https://www.blankforms.org/journal/brontomancy?fbclid=IwAR0xzFWVJ-UUm_t2Ri1NOXX-Gx_gYcAYGIcEoeeuEVsoZqUel2SNrufVTiw
Excerpt –
RAVEN CHACON: We were talking about the warble as a technique—can you say more about that?
TIMOTHY ARCHAMBAULT: On the technical side, the warble is a multiphonic oscillation. It’s basically a note that is sounded, and reverberates between the low tonic note and the high tonic note, meaning the octave. A typical vibrato vibrates between one note and the second note closest to it. In the Western methodology, the warble is going up to its octave, eight different chromatic tones higher, and back down, in rapid succession, which is quite fascinating. Some instruments, like clarinets, can do it. I think bassoons or other different woodwinds can do it in the classical genre. For me, it’s a spatial thing and I’ve always been attracted to it. A lot of tribes, like some of the Ojibwe and the Algonquins, used to soak their flutes in water. They thought it made the sound better, because they were mimicking the vocalization of throat rattling, and they called it the horizon, which the melody would float off of. I’m drawn to it—I love the mechanized sound of it. I love the machine aspects of an acoustic instrument. It’s a usually a piece of cedar or alderwood, depending upon what’s regionally specific to each tribe. Each had its own culture, musical history, and geographical resources that contribute to the making of the instrument. I’m still shocked to this day at some of the tones that can come out of it, especially when you think about how it’s just a piece of wood. I think if someone heard it and didn’t know that, they might think it was a machine. It’s about the rapid succession of breath, and pressure, and a threshold in the instrument that together starts off this rapid fluctuation of sound. You can’t change the speed so much once it starts—it stays pretty constant. And then, it’ll shut off. This is not something I invented at all; it was always there. You can hear it going back to old wax cylinder recordings from the early twentieth century or even the late nineteenth century. Not all tribes used this, but a lot did, from the Plains all the way up to the Ojibwe. The sound can mimic different types of bird calls. It could be used at a lake and the sound would ricochet off the water and carry over tonally as a signal for different types of war parties. It’s a crucial component of the flute that I know. I want to see how far I can go with structuring music around that, as the ancestors did, while also bringing in new techniques.
RC: Can you explain more about this horizon of melody—are you talking about actually reading the landscape to inspire a melody?
TA: Sometimes. For me, the warble’s the ground, or the horizon—that’s the edge. The warble has to be on the instrument’s lowest note; it can’t be created on any other note. I can make multiphonics on other holes of the instrument, but it’s always the lowest note that is the warble. That sound is the ground, in some sense. Symbolically, it’s the foundation that everything else floats above. If I were looking at the earth, or a silhouette of a mountain range, for instance, the warble will be the stone or the rock, and the light would be the melodies.
RC: That’s really beautiful. I’ve been using a similar idea in a lot of my pieces, where there’s a fundamental note and then the partial ones are like stars. I actually draw them like that, as little harmonic diamonds above a line.
TA: With a mountain, you can think of it in terms of time versus pitch: A mountain peaks at different intervals, which could be compared to the rate of the warble, or like how a higher frequency or a higher pitch eventually goes down. Your base melodies could be based upon the ground, and the other ones float off of it, not unlike these natural forms.