robert dick

po.. . ,.. - - - - --......1J[}={]~~..

(Q)1J[}={]~~..~~

[f~LUJ1J~~

'=...,.• A Performance Manual of.. Contemporary Techniquesre~PIt

= Robert Dick..re•~ - -

pe-~••~•le~

; Oxford University -Pr e s s

Music Department

~ Ely House, 37 Dover Street. London W1 X L1AH

~New York Toronto

1975••!le•.. I/S. SO I

ACt J.J

for beautiful Pilar,whose idea this book is and who gave it its title

for Robert Morris,who most generously gave invaluable help and support throughout all the stages

planning and writing this book .

rtJ Oxford University Press 1975

ISBN 0 19 3221 25 X

Printed in England

U7I L.V, I j

2 Single Sounds

A Tone Colouration: Natural Harmonics 12

Fingerings of Pitches in the Chromatic Scale 15Changing Dynamics, Pitch, and Timbre by Embouchure Control 46

B lvlicrotones : Quarter-tone Scales for Closed and Open-hole Flutes 52Microtonal Segments 58Microtonal Scale for all Flutes 66

C Glissandi: Glissandi for Open-hole Flutes 72Headjoint Glissandi 79

5 The Electric Flute

A Techniques of Amplifying the FluteB Sonorities of the Electric Flute

C Electronic Modification of Flute Sonorities

3 Multiple Sonorities .>

A MUltiple Sonorities Based on Natural Harmonics

B fl.ultiple Sonorities Based on Fingerings of Pitches in the Chromatic ScaleC MUltiple Sonorities Based on the MicrotonaJ Segments

4 Other Resources

A Flutter TonguingsB Percussive Sounds

C Whisper Tones and Residual TonesD Jet Whistles

E Singing and Playing Simultaneously

F Substituting Other Sound Sources for the Headjoint

128129132133

153inside back cover

Contents

Iritrocluct lon

1 The Traditional Flute

A Mechanics of the Boehm FluteB Different Varieties of FlutesC Traditional Flute Writing

Appendix A: Special Signs and Distributions of ParametersApr:rmdix B: After/ight, for flute alone (notes)

After/ight

Acknowledgements

There are a great many people who helped in the course of this work. I wish very mucthank Mr. Gunther Schullerfor his encouragement and advice,James R. Meehan for writi the computer programmes used to classify the multiple sonorities, Mr. William Cahn bOLO

, for all his sound advice and for the photographs of embouchure positions and headjo, glissandi, and Tim Shepard for the oscilloscope photographs used in the last chapter.

Special thanks are due to Professor A. Wayne Slawson, of the University of PittsburgMr. James Michmerhuizen, of the Boston School of Electronic Music, and Profess~

Alejandro Planchart, of Yale University, for their efforts in reading the typescript and thmany valuable suggestions. .

Aid, material as well as spiritual, came from both the Yale School of Music, with It"

'excellent electronic music studio, and the Yale College Department of Music - and I thaDean Philip R. Nelson of the School and Professor Claude V. Palisca, Music Departme Chairman. The Friends of Music at Yale also made a twofold gesture of encouragement fjawarding the book their prize, making me happy indeed.

Important support came from several groups, to whom I really feel indebted. They arthe many flutists and composers whom I deeply admire, whose encouragement ainsightful suggestions greatly helped me; my students, who willingly tried much of tflumaterial and made vital commentary on it; and the many friends whose continued inter

'lightened my spirit during countless hours of writing and copying.Finally and most important, I wish to thank Professor Robert Morris, Director of the Yale

Electronic Music Studio. His suggestions, especially those made during the early work _the book, have had a major impact on its present scope and form. He is very much tmentor of this work, and its dedication to him is heartfelt.

...,...••....

Introduction

The purpose of this book is to explore in depth the capabilities of the flute as a soundproducing instrument. It has become clear in recent years that the valid but limitedtrGditional conception of the flute encompasses only a restricted number of the sonoritiesthe instrument can produce. In preparing the material for this work, I have dropped thefollowing preconceptions usually made about the flute:

1. The flute has only one basic tone quality and its ability to vary that quality issharply limited.

2. The flute can produce only one note at a time.3. The mechanical construction of the Boehm flute allows production of only a few

microtones.I have set out to remove the non-traditional aspects of the flute - such as unusual tone

qualities, rnicrotones. multiple sonorities, 'bending', etc. - from the category of 'specialeffects' and into the realm of valid musical materials. To do so, the first step includedmaking explicit the habitual and/or intuitive pitch and colour adjustments flutists makeas a matter of course,' and developing new fingerings and techniques. The next step wasto notate these sonorities from a logical and acoustic point of view. Thus, the notationspresented for natural harmonics, microtones, whisper tones, residual tones, jet whistles,and percussive sounds are, hopefully, more practical than the notations presently in use.

I hope that the contents of this book are without stylistic or aesthetic bias, and that itwill be useful to composers and instrumentalists alike. The traditional conceptuallimitations of the flute exclude it from many of the innovations taking place in the musicalfields of the avant-garde. jazz, and rock. Furthermore, the adaption of the Boehm flute tothe microtonal subtleties of non-Western music has. in general, so far been unsatisfactory.Many flutists want to play in these idioms and therefore I feel it necessary to find wavs.oldeveloping the instrument's inherent capabilities. Having been involved in much contemporary music that involves improvisation, I find composers extremely interested innew sounds for the flute and eager for a work that codifies and notates these sounds.

i was inspired in writing this book by the works of two other researchers. John C Heiss,whose articles contain the first published listings of multiple sounds for the Ilute.? andBruno Bartolozzi. whose book New Sounds for Woodwind J presents many concepts fordeveloping new sonorities for the woodwind group. These are pioneering works and it isimpossible to overstate their importance, for they are the preliminary investigations thathave shown the existence of new and vital musical worlds. This book encompasses theexamples given by Heiss and Bartolozzi, and, among its explorations, develops the areastouched upon in their work.

This v61urne is orqanized pedagogically. Flutists will find the easiest material presentedfirst in all chapters, and each chapter. to a degree, is a preparation for the next.Jn thiS light.it is also significant to note that many flutists may find working with the new sonoritiesand techniques beneficia I to their traditional playing, especially In the area of tonedevelopment. Ouite simply, practice of the new sonoritics serves to develop both thestrength and suppleness of the embouchure.

Since ilutists may not be familiar with the new materials, composers should alwayscheck any new sononties or techniques with a sympathetic player, rather than simplycopying from the book.

I have tried to present my findings in the most comprehensive and practical formpossible The wealth of sonorities for the flute is astonishing in its variety and quantity andit i~; hoped that this VI/ark will help bring about some beautiful music .

1 1111' Illl!" I', (Iul jlf>rf,'( fly III t uru- oil .111 IJlI\ lll'~, 1 flll~. ',(IIJlI' ru rlr- ..... ''',IW( r.tll v C:" D'. I ". o· l : r:' C' G:'. B'. iJlldC . flll1',1 Ill' ddJLJ~,t"d III flld,'/ [r i r t ln-rn to ~.fIlJl){J LfJlrl'( 11'1' III tUIH' f ur t lut fll.Jlly (l'/OIHI;,11l (11,1I1l1"', ,PI' 1l1,lllr hy C');

Ill'lll'rH l'd llulr-.t'. .l~,,l FlII',lll', (Jl'·lo.fH,·,,',tIJll ,11\1",('( Cdlll}1 (JI.lllqr". ;U/' (11',1 (l',',,-d H\ CII''l!lI'':> SI·t 111111/)"

Jutlfl C H"I"'., r~~,Jllqd,' Sill!!', Itll f 1\11" ,Hid SIII]II' r\,11111qJ11' Sll!llllill"" Il" f IIJ!l' DIllI!' Cl.I!lfll-! ,Hid fLt'.-,(J(JlI',

Pt',.S/Jt'l.{I\I'-,,(Jlr·.'I·\', t.~II.'''C \'r1l~) rJIJ' ('~H)tJ).III(IV(d 7_No 1 (l(J'dj)

Blllllll EarlIJl!):!1 N,..", ,(;ollllrr·, fur \"'I)rl(l.~, (flrl Ir,lll',I.I1I·1I ,Hlr! f·dl1!'fl I)) H'·ljlll,rlfl S(]\11!1 Htlfldll' (I rdldl"l 1 (1(,],

Flute with ~~nilm removed (not to Jeak):

c~ hole

D~ ale

foot~----_..........._------

duplicate G. halt

"'---------...,,-----body

D~ trill hole

A. Mechanics of the Boehm Flute

, Theobald Boehm. The flUrCbndflutc P/bying.trans Day ton C Mdler (1847. reprinted New York. 19(4) .] The rn a t e rra l chosen for a flute IS largely 8 matter 01 taste vvoode n flutes have a very sweet sound. but do not project

as well as rne t al flutes The heavier metals. gold and platinum. do tend to yield a more mellow tone than s rlve r, but It ISthrs authors ope"ence - both as performer and listener - that the gold Dnd p latrriurn flutes are not nearly as versaule

as the sdver flute) Extra ke vs have b(·f·n added 10 flutes to enable the Idt little linger 10 close the low C:: or low B keys. facdltatlng urta'"

low 1"lls Aho. by "'eM'S of D 's plrt G::: k(·y. the lelt Irttle flf'(I('r can close the G:: hole Without clOSing the A hole.yleldlf'\l pr-rhrt rCSp()n~e a nd Intonation of [" An e lter auo n IS somellmes made", the desr\ln of the Bc h-vt-r so thatdepresSlnn I1 wrll op(:n a spl'cliJlly bored 11OIl' add(:d to correcllhe Intonation and response 01 C::' and C::".

1. The Traditional Flute

The present-day design of the flute is practically unchanged from the constructiveprinciples introduced by Theobald Boehm in 1847.' Boehrn's system is founded on threemain principles. First, the bore of the flute is cylindrical with the exception of the headjoint,which has a combination conical/parabolic bore. Second. holes are made for eachchromatic note in their acoustically correct position. and are as large as possible for bettertone quality and intonation. Third, a mechanism is constructed to enable the fingers to

control all of the holes.The flute is most often made of silver, though occasionally of wood. gold, or platinum."

The instrument is in three sections, the headjoint, the body, and the foot, and tone isproduced by blowing a focused air stream over the embouchure hole cut in ,the headjoint.Pitch is determined by the length of a vibrating air column within the tube of the flute.

Presented below are two diagrams of the flute. The first shows the flute with itsmechanism removed, the second includes the mechanism. (The mechanism shown is thebasic design of the instrument which, occasionally, is elaborated with one or more extrakeys added at the discretion of the player.")

head joint.----------------

embouchure hole

embouchure plate

~,.elie~

=~e.....II!t~~

~,.818..'...~

8~..e.,.,..•lilt..I!I,.,.III

A key has the name of the note sounding when it is depressed, provided all the holes tothe left of the key are covered (with the exception of cross fingerings found in the higheroctaves). For example, when the A key is depressed, A: sounds, provided the C key andthe B key are also depressed.

Holes are covered in two ways:1. Hole closed by key directly above.2a. Hole closed by hole-cover operated by depressing a remote key.

b. Hole opened by hole cover operated by depressing a remote key.Keys cover the holes in three ways:

1. Finger on key closes hole beneath key.2. Finger on key closes hole beneath key and additional hole or holes.3. Finger operates key which opens or closes a remote hole or holes.

The keys and their functions in isolation are found in the following chart. Note thatmost fingerings consist of mare than one key depressed at a time, and that the B hole cover,md the G hole cover are operated by several keys. The B hole cover is closed by the F key,A key, B:> thumb-key, and B:> lever. The G hole cover is closed by the F key, E key, andD key.

Body and foot of flute with mechanism (not to scale): I

linked toC key

nrmn= Me, t ...

Function(when depressed)depresses Chole covercovers C::; hole

Finger (if operateddirectly by a finger)left index

Function of the Keys of the Flute

1See chart below

Number Name

1 C key

1a C hole cover

16a 15a

Occasionally, there is more than one traditional fingering for athere are three fingerings for BD~· These are:

'l , The C key, B key, F key, and D~ key are depressed.2. The C key, Bb thumb key, and D~ key are depressed.3. The C key, B key, B~ lever, and D~ key are depressed.

In the first fingering, the C key closes the C~ hole, the B key closes the Cq hole, t

F key closes the B~ hole, the G~ hole, and the H hole, and the D~ key opens the D~ H eIn the second fingering, the C key closes the C~ hole, the Bb thumb key closes thhole and the B~ hole, and the D~ key opens the D~ hole, In the third fin'gering, the Cl,closes the C~ hole, the B key covers the C~ hole, the B~ lever Closes the Bq hole, and0: key opens the D~ hole.

Given in the following chart are the regular fingerings from low B3 to high F;P.rease of reading the fingerings, only the keys are shown that are directly operatefingers, Throughout this book, all fingerings (except those given in the sectionglissandi) are presented in the following manner:

o "' Kryup

e .. Kev depressed

G key Gl key O. key

The B~ thumb key, B~ lever, and D and D~ trill keys are shown only when depressand are represented by the following symbols:

0.00 QOP.Od~/ b 8. ,t . I ';;in'" key

Bb h b k D~ trill keyt um ey

• r or the narne s of rvore s see Appe ridrx A

The actual configuration of open and covered holes for each fingering can be inferredfrom the fingering diagrams. For example, the three fingerings for B~", whose holeconfigurations have previously been explained, are shown as follows:

flegular Fingerings from BGJ to F~7

• •••••••••. . . . . . . . .- -- •..• ••••••••••• •••••••••c:::> c:::> c:::> c=:> c:::> c:::> c:::> c:::> c::::> ~

• •••.••• O' o o• ••••• o o o o• •••• 0 o. O O

~ ~~~~ •.. ~ •...•..•..~I' ~IO ~OO ~OO ~OO ~OO ~OO qOO qOO ~OO

• •• 00 O. ea •• eoo ••••0000 ••••••0000 •••••c:::>c:::>c:::>c:::>c:::>c:::>c::::::>c::::::>c::::::>

.000 •••• O0000 ••• O OO 00 O •• O O •

•... ea... •...•.. ~ ~ •..•..••.. ~

~OO ~OO ~OO ~OO ~OO ~OO ~OO ~OO ~OO ~OO ~\j

-- ------ ---

~. q .• #_ b. ~.- -

000 •• O O O •••0 ••• 00 •• O O •• • 00 •••••• O• OO •• O ••• O.~ c:::> c::::::> c::::> •••••• c:::> c::::> ea. c:::> c:::>O •• O() ••• O O.~ ~

O 00 O O O. O •• O.•.. - .••.O 00 O O O O O O O ••.. ~ •..•... ~ ~ ~ •...•...•..•....

~OO ~OO ~OO ~OO ~Ot ~OO ~'O ~OO ~OO ~OO ~OO

#_b.a ~.a#.ab. ~. q.a #.•b. q. #.b.a ~.•.-- = == = = = =- --

•••• o O •••••• •• 00 ••••• O.00 O O ••• O O •

.. O ···0 O O O •• O •••CJ c:::> c:::> c::::> c:::> c:::::> ~ c:::::> c::::> c::::::> c:::::>O • O O O O •• eo OO 00 O O O •• O O O000000. O O. O.•..•..•..•...•..•..•..•..•..•.. ~

~OO \100 ~OO ~OO ~OO ~OO ~OO ~OO ~OO ~OO ~OO

SemitoM 100 Whole-tonl Trills

o"key trilled

To facilitate certain trills that are extremely ?ifficult to perform ~ith ~egular fingerings,special fingerings are often used. The followmg chart presents fmgenngs for semitoneand whole-tone trills. Those tri/ls that are normally played with regular fingerings areomit1ed from the chart.

DA• •••••••O•• •••• b ••0OO• ••••.e0OOO• •••00.eOOOc:::::> c:::::> c::> 0' •.••.•••c::> c::> c::>.00 O O ,-OO O J2• O • O O O OO 950 O0•O•OOOOOO

~ •..•.. ••• •••• ••• •••••••••• •••~OO ~OO ~OO ~OO ~OO ~OO ~OO ~OO ~00 ~OO

;. ;..e,o •. ;, :~\_ .•. <;,,;:¡;;;;'''.;:~.

:::.::::=:- ... _~_:.._-~ '~..:;.--,..---f'" ••o',~~_,+ •••,,--,,_,",.,,.-,,"~~_••.•.~,.-_.•• _.,,, ".".

00 o •••••••O ••••••• p. p0O ••••••• 00

O •••••• ~00 OC:::::>C:::>c::>c:::::>c:::::>c:::> __ ~c:::::>0 ••• 0'0 O O O

~ •.• 0 O • O O O O0000. O • O O O~ •.. ~ •... ~~~ •..•.. ~

,.. qOO ~OO ~OO qOO ~OO ~OO qOO ~OO qOO ~OO

o 00 o. o •••••O o. 0 ••••• 00

:: O o. 0 •• 00 o. O. O· --8 e o 0 0 o 0 • o •~ c:=::> c:::> c:=::> c:::> __ c:::> c:::> ••• c:::> c::::> c:::::::>

~ J2 o J2 o • o •• {21 • o., o J2 -n 9=>n • o •• o • o~ o O~~ • o o •• o.~ •...•..•..•...•... ~ •..•..•..•..•...:: ~OO ~OO ~OO ~OO ~OO ~OO ~OO ~OO ~OO ~OO ~OO~.,•••••~ 9

o'G~ key depr"s~ed10

• ' G~ key up

One fUrlh(:f v anr-tv of Bm·hm lIute eXl~I~. and althouqh I1 IS qUII" rar e to dav il ~m,lIl nurnl.r-. of flu!I~!<, play In~.tlunH'nlS

\l\.llth ,H1 open G~ ~,t:y 1ht~~,j' llLJlt:~ hilV(' only OtH: G;: !l{)I(~. itnd Ita' G:: "..t'y ()~)(·I.:tlt:~. 01 holt, r r i vt-r 111,11 C/(J!>('.\ Itl(' G:::halt: In~ll'iJd of Opt:fllflH 11. the' f(·V{~':-.t' of ttlL' u sual nu-t ll{trlJ~n1 rlutlsl~ who p!i1Y 0lll"fl (i:: "tov flLJll.·~. ruu-.: r('v('r~l~ the

rt'ad,nH 01 i1l1 tlrl~~L:rH)n~ thitlll1dlcjllt'lht, G:: "-t'y d('p'l'~~l'U 1 lru s fOf Opt'n G: ~,l'Y f1ulL'~. only

B. Different Varieties of Flutes

In common use today are closed and open- hole flutes, and flutes with a low C or 10 .B footjoint.> On closed-hole flutes all the keys are built to cover the holes completely,while on open-hole flutes the centres of the A G, F, E, and D keys are open to improvthe venting of air and thus clarify the tone. When these keys are depressed, the fingermust cover the open portion of each key in order to cover the hole completely. In thi.book, however, the technique of depressing only the rim of an open- hole key - leavinthe centre hole open - is introduced for some alternative fingerings, microtones, anuglissandi.

Various Ilutists. from beginners to professionals, have tested the materials in this work,and have found the contents accurate and applicable to flutes of all manufacturers. Thhighest quality flutes did, of course, respond better to the new sonorities than the lesseinstruments. Moreover, the slight variations in placement of the tone holes and in certaincharacteristics of the headjoint found between flutes of different manufacturers meansthat not all pitches and multiple sonorities will sound exactly as notated. or with thsame ease. It is stressed, though, that players of all Boehm flutes will find this boouseful.

~:q-'D"'-~"'#:#~~.1f:'q.""~",D;~.~"-D:-"q.#~~':~ /~.:~.-------------- --. --;,--

• • 0 0 0 0 0 • • •0 0 {2) 0 • • be • .-- 10--0 • 0 • • 91 [21 0 0 0• • • • 91 0 91 • • •c:::::> c:::::> c:::::> .-. c:::::> c:::::> ~ c:::::> c=::> c=::>• ~O 0 0 0 • 0 0 0 0..0 0 0 0 • 0 0 0 0 00 0 • ~ • 0 0 0 0 "0.............. .... ~~ ~~ ~

~OO ~OO ~OO ~OO 00 \))0 ~OO ~OO ~OO ~OO

~..,..~

c. Traditional Flute Writing

Traditional music for the flute calls for one note at a time and for the pitches in thechromatic scale. Within these boundaries, all manner of phrases, rapid skips, andu;ticulations are found in the literature. The flute is among the most agile of instruments,and practically any passage within its range can be performed. A fine, though conservativedescription of the flute's capabilities and its function in the orchestra is given by WaiterPiston." (In addition, a good description of the acoustics of the flute is made by William

Backus. 7 )

{, Wailer Piston, Dt ctics tt stion (Nt·...., York. 1955),Will,am Back us. Acoustrcet Foundstions of Music (New York. 19G9) .

+•t•t

•t•

:e--- fundamental

, Naturol ha rrno ruc s are cit·flned as noresa produced by ove,blnwlnll " rellulill fl/'ge,I/'ll Ir o rn low B'lo 0::" (;J!)(lV" t lu- h"rnlCHII( 0::" ,1I1 n:ltul,,1 h ar rnoruc s "rE

fl/'W"I,d more than an oc.tavc below lhl' pItch soundr.d )b traditIOnally shown hv re !tlal follow the o vcr toru- ~'''It·~ fo, p,p,'s opr-n al both r-nds

") Since the ,t!~ular tlngt'rHI9~ h{)!}} E' to C:I, tlrl' tilt' or.t avt: h;Hnl()n!(_~ 01 ftlf~ ({Htt'~,p()r){!!/lO low rl()II'~' tilt.· flutL' ....vouich.rvr: to bt! extended to low A 1 In otdt'I to prol/lc1e idft'trldtrvl.: Il;Jtulal h.rr ruo n« frrHjl'rrflq~> for f" ilrld r',VideO With low C f()()tJOlflt~. there Lilt: i11!:.() 1I(} (jltt-InCillve n a t u ra l h,HrTlOrlr( fJrl~1!'tlnn~'f(H r:"

The fingering of the fundamental greatly affects the timbre of the harmonics. A resi u,tone and/or pitched noise is often heard along with the desired pitch of the harrno

The residual tone sounds at the pitch of the fundamental; it is noise-like in qual'consisting of a very weak fundamental and several overtones. Composers may, perhabe interested in the polyphonic effect of the natural harmonics that are heardpronounced residual tones.

All natural harmonics above a fundamental at a given interval have similar toqualities. For example, the natural harmonics overblown an octave and a fifth abov ,fundamental are clearly related in timbre and are easily distinguished from the natuharmonics that are overblown above a fundamental at any other interval.

The following chart presents the natural harmonics, which are organized accordito the pitch sounding. Additionally, indications for intonation, ease of response, dynan"""range, and res idual tone are given for each natural harmonic. (For details of these parmeters see Appendix A.)

Natural HarmonicsNatural harmonics' are the simplest of all ways to vary the flute's tone quality. Camhave long called for the bright, distant effect of these harmonics and have usedfor echo effects or extremely soft fade-outs on high notes. With the exception ofF". for which there are no alternative natural harmonic finqerinqs.? up to five alterntonal qualities clearly distinguishable from the regular fingerings are available throuthe second and third octaves of the flute.

Natural harmonics are produced by overblowing regular fingerings from lowD~5. The pitches produced follow the overtone series for pipes open at both ends.if low C~ is overblown, the following harmonics are emitted:

A. Tone Colouration

2. Single Sounds

fingering

ease of response

dynamic range

residual tone

[ ;n(on";Onpitch sounded

•n-ff

EXllmple:

2n·ff

n-uu b

•••2 +

•••

n·ff3

n-ffn-ff

n-ffcn-f!n·ff

••

ccn-fffc

- ••c

~, !'I~••••13-

3n-ffc

3n-ttcc

4n-ttc

2rrffc

3n-ffc

+ ..4 5

4 ff 5rrff 5 5

ff ff c 5 ffc ff ff c 5 ffc c ff cc ccc

Natural harmonics can be produced for all the notes above high Be, but they are extrdifficult to find and reach cleanly,

Fingering of Pitches in the Chromatic ScaleThe fingerings used in traditional playing have one basic aim: to produce what is accqas a 'good' tone - full, round, and sweet. Modern f1utists have developed this skillamazingly high degree. Such artists as Julius Baker, Aurele Nicolet. James Pappoutand Jean- Pierre Rampal - each of whom has a distinctly individual tone quality - 1

overcome the natural individual tendencies of each pitch and have achieved rernai .uniformity of tone, yielding wonderful results in traditional music. Variety of tone cis, of course, possible within the framework of traditional fingerings, ' and an experieplayer uses tone colour as a means of expression.

The concept behind introducing the maximum number of fingerings for the chroscale is to extend the range of tone colour for the flute as far as possible. Many alternfingerings are found in traditional playing, but they are mainly used to facilitate trill Co

difficult passages in which the unusual quality of these 'false' fingerings is not expEvery fingering, traditional or new, has its own distinctive tonal flavour, which can •be modified and extended through embouchure control. The new fingerings introin this section often easily yield tone colours that are extremely difficult to produceregular fingerings and introduce timbres unlike anything in traditional playing.

New fingerings are presented up to and including Fq6. Above this pitch, the differebetween individual flutes become too great to determine consistent fingerings.

The fingerings for each pitch are arranged in order of relationship to the rfingering, which is always listed first. The second fingering is the one most like the

, See Chapter 2, Section A.

----------

Example:

Normal

/ whisper tones

Muted -- with whisper~tones

~ intonation

t eO- ~Oe e od:.,./ no rseut

pitched noise

dynamiC/range

the third is a little more different from the first. etc. Fingerings that call specifically foropen- hole flutes are listed last, and are also arranged by similarity to the regular fingering.

It is suggested that when practising the fingerings for each pitch, the player first playthrough them in order, then in various permutations and rhythms. In addition, it is veryuseful to practise alternating the regular fingering with the others. This will develop thenecessary embouchure control to move fluently between the variety of fingerings.

The variety of tone qualities made possible through the extensive use of alternativefingerings tremendously enriches the flute's realm of tonal colour, for any number ofunique pitch and timbre successions can be constructed. Composers should feel free toexplore these possibilities, observing the dynamic ranges given and noting that compositions calling for new fingerings will take more time to prepare for performance than

those that use regular fingerings.

Fingerings of Pitches in the Chromatic ScaleThe first fingering listed for each pitch is always the regular fingering used in traditional

playing.Fingerings are listed by roman numerals. For details of the various parameters see

Appendix A. _The sound produced by each fingering was recorded on an Ampex 440 stereo tape

recorder and the resulting tape was played through a Multimode Filter/Resonatormanufactured by Tonus, Inc. The result was then amplified so that the output of themodule could be heard. The module was set in narrow band pass mode. By tuning thecentre frequency and adjusting the quality factor (0), one could listen to each of theharmonics in the flute sound. A rating by audition was determined to rank the relativestrength of the various harmonics.

The author had already categorized the various tone colours yielded by the newfingerings by descriptive words - normal, bright, diffuse, and muted. It was found thatthere was always a strong correlation between each of these names and the relativestrength of the harmonics, resulting in the timbre descriptions given in the Appendix.

