A Modern Guide to Fingerings for the Flute

A!Modem Guide to Fingerings for the Flute Revised. Greatly Enlarged 2nd Edition \

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by Ja mes J. Pellerite (formefl y, solo flutist, Phila. Orch.) Indiana University School of Music

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Zalo Publications·· · RO. Box 913·· ·Bloomington. Indiana 47401

ULlS ",<, "34-0

·'P3 '7 107i.J INDIANA UNIVERSITY

LIBRARIES

BLOOMINGTON

Copyright @ 1972 by James J. Pellerite Previous Edition Copyright 1964

Library of Congress Catalog Card No. 72-76260

No part of this book may be reproduced

or transmitted in any form without per­

mission in writing from the author.

Printed in the United States of America

INDIANA UNIVERSITY LIBRARY

CONTENTS INTRODUCTION

HOW' TO READ THE CHARTS

1. BASIC FINGERINGS

• 6

2. (a) HARMONICS

• 10

(b) FRENCH MODEL FWTE

3. TRILLS (Half Step, and Whole Step) •

4. TREMOWS (a) Major and Minor Thirds (b) Perfect Fourths and Tritones (c) Perfect Fifths (d) Sixths, Sevenths, and Octaves 5. ALTERED FINGERINGS 6. QUARTER-TONES and QUARTER-TONE TRILLS • (a) C Flute (b) Alto Flute and Piccolo • 7. MULTIPHONICS'and SPECIAL SONORITIES. (A) Multiple Trills and Multiple Effects • (B) Tonal Characteristics and Dynamic Ranges • (C) Suppressed Chords (D) Connecting Single Notes to Multiphonics (E) Fluttering-Multiphonics (F) Singing, or Humming Sustained-Multiphonics

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12

18

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• 28

30

39

• .42

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• 48

• 51

• 53

• 59

• 59

• 60

• 61

61

[3J

Special recognition must be accorded to Harvey R. Frye, Supervisor of Graphic Arts, Audio-Visual Center, Indiana University, for his organizational planning, expert guid­ ance, and aesthetically excellent designing and drawing of these charts. -- James J.Pellerite [4J

1 BASIC FINGERINGS

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1. This fingering produces a slighi/ly lower level of pitch. However, its use in extremely technical passages is in­ valuable. 2. Each fingering must be learned with equal facility and applied interchangeably. The control of various technical passages, and added dexterity will be dependent upon this flexibility. When possible, emphasize the use of the BIever, R.H. 3. The fa~lty intonation and thin tone structure of the open C~ can be corrected partially through the use of this fingering. When using a French model flute, de­ press the key-ring, 2nd L.H., and vent approximately one-half of the tone hole. This offers more control in a crescendo. 4. To maintain the proper pitch level when playing PP, depress the 2nd trill key(D~) gently, as is needed. 5. See item #1. In this octave the F# is more noticeably flat in pitch. This fingering is equally useful when sustaining the note in a .ff ,to adjust the intonation.

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BASIC FINGERINGS (CONTJ

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A SECURE PLAYING POSITION

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f-----+-+-I.........,Xl(---+I-+---+-H 15 The basic elements involving position and balance in holding the flute properly are of ultimate importanceat all levels of performance. Much has been written onthis subject by many prominent flutists. Therefore, only the salient features relevant to fingerings are repeated now.

7. When playing .If this fingering produces a lower level

of pitch and an altered tone quality as well.

8. To facilitate the execution of rapid passages, the key may remain open.

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9. This alternate fingering will aid the adjustment of the intonation for a PP. Avoid the use of an excessive vol­ ume of air, as the note responds with ease. 10. This lowers the pitch level for a.lf • 11. When using a flute with a iow C foot joint, the little finger,R.H., is raised. 12. This fingering affords a slightly lower level of pitch. See item #11. 13. This fingering demands added breath support, but the resulting pitch level is lower. Use this Blso on a flute with a low C foot joint. 14. This fingering produces a lower level of pitch, but the note lacks an immediate response. However, this may vary on different flutes. 15. These fingerings are applicable when using a low C, or low B foot joint.

1. Develop a secure hand position, with the arms

remaining free from tension, to form an equal­

ization of balance for the flute.

2. Avoid any cramping of the musculature in hands,

wrists, and arms, which could bring about stiff­

actioned fingers.

3. Encourage the use of a light action with the fin­ gers remainlng on the keys at all times. Added inflections, or accentuations in the music are the only occasions for which the fingers may be raised slightly higher on the keys. 4. Permit the keys to lower and raise with all of the sensitivity possible. The keys must be lifted, not the fingers. 5. Maintain a naturally arched position of the fingers. This signifies the existence of freedom from any tension. A flexibility and maneuverability of the fingers should be the result. Security in a playing position, when achieved, will bring controllabilitY,and a solid technique with dexterity. This must be available at any tempo.

16. When possible vent the tone hole of the 3rd key, L.H. slightly. This may improve the response of the note. 17. This fingering, as well as #16, will respond on flutes having a low C, or B foot joint. [9J

HOW TO READ THE CHARTS

INTRODUCTION An advanced flutist has reached that performance level because of the extreme sensitivity with which all facets of flute technique have been applied. Certainly, one of the most important of these instrumental techniques has to be the disciplined approach to the use of proper fin­ gerings. It is assumed that this is a major concern of the professional performer, but it should be equally so of each developing flutist. Too often, due to negligence, undesirable fingerings become firmly implanted in the playing habits of the young performers. Correcting these faults in the early stages of their careers can result in a functional use of finger­ ings, as the flutists progress into the higher levels of proficiency. This can be evidenced in their execution of extremely technical passages, as well as the production of exotic tonal effects. Learning to use the appropriate fingerings for various situations ought to be considered a vi tal segment of basic musicianship, since the application of the correct or cor­ rective fingerings parallels the importance of other flute techniques. This concept should become a part of each flutist's daily routine, and hopefully will guide the play­ er in the aspiration of becoming a sensitive musician. This compilation is presented as a methodology for fin­ gerings, by offering a wide range of selected fingerings for the flutist and directing their use in diverse tech­ niques. It is hoped that this reference guide will encour­ age an exploitation of the flute's potentialities, which should be the ultimate goal of every ambi tious student of the flute. James J. Pellerite Professor of Flute Indiana University

These fing~rings apply to the Boehm system flute with the closed G~ key. In many instances a low B foot joint is necessary, although a low C will be acceptable for many of these fingerings. Auxiliary keys that are some­ times found on specially made flutes have not been con­ sidered. However, the French model flute will be essen­ tial for those charts in which the fingerings call for venting the various tone holes. A number appearing next to the illustration for each fingering will refer to the text material. The corre­ sponding number is followed by a brief statement which relates to the fingering's purposefulness. The fingerings have been illustrated using the symbol ( . ), and will indicate only that the keys are depressed. For this reason, it is not necessary to give considera­ tion to whether or not a key remains open. The other familiar symbol (0), will apply exclusive­ ly to the use of the French model flute, and be used solely to signify that a key is to be vented in its en­ tirety.

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The key is depressed.

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Apply the French model flute.

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Use the D, or D# Trill key.

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Right Hand

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Left Hand

[5J

2(a) HARMONICS The production of overtones is a basic technique with which all flutists must become familiar. Not only does -it represent the foundation for proper tone production, but also it offers additional opportunities to simplify many complex technical pas­ sages which occur in the 3rd octave of the flute. The fingering combinations for such phrases become moderately easy by using the fingerings for the fundamental notes to produce the harmon­ ics. Created by overblowing the fundamentals these are generally indicated as follows:

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To produce D3 (2nd overtone), use the fin~ering for fundamental Gl ; for E3 , AI; for F 3 , B l' etc. To overblow the fundamental tone an intense air column must be applied. This can be formed by diminishing the size of the aperture and increasing the breath pressure(subsequently the air speed). The air column needs to be directed more hori­ zontally across the embouchure plate as one progresses into the higher harmonics. Treating the fundamental tones in this manner will produce the following overtones in succession: [see: Overtone Series chart (first measure)] (a) (b) (c) (d) (e)

1st overtone - octave 2nd - 12th (octave and a fifth) " 3rd - 15th (double octave) " 4th 17th (two octaves and a third) " 5th 19th (two octaves and a fifth) " 21st (two octaves and a seventh) (0 6th " Frequently students find it difficult to reach the full gam­ ut of overtones that are shown here. This stems from the fact that sometimes they lack proper control of the embouchure and the air column. However, should this not be the case then the source of the problem may be the existing properties of the head­ joint. It is an accepted fact that no two headjoints ever will respond alike(even made by the same manufacturer). This vari­ ance means that one flute may possess either more or less resist­ ance in its bloWing characteristics. It is this added resistance that often may deter the production of the extremely high har­ monics. However, further development of the embouchure is as­ sured as the production of these overtones is attempted and prac­ ticed. The resultant physical capability enables the flutist to create a greater number of overtones for each fundamental. With this facility extremely technical passages in the upper oc­ taves are simplified by the use of "left-hand-fingerings", e.g., low G, and A, overblown can produce the overtone which would afford easier performance in a rapid passage of the 3rd octave. [10]

Due to the acoustical construction of the flute these har­ monics in the 3rd octave possess a rather veiled character of tone quality and a somewhat lower level of intonation than that produced when the regular fingerings are used. The presence of the lower fundamental note causes this phenomenon since the re­ quired vent hole which is normally open in the regular finger­ ing is closed. For example, the regular fingering for D2 i? properly vented by raising the 1st key, L.H.; ~he ton~ qoa11ty is muffled and its pitch level lowered when th1s key 1S closed. In fact so many students accidentally produce this tone quality by using the incorrect fingerings and are not aware of the result­ ing faulty tone structure. One must discriminate and exercise discretion as to the use of these nshort cut" fingerings. Often the tonal beauty of a melodic passage is impaired by the obtuse sound of harmonics. Their use in performance should be limit­ ed to the most difficult passages in orchestral or band liter­ ature" and even then only in rapidly moving phrases where it will ~ot be detected that harmonic assist has been applied. On the other hand, there may be a desire for moments of tonal coloring in isolated cases. Thus, using the tone quality of some of these notes, the harmonics become a purposeful. and effec­ tive display. They can be used advantageously so long as the notes are played with conviction and will sou~d.correct. In actu­ ality, many compositions now call for ~he add1t10nal tonal shad­ ings that are possible when the harmon1cs are properly managed.

The low register fingerings, presented in the.chart on Basic Fingerings, are applied to the fundamental notes 1n the Overtone Series chart. As the flutist progresses and studies the charts for trills, tremolos, etc., he will discover that the application of the harmonic series will appear inexhaustible.

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The following alterations may be applied when practicing from this chart. These will assist in performing the upper harmonics with greater ease, and their physical placement in the oc­ tave would be identified more readily. Follow­ ing a degree of proficiency in the execution of the harmonic series, these intervals should be practiced legato[slurred]. 1. 2. 3. 4. 5. 6.

Vent the 2nd key, R.H. Use the Gn ~ey. Close the EP key. Use the low B key, if available. Close the C key. Close the Cn key.

2(b) FRENCH MODEL FLUTE

The technique of 'venting' the various tone holes is one that ought to be introduced to the lesser experienced flutist as soon as practicable. The astute professional always has recognized the value of this application. To develop the technique of sliding over the tone holes, one must emphasize a subtle movement of the fingers with utmost sensitivity, and vent cautiously for absolute control. Almost immediately this reveals the ease with which it is possible to exe­ cute a glissando, or a slide[portamento] to, or from, various notes of the scale • The left hand fingers should glide away from the flute in an out­ ward motion, while the right hand fingers move in the opposite direc­ tion and towards the key mechanism. This seems to be the most adapt­ able approach to venting. However, since each individual's hand position is subject to a mUltiformity due to basic differences in musculature, other methods may be devised, and considered equally successful. The expertise of an artist teacher will be vital in considering each situation that is problematical. To vent the hole by a fraction, the finger is to be moved in a calculative fashion. The pitch is raised according to the amount of the hole exposed. The opposite is true when the desired pitch level is to be lowered. By depressing the key ring by its edge it is possible to vent the en­ tire tone hole. The numbered comments accompanying each chart will suggest the appropriate venting combinations for each fingering. The acoustical principle applied to the vented fingerings is based upon the production of the harmonic series. The overtones, (see: Overtone Series chart), can be altered conveniently by vent­ ing the fingerings for their fundamental tones. This produces an array of pitches in a composite of overtones and results in total flexibility for the ensuing techniques that are to be applied. By gliding these pitches the notes are altered to possess a wider range of intonation as well as a broad spectrum of tone content. This development takes place as the fingerings alter the tube­ lengthsCdistance air column travels] for tone production. These are either extended or contracted, depending upon the location of the key being activated and the amount that its tone hole is to be vented. Also, with these fingerings the resistance factor of the instrument sometimes is transformed from its traditional response to an entirely different sensation in the production of certain notes. Examples of this condition will be discovered when reading from the charts on tremolos, altered notes, quarter-tones, etc. These modifications, as provided by the use of the French model flute, are beneficial in all facets of musical performance, not only in contemporary music but in the standard repertoire as well.

Also referred to as the 'open tone hole' model, this flute is identified by its perforations in the centers of the five keys that are activated by the fingers. The relevancy of the French model flute is noteworthy. Its prominence in the flutist's career has been brought about by a variety of technical applications through which its advantages seem compounded. A substantial number of fingerings specifically for this instru­ ment can be learned from these charts that follow. The special fin­ gerings are for purposes of varying the pitch, dynamics, or tone quality, or any of these in combination. They also will effect a more realistic pitch relationship in the intervals for trills, or tremolos, according to the instructions, as may be directed by the numbered comments.. There are some fingerings that are traditionally for the closed hole flute. For these, the use of the French model possibly could be supplemental, to improve upon some of the original fingerings.

