, 1044, 1487, 1532, 1620, 1667-1667 4, 18, 24, 26, 121, 128, 187, 295, 298, 340- 343, 401-408, 483-092, 586-603, 744, 745, 821-826, 1045-1050, 1488, 1534, 1837, 1608- 1704 12, 22, 25, 123, 299-301, 344-347, 387, 409- 412, 493-497, 604-611, 673, 674, 746, 747, 827-833, 923, 1051, 1165-1167, 1397-1399, 4457, 1471, 1526, 1667, 1705-1721 20, 23, 27-33, 36, 254, 262, 296, 298, 302- 304, 314-316, 321, 328, 348-3525 388, '413- 418, 496-500, 612-619, 675-691, 748-755, 634- 842, 924, 1052, 1458, 1459, 1472, 1516, 1517, 1660, 1668, 1688, 1721-1730178 cf af INDEX TO MULTIPHONIC LIST BY PITCH 34, 37-40, 43, 274, 275, 290, 309, 310, 317, 323-325, 329-332, 353-356, 368, 371~ 378, 419, 501-503, 543, 567, 589, 620-627, 692-704, 756-764, 843-846, 925-938, 1053- 4064, 1276, 1400-1402, 1469, 1510, 1661, 4662, 1609, 1731-1747 17, 41, 99, 123, 278, 279, 305, 312, 318, 32, 333, 334, 346, 357-360, 379, 309, 390, 420-425, "504-506, 568, 628-630, 658, 659, 663, 664, 671, 705-710, 765-773, G47- 856, 939-957, 1065-1081, 1168-1180, 1277- 1281, 1490-1493, 1669, 1748-1784 47, 15, 18, 101, 102, 294, 295, 307, 308, 319, 320, 361, 362, 426-428, 442, c46— 448, 470, 507-512, 543, 555, 569, 579, 613, 6312634, 660, 673, 677-681, 693, 711, 112, 738, 756, 765, 774-781, 614, @57- 866, 958-973, 1034, 1082-1095, 1181-1197, 1282-1302, 1460, 1473-1475, 1494, 1495, 1511, 1512, 1530, 1935, 1721, 1731, 1755- 1774 TT, 84, 160, 313, 351, 364, 370, 429-832, 459, 513-520, 546, 953, 554, 635-639, 665, 682, 113-116, 736, 762-785, 848, 867-876, 912, 915, 940, 974-981, 1043, 1097-1103, 4198-1214, 1303-1318, 1403-1405, 1476- 1479, 1496-1498, 1518-1520, 1536, 1540, 1574, 1722, 1732, 1748, 1772-1784 61, 18-30, 85-87, 103, 110, 111, 311, 366, 415, 433,450, 451, 484, 454, 521-525, ST1, 872, 605, 640, 641, 659, 669, 717- 721, 746, 786-790, 849,” 650, "859, 860, 877-084, '911, 913, 916-918, 921, 941, 942, 962-988, 1110-1118, 1182, 1215-1229, 1319- 4333, 1407-1418, 1461, 1462, 1480, 1499- 1801, 1521, 1527, 1528, 1543-1952, 1575, 1576, 1670, 1795, 1733, 1755) 1772, 1785- 1798 1, 62, 97, 107, 1u8, 112, 238, 360, 434, 435, a1, 452, 453, "499, 526-528, 54, 556, 656, 664, 666, 670, 722-725, 739, a0, 742, 743, 757, 791-793, 810, 819, 822, 623, 861, 885, 886, 925, 943, 961, 962, 909-996, 1033, 1053, 1054, 1084, 1085, 1098, 1099, 1119- 1124, 1163, 1164, 1183, 1200, 1230-1243, 4303, 1334-1349, 1398, 1419-1427, 1463, 1553, 1577, 1586, 1601, 1621, 1622, 1734, 1756, 1757, 1785, 1799-1805 St, 53, 55, 57, 63, 64, 81, 100, 132, 138, 139, 141, 174,'226, 239, 368, 443, aaa, 454, 455, 460, 495, 529-534, 547, 954, 557-559, 561, 562, 642-644, 667, 672, 674, 726-125, 191, 794-796, 820, 821, 844, 1037, 1040, 1041, 1045, ef 3, 7, 99, 807-890, 919, 922, 926, 944, 945, 