~/I,nge,;ng~ , / ease of response

L ,,'tf • e 0 00•

unpitched noi~

b •• 0. ~O.Jg Di!'u"•• C7 nC>15.e-3/

1l. n·ff

1L n-ff

Eumple:

Examplel

,IV. no'

1,V.trp

o•••••••• §? No'm,1

•••• 0•• od~ D"'u,"

••• Oo •• 11:: Mu"d·• u.", nOlse at

•••• O•• O.~ No,""!

• O O .0. O .d~ Diflu,"

••• 0. Q 0118 V",ddlu"-• U."..- wlth whl>per tones

,1. n-ff

11. n·ff

111. n-p

,111. n·p

,IV pp

11. n·ff

111. n-ff

,111. n-p

11. n·ff

/l. n·!

1111. n·m!

IV.n-mp

V.n·mp

Vl.n-p

VII.n·f

VII/.n-fl

o• •••• OO' §No'm.1

•••• 0. O .(]~ Bdgh'

••• 00 •• ~8 D;ffu"• . • <::::7'

••• 00 •• /1= D;ffu",:-•. U~ wlth whlsper tones

••• 00 O • ~8 D;ffu"•. '-C/

••• OQ O • /1= V~, d;ffu"• U."..

•••• 00 • •• ~ D;ffu"

•••• 00 • O'§ D;ffu"

•••••••••••••••••••••••••••••••••

11. n-ff

11/. n-m'

111. n-ff

IV. n-ff

VII. ppp

•••• 00• 04§ B,;",'

••• OO •• ~ ~c::::::> D~ffuse:-•... ' • wlth wtllSper tones., .

• •• 00 •• /18 v~ dif!use -• ' .. U~ Wlth wtmper tooes

• •....Q O••• /1= ~i~~~sper tones• U.", noisc at

• O. O••• /1= Ve:ymuted-• . U.,. nOlsc at

• ~.0••• /1.' Ve;; muted-•• U nO~Je - 3MIJe at..

Muted noi$.e Bt

Normal

•• ~O•• · .d~ Dlftute-• .,. wi~h whl¡per tone-snOIJe It

1l. n-ff

V. n-mp

111. n-p

-----------.-.---

• r\. O•• r\d •.•.Oiffuse-• .., .••••• wi~ whisper tones~ nOlseat

•• ., •• O O O, §Normal

. , ~=• •••• OO. ~ Oiffuse

••• QOO O O.~ Bdgh,

• .~OOO.~8D¡!fU",-• • C7 MI$e-4

• (í;i -. O~ • O ~8 V,:v diffu", -• .• c../'" nOI$e It

• Q .0••• ~8 V'.CYdiffu",-• • C7 MI$e et

.. O ••• Q ~ ••• /1 ••• 8right• Utpr

••~.0. Q ./1= Diff,,,-• U f1II'" noise Ilt

t,V. n-p

,1. n-ff

,If. n-ff

t,lll.n-ff

•,IV. n-mf

,•• Vf.n-plit t-t ,.,

VII. n-mp~

II!IJVIII.pp., ., t., 1

IX.n-mp~ ., t

., X.n-mplit .,..,.,litlit

-_ .._--~-_.--------_.- ------_.

11. n-ff

1II.n-mp

111.n-mp

IV. n-p

V. nff

Vl.n-p

VII. n-f

Vlll.n-p

IX. n-p

X, n-ff

1XI. n-ff

o ~ c:::>•• O O O O c:::> 'Normal• C7O ~

• O •••• /1 ~ Diffuw•. ' U.,.,..

O =.•• Q. O O O~ E3 BdOh' .

• Q .00O. ~8 DiHu,,~• : • C7' wlth whlsper tone

O - c:::>.•• Q Q O O • ~ c:::> Bright- C7

O -' -

•• Q Q • O O ~ §Dilfu"

• Q QOO 0.118 .'ight• U."

• Q QO•• O ~8 Dilfu"-•• C7 n0lse-2

• Q QOO •• ~ 8 V"ydilfu,,-•• C7 nOISC at

•• Q .1••• d~ .,iOh'I .,• Q ••• Q ~ 8 Bright-• IJ V noise-2

• O oO. 0048 Nmm"

1. n·f(

• C7

• o .00 0.;8 Olllu,,-1

Il.n·f( • C7 nolsc-2

b~ • O .0. O 0;8 Olllu"-1~

1111. n·' • c:::;7'" nOlsc al

- - .--

O •• 0•• _;8 M~"d-3 .~IV.ppp • c:::;7'" nOI~ al

O •• 0••• ;= Mut"'-V.pp

• fII" OOI~e - 4

• O .1••• ,8 B"••••'1

VI. n'" • C7

• 0.1••• dg V"y b,;,,,,,VII.n·f( • C7

1. n·((

•• o o o o O, ~ Normal

• O .0••• él= O,lIu",-2

11. p.(( • p" nolse at4

f O ••• 0. O 04& Oillu".

, IIl.n-p

f• (i,) .0••• él= Mul"'-

, IV.n·ff •••• nOlse lit2

f O •• 0. (i,) O. 8 Oillu",-, v. n-p •. ~ noise-3

O1VI. n·mp • O•• • Q • d~ Bright

••• O. (i,) .él~ Oillu"-1

VII. n-p O ~ noiseat2

t • O •• 0•• {i,)él~ Diffu"

VIII. n-p

• o 000 o 04s Nmm.1

l. n-ff O C7

~O •• 00 O O. S oalu"-

11. n-p • C7 nOI~eat

O •• t••• dS O;!fu,,-

111. n-mp,~• C7 nol~eat

O •• 1•• _.8 Bd,",

IV.n-mp .- C7~ O _ .t••• dS ~~'~2

*-1 2~V.n-p

• fIJfJ1" nO 1~ e t

+ O t••• d= O;!fu"-1

Vl.n-p •••••• with whisper tones." naire - 3

0---Vll.n-ff

• O ••••• dr Voeyb,;,nt

• •• 00 O •• g v,,,,d;!fu"-

~ .•1

2~Vlll.pp

• • C7 nOlse at

~••• • 0.,0 04 g ~;~~:t',p"ton~

d .•.

2~IX_pp

C7 nOlse at

~• •• O. O O. g V"y mule" -

1X.ppp

• I C7 nOlse at

tO • QI. O 04g O;lIu"-1

. _.- --X l. n-p • V nOlse-2

11. n·ff

111. n·ff

1111. N-ff

IV. n-p

V. n-p

1VI. pp

VII. n-p

VIII. pp

X. n-p

oOO 000 O O,~ No"""

• •• 0••• /18 D;",,,,-o U",. nOI~ at

OO •• 0••• d~ Bdgn'

O . <=>

••• o 010 O~~ DiHuse

• •• '010o~g D;","~• ..• c:::::' wlth wtllS.per tones

• • oO.,. 0~8 Di~fuse-• • c:::::' nOlse lit

O •• 0•• 0/1 g D;f!,,,,-• I U c:::::' nolse at

•••• '0 O.O,~M"'"

• Q .00,_ °~8 Di~fuse-• • C7 nOlse - 2

• Q .00,0 0..425 Diffuse-• • C7 nOlse- 2

~_______ .. _.~._d_._..,IIIIIJ

.,o •• 0••• d8 Non""..,

,\. n-ff••

• C7., ~

• O O 000,0O.~ B,;,h>., ,., 11. n-'

•• t

000 000,0O.~ B,i,h'

., ,., 111. n-'., ., ~

• O oO. O 0.8 Oiffu"- ••.,,

.,IV.np

• • C7 nOlse at

lit • O 000 O 0.8 O;l'u"-

i., ,-t V_n-p• • C7 nOlse - ,

11) • •• 0. O 0.8 V"ydiffu",-

.~• ,__ Vi- eP

• .•• C7 nolseal• 11)t

• •• 0. ~ .d= M~ted- .~••,

VII. pp

• fIJII" nOlse at

•• tO •• 0•• ~d: V"ydiffu"'-

•• ,•• VIII. n-mp• fIIJ" nOlse al.,• •• 0. 41» ~d=Muted-

•••

i • 1

IX.n-mp • ,.,. nOlse al., •.,•.,.,••• 27•

1 0••• 0•••• ~ Nocm,'

1. n-ff1 • °000,0,0.8 B,¡,ht-

111. n-mf O C7' nOlse - 1

1• °000,0,0.8 B,¡,ht-

111. n·f • c:7" nOlse - 2

1• °000,0,0.8 Diftu,,-

IV.n-mf • -<:::;7 nolse - 2

O••• 0IOIO'~ VerytyightV. n·ff

0••• 00 •• d~ MutN-VI. pp

.",.. nOlse at

•••• 0. O .d~ Mu"d-

Vll.nmf ~ nOlseat

1 •••• 0•• 0d8 Diffu,,-1

VIII.n-mf C7" nOlse - 2

•••• 0•• 0d~ ~;:::'~;IX. n·mf

. -1--O

1. n·ff

• ••••• O,~ Normal

° •• 0•• 0(18 O;lIu,,-

3~..,11. n·1

• <::;::7' nOI~ 8t., t° •• 0••• 0(18 O;ffu"-.,

1 ., Ill.n·mf

• <::;::7' nol~ al., t° •• 0•• 0~8 O;lIu"-

1 ., IV.n·ff • I 07 nOI~8t., ., t

• •• O•• °(1g ~;;::l.:-,

•••1

V. n-ff • • C7' noi~ at•• •• • •• 0••• 0(1~ V"yb,;ghl-lit

Vl.rd11)• .". noi~ - 2

• e .0 •• 0(1= O;lIu"-.,

••VII. n·f • 1.,. nol~ - 3

lit ° •• 0•• 0(18 ~~~~'~3lit

4~•••

Vlll.p·f • I C7 nois.e al

••G •• 0•••• 0(18 B';ghl-

••1••

IX. n·ff

• C7 nOI~e-5•• lit,•• • • 00 ••e(18 ~~:~~l~u,,-

••

X. n·f

.,• •••. noi~e al

• •• 0. O .(1= O;lIu"-

., d •

••

XI. nfc=:::> nOI~e - 3• • C7 noi~eal

• •••29

~ --_._ ..~

1 ••• eO• °o;~ NO'ffi"1. n·ff

t••• 0.,0 0;8D;"'''-

111. n·f • (7" no/se at4

••• 0. °0;= 0;",,,-111. p·f

••• c:::> no~se - 2(7" nOlse at4

• •• 0. 0,0;8 8,;,hl-IV. nff

• (:::7' nOlse at4

f •••• 00 • .(J~ ~O~~:"--2

2V.pp ••• nOlse al

t • •• 00•• ;8 0;""'-1

VI. n·ff • (7' noise - 2

• •• 00 Q.(J8 0;1""-VII. nff

• (:::7' noise - 1

••• 00 QQ(J= ~~::~'-';VIII. n-ff•••••. noíse al

1 •••• 00O 04§ NO'm,'I.n-ff

• ~ .0. O .(J=V"Vd;ff",,~1

Il.np • c:::::> nOlse - 2••• noise at3

1 •• ~O. O .(J8 DHlu"-

2111. n.f • C7 noiseat3

t ••• O~•• (J~ D;ll",,-

1IV. nf

•••• noise a t:2

t •• ~O~~ ~(J~ 8';9",-

• ~ noiseat:2

•••• '0 O O~~ Nmm,'1. n·ff

-- n 1

. I ~11. n-ff

• •••• -d-- Bright· ."t • O .00 O .~g Diflute-

111. n·' • (7" nOI~al

+ • O .0. O .d- V"ydiflute-

IV. n-m'• •••• nOI~ - 3~ noi~at

+ • O .0••• d- V"yd"fute-

,~V. n-' • ••• nOI~-4F' ooise al

t• O OO•• o~g Diflute-

VI. n-f • (7" noise - :2

• • O .00 00'= Diflu"1

VII. n-mf

~ nOlse - 2

• (7" noise al

O O .0•• 0d= Muted-

3VIIl.pp • "". nOlse - 4

-••• 000 O 0d~ Bei9'"

1;. IX.n-ff

•• +

• • OO•• 0d~ Diflu"-•• 1

X. n-mf• fIII" nOlse al• ~••,.•I• 33

••• 000O O.~ No'm,'1. n·ff

••• oO ••• 11~ B,;,h,11. n·ff t

O --2111. n·f • • O •••• dF 8right

t• •• 1••• 11= Oil1u"-

1IV. n·ff • c::::::::> nOlse - 2

c::;;:" no ise a t

f • O O 010 O O.~ O;l1u"1

V. n·ff

• O .1. O 0,8 Odlu"-VI. n-ff

• C7" nOlse·at

O O OOO O 0118 Odlu"-VII. n-ff

•••.. noise al

t O O OO. O 0118 O;l1u"-

VIII. n( • C7 nOIS-eat

O O 000 O., = O;l1u"-IX. nf(

• c::::::::> nOlse - 2C7' noise alt

O c::::::::>1

X. nff •• O O O O • d••..Bri9hl-

•••. nOlse at

O O O 000 O 0d~ B,;gh'

XI. n·f(

, • O oO. O 0~8 NNffi"

1. n· ff

• C7'

• O .0 ••• éJ8 DiI',,,,11. n·f • C7

• ~ .0 •••• 8 BdO"1,

111. n·ff • C7'

• • ~O•••• 8 D;"'''-3~

, IV. n-f• C7' noise at

• •• O~ •• éJ8 M,,,d4

V.pp• C7'

•••• 0•• oéJ8 D,"'''-

VI. n·f• C7 noiseat

11. nfff

11. nmf

111. n-f(

2IV. n-f

2V. n-p

VI. nff

VII. n-ff

Vlllnff

X. nff

XI. n-f{

•• O 000 O O'~ No'm"

O • 000 Oo~g Oi"'''-• • C7' nOI~ at

O • OO•• o~g ~~:~'~~• • C7' noise at

• O .0••• 11= Oi",,,-• U." nOI~ at

• • 000 OO~= Oi",,,-• t. c::::> nOlse - 3C7' nOlse at

• O .0•• O ~g 8,i9hl-• • C7' nOI~ al

• O .0••• 11= Oi",,,-• U." nOlsc al

• O .0•• 011= 0"""-• U p" noise al

••• OO••• él;: M,,,d

• •• 0. O. Ág ",,,,,,.-• • C7' nOiSCiJl

••• 0•• 011= 0"',,,,'-• U fIIJIi1' nOISt' iJl

. _--------=-

• o o 000 o O;~ Nmm,1

• •• 0•• O.JIg 0;",,,-o • C7 nOlse al

O •• 0•• O118 ""'''t-• U<7 noise al

O •• 0••• 11= 0;"'''-• U." noise al

0••• 00 •• 118 M,ted-U D"" nOlse al

• O O0.,0 O ..4g Vf:.ry diffuse -• • D"" nOlse al

• O. O. ,•• /1g Ve.ry diffuse -• U<7 nOlse al

• ~.0. O • ~8 0;"'''-• • (7" noise al

• •• O~ •• (j= Diffuse-• ~ noiseal

• •• 0. ~e(j;¡; Diffuse-• .",... noise al

O •• 0•• O ~8 Dill,,,-

• O '" ~ 00;" "

• •••• 0/1.,.. Diffuse-• U fIJJ"" noise al

O •• 0•• ~11= "n9"t-• U fJII" nOlse al

X. n-ff

XI. nff

1IX. n·"

1l. n·fff

11. n·ff

XII. nff

111. n·'

XIII. n·ff

1VII. n.f

Vlll.n·'

~-- iIV. n·'

"J~~'-'-~~.,.,...,••

..,~~.r'~.,P'e~

r'..,i-J..,¡::,.,r'.,••rt~

•••rt••f.,!IIJ~.,l1li

r-'.,••~

~••!IIlit••-

#. b.•

O O O 000O O,§ NO'ffi"1. n!!! 1 ••• 00O .,8 Dlffu"-

111. nf O C7 nOlseat

••• 0••• d8 Dlffu,,-111.n-! ff

O fi1III" nOlse al

O O •• 0••• d~ B6gh'IV.n·'

V.nf O•••• O O, c::> Ve.ry diffuse -

C7 nOlse al

. O d= 5Vl.pp

• ••• O. c:::::> M~ted-

• •••. nOlse al

• O 000,00d8 Veeydlffw-

1VII. n-mp

• C7 oolseal

• •• 0.,0 0,8 B6,h'-

1VIII. n-m' • c::;'" nOlse al

t•• Q .00 O 0,8 Dlffu"-

3IX. n-ff (7" nOlse al

••• oO. O 0,8 Dlffu,,-

2X. n-' (7" nOlse at

•••• 00 • .d8 Dlffu"-

1XI. n-' •••. nOlse al

•••• 0. O .d8 Dlffu"-

, XII.nf •••• nOlse al

• O •• 0. O .d8 Dlllu,,-

XII 1.n-' ••.• nOlsc al4

O ••• 00 O 0.5 Nono"

1. n·fff t O •• 00•• lJ8 V,!ydiffu,,-.~1

11. n·ff • O" nOIs,c al

~ O •• 0••• lJ8 O;ffu"-1 .~IJI.Trff ,• C7' nols.e al

O .•• 0••• lJe:>V"yd;ffu"- .~3IV. n·! O c:::::> nOIS€ - 5

tO C7 00;""

4.~V.n·!

• •• O. eéJ8 M~led-

• c:::7" nOIs.e al~ O O 000,00.8 Bd¡f>l-

3~VI. n·!

O c:::7" nOIS€at

O •• 00,0•• 8 V"y b,;g', -••1 .~••

VII. n·ff• c:::7" nOIs.e at

•• • •• 00 .,0.8 O;ffu"-lit

,~Vlll.n·f••

• (7' nOlse at

••t

• •• 0.,0,0.8 D;ffu"-••

,~IX. n·mf ••• (7' nOlse at

•• O .00,_ 0.8 O;ffu"-

••1 .~••

X. n·f

• C7" nOlse at••t

• • 000O .,8 Oiflu"-••1 .~

XI. n·mp

•• • . C7 nOIs.e at

••t

• • oO •• olJ8 V"yd;l1u"-••

~XII. n-mp

••• fIIIJ'" noise at

••t

e ••• 00 .olJ8 O;l1u"- .~

••1

XIII. n·!..,• ~ nOlseat

•• ~"""",~~,~_._.-.-="-.-,-"- ..,.~"-.--~--,-"--"",,,,,,~-,,,",,,.~-

~#.b. :2

••••'•••'§ Nocm,'1. n.ff!t ° •• '•• _,8 V':Yd;ffu~_

111.n·!

• (;7' no/se att • • .'. • .(J= Oiffu,,-

1111. n·ff

•••. nOlse at~

° •• '0,00,8 B'igo.-

1 IV. n.ff

• (;7' no/se al~

° •• '. O,O'§ B'i.""-

1 V. n-ff• no/se lit

f ••• '00,0,8 Oiffu"-

1 VI. n·!!• ~ nolsea!

1° •• 00,0,0, g V'.'Y b'igo. -VII. n·ff • ~ nOlseatJ

••• 00,0,°'8 B'ight-

1 VIII. nI!• ~ nOlsea!t ••• '.,0,0'8 Oiffu,,-

2IX. n·ff O . ~ no/seat~

• • .' ••O.Gd8 B,ight-

2 X. n·f • C7 no/sea!4f

• O .'. °O, = V'.'Ydiffu,,-

3 -XI.n·mp

• c=::::> nOlse - 4C7 noisca!5

#.•.b~

• ~.00,00.8 O;lIu,,-

1XII. n-f • <::;7 nols.e at

~ • ~ ~OO O •• = O;lIu><-

XIII. n-p

• C7 no~s.e - 5nOIs.e at

¡ • ~ ~OO O .d= V",d;II.,,-2 4~XIV. n-f

• c:::::> nOIs.e - 4fII1"" no is.e Iltl O•• ~'. O 048 O;lIu><-

2XV. n-f C7" MIs.e at

t ••• QIO • 0.8 0;11.,,-2

3~XVI. rrff

C7' MIs.e at

•• QO•• _,8 O;lIu"-~

4~XVWh-ff

-'• (7' nOl~e at

.., ••1

••• Q'••• d= B';ghl-

2 4~'"XVIII. n-f

•••••. nOlse at

•••• OQ• -d 8 O;lIu,,-

23~., XIX. n·ff

r-~ nOIs.eat

t • •• OQ••• 8 Muled-••

•• XX. n·mp

• fIII'" no~se - 4

nOIs.e at

¡: • •• 1•• Qd8 O;lIu><-, 3~XX 1. nff" • c:7" nOlse at

,..••••••••...•• 41

r---- . -

••• oO •• O,§ Nocm,'1. nfff t ••• 1•• 0éJ~ Oiflu",-

211. n·ff

• .". noise al

2•••• O•• °éJ;: ~~ii~:''--'111. n·ff ~ ° • 000 °0,8 Oiflu",-

2IV, n·f • (7' nOI5e al

t ° • oO ••• '&$ O,flu>e-

2V. n·f • nOlse al

° • oO ••• éJ= Oiflu>e-VI. nf••••. noise al

t • ° .0 ••• éJ= Muu"

2VII. nf ••••• nOI'>C dI

••• 0•• ,oéJ~ B'gh,-

1VII 1.n·ff

• ~ nOI~eal

7° •• 0•• ,0,8 011","

IX tlf• C7" nOI~l' al

2 0••• 1•• ,o'~ ~,::;::~;X. tlf + ••• 1•• ,0,8 ",i",u

7 XI. ti ff • C7" 1l(¡1 •••• dIt • (;l.O•• °éJ8 IJ,II",

7XII ti fl • C7" rll,,'.f',11J

• ~ .' •• 0/18 Oiffu"-• UC7 noise al

• 'il.o••• /1:¡¡¡; "","l-• U.". nOlse al

• 'il .1••• /1~ ",¡,hl-• U flII"" nOlre al

• 'il'il' ••• ~8 Oiffu"-• • C7 nOlse al

• ~ 'il'0,0 O~8 Di:fuse-• • C7 nolre al

• 'il 'il00 0,0 ~8 Dí:fure-• • (/' nOlse al

• 'il. o•• 'il~8 V"ydilfu>,-• • C7 noíse al

• 'il.'•• ~~8 Oitlu" - '• • c.:;:7" nOlse al

• •• O'il• 'il .A8 Muled-• • (/' nOlse al

• •• 0. O o~8 V"ydiffu"-• • (/ nOlse al

•••• O••• 'il /1 ~ Oiffu"--• U fIIJfI" noíse al

•••• 1•• 'il /1:¡¡¡¡¡; Oiffu"-• U fIII!1'" nOlsr al

2XX. n·ff

XXl.pp

XXII. n-f

XIX. nff

XV. n·f

XXIV. n·f

XXIII. n·f

XVI. n·!

XIII. n·f!

,XVII. n·!

!,XVlIl.n·ff

XIV.n·m!

~ ..•. ' • ·."" .•....,_.' •..·.1 .. ··· .. c.... ..

~~,.""'--~:" ••••• - ••• -. __ o

•••lIIIJ~

..• ~~.., -~tv ~IIItv~

!IIII~

•••r-'••~

~.,••r-'lIS•••~

~IIIJlitrt••'-tpII~••,.,.••lit,..~••••••

.~ ... - ..--- .--- ----------.-.-------------

•• ° .0. 0048 Nocm.'1. n·fff

• ° .0. ° .d~ B.ight-

11. n.fff

• nOlse al

• ° .0. ° .d~ B';ght-111. n·fff

• ." noiS€ al

~ • ° .0••• d~ Diffu"-

2IV. n·fff • nOIS€ al2

t • ° .0. O,Od8 B';ghf-1

V. n·fff • C7 nOlseat2

+ • •• 0.° 04= Diffu"-3

Vl.n·f • I I c:::> no~se - 5C7' nOlse at3

t • ° 000004= Dilfu"-2

VII. n-mf • I ~ nOlse-5nOlse atb+ • ° 00°1°,048 DiHu,,-

2VIII.n-f • C7 nOlseat4b

• O 00.,. o(j8 Di:fuse-• ~ nOlseat

O ~ 000 O 04 c::::::> Di~fusc-• ~ no~se-5(.....7" no Ise a t

• O. O. 0,0.118 8ri.ght-• U•.... nOlse al

• O .0. O e(j8 Di:fuse-• f'I/I!J;" no Ise al

••• 00 •• /lg M~"d-• U •... nOlse al

X. n-f

XI. n-m(

XV. n-"

1XII. n-fft

XIII. n-f

XIV. n-f

IX. n·ff

-_ .. ---------- ------~--~""'"'''-'=~''"'''''~~

Changing Dynamics, Pitch, and Timbre by Embouchure ControlBy means of varying embouchure position and breath pressure, it is possible t

modify greatly dynamics, pitch, and timbre. The following chart (which includes picturof the author's embouchure) shows the changes in embouchure and breath pressuneeded to

1. Play in tune the full dynamic range of each pitch2. 'Bend' each pitch as far as possible both up and down'3. Change tone colour.

The flute's range from B3 to A~lS is divided into fairly short intervals, groups of thirdand fourths. Within each interval, all the pitches have very similar characteristics; thuthe changes shown will affect each pitch almost identically. These intervals also marthe divis ions found in the glissando from low B3to high A~lS.

The parameters shown are angle of the flute, lip opening, lip position, and breatpressure. They affect the dynamics, pitch, and timbre as follows:

1. Angle of the fluteThis primarily affects pitch; as the flute is turned in towards -the player, thpitch is lowered. Conversely, the pitch rises as the flute is turned out, awafrom the player. However, the angle of the flute does affect tone quality. Ithe flute is turned out beyond the normal playing angle, the tone becomefirst more brilliant, then breathy. Whisper tones are produced either alone oralong with a desired pitch from low B3 to A-;5 by blowing gently and turninthe flute well out beyond the normal playing angle. Turning the flute in tendto increase the strength of the higher partials in the tone and weaken thefundamental. Thus, either an edgy or a covered quality can be produced.

2. Lip openingThe lip opening focuses the air stream, and primarily effects the control ofoverblowing into the upper octaves. Lip opening is also important in thecontrol of dynamics and timbre; the focus of the air stream at all dynamiclevels is crucial to the tone quality. A wide opening tends to make the tonelouder and breathy, a small opening tends to reduce volume and to clarifythe sound (i.e.. reduce noise and residual tones).

3. Lip position - motion of the corners of the mouthBasically, the effect of the lip position is similar to the coarse focus on amicroscope or camera. A correct lip position for a given dynamic and/ortimbre places the embouchure at a point where it is relatively easy to controlthe sound. Individual players' styles naturally differ in the degree and precisedirection of lip motion. but two basic types of motion can be described. First,the lower the pitch and/or the louder the dynamic, the further the corners ofthe mouth move back. For example, when playing a crescendo on low CIlfrom ppp to ff, the lip position changes as the corners of the mouth aredrawn from far forwards (almost pout-like) back to an almost smilingposition. In the second type of lip motion, the corners of the mouth are drawndownwards rather than back. Both lip motions have similar effect, and manyplayers mediate between them.

4. Breath pressureThe intensity of breath pressure, which is controlled from the diaphragm,determines the dynamic level of a note. Ideally, the breath pressure used toplay at a given dynamic level is constant throughout the entire range of theflute. Thus, the same breath pressure is used to play both B 3 and B 6 ppp.The intensity of breath pressure is directly proportional to the dynamic level.