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1. This is possible only with the use of the French model flute.

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one-half of tbe tone hole of the 3rd key, L.H.

8. When possible begin the trill by using the regular D fingering to establish the proper pitch level for the interval. 9. This lowers the C# for a near correct interval. 10. When possible, lower the 1st key, L4H.~ slightly until the into­ nation and tone quality for D and Di(EP) is improved.

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I I I •

I------l--+-+I-'Xlrt-'--jrIr--tI • .-+1-+1-II 14.

I I

U--I II 1-1--+--t---.--C>----i

a~--I

••• I

)(tr I Xtrl tr X I Xtrj

• •

I I Xtrl

•

I

\15.(+)

I I

O-Depress the key by its edge.

•

I.

I

1----t • ....-+-C>I>--+--i...........-+-+----I117. (+)

II. Begin the trill by using the 1st key, L.H., open for E~(D#).

12. F 2 is lower in pitch when this fingering is applied. 13. While using the trill key apply proper tone support to simulate the tone quality of regular C#. Adjust the direction of the air column downward. 14. Begin the trill by using regular fingering for D. Then apply the trill key and proper tone support to sustain a more correct interval. 15. Depress the 3rd key, L.H., venting the entire tone hole. This assists in correcting the intonation level for a ff . 16. Begin the trill by using regular fingering for E; then apply the trill fingering, venting the entire tone hole of the 1st key, R.H. When playing PP the 3rd key, L.H., is to be vented slightly during the trill. 17. Almost the entire tone hole of the 2nd key, R. H., is to be vented. In a pp the tone hole of the 2nd key, L.H., may be slightly vented while trilling. [15]

3 TRilLS
8va---.

r--

tr ~~. I • • •

•

I •

>--+---+I~o

I I • I I • • I

I • X• I I

118. 119.(+)

120.

I ~r I tr

~

I

I • • I I I I I I . I . 1121.

Jr,

I •• I I I

I • I

I I • I I 122.

I

I

Jr 1

Jr I •

I I 23.(+)

I I I I I f--(> I • ~~ tr I I ••• I I II. tr X I 8va---, • I I • • I I

I··· ~ ~ ~I

I I •• I I I

f--+----t--
8va---,

~~.

I •• I

I I Xtrl I I • I I I

• () • •

~I

•••

126. I 27(+)

e. I 1 Jr I I • I I 28. , Xtr , I I • I I 1--+1--+-1".-+-1.......... - .~I""-+--II 29.(+) ,

8va-,

~

f - I-

tr tr

•

• I ••

.-+-~•....-. •.-..

8va---.

~

I • • I I I

• I I • I I 124.

tr

I

I I • I I • • I

8va---.

1---e.~1+1~XF-tr+1 -.•.-...r---i--tl 30. • I I I I • I 1---e.~1+/-1lh .a---fI-+--+--J1 31.

---H ••

I ~r I

I

I

•

I • • •

r4--~.

•

tr

••• Jr

I~J~r f-I+-1lh••tr=-+I-+-1-+1--;1 32.(+)

~

•

I.

8va----,

•

I • • 0-1

l

•

~ tr

~~::: • •

I • I •

:: I •

I •

11----+-1~II---+-I -tI.~1 -+1=-11 33. tr 1~.-'l)(If-+~11---+-1-+1-1•..-+1--;1 34.(+)

~r I

I I . I I I 135.(+)

.t---eJ.--;r)(If-tr-+'I-'l)(1E-+-1-+1-+1-+I---li 36.(+)

Jr )(tr I

I I I I I I 1---a~,.:....JrX,?-,:.+rI~IeA----4l-+r-+1-1 37.

~rX I I I I I I I

[16]

. . -'__========-====::::::::::======~~========~.=:..;:====~

~-_. 1

22. To adjust the intonation for a more correct interval, apply proper tone support.

8va---,

~

~rll.

• • •

---.:I--r--,•..,tr'-e~~r

• x•

-iIII.t--t

• • 138.

8va--,

.D-.

x

tr.

~--••..-+--.jo-:r-+-t.J-I

•

X oJ-+---,f---+--,1 39.(+)

8va---,

~#

~

tr

I

tr

I

•

I )( I

'---t---e--i

_ _ .......-..+-. -..

.

8va--,

• •• ~--.I

.J>-r-III---1----<~ ••• tr

..

1.40

tr • -I )( 1---4a-+--e-4--+--+-+-+--e. 4 O.

•

1----41.-+-+---+---+--+--+-+--41.40. I

8va---,

~_.

tr tr

••••

•

1---4~-+--+--+-1 -<'+-\-+-+-1--.

I

40.

18. Although a basic fingering, this does produce a faulty F#. 19. Vent the entire tone hole of the 2nd key, R.H. If necessary the interval can be adjusted further by venting the 2nd key, L.H., while trilling. 20. The tone quality and pitch level of this interval is inadequate but in a ff this trill is acceptable. 21. This fingering is appropriately applied in a PP. On French model flutes vent the 1st tone hole, R.H., while trilling, to execute a secure diminuendo.

23. This fingering is useful in a PP • Vent the tone hole of the 2nd key, L.H., according to the desired level of pitch. 24. Although the F# is flat, this fingering is acceptable in a ff. 25. Depress the 2nd key, R.H., to lower the level of pitch for a .If . 26. Fundamental tones G] and A] are overblown in the production of this trill. HenCe, a greater amount of tone support is necessary. 27. Vent approximately one-third of the tone holes of the 2nd key L.H., and the 1st key,R.H. The intonation for G may be im­ proved by venting the 3rd key, L.H., slightly, during the trill. 28. The A is faulty. Throughout the trill apply firm tone sup­ port to improve upon its tone structure. 29. Begin the trill by using regular fingerings for G# and A. Then vent the 2nd key, L.H. approximatell one-third of the tone hole. [appropriately used for a PP J 30. This fingering offers sui table control for a PP • 31. Use this fingering in a .ff • 32. The tone hole of the 2nd key, L.H. may be vented slightly to provide for an immediate tonal response in a pp • 33. Fundamental tones A] and B are overblown to produce this trill. It is recommended fOr a ff l level only. 34. This fingering is applicable for a softer dynamic level. Vent the 2nd key, L.H. approximately one-third of the tone hole • 35. The problem of coordinating this fingering may effect the tonal production. Avoid moving the flute while blowing. Vent approx­ imately three-fourths of the tone hole of the 3rd key, L.H., and one-half of the tone hole of the 1st key, R.H., or as may be needed to adjust the intonation for A. 36. The 1st key, R.H. may be vented slightly while trilling, to raise the pitch level of the BP in a PP • 37. This is appropriate for a 17 • 38. The note C is lower in pitch. 39. The intonation can be improved by vegting the entire tone hole of the 3rd key, R.H. 40. This trill demands substantial breath support. Apply low C for flutes without a low B foot joint.

[17]

4(a) TREMOLOS (Major and Minor Thirds)

• I • I • I

•

I • ••

~I • • I 1.(+)

I • I • I

Jr I

I • I • I

• tr

tr

•• 1 2 .

I • I 12 .

tr

I • I • I • I • I I 2.

• I .tr I

•

•

[18J

~rl

I H2.

I ••• I

• I

~r I

Jr I •

• I I I 2.

•

•

•

Jr I

I • , I 12.

~r I • I • I I • I I· I 2,3. tr

• • • • I . I I I I • I I 12,3.

•

I

•

I • • ~r I I .

• I • • •tr I •• •• •

I • ••

~

I • • •

I

• •

I I I

•tr ••I

I I

r •

1--+-1 2.

I • • I I 12.

~1---I---+-----lI--.""".'-""+---+---112,4 .

.t-+---+--'i'1 2. ...---11-+-11--+-1-4......-+---+----11 2. ~I-J--+----JI~.

tr tr I

• •• I

Jr ~r I

tr tr- -1I •__-+---..• ..--..~.

• •

I

~I-J--+----J--t--..J-t-I---+--il 2 •

I

tr tr I

• ••

I

12

-..l-t----+--il 2,4. 1--+-4--+--1-+1.....l-t---t--il 2 . f--i--j-+-t--t--j

•

•

I

~ ~

~

~ ~ ~ ~

• • •

tr

• • •

• •tr •tr • •••• tr tr •tr.• • •

•tr • • • • •• •• • 4trr•tr I •

• • I

tr

tr tr

• •• • •• tr

•

•

I tr I tr I I tr tr I I I

• • • • •

I ()----j

• •

• •

X 1

I

•

• II

I I

I 1 tr I X ,

Jr I

Xtrl

I I

Xtrl

Xtrl

I ~r I 1 Xtrl

I I

12 . 15.

16.

•

12,4. 12,7

•

I l tr

12.

•

•

I

tr I

• • •• ••

•

12,4.

~

~

--+---.+-H e---+-+-+--+--1 .-i

••• tr tr

xtrl xtrl

•

~I Xtrl xtrl

•

I

I f-e-I

• I ••

I I I

16.

19.

TREMOLOS (Major and Minor Thirds) 1. Firm the hand position by anchoring the little finger,L.H.,

12,7

against the flute, and underneath thi G# lever. Then apply the technique as described for the C -D# trill. [See TRILLS]

•

16

2. This fingering also applies to the octave above.

•

12.

• • •

3. Firm the hand position to avoid unnecessary movement of the flute against the embouchure. The interval will sound more correct if it is produced with a less intense air column.

12. 12.

4. This fingering affords a secure hand position. is faulty but may be acceptable at a ff level.

• • • •

I 16.

18.(+)

5. The C· is flat and will demand the use of greater support.

The interval breath

6. This is appropriately used for a P.P level. 7. To achieve a balanced

~and

tremolo, depress the G

position while executing the lever.

8. Apply this fingering at a

I 16.

P.P level only. When using a French model flute vent approximately one-fourth of the tone hole of the 3rd key, L.H.

9. Begin the interval with the use of regular fingering for the lower note; then proceed with the fingering as shown. [19]

4(a) TREMOLOS (Major and MinorThirds> CONT.

~ ~ ~

• tr

•

'\

~ ~

[20J

•••

I

•tr • •

Jr

@

~fJf ~

I

tr tr

I

tr tr

•••

I

•

·1

I ·1 I 19.

.,. ., I I

I I I

·1

•

1

, 1

19·

19.

~

a

~

~

Apply lower octave fingerings.

• • •

I

I

I I

••• ••• • • •••

I

I

I I

I

I

Jr I Jr I

• • I I 110.

Jr I Jr I •tr • I Xtr ~r I

Xtrj

I I I II.

·1

112.

I

113.

Jr 1 I •

"~

~

x

I I I tr Xtrl x I

I

, ,

•

1

tr I •••

I

Jr 1

•~r II • • Jr I • I I • tr •tr II •• I •• I

tr 1

tr tr ,

I

•

•••

tr tr

,I

19.

•

I

114.

I

I

• I I

, I

•

••

116.

19.

• ••

J9.

•

I 18.

I.

118.

I

I

I I 115.(+)

•

I

I

• •tr •tr, •

I

I

tr X I

• I • •

••

1

I

tr •

fr

•

tr tr I I X I X , .1 I I

•

• •

tr

tr

•••• •

117.

I I I . I I 119.

1

10. Overblow the fundamentals(D#-F#) at the 12th. 11. Overblow the fundamentals(E~-G) at the 12th.

tr

• • •• •••• • •••• • ••• • • •

tr tr

tr tr

tr tr

1--1-+---+---+--+1--..-+---+-11 21.

12. The D is better in tune as the tremolo is played pp • 13. The fundamentals (E-G) are overblown at the 12th. 14. Apply this fingering at a ff level.

tr f----t.t-+I-.-,•......,I---iIII.~.e-f-t-i1 20 ~--+-I__+_-+-----1If--a.>-+-+-1

22.

15. The fundamentals (F-A) are overblown at the 12th. When using the French model flute vent the 2nd key,L.U., and the 1st key,R.U., slightly while trilling. This improves the intonation and affords control at a pp level. 16. Overblow the fundamentals(F#-A)at the 12th. 17. Overblow the fundamentals(F#-A#)at the 12th.

tr tr

•

.f--+-.....,........---.+--+---ll 20.

~a___+_ _

••

f-+-+---+--+----If--a.>-t-!-+---11 23

18. The fundamentals(G-BP) are overblown at the 12th. 19. The fundamentals(G-B) are overblown at the 12th.

tr

20. This fingering is more difficult to coordinate, however it produces a more correct interval.

tr tr

•

••

__ . -II-+-l1 24.

~--+-__+_-+-----1I

21. Overblow the fundamentals(G#-B) at the 12th. 22. Overblow the fundamentals(AP-C) at the 12th. 23. The fundamentals (A-C) are overblown at the 12th.

8va-----,

~(lt

24. The fundamentals (A-C#) are overblown at the 12th.

•tr •tr I

f------1-+--+--+--+-.e_f-t-i1 25

r ~~t-r*Xt-1!--+--t-+1 ~.I-+I-I 26.(+)

8va----,

~

f----4III~.-rX*-'r-11--+--11--+-1~.I-+---li 27.(+) ~ tr t •

1

•••

1

1----1,--t--+-+--i.t-r-+I-e.-t--ll

28.