969, 997-1003, 1052, 1055, 1066-1068, "1100" 1114, 1125-1125, 1170, 1264-1253, 1308 4321, 1350-1364, 1426-1434, 146821466," 1491, 1492, 1538, 1554, 1587-1589 1671, 1672, 1758, 1786, 1799, 1806- tent yx $8, 65, 104, 133-135, 140, 144, 161, 171, 173, 175, 182, 197, 198, 10, 215, 310, 401, 456, 471, 486, 487, 535, 560, 573, 590, 632, 645, 646, 693, 730, 731, 758, 797, 798, 818, 8912898, '920, "927- 930, 946, 947, 964, 975, 1004-1006, 1035, 1042, 1046, 1056-1058, 1086, 4087, 1130-1136, 1171, 1201, 1254, 1277, 1263-4285, 1305, 1306, 1338, 1365-1371, 1420, 1435-1437, "1459, 1461, 1467, 1402, 1489, 1502, 1530, 1539, 4555, 1573, 1578, 1590, 1591, 160% 1605, 1623, 1624, 1634, 1873, 1759, 1800, 1808, 1612-1615, 5 2, 59, 66, 67, 117, 124, 176-178, 183, 184, 190,'191, 199, 204, 205, 216, 220, 22T, 240, 4€9, 461, 462, 472, 488, 436, 500, 36-538, 563, "574-577, 633, 647, 694, 695, 718, 732, 741, 744, 748, 755, 760, 739-801, 614,615, 819, 969, 635- 901, $17, 922, 923, 931-934, 948, 965, 1007-1010, 1044, 1047-1043, "1059, 1069, 4069, 1088, 1137-1139, 1165, 1184, 1185, 1202, 1203, 1255-1258, 1279, 430721309, 1322,'1339, 1372-1375, 1401, 1403, 1404, 1407, 1408, 1438-1484, 1460, 1468, 1476, 1483, 1532, 1540, 1625, 1626, 1635, 1636, 1663, 1674, 1708, 1749, 1760, 1767, 1807 fyb 60, 68, 82, 95, 105, 118, 122, 125, 148, 153, 156,'192,'200, 206, 207, 212, 213, 219, 228, 229, 241, 255, 257, 463, 464, 564, 591, 661, 672, 684, 696, 105, 112, 738, 785, 747, 749, 761, 766, 771 802, 803, 620, 624, 627, 834, 502, 593, tori-t013, 1080, 1081, 1061," 1070, 4089, 1180, 1166, 1172, 1173, 1186, 4467, 1219, 125921262, 1280, "1286, 1323,1324, 1352, 135471356, 1376-1373, ia0g-14i2, 1421, 1445, 1462, 1482, 1503, 1504, 1511, 1513, 1592, 1627, 1637, 1638, 1652, 1653, 1773, 1728, 1616-1818 101, 187, 2m, 473, 157, 106, 123, 126, 142, 126 489, 193, 214, 218, 221 242-244, 252, 260, 268, 474, 592, 621, 64B, 685, 162, 167, 783, 628, 835, 162, 163, 222, 230, 276, 465, 743, 750,bb 33 tf 836, 851, 862, 880, 903, 921, 966, 100, b 014-1016, 1442, 1113, 1141-1144, 1174, 1175, 1183, 1189, 1204, 1220, 1233, 1263- 1266, 1287-1291, 1310, 1353, 1380, 1381, 4446, 1474, 1477, 1485, 1497, 1541, 1628, 1639, 1654, 1690, 1723, 1774, 1769 69, 70, 75, 98, 127, 154, 157, 164, 165, 479, 188, 194, 201, 223, 232-234, 245, Bab; 261-263, 269-271, 570, 578, 593, 594, 671, 751, 753, 768, 769, 784, 604, 823-631, 637, 852, 853, 863, 870, 681, 666, 890, 904, yu5, 924, 1017, 1018, 1044, 1047, 1127, 1145-1147, 1165, 1167, 1190, 1205, 1206, 1221, 1267, 1276, 1292-1294, 1311-1313, 1325, 1340, 1382, 1405, 1447, 1456, 1463, 1478, 1486, 1495, 1492, 1500, 1505, 1512, 1579, 1606, 1640, 1691, 1724, 1790-1792, 1819 76, 129, 159, 166, 217, 235, 264-266, 328, a. S71, 572, 