, 'Bending' pr o duc e s a change in pitch without a change in fingering. and is prrmarily a function of the angle of the flute.Downward 'bends' are made by turning the flute m, towards the player. and upward 'bends' are produced by turning theflute out. away from the player.

C .. flute turned out as far 85 possible without pitch breaking

c::> "moderate opening, as in playing

o ";.mall opening, as in playing

C::>" wide opening, as in playing

Lip opening:

::> '" flute turned in as far 8\ possible without note stopping

o '" s.Iightly turned in

U r normal playing angle

Angle of the flute:

U '" slightly turned out

The softest notes are played with the least breath pressure, the loudest noteswith the most intense pressure, Breath pressure also influences pitch.Increased breath pressure tends to sharpen pitch, decreased breath pressuretends to lower pitch unless compensated by adjustments of one or more of the

other parameters.The four parameters are, of course, closely interdependent, and control over all of them

is necessary-to make adjustments freely and sensitively in dynamics, pitch, and timbre.

~..r..!!lilt~ill...

• ",'cry small opening, as in playing

4. Lips drawn far back3. Lips drawn back-- .

~~~,.. , .. -.;....... ~. I

. . -'-~ 4#0 ...... __

> .- ~ , •• ~.. ••••• ~

" .• l'~ • '. "... )'".~, ~' ,

8 reath pressure: 1-81 - as in playing ppp2 - as in playing pp3 - as in playing p4 - as in playing mp5 - as in playing m!6 - as in playing f7 - as in playing ff8 - as in playing fff

While lip position varies slightly with each pitch, and from flutist to flutist. fourbasic lip positions - far forward, partly drawn back, drawn back, and drawn farback - can be shown. For players who use a downwards lip motion, the basicpositions would be lips straight (or slightly upturned). lips brought partlydownwards, lips brought downwards, and lips drawn far downwards.

1. Lips far forward 2. Lips partly drawn back,.Cl"'J'

"H? ffi'f'iitit""

Within the chart, lip positions are referred to by their number as given above.It is stressed that the lip positions shown provide only an approximate guide,and that each flutist must modify them as he finds necessary.

In reading the following chart, note that the four parameters - angle of the flute, lipopening, lip position, and breath pressure - are interdependent. The lhre_e columnsrepresent the continua of dynamics, bending, and timbre. In order to play the full rangesof these continua, one produces the changes in each of the four parameters within eachcolumn, For example, in order to play D4 from ppp to ttt, the following changes are madetogether: the angle of the flute is turned from slightly outwards to slightly in from thenormal playing angle; the lip opening is widened from a narrow to a moderate opening;the lips are drawn from a far forwards to an almost smiling, far back position, (or from astraight to a far downwards position) ; and the breath pressure is increased from minimumto maximum.

dillusc withwhispcr tones

dillus.e with•••.hisper tones

Colour

u-[ú--cJ

Colour

u ..---[(/ -e]

dilluse

dilfus.e

.-~-o4 -[2-3J-[1_2J

[2_BJ--[1- 3J-[1 - 3J

• - c:::> --- o

4 ~[2--~ -- ~ -- ~[2-- 8J...-- [1- 3J-- [1-- 3J

Bcndingupwards downwards'!.-tone '!.·Yrtone I edgy

Bendingupwards downwards'!.-tone '!.·'!,-tone I edgy

--'717---.411_4

Normal playingrange

ppp ff

Normal playingrange

ppp ff

Lip opening

Lip position

Breath pressure

Lip opening

Lip posilion

Bre¡,th pressure

Normal playingBending Colourrange

upwardsdownwards dilluse with

ff'/.·tone'/,·1·toneedgydiffusewh isper tones

(/-0e-:J~--U~[é/-cJLip opening

o ---......c::>c::> ---69•~ ~---oLip posilion

1---31--4 4..•.-[2 __ 3]_--[1 __ 2]

Br eJlh pr essure

1------77--1[2-- 8J --- [1 - 3J ---~[1_ 3J

:~~~#~lit•••••••••••••••••••••••••

diffuse withwhisper tones

diffuse with

whi!>per tones

Colour

U-[ú-e]

diffuse

o -- U~[ú-eJ• - c::::> - o

4 _[2--3J-[1--8J- [1--8J- [, -- 2]

• - c::::>- o4-[2--3J_,

Q- 8J_[1- 4J- ,-- 4

7 ----

c:::>- •

e -- ::::>

c::>- •

Bcndingupwards downwardsY.-tone y,-'-tone

e -::::>

Bendingupwards downwardsY.-tone %-'I.,-tone

__ o - , •• 0 • _

---- 3

o -c:::>

Normal playingrange

ppp ff

o ---c:::>

Normal playingrange

ppp ff

Normal playing Bending C%ur

upwardsdownwards diffus.e with

fffY.-toneY'-7~-toneedgydiffusewh isper tones

&-0 e-::::>0-U-[ú-e]•

--OO----••- •--c::::>

...- ;11--4

13- 2 -B-

1...--- [5 --8J--[1 -- ~- [2 - 4J

Lip position

Lip opening

Breath pressure

Lip opening

Breath pr~ure

Lip p05ition

Lip position

Lip opening

Breath pre<osure

'"J#G dnd E6 will llend downwards only X-tone.

. -' ..-. ,~.. _•.•.~.....-----. ••••.__ " ..•..•.H/-... "•••.-" ~ ..•_...__,_,..._

diffuse-Colour

• --- c::>

cOl/ered

•..-

4 ••. 3 -- [1 - 2J

[5-~-['-~--[2-4]

Normal playing BcndingI Colour

upward~downward~

ffX -toneX-tonee-dgycOI/errodilfuse

(/-0c- :::>0..•

~-0--4..V

0-O0-••..• •••.". •O

1_[2 ___3J

1-34 ..•••3..• ••[1- 2J

1_____8

I8- 1i[5-~---[1--3J4O•[2-- 4J

Normal playing

I Bendingrangc

upward~ downward~

fff'!.-tone o'!.-'h-tone

I&--0 c- :::>

Lip opening

IO-CJ 0---•Lip po~ítion

1____[2- 3J1- 4

BrCdth pressure

1--8I8-

Lip opening

L ip po<.it ion

Breath pressure

~,.~..,••f'••J.e!lit

¡:~!'•••••

Example:

intonation

t ease 01 response1

nmp ~ dynamic range

Quarter-tone Scales for Closed and Open-hole Flutes

The two quarter-tone seales cover the flute's range from low D~ to high P. The firstscale is for closed-hole flutes, the second for open-hole instruments. The quarter-tonefingerings are especially designed to be used with the traditional chromatic scalefingerings, but were also chosen on the basis of accuracy of intonation and uniformity oftone quality. Other quarter-tone fingerings are possible and many are presented inthe sections on microtonal segments and multiple sounds.

The fHSt five fingerings in the quarter-tone scale for closed- hole flutes - D~", bA, E~~,F;A, and G::~_ indicate that the low B key on the footjoint is to be depressed. Flutes withlow e footjoints can play these pitches, but they will be sharper than indicated on thechart, and must be lipped down accordingly.

The f1ute has long been known to be capable of producing so me microtones.' but its fuI!range of microtonal possibilities has been left largely unexplored and unexploited.Accurate pitch sequences of intervals even smaller than the sixteenth tone are possibleand often very easily played.

For performance of music calling for quarter-tones, two extremely accurate quarter-tone scales. for closed and open- hoJeflutes, are presented in this section.The quarter-tone,however, is a logical rather than an acoustic extension of the chromatic scale. Orientalmusic practices and theories. for instance, often cal! for microtonal intervals but neveractually use exact quarter-tones. For full development of microtonal performance andcomposition for f1ute, two other topics are explored in addition to the quarter-tone scales:

1. Microtonal segments - short, easily played scales of extremely small steps.2. A microtonal scale for all flutes from low D~ to high G 6 which contains intervals

as small as the sixteenth -tone.

B. Microtones

• ••• ••• ••• ••• ••• •O• ••• ••c::::>

c::::>c::::>c::::> •••c::::>• ••O ••• •O• ••• O•• ••~

~~~ ~~

~" ~"~II~"~II~OO

1n·mf

uarter-tone scale tor c1oscdholc tlutcs:

t t1 1

n-ff n·f

•.,.., f i t + + 1 1(II!t 1 1 1 1 1 1 1 1• pp n·mf n·mf n·ff n.ff n.ff nf n·f

~~. ~ #~. ~.{¡.-{-,..-

: O • O O • O ••.,.8 . O •• O O ••~ •• O •• O ••~ •• ° •• ° ••..•• c::::> c::> c::> c::> c::> c::> c::::> c::::>~ ••••• O • O:. O O •••. 0 :0 O •• O • O • O O ••• ~ ~ a... ~ ~ I!L ~ ~

: ~OO ~OO ~OO ~OO ~OO ~OO ~OO ~OO.,••• fj3

.1'« •..•. :':':".:~?~' ---- ..'"..~.:,."-~~ ...,:"",.,_'==""'~".,,,.,...,.~,.,,~_... _,~ __._._.._

o O•••·- --. '.• ••••OO• ••OO••• ••••••c::::::>

•••c::>c::>c::::>c::::>~

O O••O•OO

O•••OO• •O•••O~

~~•••~~••••

~OOqOOqOOqOOqOOqOOqOO

33455 5n·ff

n·ffn·ffp·ffffff ff

9-- f. #_ d-e ~. ~d.~.f .• #_ d. ~. i. #. d. - - - - ---- - - - - - --------.------------------------

- •... .:.r_'...••.. ~;..,_ '.0 ••...•"., ••.•.•.: __ .'"

-.-.- ~------_._--_.------.--¿_+-+-+._--,.~+-----~.

T ~ t t t1 1 2 2 1 2 2

n.ff n.ff n·ff n·ff n·ff n·ff n·ff

d. ~:!:~.• # .• d. ~. ~~d.~.~. #. d. ~. :f. #:9: dE- --- - -- - - -

• o••Ooo• •oo•••• oo•oooo

o•oo••c:::::>

c:::>~c::::>~c:::>• •o•••••••••• •••o oooooo•••••• •••o oooooo

~ea...~~~~

qOO~OOqOO~'O~'O~OO~OO

t * t t, , , ,n·ff n·ff n·ff nff

• :t. ~. d. ~Jl~. d.~.1. #.

••••••O• ••••O•• ••OO•O• ••••OOc:::>

••••••c:::::>c::::>c::.:>c::>O

•OO•OO~ O ••O•OO..- • OO••OO•••

••••••••••••••••~

~OO~OO~OO~OOqOOqOOqOO

uarter-tone 1Cllle fOl"do~-hoJe flutes:

tt t ttt,

1,11,,,n·mf

n-ffn·ffn·ffn-pn-mpn·"n·ff

••••••••• •••••••• ••••••()• •••()()()Oc:::::>

c::::::>c:::>c:::>c:::>c::::>•• c:::>• ••()••OO• •t)O•OOO()

()OO•OOO~

~••••••••~ea...•.. ~

f- .•

~"qOO~OO~OO~OO~OOqOO qOO•• ~~••••~

55••• ---...-.--

.._~ ---..... _~~...-

• ••••••• ••••••• ••()•••()

()()O•••c::::::>

c:::>•••c:::>c:::>c:::>c:::>• OOO••()• OOO•()OO

•OO()0---O··~

•••••••••~ ea...•••qOO

qOOqOOqOOqOO~OOqOO

1n·ff

f ~1 1

n-m! n·ff1

o •OO•••• O•••••• •O••••• •O••••c:::>

c:::>c:::>c::::::>c:::>. c:::>c::::::>• ••••••• OO•••()O

•O•()()O~

~~~~••••••qOO

qOOqOO~OO~tOqOOqOO q¡

11111n-!

n-!n-ffn-ffn-ff

o O••OOO• •OOO••()

O·O•()OO-- -O

O•()O••c:::>

c:::>c::::>c::::::>CIIIJtc:::>c:::>• •O••••~

O OOOO()O•••~ -

O OOOOOO•••

~~~•••~~

~OOqOO~OO~'O~OO~'O~OO

•••()--OOO

, 1n·ff n·ff

:t. #* d.- - -- -

o O •••••• • • •• • •• ••• O ••· () ... () ()

c=::> c::::> ~ c:::::> c:::> c:::> c:::::>O O •• () O OO O • () O O O• O () O O • O

~~ ~ •..•.. ~ ~

~ 00 qOO qOO qOO qOO \K)O ~OO

~ ~ t ~, 3 3 3 3 4 5

n·ff nff n·ff p·ff n·ff p·ff ff

1. #__ d. q. ~.d. ~__:1:__#-- d. ~-:r- #- d. ~.- - - - -- - - .- -- - - - -- - - - -- - - - ---

••iiJ-"~-"-"-..-.-------.-.-..-"".•••~

IIIJ t ~ J ~ J

•• ' , 2 2 2n.ff n.f n.ff ff 3_ n· n·ff n·'

:: -: d!: ~!: :f:!:#!: d!~!1!:d~~~ 1~ #~ d~ ~~: -;::{tt,)-' -------=================================••••••~•.,••.,lit~.,.,.,lit~

lit ~.

:~-.,••••••••••••••••••••••

~ n-m'

= fingerings for llll pitches beneath this sign include !he leh handp~ition of fingering before the sign. The right hand fingering isindicated Ilbove each pitch.

Finl/Crings:

At. hllnd

Microtonal SegmentsThese short scales were built by leaving one hole open and fingering downwards as ir

regular chromatic scale were being played. Intervals as small as the thirty-second-tol1are often produced.

There are two sets of microtonal segments. The first is for all flutes, the second fi

open-hole flutes. The smallest intervals are found in set 1.

Composers may find the microtonal segrnents the most interesting ot al! microtoriopossibilities. They can be used as presented or taken as a source set tor the constructiot unique pitch sequenees. The double stops based on these sc;~I_e~often produparallel microtonal sea les. These multiple soundsare presented in a special sectionChapter 3.

/dynamic range

Fingerings (the left hand fingering applies to pitches under the sign)

/ \ rt.h,nd

•••• O ••• ,§/ .··,~I.··,itl ••• ,.

ElUImples:

•••••. n-mp

rt. hand

rt. ha rxl

~ ~ ~ ~ ~___ n-mpnff

__ ~u el '1' ,~-( c;:

I . rt. hand ---------

•••• 0. eOI§/ • 00O§¡•• OO~I•• OO.I•• oo~1

rt. hand ~

....O···t§/···,~I···,~I···,~'1

•••• 0.OOI§/

•••• 000.t§/

__ PP nff

rt. hand

•••.. n.f nff

rt. hand

•• e 000 001§1 • 001§¡· eOIBé···'§Ie ··O§¡· •• ~e •• Oiil.

e eo.§!e ee.§' 0oooOo,oo.§leoooOo,oo.§¡e.ooOo,oo.§¡e.¡;oOo,G9

••• ,§¡••• O§I••• ~/. ··0~1· •• 0.' °0°°00 ° 01§!O.O 000 OB

rt. hand

0.000. OOI§IO •• OOo001§1 0••• 10 OOI§/O ••• 00 OOt§/O O.,§/.

n-ff-----------·_._~pp

n·ff·

rl. hand ~

••• 000,OO~ee .'o,o0lar.eeOo,0Of§ o,oet§1 e,00t§¡e,e0t§'

rt.hand I

°oooOo,00t§/-0° 000,0°l§ I.0° 00_,00t§O.O.-t§¡O.o,ot§12

~,Fi= --'-n-p

n·f(· ••••

~ ~t~qrt~§

Jll-pp

e•••• 100oCU§je.e eOoo,ot§j °~';'§I.o,ol§ °0°oOo,o,oI§/e00oOo,o,o1§

~:======= ========~====.===~======#-t======~::::::::===#¡-======~-~-.----- -.,.-

ee°oOo,o,ol§lee~°00,0,0I§j.ee oOo,o,ot§j •• eelo,o,ol§/e •e eOo,o,o.§

it======~jtt #t====- -====t====~====~~=_====~====_-

000000 opl§.oooOo 0,of§1-.oo00o'0f§je.ooOo o,o,g_ •• oOoo,ot§

'~============_t============_T============_~f ~==========_--==~

Fingered samells$egrnent :2

P- n'! ..••••...n·t!

n·t!~n·f

rt. hand

e••• 00 O.I§/O •• t§¡O e.(§Io •• ~Io e.(iji/o.17u ut ut L L' u.f

~ n·frr!!

Fingered same essegment 3

••• 00 oPts:::<fe •• (b o.ea>:<l ••• 0. Oj)t>=<. Fingered ~me aso J<:::::SI o R:S o ~ segment 1

rt. hand

•••• 10o0l§/o o.t§¡. o0t§1. e0l§¡•• et§/e •• (§¡••• ~l •••. . 4 d

.0.0(6 o,ot§I·o· .10 0il§/.o •• Oo,00t§¡·o•• Oo,oet§l.o. eo..ool§

~============~1=============~f============='

•··ce~======:=====:-----,ij

Set11: foropen-holeflute1

••••• 0•• g.§j. ~~O§I··"(el·· g(ijfl·· "(E'

~~=======d~===dr #~ ~J====~===============n-ff )Iv n-mf

rt.hand------ _

~ •••• 0. goe§j. g.I§¡. g.(l§¡. g.¡e l·g.~ ,. g.¡s'

: ~======;~====~===~====~====d~====:-~=======•• nff ••• n-mp

••••• rt_hand ~

••• o.e .O~oOI§I~o·t§I~ ·oa§l~··l§I~··(§I~··(el~··~I~·-cE I•• 3

: ~ ~-~===~=~~====~~ ;~===]., nff ••••.. pp.,••••., 63••_______ ,.""--'\W",,, ---~ ----------~- -- ---

---_:~'"

__ n-p

n-f(~pp

rt. hand

__ n-p

rt. hand

••• olooot§f ••• gC60<=t§/o Oet§¡e 0Df§¡ •• 0t§¡ ••• e§' ••• (

°o·o§¡e O~I •• <)§,. e-¡§¡. ··08'· •• ~¡ •• eOíi/e··CS

rt. hand I

•••• 0. 00t§'. o.,§¡e o0o§'. oocel. o002t,e 00_

••• ~/ •• -oiile .~1 •• QOOO0DJ§¡o.Q.lo_ 0OC§/ •• Q.OOO

~===-If~====-~====~~===--====~==========~

rt.hand I

•••• 0•• Ot§I··OO§I··~I··O~I··O(R

~ dr======_ttr 11 i=====-I~

rt.hand _

tí¡I\•• OQOOt§/ Ci.HtO'§/ Qe.,§/ Q··O§I Q··O~I Q··O~I Q.-o~1

WL ~- rt t=====-~r- d--====_~ ~n·ff ,rt. hand '

.,.eQlo oo,§t-•• (i,)Oo OOI§/O00t§¡e OOl§' •• Ol§¡ ••• ,§/ ••• ()§

~ ~r Dt=======f¡====_9t====__ ~-r-~t-.~ n·ff--------------------

••• o~l.--0./0 •• _1 e.QoDo 00t§r.(i,).lo o0f§/ ••(i,).OoOO,§

2j~_D~_Dj==== ===101-_~=========~'"~d;~=-t;l=_~~_ ~ ===~ ~ __------1 n,ff-------------

••••••••••.,.,••..,.,~

lit..,

______ ,,0[ -~-~--- '--,-- '--'

• •• •••• ••••• •• •••• ••••• •• •••• ••••• •• •••• ••••c:>c:::>c:> c:>c:>c:>c:> c:>c:>c:>c:>• •• •••• ••••• •• •••• OOOO• •• OOOO •••••

~ •.... ~~~~~ ~~~~~'I'4tJ '400~M ~tJ ~OO Q))~I\' ~tQ ~OO\XX)

Microtonal Scale for all Flutes

The fingerings of the microtonal scale for all flutes produce the smallest steps possiblon the closed-hole flute, varying from quarter-tones to thirty-second-tones. The scalincludes two hundred and ten pitches and extendsfrom O::" to G~6 (above which thdifferences between individual flutes make it impossible to determine accurate fingerings)

The uneven distribution of the microtones found in the scale is due to the constructio I

of the f1ute's mechanism. Because the G key is linked to the duplicate Gt hole cover anthe F key closes both the F:; hole and the G:: hole cover, one cannot c10se the duplicatG: hole without also closing the A key and cannot c10se the F~ hole while leaving thG hole open. Thus, short of redesigning the mechanism, many microtonal fingerings arprecluded.

In this scale the pitches within every bar line, when read left to right, ascend onquarter-step. (For ease of reading, the first pitch in each 'bar', which is alwayschromatic or quarter-tone, is written as a crotchet. The microtonal pitches are showby square note-heads without stems.) In most cases the microtones within a give_.quarter-step divide it equally. For example, the three microtonal pitches that follow E~divide the quarter-step between Ecol and E~ol into even sixteenth-tones. When thmicrotones are not of equal size they divide the quarter-step ¡ntc smal!er-..8.nd !argeintervals. The larger intervals are shown by a slash between the microtones.

The first two octaves of the scale can be played rapidly with moderate difficulty. Thrange from 06 to G 6, however, can be penormed rapidly only after considerable practicAs with the microtonal segments, the pitches in this scale may be useful as a source sefor microtonaJ pitch sequences.

1 111 1111111 1n-mp n·mp n·mp

n·mp n·mpn-mpn-pn·mpn·'n·'n·' n·'

fIn=J~.

OOOOODI~·"=-

(9 •••• •••••••• ••• •••• •••••••• ••• •••• •••••••• ••• •••• •••••••• OOc:::> c:::> c:::> c::> c::>

••••••••••-. •..•..•••c:::>c::>O

OOOO •••••••O .-•• •••• ••••••OO ••• •••• •••••OO• ••~~~~ •...

~~~~~ •...••.....•....~~

~ HcetJ ~OO\J)J\K)).- ~ ~OO\K() \))'J\))'J cm \J)J-~

11111 11 11111••

n·'_.n-.f n·'n·'n-' n-pn-p n-pn-pn-pn-'n·'n-' ppn-p

1111111I ~./ nnl~·I1

11fl1111111#e

11~.01

• •••• ••••••••••O •• •••• ••••••••• O•O• •••• OOOOO O~O~O~O •••O

OOOO ••••••••••••c::>

c::> c::> c::::>c::::>c::::> c::> c::::>c::> c::> c::>c::> c::> •••c::::>c:::> c::>• •••• ••••••OOO•••• •••O •••••OOOO•••• ••OO ••••OO•OO•O •,~ ~ •....•... ~

~~~ ••....•...•...•....•....••...~ •...~'400 CJOO \)Xq)J QJJ

~~CJX)\X)J\)]\)]\}]\K))QX)~\})}J)O

11 11111, 11111

n-pn-p n·m'n·m' n-m.'n-m'n-'n-' ppn-pppn·'n-p

OO f3.OOOOOO 13i ••

n fA11

I JIIni

• •••••••• OOO•O•O

•OOOOOOO ••••••• •••••••O •O••O•• ••••••OO OO••O•c::> c::>c::> c::> c::> c::> •• c::> c::>c:::> c::> c::> c::> c:::>•••• •••OOOO• O••OOO• •OOOOOOO OO·()O{)• O•O•OOOO OO•OOO

••... ~ •••.. tb.... ••...•••..••... CIIIIII.... ••••.

•... ~ ~ ~ •....•....CJOOCJOO CJOOCJOOCJOOCJ1J \JOOCJOOCJOO

\]00 \100 ~II \100 CJOO \JOO

• oo •o oo oc::> c::>o o·0 ·0·0 ·0

~ •....\lOOCJOO CJ

1 1n·f n·f

1 1n·f n-'

n'mp n-mp fI·mp n-mp

1 1 1n-ff n-ff n.ff

1 1 1np n-' n·'

.0 •••Le • L8 • ovo evo o o0.000

c::> c::> c::> c::> c::>o • o o o() • ·0 () "'008000

~ ~ •.....••... ~

~ OO~00\lOO QOO\ro

1 1 1 1n-ff n·ff n·ff n-ff

• • ••• •••• •••• • ••• •••• •••• • ••• •••• ooo• •••• •o0e::> 0e::>

•••c::>

-~••••••.-e::> e::>c::>c::>_0

•••o •••• •°oo • •oo •••• ooo• • oo• ••o• o•o••••

•••.. C::::... ••••.••••.<::::::::... ••••.•••.. c::::::..~ •.....••••\lOO

QJJC]JQJJQJJ~ CJoo \lm~MQJJ \la)\JOJ

•••• ••••• ••••• ••• ••••• ••••• ••• ••••• ••••• ••• ••••• o•••c::> c::> c::> c::>c::> c::> c::> c::> c::>c::> c::> c::>c::>• ••• ••••• oooo• ••• ooooo (1•••

oooo ••••• ••••

c:::::-::,. ~ <::::::::.. ~~ ~ C:::.. C:::.. •••.~ ~<::::::::... ••..

~I'~IO~OOCJOJ ~H ~ tO ~OO\]00 \))J~tO ~OOQJJ 0001

11 111 1 1n-'

n·ff n.ff n-ffn·ffn·f! n-!n·'-e

-e-e b.•-fr~.-e-

••••• •••••• O• ••O• OOOOOO •O

OO•O •••••O •• •••• ••••OO •c:::>

<=><=>c::>c::> ••.-.-••c:::>c::> c::>• ••O• ••O•O•• •• ••O• •OO•OO •• OOOO OOO•OO O•..~ ~ •....~•... ~ •.... ~ •...•...~

\]00 ~ '0 ~ 00 \JOJ Ql)\JOJ \]00 CJOJ CJoo CJOO CJoo~OO

11 111 111 111n·(

n·(n·ff n·ffn·((n·f( n·f(n·f(n·f( d

n·fn.(n·;n·Nti

-e-fl/ ~•-e-afi #.•·eB-ti .•.n.D..n.D.- - -

,n·m(-e

..D.. ~ ..•.

1n·(.o.

1 2n·( n·p

.o. ~.• .n

,n-p.n

d n·(-11" ..•.. .n

oO•O0°O° OOOOO°•O• •O• OO ••••••O•• ••O••• ••••O•O•• ••O•O• ••••O•O•c:::>

c:::>c:::>c:::>-c:::>c::> c::><=>c:::> c:::> c:::> c:::> c::::> c:::>• ••OOO• OOOOO•OO• •OOOO• ••OO ·0 ·0O••O

OOOO••

O O •O••OOO•~ ~ ~ •....•.....••..•....

•.... ~ ~ ~ ~ •......••.... ~

\j0] \}OO CJOO \K)J \K)J \K)J QX)\K)J \)] \)] ~OOC]J QX) QX) ~II

1111111 111

n·'n·'n·(n·(n·(n·(n·(n·' n·(n·'n·(

~.. nn...o..n.D.nn..o. ~ ..•..n/.o.n/

-------.-- -J.. ) ••••

•OOOOOO•O OOO• •••O••O• ••O•• O•••O••O• O•O••

O•••O••O• O•Oc:::>

.-••••••c:::>••••~c:::>•••c:::>•••c::>

••O•••O••OO OOO

OOOOO·0"OO.•OO·0"O

•O•·0•O°0•"OO·0•••

.~ ~ •••••••.. ~ •••.. ~ ••••. lilI'ira.. •••..•••••~••••••

•• CJOO ~H CJOJ ~tJ CJOO ~OJ CJOO CJoo \)00CJOO\]00CJOO., ••••.,69

-.------ .... -.- .. --- ... --

______ 'n ____

2n-'-e

2n·'.g.