25. Overblow the fundamentals (BP-DP) at the 12th. 26. These harmonics are produced by overblowing BP at the 12th and F at the 17th. This fingering is applicable also when using a closed-hole flute, however the French model will produce the tremolo with clarity. The tone holes of the 2nd and 3rd keys, L.U., are vented slightly. 27. Same as #26, but apply the harmonics, B at the 12th, and F at the 17th. 28. The fundamentals (F#-A) are overblown to produce the harmonics at the 15th.

4(a) TREMOLOS (Major and MinorThirds> CONT.

8va----,

~r

8va------,

~

tr

r-ci r xtr I

• • •

•

o--e

I •

I I I I I

M

35.(+)

I I I • I I 29.(+) f

8va----,

~fit

tr tr

•• ••

I I I I

I •

1I

130. 29. Overblow B2 to produce the harmonic at the 12th. On French model flut~s the response of the interval is improved by . depressing the 1st key ring, R.H.

8va-.

~

•

tr

tr

•

•

I I

30. Overblow the fundamentals (G-BP) at the 15th.

tr

X I I • I 131.

33. When using a flute with a B foot joint, depress the low B key only.

8va----,

~

31. Overblow C2 at the 12th to produce G• 32. The fundamentals (G#-B) are overblown at the 15th.

•

tr tr

I • • • •

I I I I

• I I

132.

34. Overblow the fundamentals (A-C) at the 15th. 35. On French model flutes depress the 3rd key ring, L.H. The tonal response when using this fingering may vary with some flutes; if so, use the EP key instead of low C.

8va----,

•

•••

I Jr l I I

I I I 133.

8va--.

•

tr tr

••

•

I I I I I I

I

• • 134. I

[22J

4(b) TREMOLOSCPerfectFourths and Tritones}

These charts include as many fingerings as are prac­ ticable in the execution of tremolos involving inter­ valsinfourths, fifths, sixths, sevenths, and octaves. Those intervals which have been omitted lacked accept­ able fingerings that would offer adequate facility with the necessary tonal response. Probably these intervals could be played with a degree of proficiency by using the regular fingerings, resulting in a superior effect. Tremolos other than thirds, or fourths, are used in­ frequently, but being knowledgeable in their technical production would prove most beneficial to the performer. Their physical demands would add a totally new dimen­ sion to the flutist's technique. Embouchure flexibili­ ty, and the coordination of the fingers are the initial benefits that accrue from the execution of these wide intervals. It will be noted that a resemblance to the regular fingerings will exist in some of these, and the addi­ tion of the G~, or thumb, or trill, keys serving as vents, lend an added distinctness to the intervals. In many instances these keys bring about a response as ef­ fectively as would an octave key on other woodwind in­ struments. Apart from their function as tremolos, there are nu­ merous advantages which these fingerings offer. The con­ trol of technical passages by applying these as "short" cut" fingerings, the production of tonal effects in lyr­ ical phrases, or the purposeful application of tone coloring simply by reiterating these intervals slowly, are all distinct merits that would contribute to a per­ former's technical skills. However, the individual situations in present-day repertoire must be researched experimentally in order to apply the various "fingerings. These will promulgate a more comprehensible approach to the application of the harmonic series, as well as provide for an extended view in the use of the French model flute.

•

•••

'.1·1· ,•••

•

• ••

I • I

•

•••

I • I • I. I •• II.

•

• ••

tr ~

•

••

•

II.

•

•••

tr I tr I tr I • ......-+------1 I II. I1---iI•.-...I--iIIII.r--+-j.a-t-1II

tr

Jr I Jr I tr

• ••

tr

tr

• I • I •• II.

TREMOLOS (Perfect Fourths and Tritones) 1. Apply these fingerings one octave above.

[23)

4(b) TREMOLOS (Perfect Fourths and Tritones)

Cant.

• tr

• •• I

•

•

•

tr tr •• I • I •

•

tr ••

•

tr • I

tr

• [24J

tr tr •• I

tr tr •• I

tr

• I •

I. I •

I •

I

Jr I

I I I • I I 11,4.

I • • I I 11)2.

II.

I I • I I II.

I . I I I I • I I II.

I

tr •tr ••

I I I I I • • I I II.

•tr •tr •

I I I I I I • J!/­ 1L

•tr •tr •

I

1

I

I

Xtrl

•••

I I I I

I

•

•tr •tr • • ••••

~-.

I • • I I 11 1 3.

I

•• •

tr tr I

I I I 11)2.

1.1. I 1.\

I. I •

I

I

tr

• I • I • 1 I I II.

•

••• I

•

tr

~r •

.-.

tr

.

~-. ~

Xtrl

I

••

• I • I

I I

•

••••

I I I I Xtrl

•

•• ••

I

I

~r I

I

I

• •I•

I I I I

•

xtr , • I

I

1

11)5.

I

16.

I

11)7

t I I

16. I 1)7.

I I 18.

I

19. I I

y ~

~ ~

~ ~

~

• •

• •

• •

•

•

••

• I

• •

I • •tr ~r • • Jr I

• • Xl• • •I •

I I I tr tr

tr

tr

•tr • • • I ••• e----1

•

tr

•••

19.

I

Xtrl Xtrl

• • •I••

19.

I

tr tr

tr

·1 tr

·1 Jr l

tr

~

~fJf

Apply lower octave fingerings.

13.

110. I II.

•Jr

I I Xtrl

• •

110

I

Xtrl

•

I 112.

I II.

2. It is acceptable to trill only the G# key for a PP level;

otherwise alternate the trilling of the G# key with the

1st key, R.H.

3. Use an intense air column to produce a more correct tone

quality for A•

4. Coordinate the action of both fingers to avoid lagging

the response of the interval.

5. For added facility trill only the 2nd key; however the B

will remain faulty •

6. At a pp level this fingering may be acceptable. 7. Although difficult to coordinate, this fingering is

~ ~

~

• • I tr • ••

preferred.

8. Adequate breath support, and directed inward, will assist

Apply lower octave fingerings.

13.

toward the production of a more appropriate tone quality

for the D.

9. As the upper note is faulty, direct the air column inward

to match the tone quality of the lower.

10. This responds with ease and is suitable for

•tr •tr •tr • •

•••

~rl ~rl .tr I 1

I

•

• I

app

.

11. The upper note will respond more readily as the interval is played If

.

12. Concentrate on the action of the trill key to ensure clarity. 13. Apply the fingerings given.(See #1) [25J

4(b)TREMOLOS (Perfect Fourths and Tritones> Cant.

11--+1-+-1-+I--+--+!-•. -JI'--+-;I 14. r I. I 115.(+) xtrl

t---d •

I ••

Jr I

tr tr I I X 0 I I •

tr x l tr

I I 1(+)

xtrJ~r••-+--+--I116.(+) tr

)( I X I .

I

117.

~ 8va--,

• • • •

•tr •tr • • • I

tr ~

[26]

tr tr

xo.

I

117.(+)

•

I

I

I I tr tr X , X ,

tr

tr

f-OX I X I

•

I I 118.(+)

~

tr tr ~.>-+-I.....f-:X~I-e.-ilr--+-il 19. (+)

•

1--+1-i)(lrtr-tI-iXlrtr--+I-e.-ilr--+-ll 20.

tr I •• I

I

tr

tr tr • lOX I •

~. 8va-----,

~ ~ ~

I

~r

tr • I

.r

tr • I

tr I ••

•

8va----,

8va-----,

tr

•

8va---.

~ 8va---,

~ ~

tr

•

I

t

• • I 23.(+)

I •

I

I

I

tr •

•

C)

I I I I I I. I I I

tr tr tr x. I •• tr tr tr x. I ••

I

~I I

I 'I 22.(+)

tr tr I I C»( I

I I I

•

I

• • I 23.(+)

I

•

x

1

I

I •

tr •

tr tr

I I 121.(+)

tr

••

I

I

xtr•

••

124.

1(+) 125.

8va----,

tr tr tr tr • I • • • •

I I I I I . I I 126.

I

21. Vent approximately three-fourths of the tone hole of the 2nd key, R.H. 22. For controllability concentrate on the use of an equal action with the R.H. fingers. 23. The interval responds best when approximately one-half of the tone hole of the 2nd key, R.H., is vented. 24. This tremolo, by necessity, will be executed at a slower speed. Alternate the trilling of the 1st key, L.H., with the thumb key and the right hand keys simultaneously.

8va---,

~

~

25. This tremolo will need to be executed quite slowly. Alter­ nate the trilling of the G# key with the use of the thumb and trill key together. 26. Overblow the G~-C~2 fundamental at the 12th.

8va----,

~

27. Alternate the trilling of the 1st key, L.H., with the use of the R.H. keys. 28. Alternate the trilling of the 2nd key, L.H., with the use of the R.H. keys.

I_...tr~x__tr+-I -+-+-1.....f-+-j--+-41 27. (+)

29. To correct an F that is faulty, the 2nd key, L.H., may be vented slightly while trilling.

8va-----,

~

•

• Jr.

~29.

14. Anticipate the action of the 1st key to avoid a lag response of the interval.

in the

15. In spite of this awkward fingering a ready response is afforded. Alternate the use of the L.H. keys with those of the R.H. 16. This is purposeful for a ff . 17. Apply this fingering for a pp 18. Control the action of the trill keys for a clearly defined interval. Vent also one-half of the tone hole, 2nd key,L.H. 19. Vent the 2nd key, L.H. slightly while trilling to effect a pp • 20. This is used for a

ff . [27]

4(c)TREMOLOS (Perfect Fifths)

i#

•

~• ~• ~ •

•

•

~

I

I

I

I

•• • • ••

I

•••• •

tr

tr tr

I

•

I

• ••

•

I

e

I

• •tr • •• •

•

I • • • I tr tr tr I I

•

tr tr

tr tr

•••

I

I

I

Jr I Jr I tr

tr

·1

tr

•I•I•

I

tr

••

I

I

1

• •• •• I

., •

I II.

I I I I

I .1 e' e • I 1 I

Jr I el Jr I .,

•I •

I

~

~

• ~

., ·1

e I .1

12.

13. 1

4.

• ~

•

tr tr

• •• I

•••

I

~rxtrl xtr , xtr , I I

• •••

I

•••

I

I

•

I

tr tr I • • •

I

•

I

tr tr I • • •

I

e

I

• • •

J

••••

tr

•

tr tr

I

I

x ••

I

tr

••

tr

1

• I • •• .tr I • • • •

Jr I • I • I •

I .1

•

tr

• •

I

•

16.(+}

17.

xtr ,

•

1

•

tr tr I I • X

•

I I 18.

•

I I Xtrl

•

I I 19.

I I Xtrl

I I I I

tr I ~r I • I

I

•

15

I

I I I

•• tr

•

I

I

•

I I I

••

1

I I I

TREMOLOS (Perfect Fifths) 1. This fingering also applies to the octave above. the use of the G~ key with the 1st key, R.H.

tr

•

tr

• ••

Alternate

2. The B is slightly flat. 3. This fingering serves more appropriately for a

pp

•

4. A more correct interval results with this fingering.

•• • • • tr

•

tr tr

•• I tr tr

• •tr • ••• tr tr

•••

•

5. Apply the use of a large aperture to produce a dispersed air column iQ using this fingering at a pp level. The impurities in the C~ thus can be eliminated.

tr ----..-4---4----' ~rl 1-41.'-+1 •......-11--+--11 •tr I •

tr

• I

--+-iII.~-+~1

6. This fingering is most appropriately used for a may be sharp in pitch.

II. 12 .

•

The D

7. Use a strong air column to assist in the correction of a

faulty D. Alternate the use of the 1st key, L.H., with the

trill key.

9. Concentrate on the action of the trill key to secure coordina­ tion with the L.H. keys being trilled. 10. Alternate the trilling of the 1st key, L.H., with the simul­ taneous action of the 3rd key, L.H., and the 1st key, R.H.

••• • •• I

pp

8. Avoid the sounding of extraneous notes in the interval by em­ phasizing control in the action of the R.H. fingers.

I - I

tr tr

tr

•

1-'.' ··1 tr

I - - I ytrl

11. Avoid moving the flute thereby improving the coordination of the fingers.

tr

1--~7'l:r---+-+--4···.-4I·t---+-+---1113 .

I

13. A slight accentuation of the G will assist in producing the interval with greater assurance. Alternate the trilling of the 1st key, L.H., with those of the R.H.

114.(+)

• • o--e

12. The B will respond clearly only if the action of the fingers is equalized.

14. Vent the tone hole of the 3rd key, L.H., slightly.and about one-h~lf of the tone hole, 1st key, R.H., to adequately tune the G~. Avoid excessive closing of the embouchure. 15. Accentuate the A throughout the tremolo to lend clarity.

e---jf-----,•.,--;.---...

~ *tr,

••---1\-----,•..-0-0____ I • *tr l

16. This fingering produces a controlled pp

115.(+) • • 115,16.(+)

~(c) TREMOLOS (Perfect Fifths) Cont.

17. Vent also one-third of the tone hole, 3rd key, L.H., while trilling. 18. To ensure a tonal response accentuate the lower note. 19. Vent approximately one-half of the tone hole, 2nd key, L.H., to properly tune the D. This is more suited to playing pp • 20. Alternate the trilling of the 2nd key, L.H., with those of the R.H. 21. Apply a low B, if available. 22. An intense air column must be used for this interval. Alter­ nate trilling the thumb key with the 2nd. Although this fingering is awkward the interval responds readily and is enhanced further through the use of a low B.