637, 638, 649, 746, 752, 778, 788, 80S, 838, 871, 882, B83, 9U6, 1019, 1020, 1148-1150, 1234,1235, 1247, 1261, 1314, 1326, 1327, 1357, 1383, 1501, 1506, 1514, 1519, 1556, 1607, 1641, 1642, 1735 160,'167, 172, 258, 253, 272, 2a4, 286-268, 330, 372, 459, 484, 489, 517, 568, 589, 595, 596, 66, 6U7, 614, 650, 651, 822, 839, 991, 1021, 1071, 1120, 1133, 1176, 1341, 1479, 1515, 1522-1524, 1538, 1957, 1580, 1581, 1643, 1659, 1664, 1675, 1676, 1692, 1693, 1707, 1736, 1820 168,'289, 322-324, 331, 334, 335, 341, 352, ) 388, 375, 381, 388, 351, 402-404, 410, 416, bib 436, 437, 475, 485, 490, 597, 652, 821, a 162, 1477, 1178, 1295, 1488, 1516, 1525, 1526, 1525, 1593, 1694, 1708, 1821, 1622 336, 342, 346, 347, 355, 359, 360, 373, 376, 382, 387, 392, 393, 405,411, 417, 423, 438, 497, 499, 598, 599, 615,629, 653, 845, 85a, 935, 1550, 1558, 1959, 1594, 1677, 1709, 1761 8, 332, 343, 396, 377, 983, 364, 394-398, 406-46, 439, 476, 509, 510, 616, 622, 779, 4191, 1202, 1207, 1222, 1268, 1507, 1960, 1678, 1695, 1821 71, 337-339, 399, 418, 600, 605, 678, 679, 697, 698, 707, 733, 734, 780, 448, 1043, 1072, 1208, 1223, 1224,'1283, 1303, 1358, 1384, 1542, 1551, 1555, 1561-1563, 1679, 1680, 1710, 1737, 1822, 1823 325,378, 373, 400, 427, 559, 579, 613, 617, 618, 632, 680-682, 686, 687, 699-701, 664,976, 1022, 1101, 1121, 1151, 1152, 1209, 1296, 1471, 1530, 1536, 1540, 1564, 1662, 1681, 1698, 1697, 1738, 1824 240, 984, : INDEX TO MULTIPHONIC LIST BY PITCH 179 328, 424, 428, 477, 511, 518, 564, 580, 619, 623, 647, 670, 7e2, 103, 708, 770, 855, 949, 1023, 1024, 1182, 1173, 1179, 1263, 1399, 1531, 1543, 1553, 1567, 1595, 1675, 1693, 1739, 4776) 139, 224, 239, 295, 370, 412, 432, 457, 464-466, 474, 478, 487, 491, 454, 502, 5U6, 519, 528, 533, 540, 562, 563, 565, 581, 654, 664, 691, 704, 753, 806, B72, 873, 925, 936, 951, 952, 968, 984, 1025, 1090, 1102, 1103, 1114,'1153, 1185, * 1494, 1210, 1270, 1342, 1365, 1386, 1533, 1544, 1545, 1556, 1568, 1569, 1588, 1590, 1596, 1597, 1603, 1608— 1610, 1629, 1676, 1682, 1711, 1725, 1740-1742, 1749, 1750, 1762, 1776, 26, 238, 246, 425, 451, 456, 459, 467, 479, 480, 495, 503, 512, 520, 525, 534, 538, 541, 560, 566, 576, 578, 582, 583, 590, 593, 608, 634, 638, 644, 719, 806, 825, 850, 860, 933, 945, 953, 966, 965, 970, 977, 992, 1001, 1026, 1027, 1053, 1057, 1060, 1063, 1973, 1084, 1086, 1091, 1092, 1039, 1104, 1105, 1111, 4115, 1122, 1134, 1154, 1180, 1236, 1278, 1297, 1328, 1387, 1358, 1402, 1488, 1472, 1508, 1546, 1547, 1557, 1570, 1598, 1611-1613, 1622, 1624, 1644, 1645, 1691, 1698, 1699, 1712, 1743, 1757, 1816, 1819 32, 33, 189, 195, 240, 444, 453, aet 485, 452, 496, 517, 572, S77, S84, 585, 554, 624, 630, 639, 641, 709, 716, 724, 728, 735, 754, 755, 771, 769, 752, 800, 