2n·'-e

2n·'-e-

2n·'-e

2n·ff-e

, 2n·' n·'nI n

1n·'..D.

2n-ff-G

1n·'.D.

2n·'-e

• •••••••bOa

••·0b8•b·•• o oooo• 0e:::>••••°•c::>

c:=>c:=>••c::>c:=>(a •••o•a•o •••a•a•o o••oooo••••••

~~•••••••••~~~

CJOO~tO~"\)00CJ)JCJOOQJJ'410

,n·'n

o OOO•••••••• •••••••••• •••••••••• •••O•OO••••••••••••••c:::>c:::>e:::>••e:::>e:::>

O aOa••OO••• ao·0a•oo••·0 ••·0·0oo•ooo••••~ •...•...•.... ~ ~•... ~••••

\]00 \]00 \]00 \]00 \]00 CIJO \100 \]00 ~" \100 \1

2n-p.D.

••••c::>

O••~

• ••••••••• ••••••••O

OOOO•••O• ••••••••c:>

c::>c::>c::::>C>C>c::>c::::>c::::>• ••OOOOOOO

()~b•••OO•O

OO••••••~

~~••••••~~••..... ~~

~OO\JOO~oo \100~IO ~OO \JOO ~OO~OO

:2 :2:2:233 2:222n·' ri/;{n.ffn-m'

n·m' dno'n·'n·'~/~.n .n.n.n •.g..g..g.- --------- ---------

~••••••••O••• ••O••OO•O•

OOO•OO•OO••• ••••••OO••

c::>c::>c::>c:>c:::>c::>c:>c:>c:>c::>c::>

OOO•OO•OOOO• •OOO.0OOOOO• O••••••OO•O

~~~~~~ ~••••••... ~ •..

~OO '400 \]00~ 00 \JOO \]00 ClX)\XX)\JOO \100 \]00

~ 2 2 2 2 2 2 2 '}.

n·" / n·' n·' n-ff n·! n·' n·' / n-ff.., ~~ ~ ~ :: $~ ~ :: ~ ~ il

~j ..L.l--_====-=-===-=-===-=-_- _==- It==,---- -====-======-=-===~===_ -===- -===::===_ -===:;1";.••!@.,~•••••~~

•••

., #,-

~~ I~••~

/ ~ ~ooth gli~rx1o/

/ ~ ~Iighlly broken gli~rx1o/8o or,o-hol, key wi,h ,im d'r"",d ,od hol, 00"""" by tio,,,

o o op,o"ole k,y wi'" ooly ,in>d'r"""

@ o op,ohol, key wi<hbo<h,in>,od hol, op'o

Since the lifting of keys produces discontinuous steps, flutists have long been inhibited ~from playíng glissandi, which can be performed in two ways. The first technique, possible ~only on open- hole flutes, consists primarily of carefully slíding the fingers off the holesof the open-hole keys, and then fitting the rims of the keys. This method produces a more ~or less continuous glissando from low B3 to high A<;.6. Secondly, playing the headjointalone bygradually covering and opening its end produces seven glíssandi of varying size. _

The two charts in this section present the glissandi descríbed above. It is importantto note that within the range of every glissando, shorter glissandi can be abstracted.Each glissando is produced by a series of operations, and starting and ending points forshorter glissandi may be chosen from within that series. Further, the beginning and endingpitches of each glissando can be raised or lowered by bending, and are therefore notlimited to chromatic tones. (For a complete discussion of bending, see Chapter 2,Section A)

C. Glissandi

Glissandi for Open-hola FlutasThis chart includes a more or less continuous glissando from low B:! to high A'{,e and

several other, shorter glissandi. These glissandi are possible only on open-hole flutes, forthey are produced, by and Jarge, by carefully sliding the fingers off the hples of the openhole keys, and then lifting the rims of the keys.

The glissando from B3 to N;" is divided into eight fairly short steps of thirds andfourths. The portions of the glissando are marked as to whether they are smooth orsJightly broken. When changes in timbre occur between portions of the glissando, theyare marked and described.

Each portíon can be played fairly rapidly, and the entire glissando can be performed ineight to ten seconds. A good glissando can be performed both upwards and downwards,but the downwards glissando is more difficult to perform and takes more time. The shorterglissandi are presented following the glissando from B 3 to A';6.

.éOd~~

ee.d;-

finish:

1. Slide 011 the hole 01 the E key.2. SI ide off the hole of the F key .3. Slide the little finger from the cH. c. and B keys to the D~ key.

start:

finish:

start:

1. 5tart on low B3• then slide off the hole of me D key. (Be sure to keep the rimdepress.f{l...men slidiflg off the hole 01 an open-hole key.l

" closed-hole key~ depres~ed

>= L~ thumb key depressed

~ -j~:.~•.-iojdttlI!t~.,~.,IIIJ.,~.,-t.,.,lit••IIIJ~

•••~•.,.,~

,..••••rt.,••!IJ!'

••~iII)I~•

•••r'J'"lit'"•••••

1. lift the rims 01 the F, E, and O keys.2. lift !he rim 01 the G key.3. lift the rim 01 !he A key.4. Vr:ry carelully. slide the thumb from the Sb to the B~ key.

..---,,-, .• ·"·'c'_C • ._.

1. Slide off the hole 01 the G key.2. Slide oft the hole 01 the A key.3. Care1ullv depress the G# key.

•• ~oooit5

start:

1inish:

Repeat fingerings for glissando 11, raised onc octave.

Repeat fingerings for gliss.ando l/la, raisea one octave.Repeat fingerings 1-3 01 gli~ndo Illb, raised one octave.

@@l@@@.S

Switch from the final 8~ fingering of gliss.ando 111to the 84 harmonic, (Iingcred low 8).This will result in a sliif"¡t change of Quality. Then:1. SI ide off the hole of the D key.

finish:

star t:

thumb on B~

finish :

-. ---- --'--- ------- ..- ...--

finish:

Switch to the Bh~ harmonic, (fingered low EhJ. This will result in a noticeable in crease inloudness, and a change in tone Quality.

1. Slide off the holes of the F. E. and O keys. The right hand now looks like !his:

000f82. Carefully lift!he rims of!he F and E keys.3. Lift!he rim of the O key.4. Gently depress the G# key.5. Slide off the holes of the G and A keys.

•••••~

•••..,

Switch to thc E6 hannonic, (1ingcring given above as ·start'). This will produce IIdecre<l,C in ICXJdness and 8 change in timbre.1. Slide off the hole of the F key. The right hand now looks like this:

000482. urefully lift the rims of !he F 11M E keys.3. Carefully lift!he rim 01 the O key.4. Depress the G_ key.5. Slide off the holes 01 the G and A keys.6. Carefully lift !he rim of the G key.7. Carefully lift!he rim of the A hy.

fini~: •

11~._d.:

,. Starl on the C~6 harmonic, fingered low F.~.2. Slide off the holes 01 the G and A keys in order, then carefully depress the G~·key.A glissando from D~6 to E~6 can be produced by starting on the DG6 harmonic. fingere(jG~4, and following me second slep abolle.

Shorter Glissandi

,. Start on the B5 harmonic, fingered low B32. SI ¡de off the holes of the D, E, F, and G keys in order.

A glissando from C~6 to Dd6 can be produced by star1ing on the C6 harmonic, fingeredlow c-a, and following the second step abOlle.

,. Start on low B) .

2. Slide off the holes 01 the O, E, F, G. and A keys in order. (There is a slight discontinuitaround D~~.)

By starting on any chromatic pitch 1rom C~~ to G~~, glissandi to A~~ can be produced b'i.a procedure similar to the one abolle.

headjoint closed

rt. handclosed:

tt -- n-ff ----1 --l-PP

rt. hand

1====================1

headjoint partly closed

rt. handclos.ed:

Headjoint Held in Crook of Righl Hand

rt. hand

end of headjoint open

Notes in parentheses are produced by bending.

Headjoint Glissandi

When playing on lhe headjoinl afone, separated from lhe body and footjoint of lheflute, glissandi can be produced by holding lhe headjoint with lhe left hand and graduallyclosing its end wilh lhe right hand in one of lhree ways. Additionally, the range of eachglissando can be increased by bending. With the headjoint stopped, lhe lowest pitch of aUiven glissando can be bent downwards, and with lhe headjoint open, lhe highesl pitchbent upwards.

The first lechnique is 10 place lhe end of the headjoinl in lhe crook of the righl hand(between lhe lhumb and forefinger). By closing lhe right hand one finger at a time, lhelength of lhe headjoint is increased, and lhe pitch is lowered. When the right hand istightly c1osed, the headjoinl is effectively stopped. The lhree photographs below show theperformance of this lechnique:

This method produces the largest headjoint glissandi, which are as follows:

The end of lhe headjoinl can also be gradually closed by placing lhe edge of lhe heel of!he righl hand on lhe rim of i!s open end, and lhen moving lhe right hand towards theembouchure. As the righ! hand closes the end of the headjoint, lhe pitch is loweredand volume decreases. The tone fades out complelely just before the headjoinl iscompletely closed, and pitch sounds again when the right hand s!ops lhe headjoint'send. The firs! photograph below shows the end of the headjoint open, lhe second

fr ••v-ff

headhead dose<!:open:

----,&:!-

qe--#-e-

dowelin~ted:

headjoint closed

ff - n·ff ----1

open:dowelinserted:

ff _~ff _pp ~ff

head almost headopen: dose<!: dosed:

(d·)-#~-'~e_#.o

headopen:

head headalmost dose<!:closed:

headjoint open

¡f{.l-~().-) -~ff n·ff ----1

head opt:n:

Headjoint Closed with Heel of Right Hand

Rapid tremolos are possible between G~~ and G:5, G~5 and D:6, D:6 and G:6, and G:6and C:7 by closing and opening the erld of the headjoint as quickly as possible with theheel of the right hand.

Lastly, the pitch of the headjoint can be lowered by inserting a finger or cigar-likeobject into its end. (Care must be taken not to scratch the inside of the headjoint if anobject is used. A softwood dowel is therefore recommended.) The glissandi yielded bythis method follow:

When playing the second glissando above, insert the finger only slightly into the headjoint. If further insertion is made, the pitch will rise and then fall, duplicating the glissandoIn reverse.

Composers should note that it takes at least five seconds to remove the headjoint fromthe flute's body (as it does to replace it), and that the instrument must be retuned after1he headjoint is put back into 1he flute. It is suggested to flutists playing compositionscalling for headjoint glissandi tha1 these glissandi be pcrformed on a separate headjoin1;this avoids removing and replacing the flute's headjoint during the course of the piece.

shows the headjoint almost stopped. Following the photographs are the ranges of theglissandi produced by this technique:

air·stream producing

I multiple sonority

air-stream producinglow pitch

cross·sections of flut€ at embouchure hole

3. Multiple Sonorities

llir-stream producing high pitch (arrowheads indicate relative velocity)

Perhaps the most singular outgrowth from traditíonal flute playing in recent years hasbeen the development of multiple sonorities. The flute's capacity to produce from two tosix pitches simultaneously has been clearly established by such performers as SeverinoGazzelloni and Harvey Sollberger, and in the previously mentioned researches of BrunoBartoloui and John Heiss.

Presented in this chapter are well over one thousand multiple sonorities ranging frommicrotonal intervals of Jess than a major second to the majar tenth. The timbres ofmultiple sonorities vary from clear, normal sounding tones to extremes of bright andmuted qualities. These sonorities are available to every flutist who will give them practicetime equal to that of daily seale studies. A great number of double-stops can be easilyplayed, and the vast majority of multiple sonorities are of moderate diffieulty.

Every fingering, without exception, yields at least one multiple sonority, more usuallyfour to six. These sonorities are the simultaneous sounding of two or more of the pitchesproduced by each fingering. They are produced via the embouchure and the techniqueis similar to overblowing low fingerings into the higher octaves except that the air streamis foeused at an angle and velocity between the normal angles and velocities of the twoor more pitches sounding. The following diagram, greatly out of proportíon, illustratesthis technique:

The proper embouchure posilíon for each multiple sonority ean be found by playingthe lowest piteh first and then gradually inereasing the tension of the lips until the higherpitch or pitches sound. (Some flutists may prefer the equallY effective method of startingon lhe highest pitch. then gradually relaxíng the lips until lhe lower pitch or pitchessound.) Because the flute naturally tends to resonate one tone at a time and flutists havetraditionally sought the exact embouchure positions that most strongly resonate eachpiteh, the technique oí sustaining multiple sonorities and of playing them legato may take

embouchure

~rjíiI!t

~~••

air-stream producing

I multiple sonority

air~tream producing

low pitch

cross-se-ctions of flule al embouchure hole

· ~.._ ..~-~---------~--~--- ...-..-

3. Multiple Sonorities

llir-stream producing high pitch (arrowheads indic.ate relative velocity)

The proper ernbouchure position for each multiple sonority can be found by playingthe lowest pitch first and then gradually increasing lhe tension of the lips until the higherpilch 01' pitches sound_ (Some flutísts may prefer lhe equally effective melhod of startingon lhe highest pilCh, lhen gradually relaxing lhe lips until the lower pitch 01' pitchessound.) Because tl,e flute naturally tends to resonate one tone at a time and flutists havetradilionally sought the exact embouchure positions that most strongly resonate eachpitch, the technique oí sustaining multiple sonorities and of playing thern legato may take

Perhaps the most singular outgrowth from traditional flute playing in recent years hasbeen the development of rnultiple sonorities. The flute's capacity to produce from two tosix pitches simultaneously has been clearly established by such perforrners as SeverinoGazzelloni and Harvey Sollberger, and in the previously mentioned researches of BrunoBartoloui and John Heiss.

Presented in this chapter are well over one thousand multiple sonorities ranging frommicrotonal intervals of less than a major second to the major tenth. The timbres ofmultiple sonorities vary from clear, normal sounding tones to extremes of bright andmuted qualities. These sonorities are available to every flutist who will give them practicetime equal to that of daily scale studies. A great number of dOllble-stops can be easilyplayed. and the vast majority of multiple sonorities are of moderate dífficlllty.

Every fingering, without exception, yields at least one multiple sonority, more usuallyfour to six. These sonorities are the simultaneous sounding of two 01' more of the pitchesproduced by each fingering. They are produced vía the embouchure and the techniqueis similar to overblowing low fingerings into the higher octaves except that the air streamis focused at an angle and velocity between the normal angles and velocities of the two01' more pitches sounding. The following diagram, greatly out of proportion, illustratesthis technique:

embouchure

1. The largest intervals are the easiest to produce, and are usually found in the lowertwo octaves.

2. Most multiple sonorities can be produced only at fairly low dynamic levels.3. Tonguing reduces the time required for all pitches of a multiple sonority to

sound, especially in rapid passages.

, When c~rl¡rin multiple ~onoritr~~ are pla\'~d, lhe pitchf'~ modulillf' each olh~r. producing lhe ~ums flnd dtffe,ences 01lhe 10nes The drfkrf'nCf' ton~s are more audible by lar lh,rn lhe summatlon lon¡,s. ano ,1 lhe two tones producing lhemodulilllon ¡H(: V{'ry close to ('ilch olher or vvr',' c]()~e to (l pc·rft.:ct Ina'rvi1I, 111(:cidfer('nc(: tOTH: wdl caus(- fi 'beatrng"

(;ff(~ct. ¡Hiel fllV(' tll(' Inlpr(·~.~,IUfl of r¿lpld ¡dt(·rnalrons of sCJlJnd and ~d(·flC.t: h~LJlllpll' SOrH)lllj(:~ th¡1l pIOdULt' n1odu!atron

art: ¡drn()~.l (¡]V\'dY~ V(O'y Intt'n:>(" illHl pll'rCHlD (:\,(.() illlow ci,'nilnllC lc.·ve-Js. fOI tlll' ~urnnlill10n ton{'~ ¿ldd lO lile hl(Jh (·nd 01li,e soul1d 51)['( lrum. Often lhe toT1l'~' produu·d by nrodulatlOfl (¡réatl\· ¡rll¡'U lhe llfl.l"C uf a mulllple ~Ollo"ly, C(eiJtrnga V(:/\' nri11r1)'. oftt'f) COiHSC, ('fl('el

The multiple sonorities tor flute are astounding in their scope of interval and timbre,and a computer was used to ensure accuracy in compiling the indices that appear inthis chapter. The vast compositional area of multiple sonorities is indeed virtuallyunexplored. This, more than anythiny else, will vary from flute to flute. Composers shouldfeel free in their use of these materials, noting the dynamic range, ease of response, andstarting time of each sonority, and remembering that compositions including multiplesonorities will take more time to prepare for performance than those that call fortraditional playing.

~,_.L'

some time to acquire. The resonances, the 'feel' of multiple sonorities are quite differentfrom those of single pitches, and the intermediate embouchure positions that resonateseveral tones at once require greater exactness and control. The embouchure developedthrough working with multiple sonorities is a great benefit te' traditional playing since tone,flexibility, and control can be much improved.

Among the multiple sonorities resonance and responsiveness vary from stablesonorities that are easily produced and sustained at all dynamic levels to those that areextremely difficult to produce and which can be sustained at only one dynamic level.It should be noted that, in isolatíon, all multiple sonorities can be sustained and can beplayed legato to and from a single pitch. Ease of playing legato between multiplesonorities, however, varies tremendously, although fluent legato playing is availableamong several hundred multiple sonorities.

The following information is given for every sonority: exact pitch, ease of response,starting time, stability, dynamic range, timbre, and, if present, noise level, residual tone,and degree of modulation.' Further, each multipfe sonority is classified I-IV. Except forclasses J and 11,it is practically impossible to play legato between members of different

c1asses. In addition, their numberíng indicates the progressive difficulty of playing legatowithin the c1ass. The tour classes are tully defined in Appendix A.The three sections 01 this chapter - 'Multiple Sonorities 8ased on Natural

Harmonics', 'Multiple Sonorities 8ased on Fingerings of Pitches in the Chromatic Scaie',and 'Multiple Sonorities 8ased on the Microtonal Segments' - co-ordinate with similarsections in Chapter 2, and use the same tingerings.

The charts within each section are designed to make the multiple sonorities useful fromthe standpoints of tingering, interval content, timbre, and ease of performance. Althoughthe sonorities presented in each of the sections are distinct in characteristics of interval,timbre, and versatility, several overall generalizations, with some exceptions, can be made:

•••••••••••_IIIJ__ m·

-----~-~-_.._. '.'- ----_ ..-- .

A. Multiple Sonorities Based on Natural Harmonics

The transitions between single pitches and double-stops should be absolutely smooth, atfirst perceptible only as changes in timbre.

ppp - -= tf

ppp - = tf =

:..----- pppff

( <)I "~vLJ

The regular fingerings from low B3 to os yield multiple sonorities in chromatic sets ofoetaves, perleet fifths, perfeet fourths, major thirds, minor thirds, and major seeonds.Intonation varies within the sets of intervals, and while many sonorities form perfeetintervals, they are slightly out 01 tune with the tempered seale and must be brought intotune by lipping up or down. Additionally, some 01 the filths are slightly larger than perfectfifths, many of the fourths are slightly smaller than perfeet fourths, and the seconds areclearly larger than major seeonds. The exaet intonation of each interval is given in thecharts in this section.

Wíthín each set of intervals, the multiple sonorities are very similar in ease 01 response,starting time, stabtlíty, dynamic range, and timbre, and are 01 thc samc class. Tlle set ofoctaves is exeeptional among all multiple sonorities in that its members all have the fulldynamic range of ppp-ff.

Almost all the multiple sonorities based on natural harmonies are double-stops heardwith residual tones 01 varying strengths. The residual tone always sounds at the piteh ofthe fundamental. Some triple-stops are found, produced when the second and thirdpartíais of B 3 to F;¿ are played simultaneously, for the fundamental sounds as well.

There are two eharts in this seetion. The first íneludes the sonorities produeed by eachfíngering, and the second shows the general characteristics 01 the sets 01 intervals.

Practice of these multiple sonorities is highly reeommended to develop very fineembouchure control. The sets 01 octaves, fifths, and fourths can be taken as exercises andpractised lirst with various articulations, then alllegato. Another very uselul exercise, andstriking sonority, is to oscillate very slowly and smoothly between the pitches of a doublestop, creating a 'fade-in, fade-out' ~ffect, as in the following example 01 filteen secondsduration:

n-'Dif. M2

MU1ed N1

When 8 ne l' ow rngcrrng is used:

fin9,,;n9 e.Q.O ••• d

pitches ~sounding ------ ~

residual tone

ease 01 responseand starting time

stability

dynamic range

timbremodulation'

Multiple Sonorities Based on Natural Harmonics

1,an·ff

Bright8

1,a 20bn·ff

n-p3,b3,c4,c5,c5,c

Brt.n·mpn-pn·'pff'off

aBrt. M38rt. M2Di!. M2Dif. M2Di!. M4

I1bCc cC

111IV IVIV

Bright M2

~ql:~____ pitches

sounding

-- . <:> -- fingering

"'" 3 b'L

When a traditional fin~ring is used:

EXllmple:

1Whenever the modulation betwecn pitches 01 a multiple sonority causes °bcating'o the indication MB is usod.

---_ ...•.. _~-_.-----.• ;~; .•. ~

---------- ..--~., "

1,82,b3,b4,e5,en-ff

n-pn-mfn-mfn-f8rt.

8rt.8rt. M4Dif. M4Dif. M3

au...... a8bee

I11II1 111IVIV I11bIVIV

1,82,b3,b4,e6,e1,82,b3,b4,en-ff

n-mpn-mfn-mfn-'n·ffn-mpn·m'n·'8rt.

Brt.Brt.M3Dif. M2Dif. M2Brt.8rt.8rt. M5Dif. M38

abee•abeI

11111IVIVI11II1IV

•• ••lit1,8

2,b3,b4,e 1,112,b3,b 5,e1,112,b3,e

••n-Uf)·mpn-mfn·mf n·ffn-mpn-mf n·fn-ffn-mpn-mf

8rt.Brt.M2Dif. M2Brt.8rt.8rt. M5Brt. M58rt.Brt. M58rt. M3

lit aabe 8ab e ab e

••III111IV I11111 IV 111 IV

~- ~#~~ ,l~Di•• ,~I'~., ~l.~#i~ -

h_,n •• lit••

1,82,b 3,e1,82,b 4,e1,a2,b5,e

••n-ffn·mfn-mfn·ffn-mp n-mfn·ffn·mfn-f

8rt.8rt. M5Brt.M48rt.8rt.M5 Brt. M48rt.Brt. M5Dif. M2

••ab e 8b eIIbe

lit #¡e#,'~ al!~¡~t,l1_•• la

•• .. ~\., l,a2,b 5,e, .a2,b , ,a ,2,b l,a2,b

litn-ffn-mf n-fn-ffn-f n·ffn-mfn-ffn-mf.,8rt.

8rt. M5Di!. M28rt.8rt. M5 Brt.8rt. M56rt.8rt. M5a

b eab ab ab., ••8:':,• •••

B. Multiple Sonorities Based on Fingerings of Pi1chesin the Chromatic Scale

5,ef-ff

Dif. M4eIV

Perfcet Fourths:

Major Seeonds:

both are:

all are: 3,b to 5,en-p to n'!

8ft. M2·5 to Dif. Me!!! - ~

S,ep·ff

Di!. 1'.14

2,bn-m!

8rt. M5b11

all are:

4.e or 5,en·!

Di!. M2 or 1'.14

2,bn-p or n·mp

Brt.b11

General Charaetcristies of the Sets of Interllals

Perfeet F ifths:

Minor Thirds:

1,a all are:n-f(8rt.

The many alternative fingerings of pitches in the chromatic scale are not only valuablefor the timbres they yield, but are also the source of the most varied and extensive groupof multiple sonorities. Within the major tenth, double-stops are produced that form almostevery conceivable interval, both diatonic and microtonal. Many intervals are found atseveral pitch levels, ando at each pitch level, sound with several different timbres. Stable

triple-stops are also found, and each of these sonorities usually contains both diatonicand microtonal intervals.

The multiple sonorities in this section number over five hundred in all, and are presentedin several differently constructed charts designed to make them useful from the viewpoints of fingering, interval, timbre, and ea se of performance. The r.harts are:

1. Multíple sonorities produced by the fingerings of pitches in the chromaticscale. The order and numbering of the fingerings coincides with that found inChapter 2, Section A. 'Fingerings of Pitches in the Chromatic Scale'.

2. Double-stops arranged by low pitch.3. Double-stops arranged by high pitch.4. Triple-stops arranged by low pitch.

all are:

Octalles:

allare: 3,e to 5,e all are:n-p to n·!

8rt. M2-5 toDi!. M2·5

Major Thirds:

Example:

The first chart presents complete information for every multiple sonority - exact pitch,ease of response, starting time, stability, dynamic range, timbre, c1ass and, if present,noise level and degree of modulation. The fingerings for the multiple sonorities are notdrawn in the chart,for they are identical with those found in Chapter 2, Section A.'Fingerings of Pitches in the Chrornatic; Scale', The fingering of a given multiple sonorityis indicated by its number, which also distinguishes it from other multiple sonoritiesproduced by the same fingering. For example, the double-stop F~4 and B~4 is numberedF~4 VII-1, indicaiing that tingering VII tor H4 (found in Chapter 2, Section A) producesthis áou5Ie-stop, and that it is the lowest multiple sonority produced by the fingering.Occasionally, by very caretuJ use ot the emboLJchure, a multiple sonority that forms alarge interval can be sp/it into two smaller interva/s. The smaller intervals, which do notnormally sound when a fingering is overblown, are injicated by the letter 'a' or 'b' afterthe number of the larger. normally produced interval. The double-stop B~" and C~6, torinstance, can be split into two smaller double-stops, B~" and F~?, and F~5 and C1=6,Thusthe large interval is numbered B~4 111-1and the two smaller intervals are numberedB~" 1/1-1a and B:;4 111-1b respectively.

Charts 2 and 3 in this section were constructed by compiling the data in the tir5t chartwith a computer. which then abstracted the multiple sonorities organized accordingto interval. Chart 2 arranges the double-stops by low pitch, chart 3 by high pitch, andthe tourth chart presents the triple-stops arranged by low pitch. When using these charts,which each present only one type ot information, the reader can refer back to the tirstchart tor complete descriptions of the multiple sonorities. The numbering system is uniformthroughout this chapter.

timbre and, whenpre~ent, noise leveland degree 01modulation

4 e ease 01 response,p'f -------- starting time, and

Di!. ~ stabilityIV",-~ --------------dYnamiC range

-;f. multiple sonorities:t .----------- produced

2,an-mf

Dif. M511

2,an-mf

Dil. M4

Muted1

lingering (Iound in Chapter 2, Section A'Fingerings 01 Pitches in the Chromatic &ale')

_'·r'(=-~-;'"'' .'~~~"

4,cppOif.IV

5,emp.f

Oif. N5IV

ppOif.IV

3,bm'·ff

Oif. M4IV

2a 2b 3

d. d~l:!N.N-

1,1 2,bn-p n·m'

Oif. MB2 Oif. M3I "

1,a 2,a5,e4,e3,bn·mp

n·'ppppn·ffDi!. MB2

Dif.Mut.Mut.Dif.I

11IVIV11

l,a 1,8 5,epp n·m' pp

Mut. MB2 Oif. Mut.I IV IV

5,en-pOif.IV

4,en'pDif.IV

4,en·p

Oif.111

5,e 5,epp n·p

Mut. Oif. M3IV IV

3,en-pOif.IV

4,bn·p

Oif.111

33 3b 4

f:! l~él:!- -3

3,bn-'Oif.II

2,bn·mp

Oif.111

3,e 5,en·mp pp

Dif. M2 Mut.111 IV

2,8n·m'Oif.

___ u-- "-- ..-- ..-_.~--

2 3 4 5

n. N: q{i~ lt:! Dl'lIl

1,8 2,bn·p n-p

Oif. M 8 1 Oif.I "

1,8n-p

Di!. MBlI

, ,8 2.bpp n·'

Oif. MB2 Oif.I 11

1. Multiple Sonorities produced by tlle fingerings 01 Pitches in tlle Cllromatic Scale

12 34 1221 2b2e3

E ~·'V ~I: ~#II:'¡f:1 ~'\'11

~#.k~#f¡:~

2,b3,e5,e 1,82,85,e5,e5,e5,en-mp

n·m'n-pn·p n·m'n·'ppppppppOif.

Oif.Di!.Oif. Oíf. MB28rt.Mut.Mut.Mut.Oif.I

11111IV I11IVIVIVIV

~#f~ # t~ #1.-~_.-~1,11 3,e 5,e 2,b

n-ff n-mp n-' n-ftDif. MB5 Brt. Dif. Dif. MB5

I 111 IV 11

5,e 5,epp n-pDif. Dif.IV IV

234 123 4

~F\'V ~tt:

~~r:~I.• #1 #1. 1 2

:.: F\'VJ~f¡; ~ ¡:: = F~'VII ~

l~ ~ ~l,B

2,b4,e5,e 1,112,b4,e5,e 1,82,b

n-ffn-ffn-'n-' n-ffn-m'n-'n-p n-ffn-'

Dif. MB2

Brt.Dif.Dif. M4 Dif.Dif. MlDif.Mut. Dif. MB2Dif.

I11II1IV I11II1 IV 111

233a3b 12 282b

D~ ;: il:l #t-~l:-~#tt.~F~IV

#~:~.. F#4V

2,b4,e5,e5,e 1,112,b5,e5,e~n-mf

f}-fn-ffpppp n-mfn-ftppppDif. MB2 8rt. M2 Dlt. M3

Mut.Mut. Mut. MB3Brt.Mut.Mut.I

I1IVIVIV I11IVIV

) 1#.~!:=::--F~~_VI'~_.~!& ~~==~===5,e 5,e 1,11 2,bn-' mf-ff n-ff pp

Dif. N2 Dif. N3 Dif. MB2 Dif. M3IV IV 1 11

lalb23 1234 56

d .•j:F#~VII

~l: d#..,tt #~l.

;:~:~.- ~:

~f: #tE:3l,a

2,a2,a2,b5,e l,a2,b2,b3,e5,e5,e

n-fn'mpn-mfn-mf ppn-pn-pn-mfn-'n-fMut.

Dif.Dif.Di!.Dit. Mut.r.,'1ut.Dif.Mut.Di!. 11.13Dif. M5

11I111IV I11 11I1I IVIV

.- -,,-., ,¡

Mut.11

••

Mut.11

1,a 2,bn·f n-mf

Dif. MB3 Dif. M3I 11

4,en-fDif.IV

4,en·fDif.IV

2,bn-mfDi!.

2,eppDif.

~d .• d.

5,e S,epp ff

Dif. N5 Dif. N5IV IV

1,appBrt.I

3,bn-mf

Dif. M 1III

1,an-fDif.I

l,a 2,bn-ff n-mf

Dif. MBl Dif. M2I II

5,en-IDif.IV

4,en·f

Dif. M2IV

5,en-mfDif.IV

2,bn·mfBrt.

5,e 5,epp ppDif. Mut.IV IV

l,a 3,en-ff n-ffBrt. Dif. M3

l,an-ff

Dif. MBlI

3,e 5,e2,b l,a4,e5,eS,e 1,a3,e5,en-p

n-pn-p nmfn-mpmf-fff n-ffn-fmf-ffMul. MI

Dif. N2Di!. M2 Dif.Brt.M'Dif.N5Dif. N5Brt. MB3 Brt. M2 Dif. M3,II1

IV1/ IIVIVIV I1/1N4IV

2 2a 2b 3

d~I:<l~l:l~~tt:l~t~

12 34 1lalb23 4

~. G~'VIII~¡: d~1~ ~1:G~'IX

t.•; 1.• ~~l:

~ I =#-

~) t-_ J,-,l~ 3,e 5,e 4,e

1,85,e5,e2,b5,e5,en·ff

pp¡r(pp n·(ppppn·m(n·m(ppDif. MB3 Mut. M4

Di!. N5 Di!. N3Di!. M2Mut.Mut.Dif.Di!. N5Mut.I

111 IVIV IIVIV 11IV IV

5,e 5,e 2,b 5,e(·ff f-f( pp ppDi!. Di!. N5 Mut. Mut.IV IV I1 IV

5,en·(Di!.IV

2 3 4 5

.• ij~" ~~f:~fLi~~~~- -- -

2,b 2,8 3,e 4,errp n·mp n~mf n·(Mut. Di!. Bn. 8rt.

il 11 111 IV

1,8 3,e 5,errp rrp ¡r(

Di!. MB3 Di!. M3 Di!. N5I 111 IV

234 1234 12

~:d. ~~b.•

tA~'"1

~I ~A\'IV ~i:: ~¡:I:00: A~'V~1:~.

~) 1,8

3,e3,b5,e 1,a3,e3,e5,e 1,83,bn-p

n-pn-pm(·ff n·m(n·'n·ff·ff n·fn-mpDi!. MB3 Bn. M3

Di!.Di!. N4 Di!. MB4Di!.Di!.Di!. N5 Di!. MB5 Dif. N51

I11IIIV I111M3, N4IV I11

3a3b 4 12 3 123

~¡.• ~¡ ~¡¡.• ~q¡¡.•

~: N: ~~lf:lijA\'VII

~51I~ ¡:I íl lit I ('VI

d.•#I

5,e 5,e 5,e 5,e

1,a2,85,e 1,a2,b5,en'mf

ppppn-p n·fn-mfmUf n·mfn·fmUf

Dif. M5, N5 Mut.

Di!.Di!. N5 Brt. MB5 Di!. M3 Di!. MlDi!. MB5Di!.Dif. N5

IVIVIV I11IV II1IV

1.a 5,en-ff p·fBrt. 8rt. N4

Dif. MB3II1

l,an·ffBrt.I

4.emp-ffDif.IV

1,8 4.cn·' p·f

8n. MB5 8n. M2I IV

1,8 2.8n·' n·f

Dif. MB5 Dif. M5I 11

3,e 5,epp ¡rfDif. Dif. N2

111 IV

b•. ~J:~~:

1.a 2,b 4,en·ff mp-f mp.ff

Dif. MB5 Dif. M4 Dif. M4I I1 IV

mf-ffDif. N5

1.8 3.bpp n·mp

Mut. Dif. M2I /1

1,8 2,b 3.bn-f n·f n·f

Bn. MB4 Dif. M2 Dif. M3I II

d.•.

l,a 2.b2,b5,e l,a3,e4,e 1,a4,e4,enff

npn-pn·f n·fn·fmUf n·fppppDíf.

Dif. N4Dif. N4Dif. M4.Dif. N3Dif. N4 Dif. M5Brt. MB4Mut.Mut.I

11 11N3 1111IV 1IVIVIV

1,a 2.en·mp n'mf

Dif. MB2 Dif. N5I IV

5.e 5.e¡rf mf-ff

Dif. N4 Dif. N5IV IV

2,a 4.en-mf ¡rf

Dlf. M5 Dif. N41I IV

q. f·~~.d I e G 5x~.

1,82,b3,bmUf

ppn·fn-fDi!. M5

Mut. Di!. M3 Dif. M4IV

111 1112

23 1lalb 2 12 12

r·f#l~ f:-$fl::~Bhlll~

1--~-~i:.. ~ == BG4VlIl+"

$" d511

~ r- ~. ~~.

4,e 5,e 1,8

5,e5,e4,e 1,83,b 1,85,e

n·mf n·ffn·mpmf-ffn·' n·'n·' n·ffmf-ffDif.

Dif. M5 Dif. MB5 Dif. M4Dif.Dif. N3 Dif. MB4 Dif. M5Dif. M2Dif. N5IV

IV IIVM5111 IIII IIV

• - C~5V'11 ~1.• ~~¡. ~1: C~5IX ·d.~ ~ t1 - ..•. -¡- ~ .b-. 14-~=~=--==~. ==--====f1====_~-~--.- -.) 8============

3,e 3,e 1,8 5,e 1,a 2,8n'mp pp n-ft mp·ff n·mp n-f

Di!. M3 Mul. Di!. Di!. M4 Dif. Di!. M4111 111 I IV 1 11

111lb23 1111lb2

d..•,

~ f#.••.. ~: c\'V

~ chll

*-d.d~:I~If:l: d51v#--- ~...-lt----11- ~q-~.

4,e4,e5,e5,b 1,a4,e5,e5,e 1,8

n-ffpppppppp n·ffppppmp·ff n-ft

Dif. M5MUl.Mut.Dif. M4, Mul. N4 Brt.Mut.MUl.Dif. M4 Brt.M2

IIVIVN5IV IIVIVIV I

lb2 3 1lalb2 12~

#t.q ~ ---

~:d~:IfIdil:d5vI

D.JIl Dt:l. ~ +:1[d5VlIq.~.-

~.q ••I[

lpm- ~-4,e

5,e4,e4,e l,a4,e5,e3,b l,a3.b

ppppn'mfpp n-ftppppn-mf n·ftn·ft

Mut.Mut.Di!. M5Mut. Dif.Mut.Mut.Di!. M3 8rt.Bft. M 5

IVIVIV IIVIVI11 I111

1,8n·ffSrt.

5,e 5,epp n'mfDif. Dif. N4IV IV

5,eppDif.IV

1,8 5,e 5,en·mf pp pp

Dif. N4 Dif. N4 Dif. N5 OI IV IV

••••

5,e 5,ep·mf ppMut. Mut.

1,8n·fDif.I

Mut.IV

1,8 5,en·mp pp

Brt. MB3 Di!. N5I IV

1,8 5,en·ff n-mfDif. Dif. N5

1,8 1,8 4,epp n·f pp

Mut. Dif. MB2 Mut.I I IV

1,a 5,en·mp n·mf

Dif. MB4 Dif. N5I IV

5,e 5,epp n·mf

Mut. Dif. M3IV IV

4,en·p

Dif. M3IV

1,8 5.en-ff pp

Dif. N3 Mut.I IV

,......

1,8 3,bn-ff n-p

Di!. M1 Dif.I 111

~t•d.• dtt:l 1:t- dSII

1,8 5,en-ff mUf

Dif. MB5 Dif. M5I IV

1.82,b5,e5,e2,b 1,85,e 1,a5,en·f

n·fp-mfmp-ffn·p n'mfmf·ff n·ffp'mfDif.

Dif.Dif. N5, Dif. N5Dif.Dif.Dif. N5 Brt. MB5 Dif. N5I

11 M4IV1I IIV IIVIV

12 12 11a1b

{... dt:~.ILd.

#---#I d .• !.

:f I DqslV ~+.d5x D~slIDqsllI-- - - -

1,8n-ff

Srt. MB31

3,e 3,epp n-p

Mut_ Mut. M1IV I11

Mul. MB3IV

3,b 5,e 5,en-p n-p n-mp

Di!. M3 Di!. N5 Di!. M4,111 IV N5

2 3 .ti 5

d.• Qq+:

~~r:.: =J.==========- -=-==-~

2,8 2,8 2,b 3,b 4,epp n-p n-p n·p n-p

Mut. MB2 Mut. Mut. Ml Dif. Di!. N3I I 11 111 IV

Mut.MB3

1,8n-'Di!.I

5,e 2,bn-mf n-mf

Di!. M4 Mut.IV 11

1 2 33

1; D~,~~l~~~ l! DI'VII-r · ~2,b 3,en-' n-'Di!. Di!. M4, N3

11 111

3,b 2,b 3,epp n-mf n-mp

Mut. Mut. M2 Dif. N311 11 111

2.8 4,e 5,en·mp n-' mf-ff

Dif. M3 Dif. M2 Dif. M4,I IV N5

2123 12

d. ¿.•¿~.

q f:l D#5Vq •.•

; 0#'11'

j:---~ID~51V #- #31: D#5VI- #.fj#-

2,b 3,e2,e4,e 1,85,en-ff

n·ff n-pn-pn-p n-ffmUfBrt. MB3 Brt. N2

Di!. M3Dif. N2 Di!. M3 8rt.8rt. M4I

11 II111IV IIV

=~-........::=-~~t_!=__ =_~_!=_-IC==_5_VII====~:~; ~~ *~t! ~t~~====D#'V====:"'~;:=:===.• ====: ~-#_I==l_!5,e 5,e 2,b 2,b 3,e 5,e 5,e 2,8 2,b 4,e 5,epp pp pp n-mp n-p n-mf mf-ff n-' n-mp mp·' mp-ff

Mut. Mut. N3 Mut. MB1 Mul. Di!. M3. Di!. M3, Di!. N4 Di!. Dif. M3, Di!. N4 Di!. N5IV IV I 11 N2 N2 IV I N2 111 IV

II! IV 11

..,-..,.-~ '

l,an·mpDi!.

n·'{Dif. M83 DiO

1,8 2,bnp np

Mut. MB4 Dif.I 11

Mut.IV

1,8 3,en·f{ mf·f{8rt. Dif. M5

4,emf·ff

Oíf. M3IV

1,8 3,e 5,enp n·mf ppMul. Dif. M82 Mut.

I I IV

2,b 3,epp pp

Mut. MB4 MUI.

1,8 5,en·f{ n·f{8rt. Di!. M4, N5

H. H#"'1 = ~= E~5VII

4,e 5,enp mf.f

Dif. N5 Dif. N5111 IV

4,e 5,en·{ mf·f{

Dif. N3 Dif. N5111 IV

l,bn·m!Dif.

~.t.~~t¡~~~¡l::

l,lln·m!Dif.I

2,b 4,e 5,en·' mf·f{ pp

Brt. MB4 Dif. N3 Mut.II IV IV

2,8 2,8pp n-mf

MUI. MB1 Mut.I I

l,a 3.b 5,e 1,8 2,b 3,e 5,e 1,8 2,bpp np np nff n·f n·' mf.ff np np

Mut. MB4 Di!. N3 Oí!. Oí!. MB2 Oif. M5 011.1'.15 Di!. N5 Di!. Oíf. M3I 11 IVI 11 II! IV I I1

EG5VIII" dsvII; E~5XI" EG411; FG511" dSlx; F~sIII" O~sVI; F~5IV" dsx; FG5VI" FG4111;d~'III" F#41I,~

F~5IV" F#4111; F#4V" F#4IV

---.----- .----._-*.------~.

1 2 # 3

~J.t .•

~t.• ~#t·

~:~ :JlI F#5VIII

~j: q j)l( (IX~. -~ij

3,e3,e 2,b3,b2,b 2,b2,b2,b

n-ppp ppn-pn-p ppn-pn-p

Oif. M2 Oif. N3Oif.Oi1, M4 Oif. N2Oif.Oif. MBl Oif. M1 Oif. N2

1111I1 1I11111 11111111

123 1231 23

~:~~j:IG~'"

~•.fi ~~:tt.

#y ,rt,x

1; ~-= G~'"I_~~..

~==f2,b

2,b4,e 1.82,b5,e 1,a3,e3,epp

npn-p ppn-pn·mp ppppn-p

Mut.Mut.Oif. N3 Oif. MB1 Oif. N5Dif.Dif. MB2 Dif. N5Oif.

111I1 I1IIV JIV111

123 122a2b3 12

d.d~:Id'"~¡: l:~+ ~~~ te

4C;'V t~~"

q ~ = G#5IV

~:~---tli1,a

2,a4,e 1,82,b4,e5,e4,e 2,a2,bpp

n-pn-mp ppn-'ppppn-p ppn·m'

Dif. MB4Dif.Di!. 8rt.Dif. N2Mut.Mut.Di!. N4 Dif.MB1Oif.

1I11 II1IVIVIV I1I

34 12 34 12 2a2b3

qi. ~~t.1~:

d~.1:1

~ :1:" = d'VIII

-= G#5X -~

5,e 5,e

2,a2,b3,b5,e 1,a2,b5,e5,e5,e

pp-- - n'mp

ppn-pn'mfmp·ff n-pn·fpppprnf-ff

MU1. M5 Dif. M4Di! MB3 Dif.Dif.Dif. M3 Dif.Dif.Mu1. r-J5 MilI. N5 Di!. r-J5

IV I11111IV 111IVIVIV

n·mp8rt. MB2

5,emf·ff

Dif. N5IV

, .¡.,',

2,bn·f

Oif. M311

5,en'p

Dif. N4IV

3,ep-f

Dif. N3111

n-mfOif. MB4

2,bn-mp

Dif. MB21/

2,bn·f

Dif. M2"

•••

1,8n·'Dif.I

1,a 2,b4,eS,e5,e 2,a2,b

n-mpmp·fpppp npn·mf

Dif.Oif. N2Oif. N3Dif.Dif. Oif. MB5Oif.

I11IVIVIV 1111

1,a 2,b 5,en-p n-mf mf·ff

Oif. MBS Oif. M2 Oif. N5I " IV

5,emf·ffDif.IV

5,emUfDif_ N5

••

2,bn-mf

Dif. M2"

1,8nffBrt.

2,a 2,b l,al,a3,b4,e -f í.a1,a3,e5,e

nmf n-fn-fnpn-p n-mpn-mpppp-mf

Od_ Oif. MBl Dif. MB3 Oif. M3 Oif. N4Oif.Dif.Mul_Dif. N5 Die

11 1I1I1IV I11I1IV

2,b 3,en-mp n-mf

Dif. MB4 Oif. N411 1I1

1.b 3,e 4,e

pp p-f mp-ffDi!. MBl Dif. 1.13 Dif. N3

1 111 IV

A~51JI ~ A~411; A~5VIII = G~411; A~5IX" Aq4V; B~5111" G~4VI; B~5V" F~4IV; B~5V/" D#5VIII; B~5IV" A~411;

B~5V ~ C#4IV; BG5VI = G#4V; B~5VII" F#4VII; BG5VIII" G#4¡X; B~5IX" F#4VI

~- __ o - __ ,_ ._ •• ~_ -_.' ~-_ •••• ~---~ ---- •• - •.•• -

212~: ,lalb2~. ~~..~b:l ~.fL~.q~••~Q;

@ 01'11

.• cGGIV= dGv

i-~{. ~~~. Il

2,b l,a2,b3,b l,a5,e5.e5,e

n·m! ppn-pn-p n·!ppppn·m!

Di!. MB5Di!.Di!. MB5 Di!. M4 Di!. M5Dif.Mut.Mut.Di!. M5

I1I I11111 IIVIVIV

212 123 12

b.•bi· ~~.

~ C\'VI

~..~. cGcVl1~.q. d6VIII

J~~:~ .•.d6xI~.d. ~

d.~ [1¿:¡[;

=:. )2,a

2,b , ,a2,a 2,b4,e5.e l,a2,b

n'! n-pn·! n-pn·m!n·mf npn·!

Dd. MB5 Dd. M5Di!. MB4 Di!. M5Di!.Di!. M3 Di!. M4 D,!.D,!. M5

I11 111 11111IV I11

5.e 5,e 1."2.b 2.b5.e l,a3.e 1.a

n-pn-p n ffn·mf n-pmf·f ntfpf nf

Dd. "'~,4 D,f. M5Di!. MB5D,f. M4Di!. MB4 Dif. N4Di!. MB,1 Di! N4Di!. Ml35

IVIV I11 IIIV I111 1

23 12 123 12

