This was recorded in the 2009 era with the help of Paul Kotheimer

composers-guide-v1.mp3

Here is the script:

The range of the alto udderbot is about from Ab3 () to C7 ().

An upward glissando: (). A downward glissando: (). Now, as fast as possible: ().

A glissando made by only changing lip position, and not glove position: ().

The altissimo register, (), which extends the range an additional octave. Now in glissando: ().

Sometimes, depending on the shape exactly of the bottle, there are two altissimo registers, (), which makes possible a seagull effect, ().

Playing in the upper register with not enough lip in the hole makes a warble: ().

The subtle timbral shifts of changing the angle of the bottle with respect to gravity: ().

The effects of jolting the bottle while holding a note: ().

Squeaking rubber against glass underwater: (). The water slosh: (). The silent glissando: (). A whisper-tone glissando: ().

Now, this one I call, "Bottle play you!" Udderbot is used as an air bellows, and my mouth cavity is used as the resonant chamber. Only short blasts are possible. ().

The "power blow" is executed with the player's lips not on the bottle, blowing directly down for maximum excitation. ().

The "wind scratch" is made by under-playing an upward glissando with lots of lip. ().

The finger pop (I actually use my thumb): (). The palm pop: (). The flutter-tongue: (). The slap-release: ().

The 'p' articulation: ().

Entering from, and returning to, silence: ().

Three types of vibrato: the 'theremin' vibrato, (); 'flute' vibrato, (); and the somewhat strange 'finger' vibrato, ().

The udderbot can resonate with an external sound source placed close to its opening. With the voice, this could be called 'botsinging': ().

The 'resonant wobble' is caused by an exact match between the singing frequency and the bottle resonance frequency: ().

Singing while playing more fully is also possible: ().

Then, there's 'udder-boxing' for beat lovers: (). And buzzing the lips as on a brass instrument: ().