• \

4(d) TREMOLOS (Sixths, Sevenths. Octaves)

~ ~ ~

~

~

• ••

•

•

I

I tr

••••

•

• • Jr I

•

tr tr I

• ••

I

Jr I

I

Jr l • I • tr

•••

I • • • 1.

•I•

I • • • 2.

• • •

I • • ·3.

.1

I

tr • I ~r I

I

I

• l

1IIIIIIl~~~~

••

lsI. Th. Th. 2nd. 3rd.

!~~!~~

•

• •tr •

•

tr •tr ••

tr tr • • • • • ' . 1 . 1 . 1 •• 11.

• .-i

•

tr • • •

I

tr tr I • ••

tr

I • I • I • I • I j5.

tr • I • I • I • • 12.

I • I • I •

•Jr II Jr I •

I • • I 3.

•• •

I ~r I

"

•

•••

16.

• I• Jr I • •

tr

tr tr tr

tr I • I • I • I • I 15.

• I•

I I 14.

I I I I

tr

I • I • I ••, • • I TREMOLOS (Sixths, Sevenths, Octaves) 1. Alternate the trilling of the G~ key with the 1st key, R.H.

tr

• I • I • I • I I

2. Although this fingering demands coordination the tonal re­ sponse is aided by the trilling of the 1st key, R.H. 3. The A~ is slightly flat.

....

•tr II • • • • • • • ~rl • • •

I 14.

4. This balan~ed hand position provides maneuverability, how­ ever the A~ remains flat in pitch. 5. Direct the air column inward to achieve adequate response for the low C~. 6. This fingering produces a lower pitch level for A~ •

[31]

4(d) TREMOLOS (Sixths. Sevenths. Octaves)

Cont.

~

~ •

Jr

~ • ~tr

~ ~

~ ~ ~

~

[32J

• tr

•

• tr

•

I

I

I

I

I I

__I

•

I

tr tr

•••

I

tr

., • ., ., •• , ., ., •• tr

•••

I I 17.

I

.1

tr

tr tr

•••

I I I

tr tr

.,

-I

··1

tr tr

~rl

•

•

tr tr

., .,

tr

• •• • ••

tr

•

•

I I

I I I

I ·1 , I tr

••• tr •

I I

tr

• ••

I I

~8.

I

I ·1

• Xtrl

.

,

I 19.

~

V

• •? • •

--

I tr tr

•••

I

•

I I I I

•

I I I

tr I I xtrl X· • I I 110.

I

•••

•

I

•••

Xtr , Xtr• •

•

I

•••

Xtr , Xtrl

•

I

•

I

•••

tr tr I ~r I .X

•

I I I

.-1

• • •

Xtrl

•

I I 113.

•

I

••••

•

I

••••

•

I

••••

I

I

Jr I

tr

tr

tr

I

•tr I Jr Xtrj • I Jr I I Xtrl

I

tl r I

•

III.

I

112.

I 114.

I I 114,

•tr I •tr I • •• 15.(+)

I I

r

7. Avoid moving the flute during the tremolo. Direct the air

column inward to assure response for the D.

8. Alternate the trilling of the L.H. key with the trill key.

The D is faulty. Avoid the lag in response resulting from

the L.H. reacting late. This interval will prove to be

difficult in sustaining a tremolo.

9. The D# is flat and requires added breath support. Alternate the trilling of the thumb with the trill key. [see #8J

tr

I,,

• • •••

tr

10. This tremolo is more correct in pitch if played softly. Use a slightly diffused air column to prevent the D from becoming sharp.

tr tr tr I-«> I • I • I

•

•

• •••

•

.;r I • I •• • • ~ rd ,

13.

r

• • • • •

I 115.(+)

~

tr

• • I•

tr • .;r I tr

• •••

~

I

I

• Xtrl • tr

12. Use greater breath support to raise the pitch level for D# •

113.(+)

13. This interval will be difficult to execute as a sustained tremolo. 14. Use the ED key to raise the pitch for the upper note i f needed. Alternate the G# key with the simultaneous trill­ ing of the R.H. keys.

1

I

11. This interval must be played louder than #10 for it to be near corr~ct in its intonation. Intensify the air column for the Dli.

118.(+)

I

119.

,

• • ••

118.(+)

15. Alternate the G# key with the trilling of the keys of the R.U. The upper note is played as a harmonic at the 12th. Vent approximately one-half of the tone hole, 1st key, R.H. This tremolo is difficult to coordinate due to the possi­ bility of certain tone holes not being covered adequately. 16. Anticipate the action of the trill key to aid in the proper coordination. 17. Vent approximately one-half of the tone hole, 1st key, R.H. while trilling. The clear response will depend upon this controlled venting. 18. The upper note is played as a harmonic at the 12th. A breath emphasis given to this note will assist in its response.

•

tr

•• •

r--«r-I

tr

•I•I•

I

120.(+)

1-1.....t-t-I........-+--1-iI."-+-\---+--+----11 21.( +)

r

19. Adequate breath support for the F# may paTtially correct its faulty tone structure. 20. Vent ~pproximately one-third of the tone hole, 1st key, R.H. The Gli is a harmonic at the 12th. Venting the 2nd key, L.H. slightly while trilling may add distinctness. 21. Vent the 2nd key, L.H., scarcely while trilling. note is a harmonic at the 12th.

The upper

[33J

4(d) TREMOLOS Cont.

-~

tr

~

•

~ ~

-~ -

I

•

.tr

tr

I • - o----l I

tr

• -~ tr

~

1

•

tr

-()-----1

~

~

[34]

~

_I

tr

r--o

tr - I - -

I -

1•

~r 1 -I

-, tr

I

I

__ 118.(+)

_I __ 118.(+)

-I -I I I I 22.(+)

- --I -, ­ tr I _I tr

tr

j--()

I ,21.(+)

tr I

I 121.(+)

-I I 122.(+)

I _ I - I - - 12 3.(+)

tr - I - I - \ I I 1 24.(+)

•~

- -­ tr

tr

~ •

, I

-I

I I 121.(+)

-,

I- I I 124.(+)

tr

- ,tr

~

~

~ ~ ~

~ Jr I

~ I

I I Jr I - 1 ­ - 126(+)

~

-. -­

---

~

~

Jr

.­

Jr 1 _I-

I tr tr 0-1

~

I I I 21.(+)

I I I

_ ,

-- I

125.(+)

I 124.(+)

-

tr tr I -I I - I 1 121.(+)

~ Jr

tr

I I I

I I I

l tr I tr I

,-

I­

I

I I I

121.(+)

127

2nd. 3rd.

~

~ ~ ~

~ ~

~

~

~

l~~ tr • • I

•

•

•

,r ~r • I

•

• • •

tr

•

tr

• •

•

•••

tr

tr tr

•

• tr

•

e-----i

• I

Jr

~r I

1

••

I

tr tr I .rr I .x l

•

I

r-+-\

~r Xtr,

•I

I

I

Jr I

tr tr

I

., .XI

tr tr

,r tr

B~

••• tr

• • • •

•

.XI

127.

I H27.

I

-I

127.

127.

128.

.

--I

•••

tr

I • • 130.

1

•

tr tr I I • • 113,31. 1• X

21. Vent the 2nd key, L.H., scarcely while trilling. note is a harmonic at the 12th.

The upper

22. Vent approximately one-half of the tone hole, 3rd key, L.H.

The upper note is a harmonic at the 12th.

23. Vent approximately one-half of the tone holes, 2nd key, L.H., and 1st key, R.H., while trilling. This produces a G~ har­ monic at the 12th, but on a low C fundamental (vented). 24. Vent approximately one-half of the tone hole, 2nd key, L.H. while trilling. The upper note is a harmonic at the 12th. The A is a

26. Also vent approximately one-fourth of the tone hole, 2nd key, L.H.

27. Favor the embouchure and direction of the air column used for the lower note throughout the tremolo.

tr

•••

• •• •

25. Vent one-half of the tone hole, 3rd key, L.H. harmonic at the 12th.

.X I I • • I

~I

~ ~

tr

•

I • X

• • 129.

28. The D# will be flat and demanding of full breath support. 29. This interval may be cumbersome as it requires alternating the trilling of the 1st key, L.H., with the trill key.

tr

•• ••

tr

I • X

Xtr ,

• • 113,30

30. Direct the air column outward and to further the responsive­ ness of the interval lend a breath accentuation to the upper note. 31. Alternate the trilling in the L.H. with that of the R.H. [35J

4(d)TREMOLOS (Sixths, Sevenths, Octaves>

Cont.

~

~ ~ ~

~

£

~ [=~

[36 ]

I I

•

I

•

I

•

•

I

I

tr

•••• tr

•••

tr

x

tr

I I .1 • • 113 131. tr

I I X I X • I • • 113. tr I Xtrl X • I • • 113 131.

I

tr tr I Xtrl .X

tr

••••

,

• • 113.

~

~

~

•

I

•

I

•

I

~rl

••••

~

1tJ=

•

I

• •

•

I

tr tr I • • •

Jr,

tr

tr Jr x I

Jr I

I I

tr tr

·1 • x

I I I

tr tr C)

)(

,

..

113 1 33.

••

134.

(+)

I

•

I H 31.(+)

I

•

I H13,35.

•

I I 136.(+)

(+)

~va---,

Jr I

tr

••••

tr tr

• x

I

• • /13.

••••

~rl

••

~rl ~r I I • I I 137.(+)

tr

•

I I

8va--.,

• •

I

I

tr

tr

•• • tr

•••

~r

I

I

•

I

I

,

.tr,

tr

x I

• • 113,31.

~rXtrl I • • 113 1 31.

tr tr I .X I • • 113,32. (+)

tr

•

I

I

8va---,

¥

•

I

tr tr I • • •

•

•

I

••••

tr tr

tr

I ~r I

••

~cirl

••

~

tr

H13 138. (+)

I I 1(+)

tr

tr

• ••

~,.....~I-+-+-11----.-+-1--+--JI

39.

~

•

tr

..---+~.:.:-+--~

8va--,

140.(+}

tr tr • • •••

• I

140.(+}

~

•

tr

•

•

32. Vent approximately one-half of the tone hole, 3rd key, L.H. Alternate trilling the G~ key with the simultaneous trilling of the R.H. keys. 33. The 2nd key, R.H., is vented imperceptibly while trilling. Alternate the L.H. with the trilling in the R.H .

••..--I--.--.. . tr

(»)--+-~

34.

i----(')-4.--I-+-1--+-+----+--J (+)

B~gin

G~

the tremolo by giving breath pulsations to the upper to benefit the response of the interval.

35. The 2nd key, L.H., is alternated with the synchronized trilling of the 3rd key, L.H., and the R.H. keys. The 2nd key, R.H., is vented slightly. 36. Vent about one-third of the tone hole, 1st key, R.H.

I (+)

••r----I--...r--~o--j

•

•

tr tr • e>--e

r-Jr I •

I

• I

I 42.(+)

37. The 1st key, L.H., is alternated with the trilling of the R.H. keys. 38. Scarcely vent the 1st key, R.H. The harmonic content of the G adds to the difficulty in its response. Regular fingering for this interval might be appropriate. 39. Alternate the trilling of the 1st key with the 2nd. 40. Vent approximately one-fourth of the tone hole, 1st key, R.H. 41. Also vent the 2nd key, L.H. slightly, while trilling.

tr tr

L....l..-J

j H, I~.....•...--:X!lf-+-+---+-....

I

I

43. (+)

42. The 3rd key, L.H., and 1st key, R.H., are vented slightly, according to the dictates of the interval in its level of intonation and ease of response. 43. Scarcely vent the 2nd key, L.H., while trilling; the 3rd key, approximately one-half of the tone hole. [37J

TREMOLOS (Sixths. Seve-nths.Octaves)

5ALTE

Cont.

Nearl the Fren of the f

(a) A (b) A (c) A

8va~

tr

tr

• ••

•

I

tr

• tr

•

tr

•

C>

~r

I •

tr

I

I

x I • I I

145.(+)

I

••• •

••• I

~ ~ 8va~

tr

•

• •tr •

(d) E (e) A

tr

••••

tr I I

Jr I

14 4 .

..-+--+--"X"~-+-+--+-J

1 - 1. . . .

44. Use the low B key when available. 45. Vent about one-half of the tone hole, 2nd key, L.H. 46. Alternate the trilling of the 1st key with the 2nd. A firm action by the 1st finger must be accompanied by a slight breath accentuation for the B.

tr

• •

44.(+)

Jr I

I • I I

•

tr

tr

tr

tr

•

tr

• I

144.

tr

••

(I -I

I

These tOnal ef be most trasts. Altho erally i breath p pianissi sitively notes to check til imperati in balao tack tha Alter special Hence, t with eas Howev offering er breat pitch Ie clined t At ti use of a followin suggeste ness giv plish th mended t fingerill The adju to the t teristid duct ion dependcn tonal sl": oughly t completlO dynamic~

illgS is essenti~

5ALTERED FINGERINGS Nearly all of these altered fingerings will require the use of the French model flute. They produce notes possessing two or more of the following characteristics: (a) (b) (c) (d) (e)

This concentration of fingerings, stressing the use of the French model flute, will serve as an appropriate introduction to the SUbsequent charts in this book. Many of these fingerings can be altered further to vent for a more exacting structure of a quar­ ter-tone scale; and because of their relationship with the function of the harmonic series, they form a fundamental approach in the pro­ duction of multiphonics.

