figure out what techniques are necessary to achieve it. Common on woodwind music is to specify a particular fingering underneath the required note; as different fingerings produce different qualities of sound, a composer who is concerned about the precise effect created may wish to do this. (The same fingering can cause different result on instruments from different manufacturers, due to variations in construction.) Approximate pitches may be specified by wavy lines or in cluster notation to designate acceptable ranges of sound. There is, however, a wide range of notation used to designate multiphonics, with several individual composers preferring notations not in common use. Piano multiphonic notation can include, among other factors, the numbers of sounding partials or fingering distances on the string. Such notations have been developed in recent studies by C. J. Walter and J. Vesikkala. Use in literature The first real use of multiphonics in literature are of the brass "horn chord" style. Carl Maria von Weber used this technique in horn compositions, leading up to his well-known Concertino for horn and orchestra of 1815. Woodwind multiphonics and brass lip multiphonics did not make appearances in classical music until the 20th century, with pioneering compositions such as Luciano Berio's Sequenzas for solo wind instruments and Proporzioni for solo flute by Franco Evangelisti using them extensively. The technique is used in jazz as early as the 1920s by Adrian Rollini on his bass saxophone. Then it was largely forgotten until Illinois Jacquet used them in the 1940s. Multiphonics were also widely used by John Coltrane, and jazz flautist Jeremy Steig. Some composers who use multiphonics: Gloria Coates Kazimierz Serocki William O Smith Karlheinz Stockhausen Some musicians who use multiphonics: Ian Clarke – flute Michael Vetter – recorder William O. Smith – clarinet Gloria Coates – vocal Ryoko Ono – saxophone See also Didgeridoo Singing bowls Musical acoustics Physics of music Harmonic series (music) References Further reading Gerald Farmer, Multiphonics and Other Contemporary Clarinet Techniques, Shall-u-mo Publications, Rochester, New York, 1982 Murray Campbell: "Multiphonics". Grove Music Online, ed. L. Macy. Accessed 24 Jan 05. (subscription access) Richard E. Berg and David G. Stork, The Physics of Sound. Prentice-Hall, Inc. Englewood Cliffs, New Jersey, 1982. Ian Mitchell, "Smith, William O(verton) [Bill]", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan, 2001. Kurt Stone, Music Notation in the Twentieth Century. W. W.