~~~ O;cVII

d.d .•~ ..q. ~]J[D~r'lIl

1:#.-: D~(,IV#. #Id. II ~

:fe~' ) 11

5.e 1.a5,e l,a4.e3.IJ 1.a4.<:pp

{nt- f n tf(})f· f (1ft1lJ!) t(I{})f IJ f tIJ d· f fi\I1u1. N5 Dd. N5

lJ11 M In B 1 I N~]D".D" r~~[)" , [3'1 ML15 Dd, 11.14

IVIV IIV 1IV111 IIV

C~6111=E~~II;C~GIX- r~"lx.c:I,X lJ~·'VII.C~1,111 C:::"IIC::(,IV d·'III.c}"V H;~lIld"VI f:~II,

dGVlI1 ~ C:~VIII; dl'lx· G~~'VII. C~"X G:~'III. d"xl I :"IX C~">:II I :~III. e::' XIII lJ:~VI. D:(,III [):"I

1,an-ft

Dif. MB4I

2,bn·f

Dif. MB511

3,bppDif../1

3,bmf.ffDit.

3,emp·ft

Dif. N5/11

1,anft

Dif. MB51

E tr, XI

l,an·ff

Dif. MB4I

5,emf.ft

Dif. M5IV

5,empff

Di1. N5IV

4,en-mf

Dd.M4111

2 3~.d#: ~:I D~6XXI

n·ftDif.

l,an·ff

8rt. MB5I

3,cn·fDif.

2,bmpff

Dif. M411

l,an-fBrt.

l,an-ffDi!.

l.a S.e5.e5.e l.a4.e 1.aS.en f

//l/dt/)/)/)/) n-ttm! tt n ttnd ttDrf r.\ [3]

Drf[),jr-.JS Drf. rlJs Drfr\1[3') DrfNIJ D rf .D!1rlJIJI

IVIVIV IIV IIV

4,e 5.e5,e l.a3,b5,e5.e5.e l,a5.e5,e

mefpppp nftn'mfppppmpft nfnpmp·ft

Ddr..1ulMul. DJI.Dd.N5Mul.MUI.Dd_ N5 Drf.I>'B3Dd.Dd N4

IVIVIV I1IIIVIVIV IIVIV

3 3.a 3b

~i;~~~~.- -

D~f'V f ~"V, D"VI [):~·III. [J,t'VIII r ::"VI, [)'t'IX f):"VI, ():I,X C::"IX. D:"XI C,::'IV, [):"XII Ci:"III,

[):"XIII I :'¡V.I)::'·VI C::!'VIII. [)::"VII [)::'·V. [J::"XI {\"'VI. [)::">:II {\"'V, [)::"XIV I\:"VII, [)::"XV

( ) ~ " X 1XI: " J X [)::' X >: 1: ., V 11 f : 1, IVI J :', 11 r'" V 1I r,: ., 11 r: 1, V 111 f: . VI:' I X f: '. ¡ V r :', >: 11, > •••

E G 6 X 1V = G G <1 1V; E ~G X V ' A ~4 X l tr, X X ' A t 4 X 1 [t f, X XI' f ~G VIII, [~f, X XIII ' O ~4 111, r ; (,V I e O: 'o VI;, ,

F ~6 V 111= 0#5 VI; F : G XII' G:~'11. F b, X 111- A: 4 V 1, r: f, X IV' [:~, 1X, r ;(,X V ' d(,X 11

3,bp·fOí!.

5,e 5,emf·ff pp

Dí!. M5 Mut. M5

ppMut.

l,a 4,e 5,en·(( np pp

Di!. MB2 Di!. t~3 Di!. N5I 111 IV

2,b 3,en·f n"

Di!. NB4 Di!. N3

g.~b:F~ 61V

$.i- I¡~

2,b5,e 1,a3,en·ff

n·mpmf·(f n·(1n·fDI!.

Di!. M5 Di!. N5 8rt.BrtMSI

11IV 1IV

~ 2 1lalb 12

~. ~:: E~f,XVIII ~.q.~.

d.adq:- ~ lI: E~f,XIX

~-{-.II~l,a

5,e l,a5,e5,e l,a3,en·ff

mf·ff n·ffpppp n·ffp·fDi!.

Di!. N4 Di!. MB4Dif.Dif. Di!. MB4 Di!. M3I

IV IIVIV I111

2.b 3.e 5,enf nf mpf

Brt. M84 Brt. M3 Di!. M4,11 111 N3

2,b 3,e 5,en·f mp·f mf·'

Brt. M4 Di!. N3 Di!. N411 1I1 IV

2 31lalb2

~. ~b: ~.~ b.~ :: q-F~GVII

:f- i .• = F:f'IX-~

••~=~~~~-_.~._~~~~-"-_._----•••••••••• 1 2

. ~~•• EG6XVI ~ f. E qGXVl1

••. ::j- R el.•• ~ ~<---·--1H:::: =========:;•• l,<l 5,e

n-f n·f•• Dif. MB5 Di!. M3

••• I IV

••.., 3 1 2 3 4 1 2 7il 21> 3

: ~:b. ~#. ~. ~.h~~ #t! h#;

•••~. = E~'XX" <i~ r- ~= E~'XXIV<J. <J. <J .• ~ - ~=~:.•===•• ~ ~:==~==:_~==~=-======_-====_ -====_1)==_ -===-~. E ~•• 5,e l,a

-. mf·ff n·f-W Dif. N5 Bn.

•• IV I

~ 1 2 3

•• ~ .• qJll

~ 2 F.~'" ~ l. ~l. ~ F~''''•• f$:- ~. ~ ~-~ :.- 2,b l,a 4,e ---------

_ np np n·mf.'!"""'""P Di!. N5 Di!. NS Di!. MS,

~ I1 1 N5

¡.; 111

.~ ~ F \'V ,j;.~n-r~_1-Y-_-~---l-,----------'~ l,a S.e

nff n¡{·(fBrt. M5, NS Di!. NS

2,b 2,b 5,en" n·' m"((

Brt. M5 Brt. M4 Di!. N51I 11 IV

5,e 5,epp pp

Dif. N5 Di!. N5IV IV

1,8 3,en·' n·'

Di!. M4 Dif.

Double·stops Base<! on Alternative Fingerings of the Chromatie Scale Arranged by Low Pitch

D~!'>IX,1

B~5XI,1D~4111, 1DIf411,1O~5VII,lD#5VII,1E~6111,l

~-¡:~:~;-~:t~•D~5VI,1

E ~5 X, 1O~5VIII, 1B~5X, 1E ~6XXII, 1Fq41V,1F ~·ll, 1Fq·VII,1

it -1=--r~-4.~:~~

---11+-

qd. d-.