A transparent tone structure A higher pitch level than with normal fingerings A variation of timbre Extreme pianissimo, with sensitively posed adjustments An added resistance factor for playing fortissimo

These notes retaining a transparency add a new dimension to the tonal effect, and used with discretion this blending of sound can be most desirable in phrases that also call for greater dynamic con­ trasts. Although the amount of breath support needed for these notes gen­ erally is less than for those played with normal fingerings, the breath pressure should be maintained in the usual manner as for a pianissimo. The resultant pitch level can be controlled more sen­ sitively with many of these fingerings and the usual tendency for notes to become flat while playing softly sometimes can be held in check through their application. When executing these notes it is imperative that the tongue stroke for the individual attack be used in balance with the dynamic level. This avoids an overbearing at­ tack that can delay the tonal response of the note. Altered fingerings for the notes of the third octave will be of special interest since the breath support for these can be lessened. Hence, the adjustment in the level of intonation can be accomplished with ease and flexibility. However, some of these fingerings produce an opposite effect. By offering substantially more resistance they permit the use of great­ er breath support in playing a fortissimo. Consequently, a lower pitch level can be attained for those notes that normally are in­ clined to be sharp. These also possess a different timbre. At times it may be difficult, or impossible, to coordinate the use of an altered fingering with that of a preceding note or one following. In each circumstance the fingering must be applied as suggested by the accompanying material, and with equal attentive­ ness given to its resulting tone production. In order to accom­ plish the maximum result with a degree of practicality it is recom­ mended that the various possibilities, as offered by more than one fingering for a particular note, be explored as much as possible. . The adjustments for these varicolored notes must be made according to the treatment of the air column and the notes' resulting charac­ teristics. Since each flutist, by nature, will approach tone pro­ duction differently, the ventin~ of the tone holes then will be dependent upon this phenomenon. The performer's capacity to hear tonal shadings, nnd minute modificntions of intonntion will be thor­ oughly tested as he nttemllts to develop a technique for venting. A complete understanding of this proceduJ'e for altering the pitch, dynamics, and tone quality is vital, and the u.se of special finger­ ings is a vnlued supplement to the interpretive skills that are essential in the flutist's performance.

~- • ~

•• • • •• • • ••• • ••• •

~

•

~

0-+-0

••

••

• •

.',2. I 1,2. 1,2. 1,2. 1,2.

•••

~- • • • o--i • • • 0-1 •• •

•

~

f-o I

• • • • .',2. I 1,2. • • • • .1,2.

• • • ••

• • • o---e • • • o-e

• • • • 11,2. • • • • • .1,2. I 1,2•

o---e

I 1,2 .

0

• •

•

•• ••

• • 0

• • • •• • • • •

•

0

• •

I 1,2.

the tone holes completely. Apply a wide aperture and use

very little breath support. This will lower the pitch signifi­ cantly, and at the same time produce a light, and transparent

tone structure.

l . Vent

2. Each of these fingerings offers a slightly varied tone quality.

Vent the tone hole(s) as indicated.

[39J

ALL FINGERINGS ARE USED FOR PIANISSIMO UNLESS DESIGNATED BY(*).

5ALTERED FINGERINGS (Cont.)

~- •

~-

• I • I • I • • • 1,2. • I • I • I • • I 1,2.

~- • I • I •

t¥¥t=

• • •

~ •

M- • §2g

•

o---e

• 0 • I I • I •• I

~

••

I I

• ••

I

•• •

()

••

I

•• • I • • • I •••

~- • • [40J

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I

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• •• • •• •• •

• I • I • I • • • 2.3.* • I • I • I • I 12,3.*

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I • • • 4. I I I I 13.*

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•

I • • • 3.* I I 14. I

• I •I • •• • I • I •• •I•I•I•

I 13.*

• I • I • I • I

13.*

• I • I • I •• I • X • • I I 15. • X. • I • I 15.

• X • X •• • I •I• I• • I•I •I * ()

15. 15. 16.

~- •

• •

~- • .~- •

••• ••• I • • • I • • • I • • •

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•

~-

I

••

I I

•

()

I I I

I

()

• • •

()

1

o---e

I • ~- • I •• • ••

THESE ARE USED FOR FORTISSIMO ONLY.

I

0

• •

I I

17. 15.

•• ,

I I I

H

I I

• •

I I x I

H> I I I

• I • I • o---i • • • • • •

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• •

18.

9.

•

110.

I---i> I

• I•

H> I

• I• I ••

e>-e ~- •• II • •• e>---. • o---e

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I I

••• 8.

18.

10.

• II • 1 •

I • • • 11. I 112. I I

•

I I I

I

I

• •

I 110.

• II • • II

I 113.

• • • I , I /11,14. I • I 0 I • I I I 17. I • , • I •• j I 113. I • I • I • • • • 3.* ,

I I

•

I

0

• • [

I

j

17.

•

I

115.*

3. This fingering makes possible a dynamic level that than that produced with regular fingering.

4. Vent the

•

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£-

a-

()

I f-4>

• • •

f--O

• •• ••

I I H> I ~ I f-<> I

•

• • • • •

•

•

()

• • ••

• ••

I I I I I X I I 1--4> I ~

•

• •

()

• •

0

••

•

I

• X

I

•

18. 19.

119.

7. Scarcely vent the 2nd key,

of

~.H.

9. The entire tone hole of the 1st key, R.Il. is vented. Use a

sparse air column for the tone support to be used in maintain­

ing the level of intonation.

10. Vent the tone hole according to the existing level of intonation while executing 'a diminuendo • II. Vent about one-fourth of the tone hole, 3rd key, L.H .

13. Scarcely vent the tone hole of the ~nd key, L.H. for added con­ trol of the pitch level. This fingering noticeably produces an immediate tonal response, nnd with tllis a veiled tone quality is'produced with ease. 14. Vent approximately one-fourth of the tone hole, 3rd key, This produces a transparent tonal effect.

113. I 18,20.

0

•

116. 18,17

110. 118.

• •I • • XI • • I •

• •• 0

0

6. Adjust the intonation by venting approximately one-fourth the tone hole, 3rd key, R.H .

12. Vent approximately one-half of the tone hole, 3rd key, L.H.

• ••

e>---i

17. • 8. 19.

8. Vent approximately one-fourth of the tone hole, 1st key, R.H.

• • • • • • • • • •• • • ••

• •• •

key, L.H. slightly.

3. Vent by using the trill key but only according to the desired

level of intonation.

• •

••

~nd

is louder

L.H.

15. Vent about three-fourths of the tone hole, 2nd key, L.H. I f this is vented less, the note may be played louder, and a greater content of harmonics will result in its tone structure • The note will be lower in pitch. 16. Use an extremely soft attack to ensure greater sensitivity in the production of a light and clear tone structure.

I

113.

17. Gently raise the 1st key, L.H. slightly. This aids in eliminating the sound of the harmonic in the tone. 18. The tone hole of the 2nd key, R.Il. is vented completely.

8va---,

~- •

•

• •

• • • •

• • • •

•

I

0

I

•I•

I 118. 8,18.

I

•

~

0

• •

19. This fingering should be applied desired. It is not for purposes The note demands the application the tone holes indicated for the

when a harmonic tone quality is of producing subtle dynamics. of firm breath support. Vent necessary adjustments of pitch •

20. Also vent the tone hole, 2nd key, L.H. slightly •

118.* 110

I [41J

Ij

5ALTERED FINGERINGS (Cant]

8va---,

~-.••...--+-__•

~

8va----,

§==

• • • •••

•

• • ••

0

,---+--__--1

0

«> I

118.

.1.1

118.*

•I•I

119.

•••

• I

o----t-<>.

I

'I 21.

8va-----,

~- ~ I •• I I

fiF=--. · · •

.

8va----,

• ....-1---+---. • ........-1

•

•

t-----..J-+I---t--+---~.""-+-11 10.

Ir--+I--'X)f----jl-+I~•....-+-+---+-ll 23.

1-0 X I X I

19. This fingering should be applied desired. It is not for purposes The note demands the application the tone holes indicated for the

when a harmonic tone quality ip of producing subtle dynamics. of firm breath support. Vent necessary adjustments of pitch.

21. TIle entire tone hole of each key, 2nd and 3rd, R.H. is vented. Close a portion of the 2nd tone hole, R.H., to adjust the pitch further if necessary. 22. The (D) trill key is opened gently to raise the pitch. At the

same time vent approximately one-half of the tone hole, 2nd

key, R.H.

23. Use a lip attack for added control of the pitch level. 24. Depress the 0" trill key only slightly for the purpose of

raising the pitch level if needed during the execution of a

diminuendo.

I 9 , 24.

I--t--A-X---t-I--JlX~.~•....-.lI--+-j1

*

6(a) QUARTER-TONES AND QUARTER-TONE TRILLS (C Flute) QUARTER-TONES

•

~._~

•

~-.

22.

r-41.~X~c>-+--+--4I.t-+--+----i1

•••

[42J

• •

20. Also vent the tone hole, 2nd key, L.H. slightly.

~-

~-'

-$ ~

·1

j

• • 1*

To pursue the study of the quarter-tone scale, one may wish to begin by learning the notes in the chart on Altered Vingcrings. When used ap­ propriately they could establish n general background for the techniques that are related to this scale. Altered fingerings can produce new tim­ bres that result from certain alterations of the physical properties of the air column. Such alterations reveal multiple tube-lengths in the air column of the flute, and are caused by the venting of various fingering combinations. Tllis is noted wIlen using some of the fingerings for trem­ olos as well as altered lIotes. As an acoustical phenomenon this emerges with greater prominence as tlw fingerings then arc vented further through the use of the French model flute. It is by this modification of the fin­ gerings that the tonal responRe is transformed to produce a wide range of

tone colors. Identifying these timbres, and adjusting to their accompa­ nying physical sensations will enhance the performer's adaptabilities in the development of embouchure control. Also, the application of a posi­ tive approach to the function of the air column will occur with greater sensitivity. To establish the scale of microtones(quarter-tones), it is necessary for these new sounds to be accepted in the traditional sense, and played with firm conviction. It is a known fact that when the flutist possesses a well developed tone structure for the semitones; the prevailing intona­ tion also will be appealing. This same standard of performance would ap­ ply, and hopefully should exist, when developing the quarter-tone scale. Therefore, adjusting to the array of timbres that accompany the various notes of the quarter-tone scale should become natural, and their tonal characteristics accepted as being ordinary. The fingerings included in this chart are based on an elaboration of the harmonic series. The conventional response of the overtones is al­ tered by venting certain tone holes, which brings about the formation of the multiple tube-lengths. This departure from the fixed overtone ar­ rangement permits the sounding of the neighboring harmonics and with this occurrence a chromatic quarter-tone scale can evolve in an organ­ ized manner. The use of these fingerings can bring about a greater flex­ ibility when endeavoring to achieve absolute control of pitch. The listening required for the proper placement of the microtone in­ tervals is indeed acute and becomes intensified with each effort. This hopefully ought to assure the guiding of the intervals of semitones. As the quarter-tones are learned they must be treated as new funda­ mental notes. The tone control for these ought to be developed justas it has been for the regular semitones, and an understanding of their placement in the schema will add immeasurably to their eventual evolu­ tion in the production of multiphonics. ~Qqing of pitches, normal­ ly executed by the accepted practice of rolling the headJoint in or out to alter the direction of the air column, need not be an exclusive ap­ proach to the tempering of the pitches for the microtone scale. Too of­ ten this technique seems unreliable, although in a number of instances it can prove to be beneficial and will assist in the effectiveness of a particular fingering. Frequent adjustments of the embouchure in conjunction with the use

of breath pressure, and the directional change of the air column, will

be necessary for most of the notes. Instructions for such treatment

will be given for each note.

The French model flute is an absolute necessity in the production

of a great many of these notes, since there is no way in which the

closed-hole flute can tune quarter-tone~ as accurately. The use of only

the basic fingerings can become restrictive and will limit the degree

of variation.

A reeducation in tonal imagery and pitch relationships is vital to the development of a microtone scale. This could eliminate the aleatory approach to tuning. Therefore it is imperative that the player should determine the proper venting of the tone holes for these fingerings by seeking the correct pitch levels. In fact, as a result of the experience that was gained by the venting for the notes in the charts on tremolos and altered fingerings, the flutist now must treat this as an accepted technique and consider the proper venting to be in balance with the em­ bouchure habits in tone production. Hence, the text material in this chart will not dictate the amount that the tone hole is to be vented, since each player varies the basic approach to tone production. The exclusive use of straight tone is not necessary for these notes and the application of vibrato certainly is in order. Of course, the

usual considerations would apply for its expression and it should used with discretion.

be

In most cases due to complexities that may be encountered with some of these fingerings there will be very little dexterity or facility for rapid passages. Flutists must determine which fingerings will serve best in a given situation. At the same time, it is assumed that equal con­ sideration will have been shown by composers in their compositional de­ mands, and that the musical structures can be clear of technical hazards. The notes of the chromatic scale of semi tones have been illustrated (in parentheses) with the quarter-tones in this chart. To adjust for the tuning of each microtone properly, the regular semi tone should be played first. Following this, each fingering for each quarter-tone ought to be tried in order to establish the correct interval as closely as possible. At the same time one must be attentive to each fingering's tonal char­ acteristics. With this, the player then should react to the resistance factor which is set up in the flute. This is resolved by recognizing a physical sensation that is demonstrated by the manner in which the tone responds. At this time the embouchure should be adjusted accordingly. Re­ calling this experience each time that the fingering is used should re­ sult in the performer cultivating a familiarity with a more definitive approach to these tones and an anticipation of their prevailing pitch levels. Contemporary composers have used a variety of signs and symbols to indicate the sharps and flats for the quarter-tones. In order to give this chart readability, arrows extending from the stems of the conven­ tional alterations have been used. These denote that the pitch is raised or lowered a quarter-step. Although only sharps have been used here the player must assume that the enharmonic notation would be used in performance: At, same as

8~;

Et, same as

ot,

etc.