501, B07, 820, 826, 665, B74, 634, 907, 918, 929, 934, 937, 947, 948, 954-956 961, 963, 971, 978-980, 985, 986, 99: 594, 1005, 1028, 1025, 1067, 1074, 1075, 1085, 1087, 1093, 1108, 1107, 1118, 1417, 1428, 1155, 1195, 1211, 1225, 1248-1250, '1298,'1305, 1329, 1343, 1388, 4422, 1449, 1493, 1532, 1534, 1538, 1960, 1871, 1973, 1562, 1599, 1604, 1614, 1615, 1626, 1630, 1636, 1636, 1686, 1658, 1672, 1673, 1690, 1700, 1701, 1713, 1726, 1744, 1751, 1763, 1764, 1801 40, 43, 476, 482, 510, 586, 587, SES, 596, 599, 6U1, 602, 609-611, 625, 626, 629; 686, 651, 653, 655, 672, 710, 720, 725, 729, 744, 760, 764, 772, 781, 785, 788, 193, 796, 798, 608, 831, 632, 634, 840-842, 853, 866, 875, 898, 908, 930, 957, 962, 972, 976, 981, 987, 988, 995, 524, 539, 668-690, 950, 967, 1193, 1565- 1775,180 INDEX TO MULTIPHONIC LIST BY PITCH 4002, 1010, 1030, 1041, 1048, 1058, 1076- a,x 740, 821, 856, 996, 1003, yo06, 1136 Tore) 1oya, 1093, 1100, 1113, 1148, 1123, > 1444, 1159, 1160, 1166, 1229, i2e7, tase, 4135, 1139, 1147, 1156, 1175, 1196, 1212, 1253, 1262, 1275, 1309, 1313, 1317, 1327) 4213, 1219, 1226, 1237-1240, 1254, 1258, 1333, 1340, 1348, 1356, 1357, 1362-1364," 127121273, 1284, 1288, 1299, 1304, 1315, 4371, 1379, 1393, 1394, 1494) 1412, 1416, 4330, 1331, 1338, 1355, 1353, 1367, 1368, 1417, 1426, 1431, 1432, 1437, 1454) 1466) 1389) 1413, 1423, 1436, 1450, 1251, 1465, 1470, 1511, 1653, 1665, 1666, 1706, 1747, 1469, 1475, 1504, 1509, 1520, 1952, 1559, 1761, 1767, 1793, 1794, 1853, 1812, ta18" 1576, 1883, 1584, 1593, 1605, 1616, 1617, b, 938, 1064, 1080, 1081, 1161, 1178, 1281, 4631, 1632, 1634, 1647, 1648, 1652, 1654, 4291, 1296, 1318, 1349, 1416, 1427, 1433,| 1656, 1657, 1683, 1684, 1707, 1714-1716, 4434, 1443, 1453, 1735, 1752, 1768, 1809, 4745, 1746, 1765, 1766, 1778, 179241802, 1826) 1808, 1817, 1820, 1625 eqb 1301, 1395, 1444, 1719, 1795, 1804, 1810 jb 311, 603, 627, 773, 790, 809, 619, 823, ba 1728, 1780, 1781, 1796 833, 876, 999, 973, 1013, 1031, 1032, cf 1685, 1686, 1729, 1753, 1769, 1762, 1797 1048, 1049, 1050, 1054, 1055, 1061, 1068, dybb 1297, 1302, 1586, 1591, 1703, 1720, 1779, 1070, 1079, 1109, 1120, 1124, 1129, 1143, 1798, 1811, 1813 4150, 1157, 1158, 1167, 1189, 1197, 1203, cqf 1809, 1704, 1730, 1750, 1754, 1771, 1783, 4214, 1227, 1228, 1241-1243, 1251, 1260, 1823 _ 4261, 1274, 1260, 1285, 1289, 1290, 1300, c,x 1627, 1687 1306, 4310, 1312, 1314, 1316, 1324, dy 1805 1332, 347, 1353, 1360, 1361, 1369, e,bb 1825 1370, 4375, 1378, 1381, 1383, 1390- ©) 1764, 1776 1392, 4408, 1410, 1411, 1414, 1415, fh 1784, 1814 1424, 4429, 1430, 1441, 1442, 1445, eg# 1794, 1815, 1626 1452, 1517, 1528, 1963, 1572, 1574, f, 1824 1579, 1585, 1600, 1618, 1619, 1633, 1649~ 1651, 1658, 1702, 1717, 1718, 1727, 1779, 1788