F~·VIII 1

F~4VI,1F b4 V, 1Fq5VII,1F~5VIII,1F ~5 V, 1F ~511,lF~4VII,1r; d--~~q.~---~--~~. ~4·~.fM~.#+Aq~=-

F ~4 V, 1

F~411,1n41V,1F~VI,ld5X,1G~4IV, laG~4V, 1GQ4111,l

~~:-1: #;:tY:-1h~~

d.•• G ~411,1

F~5X, 1F~5IX.lF#5VIII,1F~5VII, 1G ~5111, 1D~GIII,1G~511,l

~~. #-#-#-#-q~~_.#--" --

fl·Jetfe.:tO

A~5IV,l

A~5VII,1B~51V,1GG5V.1GG511,1E GG11,1D~GXXI, 1G~4V,1a

i:b. ~.•~_.~

;{:..Qm

{:.-~. ~.~#.•

d .•

dSll.l~--

dSVIII.1~t.~=-

A~411.1

q .•.

S~4VI.li-~

G#4VI.1

D~6XV/lI.l

B~4VIII.1

D;6/1.1 C~611.1

Q;! #~3.-~lqj]l

dSVII.1 dS/V.1a

q~--!i:JI

A~511.1

[.•Il:.

Bb4VII.1 dSII.l d6XI.l

~ Q:#•• ~

S~4VII.1

~+.•

C;Slll.1a

d .•

G~4111.1 G#4X.l

#j.__ ~t .•

=#- #-

B~4VI.la

~--h--

d6V.la

C;5V.la

d.q11i

d6//.1~.~

dSXI.l

Sb4111.1-~

~ ~ ...r-t_lI!t¡.., C;sVI.1a

~ ~~ ..~••.,••II!'-e••~

o q6VII.1

q .•

E~6XVIJJ.l

•~..,

;;-.'ot.;..."¡'

F~6XI,1

dI •.

EG411f2

#.n=--

C#6VII.1

#.•~

e G6XI.2~.JI

d6VI,1

q .•

B~4V.2 B~4IV.2

~t--= 1---~~====±t.

d6VII.1

q .•

(#511',1 d511.2

#. #t.

d5111.1 d5V.1d51V,1G~4IV.lbB~511,lB~5111.1DG6VI.lE Q6V.1

{.:t.•~.d .•q~~--á:~~...~~.

~.-~. ~.b1-' ~.#A

B~4VII.1a

F~6X.1d61V.1DG6IV.lF~6VII.1Cl¡5VII.1d511.2aC#5V/.la

d .•

Q.~ ..f. q l--~.IlI

=o;>"7 ••~_·o,.0'0'.'"" ••• _,m ••

•• '"

iIJ _---¡----

I-~ - ., I

•• ••••••E :,6111,2EG411,2EG511.2E~5X.2E~5V 18E~51V,2EQ5111,2ad5vll.2Eq51X.l.• ~~

d.•.ql~ •d.•.d.d.d.•.d.

•• ~j.

q •~-h-q-~-qI_• •••.•.. - •• 'EG~V,l EG5111.2

EG5VII,1EG5VI,1F G41V,2aBQsX.2E ~6XXII,2 F q41V,2F~411.2a

•• ~i~ ~i~q~~.~-1: dQ:-qlJL~

=~;- ~-;~.~;- ~

F b5VIII,2

~ F G4VII,2 F ~4111,2 F ~"11,2F~5VII.2 SQ4V.2F qSV.2d51X,2OQ5VI.2•• d.q t•.

~t:dA!~t.•.

tb:~~r· JH. q.~

0#6X,2

FG"VIII.2Fq4V.2SQ"III.lbF#411.2F#"V.2aF~4V.2F#4IV,2•• d5x,2

•• *JI. #.•.d.~1:#I:#}:

~f.•.#1!!:

~#1i::f. b-'

~. 1-~.d5VIl,2

•• F#5VIII,2 OG5VII.3 F#511.2F#5VI.2F.5IX.2F#SX,2G#4 V.lb F~4 VI.2

:~~ ~#:f~:#~

~bl.~t~bi-~ai~~- #-#-

•• d5VIII.lb G~5111.2

G G5V.2G =,511.20#5VI,3F#·VII.3d6VIII,28 G4VII. lb E~611.2

~;:: Fd.•.ql--~:~~.~}~f*~:~~~ ...

0#6111,2

F#4VI.2G~4V 2G#4VIII.2 G#5IV.2•• G#4IV.2

G#411,20~6XXI.2 G~4IX, la

• ~t.•.~.•.

~#.•.d.•d~

l¡¡~d#llf~:~~pl:tI~.•.~

•• G#5X.2a

G#5VIII,2 G#511.2aG#5X,2G~5JI.2A~4IV.2G#4111.2

•• # .• n ~•• ••••••••••- -- ._-

••105

11!8....-.-.-.--

G~41V,2a G ~4111.2E G6XXIV,2aA~.c 111,2A~.cVlI,2D#GXVI,2D#6XVlIl,2 E~6XXIV.2 'A~4~i: ~:1d:cJ#:d#:d#: ~: ~d~~

~41V,2

A~.cVIII.2F~6111.2Aq.cYI,2FG611,2AG.cll,3

~t.d.•.~..

(J.d.d.

-- ==!!

C~6~'" E~6~. D'6 ¡f; e" ~. DI' ~1·DI' ~~.tFI' (..t GI' ~ FI"iI 11,3 I IV,3

.I 11,2 I VII,2 JI[ Vl,3 _. VI,3 t IV,3 t-V,2bg- -dsla. E~4 f 0#5;~ AG4 ~l.B\,.4 ;. G#4 1" cbs d. Gq4 ~~..• D~5~

X,3 • 1I,3b 1: VIII,4 111,3 I IV,4 .I 111,3 .I 111,2 ~]I[ 11,3 .I. 111,2i- - - - - - - -...d,#t. 01' d. A~' d. GI' 4¡· GI' ~¡.A\' ~¡.A~' ~¡.tAl' h. Al' -',

V,2 ~I 111,2 ~I 111,4 ~. 11,3 JI XI,3a ~t.V,3 ~tI V,3a _ IV,3 #iI X,3 {

ol' ~. ol' ~.• DI' ~ el'~. el' ~j. d' ~ B~- ~"' ,1- <1#.,...0\'I ~ V,2 I VII,2 _ X,2

• VIII,2 I IV,3 = V,4 = VII,5 =='X,4

IQ D~s

F~4¿d:l B~5 d&a G~4 f:l Bbs d~:IB~sdi:t cG6 d~.G~~i" F~4d :VII, d111.3b - XI,4 - VI,3

- IV,3a - X,4= XI,4 - V,3• VI,3-5

~ sbs\J. IV,3

----_ .••.•.•...•.~

Double-stops Based an Alternative Fingcrings af the Chromatic Scale Arranged by High Pitch

F~4VlI,l A~411.1F~4VI,laG~41V,lad5/1,lDG51X,lD~5VI/,lD~5Vlll,l

~'#:~d~»~~

{.D~lIl,l

D#4/1,lD~5VlI.1D#5VI,lD~5V/lI,lB!,4V,lBb41V,l

~.~~.w.•

F#511,l d51X,lF#5X,l'F#SV/I,lF~5V/lI,lF#5VI,lDG5V/I,2

F~4Vd~~: ~:tttJ:..Y~

GG51/l.1

G~sV.lGG511,lD#5VI,2F#4VI,lG~4V.1~. ~.~.~J.i-j:.

i~·li-I

D#GXXI,l

G#411.1G~4IV,ld6VIII.1F#4V/I.2F#4VI.lbB~4VII.laG#4VIII,l

~. ~;-~:1'-~.{.#i--U~~·

4:=6 ._d. #.--.lJ:!. ~.~.

G#511,1G#5VIII.1dSIV.ld4111.1A~4IV,lG#4VII.1A~4VIII,lG~4111.1G~4IV,l

~~: #:Jli~:#1--

D-ed.d.

d q-~~-q.~ .

•EQ6XXIV,l 0#6XVI.l

0#6XVIII,l AG4XI,lAG4VII,lFG6111,1GG4IV.1b0#4111,2aA~4VI, 1

::~:d.~t:~:d~

d.~~=-==

EG6XIII,l

F ~6 11,1A~sIV.1AGsVll,lAGsV,lAGsll.1A~4X.1AG!>VI,lA~5XI,l

b--tq.~.~:~..~~

q-~.$-t-

AGsX,l

AQ411,2G~411,lG#4X,lAG4V,lSb4111,lAq4111,lEq6XVI,lF~6IV,l

;~~:~:~:~:~t~.1·

~.Sb411.1

Sb4VI,l0#411,2G#4VI,lSb51l,l0#SV1112

AG41X,l

--~:~.

~~~~:~~~d

b.--1-

Sb4VII,l

dSVI.1aE G6XIX.1dSV,lad5111.1ad5XI,lE G411,2G#4V,lC#511.2a

_ ~. b.

d.<!.el.d.•.d.ql--ql.Ji.

~.q•~.tr+-

~-==. ~.~ ~. BG511,1

SG5111,lc#sVI.lac#51V,1aDG51X 2SG~>XI.2dGXVIII. la" F#5VIII.2 S Q4VI, 1a

..• ¡JU: q.

~.q.ll--~..~.Q •.q.q~.

~.#-#-~.te~-;. ~. " E G6VI 1EGGIII.2aF Q4VII.2

~ SG5X.2 FG411.2a

G#4V, lbAG411,3 G#4IX,lSh41V.2

::~1: ~d!!tgtt.-$i •.~t:~~qf::-

~i:al ~" ••"":"., 111

~ ••

E ~6V, 1 0~5IV.1aG~4VIII,2e ~611,1cG6V.1ad5VIl.1d61V,1d6VII,1

hi·~..M~~ ..~~~la

.¿¡.-- ... .-.

0#5VIl,2

d6xl.2d6vIII,20#4111.2Bb4v,2E~51l,2F G4V,20~4111.2b

Q.q.tq~~t.gt·~t.I~J"dq1~

BG4111.1 BG41l1,1bd611.1d511l,1d6VII,1OG5V.1EG4111,2E G5X,2

~t.• i~~#.#.#.

~ ~.~.~.~.¿.~.

G~5X,2a

d511.2bd51l,2F#411,2F G41l,2bF G6XI, 1FG6XI,1o G511, 1

~i~~~#t.~~di--di-d.

Ge~-EG51V,2

E G511l,2aGG5V.2G~5VIII.2d5VI,1cG5VIlI,1d5VIl,2F G41V,2

d. d.el.~:~i.~t.~t.~t-

--~~. q6~.~.

•.'l;..~" _

GG4111,20~1'.3FG41V,2bd~VI,lbcGGV,lOGG 11,1dSIl.l

tqi:~\~~¡.~t¡.q.q.~.-J"

..f._ J.ij~

C#51X,1

OG6VII,1EGGII.2G~511.2aEG6XXIV.2a d6v.1bOGGIV.2O qSVI.2F#"V.2a

l¡.b.a

1:): ~tt..-~ ..~tA~t.•-

d.~- g.1---

F#5VI,2

G~"IV,2d5v 1cG5111.1O~SIlI.lO #~111,10#511.1D#~'IV.lCq4X,2

-. ~. ~..i---i-{.-le..~.~.~.t-

fI------~~~. ~.t{e#-#-#.

G~411.2

G ~4111.2AG4111.2GGA 11.20#SVIII.3Eq411.3adSV.lbdSIII.lbBb41V.3

i- #f:J:lfi:~:dt•dt•df•r.V AG4V.2

d5xl.2AGsIV.2AG5X.2dSIV.ldSX.lc#sV.l0~6VIII.1O#GIV.l

tS:¿rt.a~:~:#-~#.~#.

~.~a#.{.~

0#sV.1

0#5IX.lO~GV. 10#5X.20~GXXI,20~6111.2AG4VII,2O~GXVIII,2O#6XV1,2

~:W::~U-:d#:~#:d':;

FG4VI1,3

cGslV lbdSVIII.ldGIV2B G4V.3C#51V,1EGslXlGQ4V,2F #4VI,2

~'#1.~I~11d.d.d.d.-- ~.~IJ~._.-

A~5VI,2

G#4VI,2Bb51V,2SG5XI.3BGsX,3OqslX,3C#51V,lbOG~VI1.4F#4VII,4

d.d•.~:~:~:¿:~:1:i:~.~.

--------------------------_ ...••~

EG6XIX,2 BGslI.2

d~: b~:

Eq6XXIV.2 Aq4XI.2

D#5VII.3 D~5VI.40#411,4O~SIV.lAG4VIII.2OGSIV.lbF ~4V,3G~4111.3

~J:Iq1t~d__d.~1:qde~~

- <i. t .•- •A~SVII.2

e G5VIII.3E qSll,3G~sIV.3E G4111.3F Q411.2c~t. ~:~~l:~:V:~i:iIt-

ut:-n--

FG4111.3adGXI.30~sVIII.3E~sV,lE qSIII.2F #s X.2F#5IX.2

~~~q~1:1~~.~J.~~.q~.-

,~-~.~~•G#4VII.2

A~5V.2A~sll,2

G#4¡X.2F#5VII.30#4111.3

Gi'~;~~. W:~.~:{qt;~~

C~5VII.3

G#511.2bC#5VI.lEG6XVII.1E G6XI.l

~t~~~~.b~~.~..~..

E q6XVIII,lb d'VI,lbE q6VI.2aE~6XXII,3E~6111,2bFG4VIII,3EQsV.lbEQsIV.3

~. ~:~~t:í~:~:d~.d~Q~• -

E~611.3a

GQ4lV,2G#4X,2AG41',4G#4VIII,3E q6VI,2G~4IV.2bBb4vI,2

~~}t:~~f:q~f;Q~t.~~ttt-~ftS

r#sVl3~~t.

F~liIV,2

~...1·

E~lilll,3

8~4 111,2~.lj-

F Gli 11,2

~-lU·

Sb5 {~J_ G~5 ~~:I11,3 = VIII,4 =

-------------------------------------------------------_ ....•-.

Triple-S10ps based on Allernalive Fi~erings of the Chromalic SC<lle arra~ed by Low Pitch

f-#-Q~QJL

Qi:~#-

GG4IV.4

G~4V.4G~4IX.4AG411.BDG5VIII.5B~4VII.2F GGII.3I

11IV1111 111111

d~=ld1:tQ~

dA- }tLQ#~

qqt---

#g8#~d..-Q~

q##11~

cG51" 3

cG5V.3d~'II,4C#5VII.4AG4V,4E GGXXIV.4AG411.BIV

IVIVIIIV IVIV

pitches sounding

fingerings (found in Chapter 2, Section 8 Mi(.Segments)

fingerings as notated in composition

n',ff - ease of response, starting time, stability

Olf. dynamic range

1 -----timbre, including leve/s of noise and modula-----class

l,an·ffOif.I

l,an·ffOif.

0# keydep. "

, .an·ff8rt.I

C. Multiple Sonorities 8ased on the Microtonal Segmel~-<:;

The multiple sonorities produeed by the fingerings of the microtonal segments (Ch.=-2, Section B) can be distinguished by two characteristics: they usually form b'l"lparallel microtonaJ sca/es or microtonal 'wedge-like' figures such that each inten

wider than the las1. And, within each seale or 'wedge', the individual multiple sono~are quite similar in ease of response, starting time, stability, and timbre. Most o~~paralle/ seales and 'wedges' are easily played.

The following ehart shows the muftiple sonorities produced by each of the microsegments, and the chart is organized identically with jts eounterpan in Chapter 2.

A number of multiple sonorities with edgy timbres are presented in this seetion, ~n

these are uniqu.e among all multiple sonorities. It is suggested t~at the m.u/tipl.e sonortLbased on the mlcrotonal segments can Le used for the construetlon of unlque tnterval"timbre sequenees that can be performed with unusual facility.

Three staves are used in the chart. The topmost shows the pitches sounding inmuftiple sonority, and beneath them are the ratings for ease of response, starting tistability, dynamie range, timbre, and c1ass. The fingerings are not drawn in the d!'-'for they are identieal with those of the microtonal segments. (Chapter 2, Seetion

whieh are shown in the second stave. The bottom stave inciudes the fingerings as tiwould be notated in a eomposition. It is suggested to composers that, when inclucirmultiple sonorities based on the microtonal segments in compositions, two stavest.~used, the upper showing the pitehes sounding and the /ower notating the fingeringsin the first and third staves in the following chart. ~-

"dep, = depressed

Example:

3,bn-mfEdgy

2,bn-m'Edgy

D kcy up

3.b 3,bn-mf n'mf

8rt. M3 8rt. M3II1 111

D# keydcp.

3,b 3,bn-mf n-m'

8rt. M4 Edgy111 11

2,b 3,b 2,bn-mp n-p n-mpEdgy Mut. MB2 Di!.

11 1I1 11

3.bn-m'Mut.

2,bn-mfEdgy

2,bn-mpEdgy

2,bn-m'Edgy

D key up

2,bn-mp8rt.

.D#keydep.

2,bn-mf8rt.

1,8n-ffDif.I

1,8 1,8n·ff n-ff8rt_ Di!. MBlI I

1,8n-ffDif.

1,8n-ffBrt.I

1,8n-ffDi!.

1,8n-ff8rt.I

D kcy up

D# kcydep.

1,an-ff8rt.

1,an-ffBrt.

Set 1: For all flutcs

~~IIIJ••~-

••.,•~

3,b 1,8n-p n-f

Dif. MB4 Dif. MB5111 I

, ,8n-fDif.I

1,8n-'Dif.I

l,an-ff8rt.I

F keV up

1,8n-ff8rt.I

E keyup

3,bn-mf

Di!. M5111

5,emp-fDif.IV

3,b 4,en-mf n-p

8rt M3 Di!. M5111 IV

4,e 5,e3,b1,81.8l,bl,bl,b2,b2,b5,e2,bn-p

mp-fn-mfn-ffn-f(n·fn-'n-fn-mpn-mpppn·'

Dif. M5Dif.Dif. M58rt.8rl. 8rt.M81 Brt.MBlDif.8rt.Brt.Mut.Dif. M4

IV1111II IMBl1I11IV 1I

E key up

D keyup

3,bn-mf

8rt.M3111

---------~-----------_.__ ._------ "-----.

n-mpDif. M5

1,8n·ffSrt.I

G ~ key dep.

2,bn-mp

Dif. M511

1,8n·ffSrt.I

2,bn·mp

Dif. M5II

n-pDi!. M5

3,bn-p

Dif. M5I11

2,b 2,bn-mp n-mp

Srt. M5 Di!. M511 1 I

G key dep.

3,bn-p

Dif. M5111

2,bn-mp

Srt. M511

Mut.IV

1.8n-ffBrt.I

4,bn·mf

Dif. M21II

1.8n-ffBr\.

F key up

3,bn·mf

Srl. M4II1

2,1Jn·f

Sr\. M5I1

1,8n-pDif.I

2,bn-f

Brt.M51I

1,8 1,8 1,8 l,an-ff n-ff n-ff n-ff

Dif. MBl Di!. MBl Dif. MBl Srt. MS21 I I I

l,an-ffSrt.

F key up

G # key dep.

1,an·ffBrt.I

';,.-,""

1,a l,an-ff n-ff n-

Oif. MBl Oif. MBlOif.I I

1,an-ffBrt.I

l,an-ffBrt.I

1,an-ffBrt.I

n-ffBrt.I

1,an-f(8rt.I

A key up

2,brrmpOif.

1,a l,a l,an-ff n-ff n-"Brt. Brt.MBl Brt.I I I

2,brrmpBrt.

l,an-ffBrt.I

G key up

2.brrmpOif.

l,arrff

2,brrmpOif.

Oif. M51I

2.brrmpBrt.

2,b 4,crrmp pp

Dif. M5 Mut.11 IV

G # keydep.

rrmpOif. M5

G key up

2,bn·m'Brt.

2,bn-m'8rt.

2,bn·m'Di!.

2,bn-m'8rt.

A keyup

2,b 2,b 2,bn-m' n·m' n·m'

Dif. M5 Dif. M5 Dif. M511 11 11

1,a 1,8 1,8 2,b 2,b 2,b 2,b 2,b 2,bn·ff n-ff n-f' pp n-ff n-ff n-ff n-' n-'

Di!. MBl Di!. MB2 Dif. MBl Dif. M5 Di!. M5 Di!. M5 Di!. M5 Dif. M5 Di!. M5I I 1 11 11 1I 11 1I 1I

e keyup

1,8n-ffBrt.

2,bn-m'Dif.

2,b 2,bn-m' n-m'Brt. Brt.

A keyup

1,a 1,a 1,a l,a 1,8n-ff n-ff n-' n-' nmp

Dif. MBl Dif. MBl Dif. MB' Di!. MB' Dif. MBlI I I 1 1

1.8 1.8n-' n-'

Brt. MB2 Brt. MB2I I

D ~ trill·k~y dep.

- '. ~- .·.·L. ;_

1,8npDif,

npDif.I

1.8n-pDif.I

D and D # trill·keys dep.

1,8n-pBrt.I

D trill-key dep.

1,8 1,8 1,8 1.8 2,bn·ff n·ff n-ff n-p n-p

Brt. MBl Brt. MB3 Dif. MB4 Dif. MB4 Dif.J J I I II1

1.11 1,81,81.81.111.11 1.81,81.81,81,81,8

n-fn-fn-pn-pn-pn-p n-'n·fn·fn-ffn·ff·n·ff

Brt. MB4 Brt. MB4Dif.Dif.Dif.Dif.Brt. MB5 Brt. MB5 Brt. MB5 Brt.Brt. MB5 Brt. MB4

IJIIII IIIMB5II

D # trill·key dep.

..". /'

1,8 1,8n-ff n-ff

Brt. MB2 8rt. MB2I I

O. trill·key dep.

13 1-L

1,8n·ff8rt.I

1,8n-ffBrt.I

'/,o~n

n·mf6rt.MlI

l,a 1,8 1,8 1.8 1,8n-mf n-mf n-mf n-mf n-mf

Brt_ MB2 Brt_ MB2 Brt. MB2 Brt. M5 Brt. M5I I 1 1 I

o trill·key --.J O trill-key dep .•dep. and 8 key up

1,8n-fOif.

2,bn-p6rt.

1.8 1,82.b1,81,81,8n-ff

n-ffn-p

n-mf n-mf n-mf 11

1,81,81,82,b 2,bBrt. MBl Brt_ MBl Oif. M5

Brt. 8rt. MB3 8rt. MB4n-ffn-ffn-pn-p ppI I111 I I Oif.Oif.Oif.Oi!. MB2 Mut. MBlI

II11 11

o and O~-----ltrill-keys dep.

Set 11: for open-hole flute~

0# trill-keydep. and B key up

t~'K\"

\...~.:' < "~'~~:"-;.~.;';':''; ···~-~S

l,a l,an-ff n-mp n-mp n-mpBrt. Dif. MBl Dif. MBl Dif. MBl

I I 11 I

F keyY:,open

E keyXopen

1,8 ,l,al,al,a2,b5,en·ff

n-ffn-ffn-fn-pppDif.

Dif.Dif.Díf.Dif.Dif. M5J

II I11IV

n-ffBrt.I

2,bn-fDif.

3,en-p

Mut.111

3,b 2,b 2,bn-p n-f n-fDif. Dif. M5 Dif.111 11 I1

2,bn-mp

Brt.M511

2,bn-mpDif.

E ke'yX open

o keyXopen

2,bn-mp

Brt.M511

••

Mut.11

1,8 1,an-mp ppDif. Mut.I I

1,8n-mpDi!.

1,8n-mpDif.

1,a 2,a 2,b 3,b 3,b 1,8n-ff n·m! n-p n-p n-p n-p8rt. Dif. MBl Dif. MBl Dif. MBl Dif. Dif.

I " " 111 "' I

l,an-'fBrt.I

4 d-#- bt-#-

2,bppDif."

1,11 2,b 2,b 1,8n-m! n-m! n-p n-mp

Btr. MBl 8rt. M82 Brt. MB2 Dif.I 1I 1I I

A keyy,open

2,bn-mfDif.II

2,bn-mfDif."

l,a l,a1,8 1,11l,lln-p

n-pn-pn-ffn-ffDif.

Dif.Dif.8rt.8rt.I I I ,,

F keyX open

2,b 2,b 2,bu-mp n-mp n-p

Brt. MB3 Brt. MB3 Dif.11 11 "

X open

Flut1er tonguing is the rolling of the tongue, as in pronouncing 'rrrrrr', and is traditionotated as follows :

orrfl. __

A. Flutter Tonguings

4. Other Resources

11. 1~ - interuity 01 11ulter tonguing

r p;lch ,aund;", .PP <::::=. tt ~ PP -- dynamics 01 pitch soundlT)g

The many varieties of flutter tonguing range from slight pulsations in the tone to '1

loud, buuing noises. These tonguings can, in some measure, be applied 10 all f

sonorities produced by the flute, including single pitches, multiple sonorities, jet whis-lresidual tones, and whisper 10nes. The various applications of flutter tonguingdiscussed within this section.

The 1wo parameters involved in f/ut1er tonguing are the speed and the intensity of fpulsations. The speed can be varied slightly by changing brealh pressure; thus, wfll,~loud notes are flutter tongued, the pulsations will be slightly faster than 1he pulsatiaof soft flut1er tongued notes. The intensity of the pu/sations, however, is independentbreath pressure, and can be greatly varied by changing the position of the tongue ..••.'should be noted that as 1he intensity of the pulsations increases, the note soundingheard less, tor the interruptions in the sound become more marked.

Although increased breath pressure tends to increase the intensity of the pulsatiollsas well as their speed, it is the position of the tongue that most effectively controls f/ut11

tonguing. Each f/utist must tind for himself the tongue positions that best produce tvarious t/utter tonguings. (The differences between individual mouth shapes and tonguthickness preclude any absolute formulae.) The tollowing general statements, howeve,! _may be made: first, that intensity of f/utter tonguing increases as the tongue is progressive ,moved back in the throat, and secondly, that difficulty of flutter tonguing increases allower pitches are p/ayed. Since the traditional notation shows only the dynamic of thepitch sounding, a new notation is suggested, for it inc/udes the intensity of the f/ut1tonguing as well:

Flutter tonguing can be readily applied to multiple sonorities, as no special difficulty ispresented. It should be noted that only flutter tonguing of very low intensity can be used

with unstable multiple sonorities and, except for class I sonorities, flut1er tonguing __decreases stabi/ity slightly.

AII varieties of f/utter tonguing can be used with residual tones and jet whistles. Whenplaying Whisper tones, however, the flutter tonguing must be at the lowest possibfe-intensity. If the pulsations in the air stream are too great, the whisper tones will beinterrupted.

••••••••••••••••••••••••••••••••••••

--- ----~. =,",," -- •••• ------ .•• --

The most intense flutter longuing may be called the 'roar-flutter', a rasp-like buzz

produced by the uvula ando t?ngue by placi~g l~e tongue f~r back in the throat andfluttering as roughly and nOlsily as posslble. rhe roar-flutter can be played with loudsingle pitches, loud multiple sonorities, and residual tones, and is particularly effectivein articulating jet whistles. (For a deta iled discussion of the 'roar- f1utter' and its applicationto jet whistles, see Chapter 4, Seclion D.)

B. Percussive Sounds

Percussive sounds are produced by slapping one or more keys of the flute andfor byclicking lhe tongue, and are short, pitched resonances of lhe lube of lhe f1ute. Themost familiar percussive sounds, key-slaps articulating staccato notes, were introducedto the f1ute by Edgard Varese in 1936.'