Also, the enharmonic pitches apply as follows:

A~,

same as

8f,

or A1;

ot,

or

cl,

same as

o~,

etc.

Unquestionably, a great deal of experimentation with fingerings such as these will result in acquiring added facility in the manner in which all facets of tone production are studied. Other fingerings may be conceived for notes of this scale. However, the criteria in­ volving their adaptability will be similar to that already described in the preceding paragraphs. QUAIITER- TONE TIULLS

These fingerings create quarter-tone trills, either ascending, or descending. Many of the notes include the possibility of a trill in either direction, emanating from the principal note, and are indicated as such by the text materials. The instructions are given in an abbre­ viated form and are interpreted as follows: A number and a caPital/The key, or keys / The note this proletter identifying the to be activated duces and its tendnote "\. /' ~ encies, if any

Ex.-( 4F / C# key / DOWN to Q ) The flutist may wish to research these fingerings further in as much as they offer a seemingly limitless display of intervals of var­ ious degrees. Mini-microtones(sixth-tones, or eighth-tones) also are possible and these will be referred to as pitch-pulsations in the sub­ sequent charts.

[43]

6(a) QUARTER-TONES AND QUARTER-TONE TRILLS (C Flute) Cont.

~

-

iC#O)~

e-+. IA,IB.

I

•

I

~

IC,IO.

I

~

•

I

IE,lFe

I

1Ge---l

I (~~

•

~

IH.

I

••

••

e

•I•

I

I

I

0

I

• • .1,2.

•I

I 13.

• •• • • D---i

• I • • ·12. • I 0 I I • I I 13. f----o I • • I • • 1I 13. r-o •• 3. I • r-o I • • I • I • • II.

••

r.-o

••• ••• • •• • ••

D------i

•• e • • • o-------j

IJ.

• •

0

I

•I•I•

I 14.

IK,IL.

I

~

I

• •

I

I I I f----o I

IR.

I

• • •

I

•

~ ~

I(U)q"gg

1

IS,IT

I

IS

I

I

I

C)

•

I

•

• !I •

•

C>

I

I

••

I

•

•

()

~

IU

I

IV. IV.IW.

~

()----e

fX,IY I

• IZ,2A.

ICia) M"

The preferred fingering for each note is illustrated first.

2B,2C.

I

()

• II •

• e e • • •• • • ••• • e • •

• • •

• • • ••

• I • I • • • 6. • 1 • I • • 17.

I • I • I • I I I I

• • • •I• •I•

14. 14. I • • • 4. I • • 4.

•• • I • • I •• I I 14. I • I I 14. I I I • I --t-1 8. • • 1 • I • 19.

I f----o I I

1 I

•

•

I 1 13. I I I ! I I 14. I I 15.

/--0 I

•• • • • ••

I

I

1 I

IS~

I

1

IM,IN~

[44J

0

• I • I I • • 14. 14. I • I • I • • I 5. e • • • I • I • I • I • 13. I 1 I I I I • I • • f-O • I I • • 15. • I • • o----e ,I • • I • I • • .5. ~ • I I • I • • 15.

IH.

IJ.

I(#e)~

• •

•I

1 I

IP,IO.

I

I

I

j

I

•x• I ••

• I•I • • I I I I X • • • I• Io• • I • x. • ex I

I

I I

I

I

()

I

15. 5. 13.

110. 14. 13.

I 3.11.

8. This fingering effectively produces a subdued tone quality and

is suitable for a soft dynamic level.

9. The sounding of multiple harmonics in the tone must be

nated as the key is vented. the upper pitch.

elimi­

Attempt to favor the sounding of

10. A slight venting of the tone hole, 3rd key R.H. will assist in

the control of the intonation in a soft dynamic level.

• •• • •• ~2F'2'.

• • • • • • • •• ~2~L: • • • •• • • • • • • 2H.

2J.

• I I I

()

11 • The 3rd finger R.H. should lean gently on the trill key in order

•

to vent for the appropriate degree of intonation •

• ••

•

-­ • • •

/:::::0. l_l I • • I I I I j f-c> X I I

I

•I XI •

I

I I

I

I I

o-j

2M.

0

0

12 • This fingering serves best when playing loudly.

I

13. 13.

••

la.

• •

112. I 112. • • 12,13.

• •I

• ••

114.

Apply an intense air column and use as wide an aperture as possible without alter­ ing the tonal standard.

10. The keys of the low B foot joint must be closed securely to pre­ vent any unnecessary venting; otherwise the F# cannot be altered auequately. Direct the air column upward. 14. The tone holes, as indicated, are to be vented imperceptibly. A translucent tonal structure is indigenous to most of these fingerings. IV I 1st R.H. I DOWN to

IB I E~ key I DOWN to Q#(Sharp)

IV I Thumb key I UP to Q

lC I 2nd R.H. I UP to I"

This note lacks the usual tonal presence of the low register and its use is limited to extremely soft attacks.

~.

Direct the air column downward to adjust for the level of into­

nation. This effort must be exaggerated when using a low C.

3. This fingering produces a tonal response that is similar to

that of the notes of the tempered chromatic scale of semitones.

A firm breath support may be applied and a resonance, as well

as a variation of dynamic levels are possible.

4. Direct the air column downward in order for the note to attain

as much tone center as possible and a proper adjustment for its

intonation. A light volume of air is applied, but a medium

dynamic level seems possible.

5. Direct the air column upward in order to raise the pitch level. A large aperture and the use of a dispersed air column will ren­ der a distinct contrast in tone quality for some of the notes.

lW I 1st L.H. I UP to Q lX

I

G~

key I DOWN to D

IE I 2nd R.ff. I DOWN to I"

lY

I

E~

key I UP to :J)#

IF lIst R.H. I UP to 1"#

lZ I D Trill key I UP to D#

IG I 2nd & 3rd R.H. I DOWN to F

2A I 2nd L.H. (ring only) I DOWN to D

ID I 3rd R.H. I DOWN to 1. Apply a mlm.mum amount of breath support using a wide aperture.

~#

lA I 3rd R.H. I UP to E

~(sharp)

IH I 1st, ~nd UP t (.#( I ) and (3rd) R.II. I 0 ~ S WI'P

2D I 2nd R.H. I UP to A

lL I G# key I DOWN to ~~

1M I G# key I UP to A IN I 3rd R.H. DOWN to G#(sharp) IP I 2nd L.H.(vented) I UP to A#

6. Since there is no suitable fingering for a more accurate tuning

of this note, the air column must be aimed exaggeratedly down­

ward. However, an interesting tone color emerges and a near

correct level of pitch can be attained.

lQ I 3rd L.H. DOWN to A (ring only) I

7. If a split-E attachment is available this fingering may be al­

tered to produce a correct pitch level. Otherwise, an unortho­

dox method of. closing the 1st key R.H. is necessary to vent ap­

proximately one-half of the B hole. This seems impractical.

IS I Thumb key I UP to ~#

I':

2C I E~key I DO"'N to Q#

IJ lIst, 2nd UP to G# and 3rd R.II. I lK I 3rd L.H.(vented) I UP to

2B I 3rd R.H. I UP to

lR I 2nd L.H. UP to C & 1st R'.H. I

IT I 2nd & 3rd L.H. DOWN to C (depress G~ key) I I

F

2E I 3rd R.II. I DOWN to !::.(shllrp) 21" I 1st H.H. I UP to f# 2G I 2nd R.Il. (half-vented) I DOWN to f 211 I 2nd R.II. I UP to r::# 2J I D Trill key I DOWN to I" (sharp)­ 2K I 2nd R.H. I UP to Q (sharp) 2L I :)rd R.II. DOWN t ro# (ring only) I a _ ~:'-1

I :)rd H.II. I UP to Q

[45]

8(a} QUARTER-TONES AND QUARTER-TONE TRILLS (C Flute) Cont.

f

1

t,

I

(~q~~

3G.

3H,3J I

-

2P. 2a.

m

•• •••• • • •o---e• I ••

2 S,2T.

2T.

rztt= (#~)~

I

• • 0---1

2N.

I 1 I

()

2S,2U.

2.,2W.

•

I

0

I i

2V,2X~

• • 2Z~A. I • • • • I ••• I I 2Y.

I

•

38.

I(n)qn ~..

o--t

I

I I

Q---j

•• I • • I • • • I •• I • • •

3C.

I

I

0--+--1

[46J

3D.

I

3E.

I

3E,30.

I

• I •I I I • 1 I • • • I I I

• •I• • I • •1 I I •

f-o

I

r--o I 1

I I

I I

I

I

I 13.

13.

3K.

I

I

•

3L

I

I

3Q. f

#.n. ~~

I

3R,3S. 3S,3Te

114.

116.

I

116.

15 .

114.

13,17

13.

()

3R,3S,3U.

13.

I

I I

I

• •••• •• • • o--e •• • •o--e• •• I • • • I

I • I

• • I • o--+-J I • •I

3P

116.

I

()-e-j

()

(~) ~-& ~.Q

I

3V.

3W,3X.

(.0.) ~.o.~

1

3Y.

0

3Z.

• +---cr--l , I

I

4A.

·1I

I I I I

• • •• •

f

(#0.)

•

qn ~3M,3N I

3T.

f--(>

0

I

114.

13.

I I • -t-+-/3.

I I I I 116.

0

(~I~~ (.0.)

•I

• • I • I •I o• I • I ••• I

• I ••

•I•I I f-<> I • I •• f---C> I • I I I I • I • I •• I • I I I I •I I • I I • I I I • I •

13.

114. 115. 4.

1

•• ••

3Fe

I

• •

x

I I

•I

13.

115.

t

•I• • I I I I x I • I I 118.

1---0 I • I • I I I 19,19.

I • I • I I • I 112.

I • I • I • I I I 3,17. 'r:

.j .x •• I • I 13. !

I • I • I •• 110. I • I • I •• 115. 1 13,10.

I I x I • 13. I • I • I •• I • I • I • I •• 13,17. I • x • x I • I I 116.

I • I I • I I 115.

t---o I I I • 1 • 119,20.

I I I I • 119.

I • X ~

0

I

()

19. The tone structure may become excessively airy, but this, as well as the intonation level, can be corrected by adding sub­ stantially to its breath support. 20. The use of the 3rd key, R.H. aids only in the balanced hand position. Thus, the application of the fingering, either in an ascending, or descending paRsage is facilitnted.

B"

21. Overblow the low G at the 15th as softly as possible. The harmonic content of the tone structure will be of contrasting quality. The air column must be directed do"nward.

112. • •I• X • • 116. I • 121. • • • • • 13. 117. • • • • • • 119. 0 112. I • • 0 I • • 117. 1-0 • • • 117. I 114. X • 1• X • 116,22.

22. To facilitate tuning this note at a soft dynamic level, scarce­ ly vent the tone hole, 2nd key, L.H.

+

~

48.

4C. 40.

8 va

I

~4E,4F. . 4E,4F. 4G,4F.

rr±t5= 4H,4J: ·8 va

.

1

4JI 8 va

I

(-Q:)J-e-

.

,-e­

I 4K,4L

I

4M,4L

I

4Me

••

• • ••• •• •• ••• • •• •• • • • ••e •• ()

()

• • • • • • •

f---Q

X

119.

15. This is used advantageously for n pianissimo. The intonation level is controllnble by venting the tone hole of the 2nd key L. H. slightly.

2N /

Low C key / UP to ~~

2P /

2ntl H.II. / DOWN to

2Q / )st I\: 2ntl H.H. / UP to G~ UP to ~~

2H / 1 st H.II. /

2S / 1rtl L.II. UP t A (ring only) / 0 2T / 1st, 2ntl, DOWN to G~ anti 1rtl R.H. / ­

17. A relaxation of breath pressure seems possible "ith this finger­ ing. The tonal structure is altered nccordingly, and at the same time a medium range of dynamic level can be controlled. 18. This fingering,will demand coordination when ascending from D, and again to D#. The pitch level can be controlled by direct­ ing the air co.}umn downward.

3M / 1st L.H. / DOWN to 0 3N / 0 Trill key / UP to Q# 3P /

Low C# key / UP to Q#

3Q / E:D key / liP to 1)# 3R /

1st R.H. / DOWN to 0#

35 / 3rd L.H. / UP to E

2U / G~ key / DOWN to ~;

3T / 3rd R.H. / UP to E

2V / 2nd L.H. UP to A~ (ring only) /

3U /

2W / 3rd L.H . (ring only) / DOWN to A 2X /

Low C~ key / DOWN to A

2Y /

Low C~ key / DOWN to A~

2Z /

3rd R.H. /

UP to 8

3A / ED key / DOWN to A~

1st & 2nd R.H. /

UP to

~

3V / 2nd R.H. / UP to I 3W / 2nd L.H. DOWN t (ring only) /

E 0

_

3X / 2nd & 3rd R.H. / UP to I 3Y / 3rd R.H. / DOWN to

~

3Z / 1st L.H. / UP to I#

4A / 0 Trill key / DOWN to F

38 / 3rd L.H. DOWN to A# (ring only) / ­

48 / G# key / UP to ~

3C / 1st R.H. / UP to £

4C / D~ Trill key / DOWN to I~

3D / 3rd R.H. DOWN to _8 (ring only) /

40 / Thumb key / UP to

3E / 2nd R.H. / UP to

16. A firm breath support with a vnrinble volume of air may be ap­ plied to produce a reasonable range of dynamic coloring. The intonation seems controllable as the flow of air iR directed upwa,rd.

~

3L / 1st L.H. / DOWN to C~

£

3F / 2nd & 3rd R.H. / DOWN to C 3G / 1st R.n. (ring only)

/

~

4E j I s t L.H. / UP to G~

4F / G~ key / DOWN to G

4G / 3rd R.H. / UP to G#

UP to C#(flat)

3H / 1st R.H. (ring only) / DOWN to £

4H / 1st & 2nd R.H. / DOWN to G~

4J / 3rd L.H. / UP to

~

3J / Thumb key / UP to £#

4K / 3rd L.H.(vented) / DOWN to A

3K / 1st L.H. / UP to Q

4L / 0 Trill key / DOWN to

3L / 1st L.H. / DOWN to C~

4M / 2nd L.H. /

~

UP to A~

[47J

Sea) QUARTER-TONES AND QUARTER-TONE TRILLS (C Flute) Cont.

_4N,4PI 8 va

I

•

40.

4N,4R. 8 va

i

(.o.)~ft ~

!

8va

451

•

• •

x

123.

I I X I I X

I X

119.

•

4Te

•

I

~

QUARTER-TONE TRIllS

• • • • • xI ()---1

• ••

I

•X

I

e

f-O I

X

0---.

In this chart the fingerings for both the alto flute and pic­ colo are combined. The concepts of tone production and pitch dis­ cernment that were discussed in the preceding section on quarter­ tones for the C flute would apply to these instruments also. Due to the limitations in venting the fingerings, there will be less flexibility in the tuning of these notes. In fact, some noiesof the scale have been omitted because of unsuitable fingering com­ binations and a lack of control for the pitches. However, if an open-tone-hole model piccolo is available to the player, other I fingerings from the previous chart could be applied. It will be ,j noted that a great deal of emphasis is placed on the exaggerated . change of direction of the air column for the purpose of tuning. 1 This will compensate for the lack of venting for most of these i i notes.

13,17.

I e19.

e e 119.

i

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6(b) QUARTER-TONES AND QUARTER-TONE TRILLS (Alto Flute and Piccolo)

I .24.

••

124.

it

The text materials for these trills are presented here in the same manner as for those in the previous chart. In some instances the direction of the air column has to be exaggerated either upward or downward in order to reach the proper intona­ tion level for a single note in the quarter-tone scale. This precludes the proper tuning of the quarter-tone trill. When it occurs, the smaller interval that results is termed a "pitch­ pulsation". However, prior to playing the trill, special effort must be made to tune the quarter-tone from which the trill is to emanate; otherwise even the small interval(pitch-pulsation) will be nonexistent. Occasionally, when only one fingering is given for both instruments, the text will indicate the instru­ ment for which the trill fingering is intended.

23. When descending from the regular B, the 1st and 3rd keys, L.H. may remain closed. 24. This note may be played only at a loud dynamic level. A firm breath pressure is vital to the control of the intonation, al­ though the note tends to be sharp.

4N / D~ Trill key / DOWN to !~ 4P / 1st H.H.(vented) / UP to B 4Q / 2nd L.H. / UP to

~

4H / D Trill key UP to _B and 2nd H.H. / 45 / 2nd H.H. / DOWN to

~

4T / D Trill key / DOWN to f

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!. The little finger n.lI. must open the I':P key and at the same The air column must be di­ time close the foot,joint keys. rected dowm"arct to lower the pitch .1 eve!. 2. Exaggerate the ctowlllVilnl directioll of' the njr column. The ap­

erture must relilain il~ opcn ttl" possj.\) 1c, ot!lerwj.se the tone structure becomes sllppl'csi:
3. Apply the techniques, noS .ill #') -, nlll! u:--(.' vcr'y I. it tIc volume of air. This note milY lack ndeqllnte tOllnl pro,jection.

6. Direct the air column downward, but slightly, tual adjustment of intonAtion.

for the even­

7. The air column is directed upward. 8. It may be difficult to maneuver the fingers adequately, but if the trill keys can be scarcely opened, the note can be properly tuned.

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Ie I 1st, 2nd'l UP to 3rd R.Il.

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(flat)

IJ I 2nd & 3rd L.H. I UP to e lK I Thumb key I UP to e~ lL I Thumb key I UP to D (Piccolo) (sharp)

10 I 3rd R.H. I UP(pitch-pulsation)

1M I Thumb key I UP to

IE I 1st, 2nd, & 3rd R.H. I UP to A

IN I 1st

IF I 2nd

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3rd R.II. I UP to A~ (fla t)

IG I 3rd L.H. I UP to IH I 2nd L.II.

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1st R.II. I UP to e

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2nd L.H. I DOWN to D

IP I D Trill key I UP (pitch­ Jlulsa t ion) lQ I 3rd L.H. I DOWN to D"

6(b) QUARTER-TONES AND QUARTER-TONE TRILLS (Alto Flute and Piccolo) Cont. (~t~~

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7MULTIPHONICS AND SPECIAL SONORITIES

9. Direct the air column as in #2. However, the tone strucure will permit an acceptable projection at a medium dynamic level.

MULTIPHONICS

10. Vent imperceptibly by opening the trill key gently. The air col­ umn should be directed downward only slightly but the aperture is to be somewhat larger than for the preceding note. Thisfin­ gering serves best when ascending from the regular semitone.

No longer can the flutist expect that a traditional flute tone is the only attractive, or acceptable sound structure. Sound phe­ nomenon must be valued as significant structure which the aspiring performer must embrace in order to add to the variety of musical ex­ pression in contemporary music. In the various periods of music the goal of each generation's performers has been to enrich and augment the sometimes restrictive character of the sound of the flute. Hence, with this standard of excellence in flute playing, the evolution of compositional techniques has paralleled the instrumentalist's devel­ opment. Accordingly, more and more is expected of the flutist's technical skills and resources.

11. This is suitable only for a loud dynamic level. The note de­ mands full breath support and the air column should be direct­ ed upward slightly. 12. The additional resistance that this fingering lends to the piccolo may cause undue forcing of the tone, unless the perform­ er displays control of the embouchure in this octave. However, the use of this fingering is not as problematical when apply­ ing it to the alto flute.

/

lR / 3rd R.H. / UP to P

2N / 3rd L.H. / UP to E

IS / 1st L.H. / UP(pitch-pulsation)

2P / 3rd R.H. / UP to E

IT / 2nd R.H. / UP to r~ (Piccolo) (flat) lU / 1st R.H. / UP to

G~

IV / 2nd & 3rd R.H. / DOWN to G (flat) lW / 1st R.I!. / DOW!\' to IX / 3rd L.H. /

L~

G~

(flat)

to A

l¥ / 1st & 2nd R.H. / UP to A lZ / 3rd L.H. / UP to A# 2A / 2nd R.H. / DOWN to A 2B / 2nd R.H. / UP to C 2C / "b Key / DOWN to B

2Q / 3rd R.H. / UP to r (Piccolo) 2R / 1st L.H. / UP to r(Alto flute) 2S / Eb key / DOWN(pitch-pulsation) (Piccolo) 2T / D Trill key / DOWN to r 2U / 1st L.H. / UP to P# (flat) 2V / 2nd R.H. / DOWN to P 2W / G# key / UP to G 2X / Low C# key / DOWN to r# 2Y / 1st R.H. / UP to G (Piccolo) 2Z / 1st L.H. / UP to G* 3A / 3rd R.H. / DOWN to G(Piccolo)

2D / 3rd n.H. / UP to C 2E / 1st R.H. / DOWN to C

3B / 2nd R.H. / DOWN to G (Alto flute)

2P / Thumb key / UP to C#

3C / G# key / DOWN to G#

2G / 1st R.H. / DOWN to C

3D / 1st L.H. / UP to A (flat)

2H / 2nd L.H. / DOWN to C#

3~

2J /

1st L.H. / UP to D

/ 2nd L.H. / UP to A#

3P / D Trill key / DOWN to A

2K / Eb key / UP to D#

3G / D# Trill key / DOWN to A#

2L / G# key / DOWN to D(Alto flute)

3H / 2nd R.H. / UP to B (flat)

2M / 1st R.H. / DOWN to D#

\

\

The or ani tion of many-voiced sounds is now a vital part of

the f~t's technique, ana for this, all of the aspects of tone

-proouc"tion are to be considered. Rultiphonics involve the layerin ~ developin an understandin of the n use Q ere ones ~n e over one series of the flute.~coustical ! the orma ionof _ muiti:JHe tube-lengtns i'n the air column g e a number 0 requency vibrations with whic to produce added pitches simultaneously. TOis affords an array of chord groups that are controllable. Such phe­ nomenon is observed when a short tube-length, and a larger one, are formed in the air column as additional keys are vented in a finger­ ing combination. This causes a modification of the fixed over­ tone arrangement of the flute. .

The composition of many of the fingerings for the multiphonics

~can be traced directly to those presented for tremolos(especially

v'

sixths, sevenths, and octaves), altered fingerings, and quarter­ tones. Interestingly, many of the quarter-tones can be identified as fundamental tones for a number of these chords. However, the fingerings for these have been changed somewhat in order to facil­ itate the tonal response of the multiphonics. The tonal characteristics of these chords seem to fit into (3)

different categories according to their timbres and dynamic levels.

They can be studied further by referring to these groups in part

(B) of this section. The chords illustrated in this chart have included only the

notes that possess a reasonable amount of prominence, stableness,

and immediacy in tonal response. Quite possibly, some performers

may be capable of elaborating on these structures to produce upto

five tones. However, this would require considerable experience

and a phenomenal control of techniques. Except for those few in­

dividuals who have such technical skill, most flutists will need to

devote some practice time to these peculiar techniques.

~A flexible_~bnuchUI.~_togetherwith sensitivit~ for the appro­ priare use of the air column are an absolute" must w en expe"r~ment­ ~ng with new auditory experiences. As the mUltiple tube-lengths are felt via the resistance of the flute, the physical reaction to these must be repeated in virtually all of these chords. The transforma­ tion of this resistance factor, from its normal state in the flute tube must be recognized; then, the air column can be effectively used in balance with this. Those chords that react readily do so because the resistance is not posing a major hazard. These,two-note chords. require little breath support with a slight alteration of the embouchure. However,

[51J

~the

multiphonics that include'1hr~~, or four notes offer muchgreat­ er resistance. As a barrier, this must be permeated by applying in­ ensity to e breath pressure, and at times with a large volume of air. Consequently, more attention must be given to embouchure cor­ rection for these. Usin a w~ aEertur, the air column needs to be directed so that a--segment of the flute range can be sounded in one air blast. By diffusing the air column, the tone is spread, and thereby capable of including several notes at once. These can sound simultaneously as a chord, spanning more than one octave of the flute. All of this is contradictory to the normal procedure that prevails for playing single-line notes. For these, the aper­ ture needs to decrease in size as the air pressure is increased.

The volume of breath support for a multiphonic is an equally important matter. The qeterminant is evidenced by the demands for each multiphonic, and as the player' adjusts to these the physical sensations that are to be recalled should be used as guides for the proper maneuvering of the embouchure.

This arrangement of fingerings is not a complete collection of multiphonics. Rather, it is presented as a systematic study, and a survey of possibilities for tone clusters. There are fingerings which have not been included, capable of producing virtually the same notes as some found in this chart. Probably, there are still other fingerings that may be ascertainable. However, those shown here seem to lend substantial control for a clear image of eachmul­ tiphonic and are to be accepted only on this basis. Therefore, once the flutist has developed the technique for these, additional fin­ gerings, producing new chord structures could evolve through the efforts of individual research. The following points may be considered when the multiphonics are played for the first time. As possible solutions to some prob­ lems that involved technical deficiencies, these applications con­ tributed to the learning process: (~)

~ The text materials which accompany the fingering for each chord suggest the embouchure movements and technical modifications of the air column. However, the performance of these sounds cannot be achieved with only these directives. More importantly, the player must adapt to these sensitively by "feel", and become accustomed to reacting to the response of the chord with perceptiveness. Many of the chords can be sustained with reasonable success, and sufficient duration. However, vibrato cannot be used because it would disturb the steadiness of the air flow. Straight tone is the prime mover in establishing stability for the multiphonics. It is impossible to effect an instantaneous response from a chord. In/order to create the illusion that all of the notes are sounding at the same time, the necessary corrections must occurat once. These are realized by attacking the lowest note first, or for some chords, the highest. This method assists in the use of the wide-angle aim of the air column for an equal response of the other notes of the tone-group. The effect is one of a broken chord as is often played on a keyboard instrument, or the harp. If the response should lag and the notes of the chord are not soundingin balance with one another, then those notes that are positioned at the opposite level from the attacking note, either the lowest, or highest of the chord must be favored. This is done by directing the air column toward that level in the range that seems weakest. The chords have been placed according to their lower fundamen­ tals in ascending order. This is only approximate, and in some in­ stances when these pitches were the same, the total effect of the chord was considered, although the placement is purely arbitrary. The arrows on the alterations do not necessarily indicate quarter-tone pitches. Some of these notes could be mini-micro­ tones. In fact many of these notes may not always impart their ~itch levels as originally conceived in as much as the techniques of tone production are variable. But this pitch discrepancy also can be extolled as a virtue since so many notes that have the same pitch level would also be capable of lending an impressive range of timbres. When isolating the lowest, or highest note of each chord, and its intonation seems controllable, a new dimension in tone coloring can be imagined for any single-line phrase.

[52J

Do not isolate the individual tones of the chord as

the direction of the air column is adjusted.