Key-slaps can be used to articulate all types of sonorities, including single pitches,multiple sonorities, whisper tones, residual tones, and jet whistles, and can be performedalone. Dynamics are determined by the force with which the key or keys are slapped, anda dynamic range of ppp to f is lherefore possible with almost every fingering. It should benoted that lhe noise of the key striking the rim of the hole is always present to some degree.This can be reduced to an almost inaudible level by slapping the G key whenever possible,which produces the greatest ratio of resonance to noise.

Regardless of the particular key or keys slapped, the pitches produced by key sJaps¡.Hedetermined by the fingering used and whether the embouchure hole is open (as innormal playing), or partially or completely stopped. When the embouchure hole is open,the resonances produced by each fingering sound at the lowest two pitches yielded bythat fingering when overblown. The lower resonance is the stronger, and in the caseof resonances that sound an octave apart, as occurs when key-slaps are p=rformed withthe regular fingerings from 83 to C~s, they very much resemble a unison at the pitch ofthe lower resonance. When a key-slap is performed with the fingering for low 83, forexample, a strong resonance is heard at 83 along with a weak resonance at 8.c, the overafleffectbeing that of a single resonance at 83• In cases such as the above, only the lowerresonance is notated.

The pitches of the resonances produced by key-slaps can be lowered by stopping theembouchure hole, either by closing it with the tongue or by pressing the embouchureplate firmly against the chino When the embouchure hole is stopped, the resonancesproduced by key-slaps fingered 83 to D.c drop an octave, while the resonances of keyslaps fingered Dt.c to C$:sfall a major seventh. As with key-sfaps with the embouchurehole open, lhese fingerings yield resonances an octave apart, and only the fowerresonance is notated. Thus, when a key-slap with the embouchure hole stopped isplayed with the fingering for low 83, resonances sound at 82 and at 83, although theresonance at 83 is extremely weak. Wh~n key-slaps with the embouchure hole stoppedare performed with fingerings thal, when overblown, produce harmonics that do not formlhe overtone series, the resonances sounding are lower than those produced by key-slapswith the embouchure hole open. The changes in pitch, however, vary with each fingeringand must be found by experimentation. For example, two key-slaps with the fingeringA~4 11,the first with the embouchure hole open and lhe second with it stopped, willproduce resonances at Atj4 and Btj4, and at Bb3 and C~4 respectively. Two similarlyperformed key-slaps with the fingering H4 VII produce resonances at F~4 and 8~4, andat Cq3and 8b4 •

11 is possible to mediate belween the key-slaps wilh the embouchure hole open andthose with it slopped. This is done by starting with the embouchure hole open and

, Edgard Varesc. Denslly 2 í.5 (Nf'w York. 1936. revised 1945) .

"-.~ :. -~ .\~~":'" "_o, :\;.;~, ~.:';?',:~~_~,~:'t:.~-"O'

iv ~.L ••••.••', .~'';''-' ••• ~',.¡•..'. l•.~

key-slap with embouchure-hole stoPpe<:

pitch sounding

1ingering

key-slap

pitch lounding

key-slap

fingering

(pitche~ 01 resonance~ produced wilh fjngering~ abovc D~6 arxf wilh micrOlonal and nr"1ingcring~ must be 10und by experimentation)

Key-~Iap articulating pitch: can be played at all pitche~

gradually turning the flute inwards towards the lips until the embouchure hole is placei'between the lips, which then are gradually closed, stopping the embouchure hole. As theembouchure hole approaches the mouth, the mouth increasingly acts as a resonatinchamber; its vowel shape becomes audibly discernible and a fairly high, weak pite'(probably the resonance of the mouth itself) is added to the resonances produeed by thfl..key~slaps. As the f1ute is progressively turned in, the mouth resonance descends to thpitch of the higher resonance produced by the key-slaps, and then deseends in unisowith the resonance of the key-slap.

It is important to note that key-slaps with the embouchure hole open or completelstopped project fairly well, bu! that all key-slaps - espeeially those with the embouehurhole partially closed - are more effective when performed on the electric flute. (For "discussion on the sonorities of the electric flute, see Chapter 5, Section B.)

The notations for key-slaps and the ranges of the pitches produced are as follows:

Key-slap alone: resonances sound at the two lO<Nestpitches yielded when 11 given fingering is overblown

Key~lap with embouchure--hole stopped:

r---=~,",-,-=~_~===,!,~--__ =====-__ ~__ ~ ~."'',. ~.--, ~---.

---- --..--

__", .....-....~l....--#".....-----·-··--I I

key·slap

\lowcl shape 01 lhe mouth[oJ

(+'0)\

I Bngle 01 lhe fluted ---fingering

K--tongue-{;Iick K+--simultilncous longue"click

a nd key slapJ- fingering

Jfingering(K) -

tonguc-{;I ick into ( K +) --- simultancous tongue-{;Iick

J-embouchure hole

J ¡oto ,mbooc""" "01, "dkey-slapfingcring fingering

One further type of percussive sound can be produced by the flute, and these may becalled 'tongue-stops'. They are performed by placing the embouchure hole between thelips <lnd quickly stopping it with the tongue. The resonances sounding are the same asthose produced by key-slaps with the embouchure hole stopped, but are heard without

Tengue.diek with embouchure hole open: can be played alone, uH'CilO articulate pitches, ilnd/or in conjunetionwith key-slaps

:J~embouehure·hole between the lips

Percussive sounds can be produced by clicking the tongue as well as by key-staps,and tongue-clicks can be performed either alone or in conjunction with key-slaps, andcan be played with the embouchure hole open or with it placed between the lips. Whenthe embouchure hole is open, tongJe-clicks produce the noise of the clicks themselvesand short, extremely soft residual tones at the lowest two pitches yielded by eachfingering when overblown. When the embouchure hole is placed between the Jips,however, tongue-clicks produce both the noise of the clicks and strong resonances thatsound within an approximate range of a major third to an octave below the pitch of thefingering used. This drop in pitch cannot be notated, for it varíes with the mouth shape ofeach flutist. In addition, the vowel shape of the mouth and the position of the tongueplay an important part in determining the pitch and timbre of tongue-clicks with theembouchure hole between the lips. The mouth's vowel shape is always audibly discernible, and pitch variation of about an octave can be made with every fingering by startingwith the mouth shaped to produce [i] and the tongue tar forward, and gradually changingto the mouth position tor [u] and moving the tongue as far back as possible in the throat.The notations for tongue-clicks follow:

Key-slaps mediating between open and closed embouchure hole:

U ~normal playing angle

angle of the"flutc: 0 ~slightly turned inWilrds

any mechanical noises. Oepending on the force with which the tongue strikeembouchure plate when it stops the embouchure hole, tongue;stops may sound \.dynamic range of ppp to tt. Production of the loudest tongue-stops may be aided 1.

strong exhalation of the breath, similar to the production of jet whistles, but if the to~~_does not c10se the embouchure hole rapidly, a short jet whistle will sound beforecut off by the tongue-stop. (Jet whistles are fully discussed in Chapter 4, SectioThe notation for tongue-stops follows:

(T) ----- tongue~top

J --- fingering

ff --- dynamic

C. Whisper Tones and Residual Tones

Whisper tones, sometimes called 'whistle tones', are the individual partials of notes,are high, pure sine tones. They can be produced with every fingering, and, dependinthe fingering used, from five to fourteen whisper tones can be sounded by forming a v.narrow lip opening and blowing as gently as possible across the embouchure hWhisper tones are heard only at extremely low dynamic levels and are difficult to sus~individually, for they have a strong tendency to oscillate one to another. With considera'practice, however, it is possible to play whisper tones forming almost any pitch sequenr:p.Oue to their softness, whisper tones do no! project well, and are mos! effective wlperformed on the electric flute.'

The various whisper tones yielded by a given fingering can be produced by main!ainj~the very narrow lip opening and minimum brea!h pressure and gradually raising the ang,:...of the air stream. (The changes in embouchure position are identical with those méwhen low fingerings are overblown to produce their harmonics.) As the angle of the .stream is raised, progressively higher whisper tones will sound. Regular fingerings fr0low B3 to C$:6yield whispertones that form part ofthe overtone series for each fundamentt.When the fingering for E~~ is used, for example, whisper tones can be played from tthird to the ninth partial of E~, sounding at B~5, Et:6, G~6, B:;6, 0:;7, Et:7, and F"7Similar/y, mos! alternative chromatic fingprings between B 3 and C:;6, and many quatone and other microtonal fingerings, yield whisper tones forming the overtone ser

bilscd on the lowest normal pitch produced by each fingering. When a fingering does niyield whisper tones forming an overtone series, tlle whisper tones usually sound al tnepitch levels of the harmonics that are produced when the fingering is overblown. TIIexac! pitches of the whisper tones sounding in each case, however, must be determin'byexperimentation.

In general, low fingerings yield more whisper tones than high fingerings, for it is easi'elto produce very high partials when a longer air column is vibrating inside the flute. Tfingering for low B3, for example, yields fourteen whisper tones, while the fingering flC:;6, having a much shorter length of vibrating air, yields only f¡ve or _six whisreuont;~It should be noted that, regardless of the fingering used, the lowest two pitches producby that fingering can almost never be sounded as whisper tones.

The highest whisper tones, produced by very low fingerings, are the highest pitches th;:¡tcan be played on the flute, and extend the instrument's range to C:;8. Whisper tones d_

, See Chapter 5. Section B.

pitch or pitches sounding

fingering

residual tone

dynamic

Jet WhistlesD.

Residual tones are noise-like resonances of the tube of the flute, usually consisting of avery weak fundamental and a few higher partials, and are often heard with naturalharmonics. They are very easíly produced, and can be played alone or, at low dynamiclevels, with whisper tones.

Residual tones can be played with all fingerings by forming a wide lip openíng anddirecting a relatively unfocused air stream across the embouchure hole. Unlike whisperton es, residual tones have the full dynamic range of ppp to tI. In most cases, residual tonessound clearly at the two lowest pitches produced by each fingering, their effect being thatof a multiple sonority. When the resonances are an octave apart, as when regularfíngerings from B3 to D~5 are used, the residual tones resemble a unison at the pitch ofthe lower resonance. Strongly played residual tones may additionally include one or moraclear resonances at the third or higher harmonic produced by a given fingering. Whispertones can be sounded simultaneously with very soft residual tones by raising the angle ofthe air stream as far as possible and slightly increasing the tension of the lips. It is quitedifficult, however, to control the pitch and stability of the whisper tones in these instances.

The notation for residual tones is as follows:

J --- whisper tone soundingJ--- fingering

be produced from the third through .sixteenth pa~ials of ~3 and C~4, forming ranges ofF~5 to B~7, and of G~~te: C~B respectlv~I~. Even hlgher partlals can be reached with thesefingerings, although It:S extremely ~,fflc~lt to. do so. In. most .cases, the lowest andhíghest whisper tone Yletded by a glven fmgermg are qUIte dlfflcult to produce, whilefacility with the whisper tones between these extremes can be gained with moderatedifficulty. The notation for whisper tones is as follows:

Jet whistles are produced by placing the embouchure hole between the lips - pressingthe lips against the embouchure plate so that no air escapes - and blowing directly intothe flute. Jet whistles are breathy, semi-pitched resonances of the flute's tube, and varyfrom short, violent 'shrieks' (from which they draw their name) to very soft, sustainedsonorities not unlike residual tones. Jet whistles Céln be articulated by regular tonguing,tongue-stops, and 'roar-flutter' tonguing.

The parameters that determine the volume, pitch, and timbre of jet whistles are the angle

-0-- _

of the embouchure hole between the lips, the vowel shape of the mouth, fingeribreath pressure. Each influences jet whistles as follows:1. Angle of the embouchure hole :

The angle of the embouchure hole between the lips greatly influence

pitch and timbr~ of je.t whís!les. ~he~ the.flute is turned out as far as porthe pitch of a glven Jet whlstle IS at ItS hlghest and a cluster of strong,partíaIs is usually presento As the flute is turned inwards until the embo

hole faces the player, the pitch of jet whistles ialls approximately an octa'vjlower partíais become quite strong. Hígh partíaIs, if at all present, are very \,,'2. Vowel shape of the mouth:'

This strongly affects timbre and pitch of jet whistles, for the vowel shthe mouth is always c1early audible. Further, by changing the mouth ~from [i] to [u], the pitch of every jet whistle can be lowered about an o~

3. Fingering: '. _ .

The fingering of a given jet whistle determines the range-6f pitches in wr,can be produced by varying the other three parameters. Chromatic fingenfrom low B3 to E~7 produce increasingly higher jet whistles, and the .1ranges of jet whistles fingered B3 and Eq7 are rcughly él major fifthFingering affects timbre as well as pitch, for the high partials of jet whlplayed with fingerings in the flute's third and fourth octaves are farintense than those fingered in the lower two octaves.

4. Breath pressure :

Breath pressure determines the volume of jet whistles, and influencesand timbre. Maximum breath pressure, produced by violent exhalation intflute, yields extremely loud jet whistles. Increasing the breath pressuretends to raise the pitch and to strengthen the high partials of jet whistIt should be noted that the maximum duration of a jet whistre depends obreath pressure used; the loudest jet whistles can be sustained for ontwo seconds, while the sohest can be held for as long as twenty seconds.

The four parameters are, of course, interdependent, and by combining them a topitch range of approximately three octaves can be played with every jet whistle. A pl,range from 86 to 83, for example, can be produced when a jet whistle ís periormed \the fingering for low 83 by starting with the flute turned out as far as possíble, the mo"shaped to produce [i] and maximum breath pressure. Then, by turning the flute inwJuntil the embouchure hole faces the player, shapíng the mouth to produce [u]decreasing the breath pressure to a very low intensity, the pitch will descend to 83, higlo.partials willlose intensity, and loudness will decrease from fffto pp.

AII portions of jet whistles can be articulated. They can be started either with or withregular tanguing, or by stopping the embouchure hole with the tongue and then openjthe hole. (This technique is the reverse process of performing 'tongue-stops', which él'described in Chapter 4, Section 8.) Single, double, and triple tonguing can be used~interrupt jet whistles, and jet whistles can be cut off by regular tonguing or by a tongstop. In addition, jet whistles may be articulated by roar-flut1er tonguing, the most inter.variety of flut1er tonguing. When applied to jet whistles, roar-flutter tonguing adds a lonoisy buzz to the pitch sounding. The pitch and timbre af the naise produced by the raflut1er can be changed in cancert with changes in the pitch and timbre of the jet whistle

, The vowel signs used in lhis book !He lak,en Irom lhe International Phonetic Alphabel. published by lhe Associat'Phon<:liquc Inlernationalc, The signs are;[1] ~ eco as in scck[e] 0- a.asinmaid[aJ~ ah.asinart[oJ~ o.asincoal[u] o oo. as in OOle

In add'lion lo lhe above. lhere are numerous olhcr vowcls in lhe PhonClic Alphabet intermedia le belween lhe p:':'~vowels. and lhese may also prove useful.

E. Singing and Playing Simultaneously

Angle of the embouchure hole:

flute turned inwards a~ far as po~sible

flute turned out as far a~ possible

---------=====~ ..

----- dynamics, (breath pressure)

[í] [ U ] ----- vowel shape of the mouth

pp - -= if

fingering

means of shaping the mouth for the various vowels and by moving the tongue forward orback in the mouth. The pitch produced by roar-flutter 10nguing can be lowered about amajor sixth by starting with the mouth shaped to produce [i). and gradually changing tothe positions for [e]. [aJ, [o]. ando [u]. At the same ti.me, the tongue is moved from farforward in the mouth to as far back In the throat as posslble.

Presented below is the notation for jet whistles :

Almost all flutists can, to some degree, hum while playing single pitches, creatingmultiple sonorities that are often heard with very pronounced modulation. The intervalsformed and the timbre of these multiple sonorities depend, of course, on the piteh andtimbre both of the note played and of the flutist's voiee. Unless the f/utist has anexceptionatly clear voiee, however, the multiple sonorities created by singing and playingsimultaneously are usually of a rather coarse, often noisy timbre.

Singing in unison or oetaves with the note played is fairly easy to perform and produceslittle or no modulation. Singing in other intervals with the played note is more difficult, asis either sustaining a played piteh and changing the sung note or viee versa. If the pitchesof the voiee and the flute are very clase to eaeh other or to a perfect interval, the differencetone created by their modulation witl cause pronounced beating, and these combinationsare very difficult to sustain. Further, it is extremely diffieult to play most multiplesonorities and sing simultaneously. This is almost always limited to singing one of thepitehes sounding in the multiple sonority, and to the most stable multiple sonorities. It isalso important to note that singing and pfaying simultaneously restricts the dynamic ofthe played pitch to an approximate range of mp-f.

With praetiee, however, any number of intervals can be formed and played with faeilityby means of this technique. It is suggested to composers that, when calling for singingand playing simultaneously, at least two choiees for the sung piteh be given the flutist, onefor high voiee and the other for low voiee. The notation for singing and playing follows:

.1 playcd pitchS J --- sung pitch

F. SUbstituting Other Sound Sources for the

With the headjoint removed, the body of the flute can be played with a variety of alt

sound sourees, including various types of reeds and brass mouthpieees, and by b~direetly into the body of the flute. The sonorities produeed through the use of~rsound sourees are unlike any heard when the headjoint is used, but are rel~

uneont,olled, lar Ilutisls have ,a,ely had experienee with, 0' developed an emb0'j'for, reed and/or brass mouthpieces. Additional/y, the playing of alternative sound SOOrcan be both fatiguing and desensitizing to the lips. Unless the individual fluti""previously developed his embouchure for one or more of these sound Sources, .cautioned to expect an unusual demand on his embouchure, and that normal playing r _be impaired until the lips are fully rested. The onry exception to the above is thethe bassoon reed, which cal/s for an embouchure very similar to the flutist's and tsomewhat less fatiguing when used for brief periods. Presented below are descriptTof how each sound source is used with the flute, and of the sonorities produc8ach case:

Reeds:

1. oboe - produces very lin/e effect when Sounded inside the flute's body. FO'.Lmost part, only the sound of the reed i15elf is h6ard, as ftrarely prav::;b::slair column inside the flute into vibration.

2. clarinet - when fitted inta the flute's body by means of a simple paper tube, t'clarinet mauthpiece yield single pitches which resembles the sonorimetal clarine15, and that form an approximate chromatic sea/e when a chrom _

scale is fingered on the body of the flute. Some multiple sonorities can.produced by placing less of the reed within the mouth, but these are qu1"'djfficult to sustain. To minimize strain on the lips, use of a very soft reesuggested ..

3. bassoon - a great number of single pitches and multiple sonorities can eproduced by either using a normal bassoon embouchure or by holding the renear its base with the teeth and allowing it to vibrate freely within the mou .(The base of the reed is slightly inserted into the top of the bOdy of the f1utThe single pitches, produced with the more or less normal bassoon embouchurrare somewhat saxophane-like in timbre, and form an approximate chromatscale when a chromatic scale is fingered on the f/ute. Five and six note multipsonorities are sounded by al/awing the reed to vibrate-ireely within the moutl-:and these mu/tiple sonorities, produced by many fingerings, are heard witintense madulation.

Brass mouthpieces: Experimentation with trumpet, French horn, trombone, and-tuo'mOllthpieces produced very limited resu/ts when these were applied ta the flute byinscrting them into the top of the flute's body and buzzing. Generally, only the soun

of the mouthpiece is heard. When a particular mouthpiece does excite the ai'lcolumn inside the flute into vibration, the resulting timbre resembles a mixture ofbrass and alto saxophone sonorities.

Buzzing directly into the top of the flute's body: This technique, while ex1remelyfatiguing to the lips, yields a variety of single pitches of a rather noisy, brass-liketimbre. Buzzing into the flute always excites the air column inta vibration, andapproximate chromatic tones can be produced with regular chromatic fingerings.The higher pitches produced by buzzing are more difficult to produce and sustainthan the lower pitches, Bnd lhe piteh produced by a given fingering depends largely,an the tension of lhe lips. When the fingering for low B 3 is used, for examp/e, pitchesbctween B 3 and E4 can be produced by gradually increasing the lip tension.

5. The Electr;c Flute

The electric flute, quite simply, is an amplified flute. The basic equipment necessary foramplificatíon consists of either a contact microphone or a standard air microphone, anamplifier, and o~e or mor~ speak~rs. This sy~tem wil.1 increase t~e volu~e of. all f1utesonorities, and, If the equlpment IS of very hlgh quallty, do so wlthout dlstortlon. Thepurposes of amplification are several; first, raising the volume level enables very softsonorities, such as whisper tones, residual tones, and percussive sounds, to be projectedwell, and when the flute is sufficiently amplified, it can be brought ¡nto balance withensemble combinations in which it normally would be drowned out. Second, by meansof electronic modification, the flute can produce an unlimited number of new sonorities,often of intervallic and timbral composition radically different from any produced withoutsuch modification.

This chapter ¡s, indeed, merely an introduction to the techniqucs of amplification andmodification, and to the basic sonorities of the electric flute. The worlds of soundencompassed by this instrument will, without question, call for their own volume at somefuture date.

A. Techniques of Amplifying the Flute

The first, and ,most important, stage of amplification is the microphone used. Contactmicrophones, mounted in the headjoint either by means of a special cork or external clip,offer greater reproduction than do air microphones of whisper tones, residual tones,percussive sounds, and jet whistles - sonorities in which resonances inside the tubeof the flute are important. With few exceptions, the contact microphones presenllyavailable, however, tend to distort noticeably when Joud notes are played. Contactmicrophones allow greater freedom of movement to the performer, for they elimina te theneed to play facing in a given direction or angle. Air microphones are available inextremely high quality, and, with the exception of their limitation in reproducing thesonorities mentioned above, perform well when used with the f1ute. Air microphones areusually best positioi1ed from about tour to eight inches in tront and slightly to the right ofthe embouchure hole. When the microphone is placed near the lower end of the flute, thetone contains a disproportionate ratio of high partials, and tends to sound ra!her brittle. Ingeneral, both contact and air microphones are adequate, and the choice be!ween themis a maner of personal preference.

The amplifier receives the signal from the microphone and increases its strength to thedesired level. It is most important that the amplifier be af sufficient quality so thatthe entire frequency range of the flute can be amplified without distortion. This rangeextends from B~2, the lowest key-slap with the embouchure hole closed, to about CS;B,

approximately the highest partial heard in flule notes.' In addition, the amplifiershould be powerful enough to drive the speakers easily, for this avoids distortion atmoments of peak volume.

Speakers should be chosen which can reproduce the f/ute's frequency range withmínimum distortion, and which are capable of sufficient volume for the performancesituation. Since extensive bass response is not necessary, relatively small, high efficiencyspeakers may be used, rather than the larger bass-reflex type. The placement of speakers,again, depends on the performance situation, but they are generally placed so as todistribute the sound evenly throughout the place of performance.

This basic system of microphone, amplifier, and speakers can be augmented by such

1 In cyeles per seeond (cps or Hz), Ihis range exl(:nds arprOXirni1Il'ly "0m 124 10 8.900

refinements as preamplific.ation and balance controls between the speakers. A potentl~meter, or volume control, IS often worn attached to the belt when a contact mjcroph~.is used.

It should be noted that noise of the f1ute's mechanism is ohen heard when tinstrument is amplified, especially when a contact microphone is used. This noisJ~lprimarily caused by the 'fee1' that control the height of the keys, and sounds whene __a key is raised. (Mechanism noise is present in normal playing, Dutls almost alw-'masked by the note.) Depending on the equípment used, mechanism noise canminimized or eliminated by setting treble controls on the amplifier as low as possiKey-slap resonances may also be pronounced in the amplified tone, and their intensias in normal playing, can be controlled by varying the force with which the keys aclosed. Key-slap resonances can be eliminated by playing 'Iightly', using mínimum fo.~_in c10sing the keys.

B. Sonorities of the Electric Flute

Without electronic modification, the sonorities produced by the electric flute, except ftheír hígher volume, are basically identical to those produced by the flute normalir•In order to use amplification to its best advantage, however, a wnrking knowledg.e of nit affects the various flute sonoritíes is necessary. The followingchart describes tapplícation of amplification to flute sonorities; its structure is self-explanatoAs previously mentioned, mechanísm noise is ohen present, but can be minimizedeJiminated by setting treble controls on the amplifier as low as possible. Use of hiquality equipment is assumed.

In some musical situations, however, mechanism noise and distortion may notundesirable. It is suggested to flutists and composers alike that they do not consider telectric flute only as a louder flute - although it can be used as such - but as.a neinstrument capable of a vast range of dynamic and timbral possibilities, most of which arnot normally available to the fJute. The followíng two sections discuss the sonorities ~the efectric flute. The first includes those sonorities heard when the ffute is amplifiwithout electronic modification, and the second is a description of the techniques of sucmodification and of the resulting sonorities.

EHeet (11Amplifieation

contaet mierophone uscd air mierophonc used

Comments

A poor mierophone oramplifier rnay 1avourone 01 the pilches&ounding, increasingits volume proportionately more than lheother piteh or pitches

The Dmplifier andspeakers must bepowerful enough tohandle the very intensepeak volume of theloudest jet whistleswithout distorting

Undistorted. Reproduetionof pitehes produeed bymodulation is not as

complete as when a con-laet rnicrophone is used

Undistorted

Reproduetion is limited,Bnd the flulist must playwithin one or two inchesof the microphone. (Useof a wind sereen on themierophone is reeommended to eliminatebreath noise)Same as aboveSame as when contaelmierophone is used,excepl that fewer highpartials are reprodueed,and a wind sereen isneeessary

Undistorted

Meehanism noise alongwith key-slaps isrelatively slight, and canbe controlled from theamplifier. Tongue-c1ieksand tongue-stops Bre notreprodueed as well 8Swhen a contaelmierophone is used

Undistorted

UndistortedUndistorted. exeept forvery loud jet whistleswhieh may distort audibly

Undistorted

Same as above

Meehanism noise isusually heard with keyslaps, and treble settingsshould be as low as

possible if this is notdesired. Tongue-clicksand tongue-stops areheard without distortion

Undistorted, exeept forvery loudly played notes,whieh may audibly distort

Sonority

Singing and playingsimult3neously

Residual tonesJet whistles

pereussive sounds

Whisper tones

Multiplesonorities

Single pitches

C. Electronic Modification of Flute Sonorities '

Flute sonorities can be electronically m.odified by taking t~e. microphone signinput to one or more of a number of devlces, and then ampllfymg the result. Th~.modulation discussed in this section include reverberation, filtration, frequency _.ring and balance modulation, amplitude modulatíon, and frequency modulatio~,present time, various commercial devices are available that perform one or more"

functions, and are designed to be used with ampri~ied in.struments. Many fmachines, though, appear to be pre-set to be compcrtlble wlth the souná spectrbrass and reed instruments, and have a somewhat lirnited response when used

flute. Various electronic music synthesizers can also be used, and these genera1l4greater range of functions and controls. Preamplification is usually required ahea-1input into a synthesizer. While the large size and weight of some synthesizers ,exclusively for studio use may make transporting, them difficult, smaller,

synthesizers intended to be used in live. performance with amp.lifie~ instruments a.developed. At least one such machme, of excellent quallty, IS presently ava'Additionally, the following may prove useful when working with a synthesizer

multiples circuit to obtain several duplicates of the microphone signal for variou~

purposes (explained in the body of the text), an~ s¡;cond, él m¡i<er, in omer m~option of hearing the flute as played in addition to the modified sound and or to "several types of modified sound.

Reverberation, as it naturally occurs, is the multiple reflection of sound in an en.causing sound to persist Bher its source has ceased vibrating. Differentiation is between reverberation and echoes, which are repetitions of sound produced by refrom an obstructing surface. Reverberation devices use the natural principIe, but .of B large enclosure, suspended springs or a metal plate are used to continuevibratíons. The metal plate units, while not portable, are generally of higher qual .amount of reverberation, or reverberation time, can be controlled on both types of ~and by adding reverberation to flute sonorities, 'depth' or resonance is inc' "especially with whisper tones and percussive sounds. Reverberation increaisustainíng power of the flute in proportion to the reverberation time used, and'reverberation time will result in a blurred effect when used with rapid playing. F,reverberation tends to cover mechanism noise when tones are Rlayed. _

There are several types of fi/ters, and their function ís to aflow passage of aportion or portions of the sound spectrum, and to screen Ol:l!-otA-er fíequencies. Thof filter are as follows:

1. Low pass - allows passage of all frequencies below a certain cut-off freqlIlblocking frequencies above its levef.

2. High pass - allows passage of all frequencies above the cut-off frequencblocks frequencies below it.

3. Band pass - allows passage of a certain frequency or group of aUlefrequencies, or 'band', and blocks frequencies above and below their lE.

4. Notch - bfocks passage of a certaín frequency or frequency band, and aflrother frequencíes to pass.

Pre-set fi/ters, or fifter banks, are used in some devices to change the ratio of pa~notes so as to make them resemble the sound spectrum of various instruments, sthe oboe, bassoon, cello, etc. Perhaps beca use of the flute's relative rack of high rwhen compared to string and reed instruments, this type of filtration so far hasrealistically recreated other instrumental timbres. It does, though, produce r,changes ín the flute's tone, often adding a rather nasal qua lit y to the sound. On á s'

sizer the fílters must be set by the performer, and the type of filter or filters to be used andtheir' centre frequencies and quality factors, or 'O', must be determined. The centrefrequency of band pass and notch filters is the central pitch of the frequency band to bepassed or eliminated, while on Jow and high pass filters it is the cut-off point below orabove which frequencies are passed. The 'O' factor determines the sharpness of thecut-off point of a filter. Even at the highest 'O' settings the cut-off points of filters are notabsolute; some frequencies adjacent to the cut-off frequency do pass, although they arenot in the desired range. When a band pass filter's 'O' is set at its highest level, forexample, the frequency band passed will be quite narrow, and amplitudes of thefrequencies adjacent to this band taper off sharply to nothing. The samefilter, set at thesame centre frequency but at a low 'O' will pass a much wider band, and the frequenciesadjacent to the band taper off gradually in amplitude. Presented beJow are graphs of thefrequencies passed by band pass filters with both high and low 'Q' factors vnd /ow passfilters with high and low 'O' settings. Amplitude is represented on the vertical axis, andfrequency on the horizontal axis.The curves represenl the frequencies passed by thefilter in each case.

Low'O'

-----------------------< •.•..Frequency

Amplitude

Amplilude

Low Pass Filters

High 'O'

High 'o'

8an<! PilS5 Filters

Frequency----------------------< •.~o

nplitude

••••••••••••••••••••••

Frequency

----------------------Frequency

tremolo effect, similar to rough flutter tonguing. no clear side bandsvery coarse sonorities, with side bands close to eaeh piteh played by theflutebassoon-like sonorities, with clear side bands fairly elose to eaeh pitehplayed by the flute, except for very low difference tones sounding whenthe flute plays above B 6

Balanced Modulated Sonorities

~L #.L

Frequency shifting and ring and balanced modulation have certain similar eharaetelTo.líes, and are similar in principie to the modulatíon that oecurs when many mult •.sonorities are played. Frequeney shifters and ring and balanced modulators each req'"lwo inputs, one of which can be the flute, the other either an oscillator, another instrumerror a tape. Frequency shifters produce either the sums of or the differences betweenfrequencies of the two inputs. When a frequency shifter is set to produce the sums ofinputs, and the two inputs are a f1ute sounding A~4, at 440 Hz (- cyeles per second), aan oscillator producing a sine tone at 200 Hz, the resultant frequency, cr side band,be heard at 640 Hz. The higher partíaIs in the f1ute tone will also modulate with l'

oscil/ator signal, producing additional side bands whose amplitudes are proportional ~the strength of the partials as heard in the f1ute sound.

Balaneed modu/ators and ring modulators produce both the sums anrJ differences of tfrequencies of the inputs. The difference between the two devices is that ring modulatqinclude an equalizíng circuit ahead of the modulatory circuitry, thus maintaining equrlamplitude between the lwo inputs. This results in the maximum number of side banland ensures that neither of the inputs is heard. When a balanced modulator ;s used, t

inputs are usually heard along with the side bands, unless they are equal inamplitudrAnd, since the amplitude of the second input does not vary in concert with that of tHflute, changes in the f/ute's amplitude as slight as those heard when vibrato ís used wcause the inputs to be heard even if their amplitudes are original/y set at the same levFurther, an envelope follower is necessary to control the second input with the fluteThis device prevents amplification of the second input when the f1ute is not playing, th~eliminating leakage.

The follow;ng chart presents the sonorities produced by a balanced modulator wher..used with the f1ute, preamplified, as one input. An oscillator producing sine tones is thsecond input. The pitches played by the flute are given at the top of the chart, and thfrequencies of the oscillator are found at the left hand margino The same side bands arheard when the oscillator is set to produce triangular, pulse, and square waves, though anincreasing amount of noise is heard with each of these wave forms. Triangular waves ada relatively slight degree of noise, while the use of square waves yields very nois .sonorities. Pulse waves produce an intermediate degree of noise that increases progressively as the width of the pulses approaches that of square waves.

frequeney ofoscil/ator(in Hz)

pitches played by flute:

1 Devices that can be vollage-controlled can be controlled by an oUlside voltage as well as by manipulating knobs orother manual controls. In addilion, the degree 01 control exerted by lhe outside voltage, or control vollage, 0'1 a givendevice can be determined by the level se1 0'1 its control input. An example 01 voltage control is the use of an oscil18torto control the amplitude 01 another oscillatol. To do lhis, lhe oscillalor being used as the control signal is taken 85 lheconlrol input to the ampllfier of the oscillalor being controlled The amplltude 01 the oscillalor being controlled willlhenbe raised and lowered a given number 01 times per second, the same rate as the Irequency 01 lhe control oscillator.

A device that is extremely useful in working wilh vollage-conl,olled equiprnent is B I'equency-to-voltageconverte" This rnachine ,1enelales a conl,ol voltage proportional to 1he I,equency 01 its inpul A pos~"ble use forthis device, for example, would be 10 control the Irequency of several oscillalors, driving th¡'rn in parallel rnollon wilhthe f1ute_ FUrlher,lhe rate lhat an oscillalor would control the amplltude o, Irequency of unolher o~cillalO' or oseill,lto'scould be determined by the pitch pluyed by the flute_ The control oscillutor could originall\, be set ul D f,['qu['ney eithe,below or above the range of lhe flule The flute, when played throlJgh a lrequency-Io-voltilge conVl'rter, could thencontrol the Irequel1cy 01 :11[' control oscllliltor, yielding 50norilll'5that would otherwis[' be impoS,,'¡JIc 10 produce.

When multiple sonorities are played by the flute, the number of side bands markedlyincreases, for each pitch produced by the flute moduJates with the second input. Whispertones can also be used, and these yield rather thin, grainy sonorities since the side bandsare ver}' high and close to each other. Balanced modulation is much less effective \-vhenpercussive sounds and most jet whistles are used. The relative weakness of the individua Ifrequencies within these sonorities, as opposed to their noise component, prevents thecreation of clear side bands.

A ring modulator will produce basically similar side bands to those described in thechart when the same inputs are used. Ring modulated sonorities, as previously mentioned,do not include the frequencies of the two inputs. Frequency shifters produce still tewerside bands, tor only the sums or the differences of the inputs are heard. The inputs themselves are, again, eliminated. It is important to note tha! some balanced modulators arecalled ring modulators. The sonorities produced by the two machines are quite different,and many European compositions that call for ring modulation of instrumental soundscan be successfully realized only with the ring modulator proper.

A property shared by both balanced and ring modulators is that whenever the twoinputs are frequencies within lhe same overtone series, the side bands produced wíll formthat overtone series in its entirety, including the fundamental.

With synthesizers that allow voltage-control,' three further types of modulation are

clear, resonant side bands that converge slightly with each successívelyhigher pitch of the flute - sine tone is audiblerich side bands, including very low and high frequencies, are heard witheach pitch played by the flute - oscíllator signal is clearly audiblerich, quite strong side bands over a wide frequency range are heard witheach flute pitch - low side bands are prominent - oscillator signalc1earlyaudiblestrong side bands withboth very high and very low frequencies prominent- somewhat grainy sonorities sound when the flute plays above H6 oscillator signal clearly audiblegrainy sonorities with very strong high side bands and, with some pitchesof the flute, strong /ow side bands - oscillator signal audible, but blendingwith high side bandsvery grainy sonorities comprised almost completely of extremely highfrequencies-no low frequencies are present - oscillator signal is audible,but very weakvery weak, extremely high side bands sound with all flute pitches timbre is quite grainy - oscillator signal is barely audibleoscillator signal and almost all side bands are above the range of humanhearing - side bands sounding are extremely high and weak

frequency ofoscillator(in Hz)

possible - amplitude, Irequency, and timbral. Two approaches can be taken to amand limbral modulation. Either lhe Ilute's tone can be modulated by an oscillatorsigna/, or lhe Ilute's Irequencies can be used as control voltages 10 modulate asigna/. .

In amplitude modulation, which produces the most complex sonorities 01 all tymodulation, either an oscil/ator signal is used to control the amplitude 01 the f1ute,versa. In both cases, a single amplilier is used. When mOdulating the amplitude11ute, lhe instrument's microphone signal is the input being amplífíed, and an OSCil'l'2signal is used as the control input that varies the amplitude of tne 11ute. To modula

amplitude 01 the oscil/ator, lhe flute is used as the control input and the oscil/ator sigamplified. When the 11ute is controlling the ampJitude of an oscillator, and it SOunAq4, the amplitude 01 the oscillator is increased and decreased 440 times per second ..changes in amplitude create a tone at Aq4 in addition to the Irequency original/y prodby lhe oscillator. The lwo Irequencies modu/ate with each other and produce lhe sside bands as would be produced by a balanced modulator with the same inputr.amplitude modulation, however, lhe Irequencies 01 the inputs are always heard, anc.¡side bands lhey produce modulate with each other, producing their sums and difIerenThe amplitudes 01 the side bands are, 01 Course, unequal. Those produced by moduJa1oof the fundamental 01 the fJute note with the oscil/atoí f¡equ.ency are !f¡e S1TOTI

fol/owed by lhose produced. by intermodulation 01lhe side bands. and by mOdulation lintermodulatlOn of the flute s hlgher partlals wlth the oscdlator frequency and wlth f

side bands. The number and strength 01 the side bands is proportional to the amp!itul,.01 the two inputs, and a change in lhe amplitude 01 either input will effect the structurthe side bands .. _

The sonorities produced by lhe lwo methods 01 amplitude modulafionare lhe same(j~long as the oscillator frequency remains within the range 01 the f/ute. When the amplitu01 the f/ute is controlled by an asciI/atar, lhough, a lar greater range 01 sonorities can lproduced, for the Irequency range 01 mosl oscil/ators extends from les s lhan one cyele psecond to more than 16,000 Hz. (The frequency range 01 the f/ute, from B 3 bent dow~¡wards ~-tone, to Ca,the highest whisper tone, is approximatelv 240-8.400 Hz.) Very slooscillations produce pulsations in the flute's tone, and side bands wilJ begin to be hea"whenthe oscillator frequency reaches about 40 Hz.

In frequency modulation, the f/ute is used to control the 1requency of al) oscillato'When the flute sounds an A4, for example, the oscillator is caused to raise and lower iIrequency 440 times per second, and lhe degree 01 the pitch changes is determined by the.amplitude of the flute. The sonorities produced by Irequency modulatíon are 01 a differed

nature from those heaid with previously mentioned types 01 modulation, for the Irequeno

01 lhe unmodu/aled oscil/alor. does not appear in lhe modu/aled produc!. /n (requenc~modu/at/on, on'y the frequenCles 01 the flute and 01 the slde bands are preSento The sidebands are the 1requencies that arise due to the alterations, created by the flute, ;n the wavform produced by the oscillator. I/Iustrated below are the wave forms 01 an oscillatoproducing a sine tone at 125 Hz. the flute producing Aq4with an edgy timbre, and thewave form produced by frequency modulating the oscillator signal with the flute.

Flute producingAq"','440 Hz ,with'edgy'timbre

Sine tone,250 Hz

Oscilloscope roadingof frequency modulatingsirte tone with flute note

The complicated wave form produced by frequency modulation is analysed by the ear,and its component frequencies are heard indivídually. (Pitch discrimination in humanhearing is ex1remely fine. Al! sound - for example, that of a symphony orchestra - isreceived by the ear drum as a single wave which is analysed by the basilar membrane,enabling recognition of individual pitches and timbres.) As the f1ute's amplitude increases,additional side bands will sound, for the wave forrn produced by frequency modulationbecornes more complex. Thus, even the slightest change in the amplitude of the f1ute orof the oscillator affects the number of side bands. If the amplitude of the f1ute ís sufficientlyhigh, a 'swirling' sonority created by constantly changing side bands will often soundwhen vibrato is used.

Timbral modulation involves controlling the centre frequency and/or the 'Q' factor of afilter with the flute. Any of the four types of filters can be used, and the input to the fi/tercan be a duplicate of the f1ute's microphone signal, the output of one or more oscillatorsor modulating devices, or a tape. When the flute is controlling the centre frequency and

low pass filler

input 2

balanced modulator

input 1flute

sounds an A~4., the centre frequency is caused to rise and fall 440 times per second,

producing a combination of frequency and amplitude modulation. The number andstrength of the side bands is determined by the amplitudes of the f1ute and of the input tothe filter, and by the 'O' factor. When a high 'O' is used, the centre frequency resemblesthe output of an oscillator, and the effect of its changes in frequency will be quite similarto frequency modulation. As in frequency modulation, the degree of the pitch changes isproportional to the amplitude of the flute. Further, as the centre frequency approaches,reaches, and passes any frequency or frequencies of the input, the amplitude of thatfrequency or frequencies is increased, peaked, and decreased. A type of amplitudemodulation is thus heard. When a low 'O' is used, the frequency band passed by the filterat any time is wíder than when the 'O' is set at a high level, and the frequencies withinthat band are correspondingly lower in amplitude. The side bands produced by modulatingthe centre frequency, then, are proportionally fewer and weaker than those producedwhen a high 'O' is used.

When the 'O' factor is controlled by the flute, and the flute sounds an A4., the width ofthe frequency band passed is narrowed and widened 440 times per second, producing a~tone at that frequency. Again, a combination of frequency and amplitude modulation isproduced, for as the 'O' is raised and lowered, the amplitudeo~ the centre frequency isincreased and decreased. In addition, as the 'O' is raised, progressively fewerfrequenciesare passed; as it is lowered, an increasing number of frequencies is heard. Wheneverthe 'O' factor is modulated, relatively few, weak side bands are produced, and the numberand strength of the side bands decrcases in inverse proportíon to the level of the 'O', Thus,fewer and weaker side bands are heard when the 'O' is originally set at a high level thanwhen a low 'O' is used. Further, when a high 'O' is used and the frequency of the flute isequal to or greater than that of the centre frequency, there is no output.

It is suggested to composers that, before writing for electronically modified sonorities,they work with a flutist, exploring these sonorities and the capabilities of the equipmentto be used. Furthermore, it may be useful either to have an assistant to manipulatethe electronic equipment during performance or to have the various control signals andsecond inputs prerecorded on tape. This will free the flutist from having to perform theseoperations, and remove any necessity for him to be near the equipment during theperformance. Other possibilities for control of the equipment include the use of footswitches and potentiometers attached to the belt. If, for example, the amplitude of theflute is being modulated by an oscillator, a gate switch controlled by a foot pedal can beused to turn the oscillator on and off. When the oscillator is on, it will modulate the flute'samplitude, and when it is off, the flute will be amplified without modulation.

Presented below are diagrams showing a few possible uses of the techniques alreadydescribed. These are but a glimpse of the innumerable approaches to the use of electronically modified sonorities. It is stressed that this section is simply an introduction to certaintypes of modification, and that further developments in this ficld will be forthcoming.

speakers

~peakers

speakus

mixer t"'-I ampo

envelope

generator

tape recorder 2

ringmodulator

input 1

input 2

balanced modulator

reverb

control input 01 'O' factor

(high 'O')

stere<l

preamp.

record he'ld

multiples

flute -J multiples

low pass filter

\Nhen the frequency of the flute is Jower than 1he centre frequency of the filter, a mixture01 modulated sound and reverberated flute sonorities is heard. When the flute's frequencyis equal to or higher than the centre frequency, there is no output from the filter, and onlythe reverberated flute sound is present.

When the lwo instruments play simultaneously, lhe ring modulator produces the sumsand differences of their frequencies, but does not pass the original instrumentaltones.The envelope generator is used to impress attack and decay patterns on the output of thering modulator. The speed and durations of the attacks and decays can be vllriedtremendously, and need not resemble instrumental sounds at all.

When the flute plays an ascending gesture, 1he side bands produced both ascend anddescend. The low pass filter will block most of 1he high side bands and high flute tones,and the basic gesture willthus be descending.

instrument

••Le•••

e••,.••

output

tape recorder

output

,~~,head head

The diagram above shows a system in which the flute can be used to modulate itser,,,; .recording the flute on the first tape recorder and playing it back on the second, a de

created while the tape travels between the two machines, Depending on the tape Stused and the distance between the tape recorders, the length of the delay can be do,.mined. When the flute first plays, there is no outputfrom the balanced modulator. As ~as the first recorded signal reaches the playback head of the second tape recohowever, there will be two inputs to the modulator, and the sums and differences ofrecorded frequencies and the played frequencies will be produced. Thereafter, when'.,the flute is sounding simultaneously with a recorded signal from the second tape macthere will be modulatíon.

Another type of tape de/ay system, in which the recorded sound is repeated a nurr'IT.;of times, is shown below :

When this system is used, the flute, as played, is a/ways heard, along with seve,C.repetitions that gradually fade out. The number of repetitions can be determined by tsettings of the gaíns for the record and playback heads. If the playback head is set oslight/y lower than the record head, there will be many reiterations, each slightly softlíthan the las1. If the playback head is set much lower than the record head, on/y two

~hree repetitions will :ound, and each will be much softer than the one before it. (/1 •• _Important that the galn on the playback head be lower than that of the record head".Otherwise, each repetition will bé louder than the last, and the tape recorder will socf/lover/oad and distort.)

The advantage of having several reiterations, as opposed to only one, is that ensembll¡sonorities can be built up over a period of time. It two tape recorders are used, the distanc"bctween the record head of the first machine and the playback head on the second machi~determines the delay between repetitions. When a long delay is used, it may take severminutes tor a given note or gesture to be repeated over and over until it is no /onger heard.

- - - --- - - - - - - - - - --- - ~-1Sj'::r - - - -- =..

JC::.____ .L?'

lingering

piteh 01 harmonic

Special Signs and Oistributions of Parameters

= smooth glissando

~ = almost %·tone flat

t = slightly sharp

t =slightlyflat

, = almost %·tone sharp

¿ = mierotonal pi1eh sligh11y lowcr 1han no'e to Idt and sligh11y higher than n01e to right.

//' = slightly broken glis~ndo/,/

~ = %·tone flat

------

::1.: = %·tone sharp

Natural harmonics:

Glissando:

Intonlltion:

Names of notes:

Appendix A:

O" keyup

e "key depressed

~ e open'hole key with its rim depressed BM ilS centre hole left open

G# key/D# key

)GO~8==Al<ey I I I '--/ ~C#ke\i

B l<ey D Icey

E l<ey

Flngerlngl: the flute diagraml Ihow only keYI IIctually opereted.

The Bb thumbhy, B~ lever, and D Bnd D# Irill keys are shown on/y whendepressed, and are represented by the following symbols.

Ease of response and starting time: 1-5

1 = produced very easily with all pitches starting simultaneously2 = produced easily with a maximum de/ay of one second before all pitches sound3 = produced with moderate difficulty with a delay of 1-2 seconds before all pitch'sound ~_ ..

4 = produced with difficulty with a delay of 2-3 seconds before all pitches sound5 = produced with great difficulty with a de/ay of 3 seconds or longer beforepitches sound

Dynamic range: each pitch can be played in tune within its given dynamicsn = niente - can be played pppA pitch with a dynamic range of maximum width is labelled n _ III

--- "pitches above arrow have gradually increa~ing or decreasing dynam'ranges. The beginning dynamic is placed belore, and the endingdynamic alter. lhe arrow.

" all rilches ¡¡bov!' fine can be r10yed wilhin lhe dynamic range directl,lo lhe felt 01 lhe fine.

:~••••~ ...~~-----"--.....--. _.-

Residual tones (see Chapter 2, Section A, 'Natural harmonics') :

a = pitch is heard without residual toneb = pitch is heard with slight residual tonee = piteh is heard with pronounced residual tone

l\loise:When eertain fingerings are played, noise is heard along with the desired piteh. Thenoise is without definite pitch, or it is heard at one or more pitehes. Some fingeringsyield both unpitehed and pitched noise,Unpítehed noise is rated 1-5:

1 = slightly breathy5 = extremely breathy

Pitehed noise is rated 1-5:1 = slightly audible pitched noise5 = pronouneed pítehed noise

Notation of pitched noise:

piten of noise/nois.eat ~2~\

strengtn of nois.e

Whisper tones:Stability: a-e

a = sustained very easilyb = sustained with moderate difficutty with a slight tendency to oscillate between the

individual pítchese = sustained with great difiiculty with a strong tendency to oscillate between the

individual pitchesTimbre:

Normal _ pitches have very strong fundamentals, strong second partials. andprogressively weaker third, fourth, fifth, sixth, seventh, and eighth partials.

Diffuse _ pitches have strong fundamentals, strong second partíais, fairly weak thirdand fourth partíais, and extremely weak fifth and sixth partíais if they are at allpresent.

Muted _ pitches have faírly strong fundamentals and weak second and third partíais.If any higher partíais are present, they are extremely weak.

BsLgbt _ pitches have strong fundamentals, very 5trong 5econd partíais. strong thírdpartials, and progressively weaker fourth, fifth, and sixth partials. Higher partialsmay be present, but are very weak.

Edgy _ pitches have fairly 5trong fundamentals and extremely strong higher partials.Modulation: modulatíon is rated 1-5. When modulation causes beating. it is marked 'B',

M1 = slightly audible modulationM5 = pronounced modulation

Class: The multiple sonorities are classified 1- IV according to the lip opening and tC¡

required to produce them. Thus within each c1ass the ease of response, starting l'and stability of the multiple sonorities are very similar, although other charactettl'such as dynamic range and timbre vary enormously. The similarities in lip openin_

tension make it possib/e to play legato between mul1iple sonorities in a given i' _Lega10 playing between members of c1asses I and 1/ is difficult, and legato plabetween all other c/asses is practically impossible. ~ --

Class 1: generally the lowest two pitches produced by a given fingering, usforming an interval of a sixth to tenthease of response, starting time, and stability: 1, a

legato: can be free/y played to and from any single pitch and all class 1 mul."sonorities. Legato playing between sonorities of classes 1and 1/ is diffi

Class 11: generally the second and third lowest pitches produced by a given fingeusually forming an interval of a fourth to sixth'

ease of response, starting time, and stability: 2-3, b ,

legato: can be pfayed to and from any single pitch with modera te difficulty. Leg~'playing between class 11sonorities is moderately difficult, and ohen tIwill be a slight discontinuity between the multiple sonorities.

C/ass 111: generally the third and fourth lowest pitches produced by a given fingeri=usually forming an interval of a third to fifth.ease of response, starting time, and stabi/ity: 3-4, e

legato: playing legato between a given class 111multiple sonority and a single pi' is very diffjcult, and is generally restricted to single pitches of the same-"~very similar fingering as the multiple sonority. legato playing betwJclass 1/1sonorities is also very difficult, and there is almost always a d'continuity between the multiple sonorities.

Class IV: generally the fourth and fihh or fihh and sixth lowest pitches produced bgiven fjnger;ng, usually forming an interval of a third to sixth

ease of response, starting time, and stability: 4-5, e

legato: playing legato between a given class IV multiple sonority and a single piteis extremely diHicult, and is restricted to single pitches of the same fingeri,~-L..as the mu/tiple sonority. As a rule, there is a discontinuity of as muchthree seconds between the multiple sonorities.

~_.----~--_.~---'"""---------"~---- -

t slightly sharp

J slightly flat

• ~ as fast as possible

bending: by rolling the flute inwards and lipping the pitchdownwards, the pitch range indieated can be produced.

.} quarter sharp

d quarter flat

r natural harmonics: the standard note head is the piteh desired;F the diamond-shaped note indicates the fingering.

~ multiple sonorities: multiple s?nor}ties are produ.ced i.n two

ways; when a regular fmgenng IS used, the fingermg isindieated by a diamond-shaped note next to one of thepitches sounding. When a non-traditional fingering is used,the fingering is given directly below the sonority; (whenspecifie multiple sonorities are repeated closely together, thefingering diagram is not repeated).

+ slap key (producing a click with note)

/very short

,. glissando: by making the fingering changes indieated underr--gí I the b.eginning and ending pitches in each case, smooth glissandi can be produced.

This piece, written by the author, demonstrates in a musical context many of the sonoritíes explained in the preceding chapters. It can be heard on side 2 of the accompanyingrecord.Because of the glissandi and other special fingerings used, After/ight maY be performedonly on an open-hole (French model) flute with a /ow B footjoint.When performing with the score, the flutist should place his pages on a series of standsso that he need not make any turns during the pieee.

Appendix B: Afterlight, for Fruta Arone

Notation:The temporal notation is roughly spatial: i inch equals approximately one second; a fuI!lineisapprox. 20 secondsin duration. Traditional stems and flags, notated except wheremarked, at = 60, make durations of notes more clear .

Intonation:

:lther notations:

0# -kllY

~ B-k,y

dl1~C_kOY

~ C;-k,y

f2f -key trilled

~ - mullipJe Iremoli : slart wilh the fingcringQ It. indicaled and alternalely open llnd close. the keys given by the brackel.

(approx. pjtch 01jet whistle)

jet whistle: produced by covering the ernbouchure hole completel~the lips and blowing directly into the flute.

(fingering)

G# -key

C-k'Y."u \

Fingeringl: only the key¡ directly operllted by Jl fingerare Ihown. al followa:

o -key up

• - key depressed

robert dick - the other flute

yale school of music

fluteb sonorities

yale university

friends of music

music departme chairman

headjoint glissandi

c glissandi

university of pittsburgmr

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