(b) Avoid an excessive covering of the embouchure hole on the flute, and prohibit the forming of a small aperture. A diffusion of the air column and a spread­ ing of the tone structure should result. (c) A low B must be used when advised,otherwise the in­

tervals may not respond with the same assuredness.

(d) A wider than normal aperture must prevail for most

chords. '

(e) The air column must be directed in favor of the oppos­ ing note. If the chord is attacked via the lower note, then the air is to be directed slightly upward, etc. (f) Learn to identify the resistance factor first to best judge the necessary breath support for a response. (g) Ascertain the proper venting of the fingerings. (h) Avoid moving the flute on the embouchure. this ensures a functional application of straight tone. (j) Minimize the action of the embouchure when it becomes necessary to adjust the direction of the air column. Extreme sensitivity is essential. (k) Avoid any exertion of external pressure of the flute against the lip. Provide for mobility of the embouchure. (m) Adapt the embouchure and the air column to the sounds. Do not attempt to alter the peculiarities of the timbres so radically, otherwise the idea of having varieties of tone qualities at hand will be defeated. These chords must be played convincingly or they will become repulsive.'

SPECIAL SONORITIES When applying these fingerings,the flutists, and composers, may wish to explore a variety of sonorities through the use of the chords. Numerous effects are discussed in these sections that follow. The position numbers, and code numbers with letters have been assigned to the multiphonics. These are to be referred to as each part is consulted for study. A

(A) Multiple Trills and Multiple Effects Control of the multiphonic must be assured for the proper ex­ ecution of these effects. The flute must be held steady to ensure the adequate dispersion of the air column so as not to obstruct the sounding of the multiphonic. Practice by moving the fingers slowly at first in order to achieve a lightness in the action of the keys. This will prevent a jarring of the flute on the embouchure. The following are possible, using the illustrated fingerings: (a) MULTIPlE TRILLS UP, or DOWN--- The lower and upper notes of a chord trill simultaneously, and in the same direction.

! -I

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¥--. (3)~ ¥--IS.

IA.

-e­

(4)

-fi.

\(5)~ (6)

while another trills in a downward direction. This is created by the sounding of a common note onto which each trill converges.

~--e-

\(7)

(d) MULTIPlE PITCH - PULSATIONS -- These account for trills of microtones,smaller than quarter-tones. (e) Together with multiple pitch-pulsations, other tones can be sustained. The instructions for the above effects have been abbreviated(as in sections on quarter-tones) and the words,' "lower", "upper", and sometimes, "middle", refer to the particular notes in the chord. This is followed by the indication of the direction in which the trill is moving. A number and a caPital/The key, or keys letter identifying the to be activated note

Ex.- (

/

/ IE / 1st R.H. / Multiple Trill-UP )

The resul tant effect

.0.

(2)

(b) MULTIPlE TRILL - CONVERGING -- One note trills upward

(c) Single trills in any direction are possible, while other notes of the chord sustain.

•

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(8)

10.

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1. Using a wide aperture, direct a dispersed air column downward. Little breath support is needed. Close the keys for low B with certainty. 2. Direct the air column upward. Intensify the breath pressure sufficiently to effect the response of the upper partials, but allow for adequate openness of the aperture to permit an imme­ diate sounding of the lower note as well. Only a minimum of breath support is necessary. Close the keys for low Bsecurel~ 3. Direct the air column downward and adjust the aperture mainly for the lower notes. Avoid changing the size of the aperture when adding to the breath support for the upper notes. Close the keys for low B securely. lA / 3rd R.H. / Multiple Trill-UP 18 / Thumb / Upper sustains; key Middle, trills DOWN

ID / 3rd R.H. / Multiple Trill Converging IE / 1st R.H. / Multiple Trill-UP

lC / 2nd R.H. / MUltiple Trill-UP

[53]

7MULTIPHONICS AND SPECIAL SONORITIES

Cont.

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6. The air column is to be directed upward very slightly, with

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11. Direct the air column downward and adjust the aperture mainly for the middle range. This chord is to be supported robustly.

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12. Vent about one-fourth of the tone hole, 2nd key, L.H. also.

IF / 2nd R.H. / MUltiple Trill(ring only) DOWN

IX / Low C#/ Lower sustains; key Upper, trills UP

IG / 1st R.H. / Upper sustains; (ring only) Lower, trills DOWN

lY / G# key / Multiple Trill Converging

IH / 1st R.H. / Upper sustains; Lower, trills UP

lZ / 1st R.H. / Multiple Trill Converging

IJ / 1st R.H. / MUltiple Trill Converging

2A / 3rd R.H. / MUltiple tones sustain; middle notes pulsate

lK / 3rd L.H. / Upper sustains; Lower, trills UP lL / 2nd L.H. / Multiple Trill-UP 1M / 3rd R.H. / Lower sustains; Upper, trills UP IN /

• • (43)~ -IQ,IR,2L~' • • I •• l:B: . (42)

10. Vent the tone hole of the 3rd key, L.H. imperceptibly.

• •

• •

•

19,12

EP

key / Lower sustains; Upper, trills UP

IP / 3rd L.H. / MUltiple Trill-UP lQ / 2nd R.H. / Lower sustains; Upper, trills UP lR / Low C/ Lower sustains; key Upper, trills DOWN

28 / 1st R.H. / Lower sustains; Upper, trills DOWN 2C / Thumb key / Multiple Trill-UP 2D / 2nd L.H. / Upper sustains; Lower, trills UP 2E / Thumb key / MUltiple Trill-UP (wide intervals) 2F / 2nd R.H. / MUltiple Trill Converging 2G / 2nd R.H. / Lower sustains; (ring only) Upper, trills DOWN 2H / 1st R.H. / Lower sustains;

Upper, trills UP

I II.

IS / 2nd R.H. / Upper sustains; Lower, trills UP

16.

IT / Low C# Multiple Pitch­ key / Pulsations; Middle, trills, UP

'2K / 2nd R.H. / Multiple tones sus­ (ring only) tain; Middle notes pulsate

lU / 1st R.H. / MUltiple Pitch­ Pulsations; Upper

sustains

2L / 3rd R.H. / Upper sustains; Lower, trills DOWN

4. Direct the air column upward slightly, and intensify the breath, using an embouchure that favors the middle register.

IV /

5. Adjust the aperture mainly for the lower note and direct the air column inward. Use only a light tone support.

lW / G# key / Upper sustain~i Lower, trills UP

EP

key / Lower sustains; Upper, trills DOWN

2M / 1st R.H. / Lower sustains;Mul­ tiple Trills Con­ verging· 2N / 3rd R.H. / Multiple Trill-DOWN

[55]

7MULTIPHONICS AND SPECIAL SONORITIES

Cont.

07(:::

./

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1~

(

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(47)~

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IE,IO. 2U /

-""

-2U,2V,2W. IE,2U. 2X

(51)

(52)

~

(53)

2C,2U. 2Z

. (54) ~ly,2Z,3A,38,3C. (55) i i - l E I (56)

11-&

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(57)

(58)

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If:

[56]

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(46)

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I

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(63)1~:

• .4. •I•1 • I I • «>---e ­ d-Q I I II. •I0 I ~-2H,3G~ ~ •I0 I • • •3. ••• I ~ • I • I • I 15. /- •••• \.0­ III. ~ I • 1 0 I 1• •• •• ~~4l16. • 1• 1 ••• •

t t--o • I • I • • 15. = ~--IM,3N1 • • •• ­ I = 1l-6 I f--o I 15. • • • ~ ~ I] r--o • I • I 15. ~~ ~--(X,3P~ -3F.

(

• • I I •• 1-0 •I • I •• 1-0 I • • I •I I

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1

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I

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(67)

I P,28,3L,3M I

<1

15.

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~'

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(64) -.0-

12.

I

I II.

.11,13.

I

I

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I

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-(68)

~IM,2BI

b:a:

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(69)

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(70)

II

(71)

f--o I

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13. Approximately one-third of the tone hole, 3rd key, L.H. is to be vented. 14. Vent also one-fourth of the 2nd key,

~

R.H~

~.o.

(73)~

E:= (74) ~

3K,3Q,3R

2P / 3rd L.H. / MUltiple Trill-DOWN

--I'--.~-4.a--o---e

1-1

2Q / E~ key / MUltiple Pitch­ Pulsations

~

~2G,3K,3RI

::a:

•

0

•

2R / 1st R.H. / Lower, trills UP; Upper, and middle interpose

r----t--.----o­

(75) ~2B,2G,3Q,3R,3S

(76)

25 / 2nd R.H. / Multiple notes sustain; Middle, trills DOWN

t~

~ 3R .3T,3U --l-~.-e>----J--1

2T / Low C#/ Lower sustains;

key Upper, trills DOWN

1-1

,-

(77)I~i! (78)

- - 2P,3 L

gn _

3V

2U / 2nd L.H. / Multiple Trill­ (ring only) DOWN

--I~~.,----4. __- ! -

1-1

2Y / Low C#/ key

___

-+--+-~.----....

1-1

2W / 3rd R.H. / Lower sustains; (vented) Upper, and Middle interpose

~

t79)ff

~ -

I B,2Y,3V

--I'--+--4.a-4.~ ••

1-1

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(80) ~ 2H 3L __-+

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(82)

1-: ~

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.

• • 19.

• I • I

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__.""""'"

6.

7.

•• •

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•

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(84) E}:Q: IR

EE

loX I'.

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zu

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3W:3Y ••~~.~-l---I~..,.----,

x. I

• I • • 14.

Upper sustains; Lower, trills UP

~

MUltiple Pitch­ Pulsations

3P / 1st R.H.

3Q / 3rd L.H. / Lower sustains; Upper, trills UP 3R / D Trill key / Upper sustains; Lower, trills UP 35 / G# key / Lower sustains; Upper, trills UP 3T / 3rd L.H. / Lower sustains; (ring only) Upper, trills DOWN 3U / D# Trill/Upper sustains; key Lower, trills UP 3Y / 1st L.H. / MUltiple Trill-DOWN 3W / D Trill/Upper sustains; key Lower, trills DOWN

2Z / 1st L.H. / Multiple Trill-UP

3X / 1st L.H. / Upper sustains; Lower, trills UP

3A / 2nd L.H. / Upper sustains; (ring only) Lower, trills DOWN

3Y / 2nd L.H. / Multiple Pitch­ (ring only) Pulsations

Upper sustains; Lower, tremolo DOWN

3D / G# key / Multiple Trill-UP

3F / D# Trill/High C sustains; key Middle, trill UP 3G / D, and D# / MUltiple Trill-UP Trill keys

~

~ ~ 3Y,3W,3X ••f--.,.----+--+-~o__1

3N / Thumb key /

3E / 2nd R.H. / MUltiple Pitch­ Pulsations

t:9 t8"5)

2Y / 3rd R.H. / Multiple Pitch­ Pulsations

3M / 2nd L.H. / Multiple Trill Converging

3C / 3rd L.H. / Multiple Trill Converging

j,~

.'

2X / 3rd R.H. / Multiple Tones sustain; Upper, tr.ills DOWN

3B / 2nd L.H. /

Qg#

(83)

.----ia-+_~

• .1

Multiple PitchPulsations

3L / D# Trill/ MUltiple Trill-UP key

I--+I---4-X~.---"""""."""'.-+-1-+---+1

4.

3H / D Trill key / MUltiple Trill-UP 3K / 1st L.H. /

Upper sustains; Lower, trills DOWN

[57J

7MULTIPHONICS AND SPECIAL SONORITIES

Cant.

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4.

4.

(2) Some Degree of Resonance; Medium Dynamic Range 15. Approach the attack for this chord via the top note but widen the aperture sufficiently to accommodate the placement of the lowest note. Direct the air column downward, and apply a sUb­ stantial amount of breath support.

# 4

27

5 7

28 29 31 32 33 34 35 36 37 38 40 41 54

8 3Z I D Trill I Multiple Trill-DOWN key

4D I 2nd L.H. Lower sustains: (ring only) IUpper, trills DOWN

4A I G~ key I Lower sustain~i Upper,trills uuWN

4E I D~ Trill I MUltiple Trill-DOWN key

46 I D~ Trill I Upper sustains;

4F I 3rd R.H. I Lower sustains; Upper, trills DOWN

key

Lower, trills DOWN

4G I G~ key I Upper sustains; Lower, trills DOWN

4C lIst R.H. I Multiple Tri1l­ (ring only) DOWN

3PECJAL SONORITIES

9 10 14 15 18 20 22 23 25 26

57 58 60 61 62 64 65 66 67 68 69 71

72 73

(B) The Tonal Characteristics And Dynamic Ranges of multiphonics are shown here as three predominant effects. Each chord-group possesses a built-in quality of tone, and the player should permit this to subsist according to the resistance that is evidenced. As the control of the embouchure improves, those chords capable of sounding with a full dynamic range may also,be controllable using a lighter tone quality and played at a softer dynamic level. For this reason some chords have been. listed in more than one category. The numbers used toiden­ tify the multiphonics in the main chart appear here in the appro­ priate categories.

(1) Subdued Quality of Tone; Reasonably Soft Dynamics

# 1 2 6 12 13 14

15 18 24 25 26 27 33

34 37 54 55 56 57 64

65 73

80 90 91 92

(3) Blaring, or Strident Tone; Fairly Loud Dynamics

74

# 2

37

60

75

3 5 9

39

62

41

63

42 43 44 45 46 47 48 49 50 51 52 53 59

70 71

76 80 83 86 90 91 92 93 97 103 106

11

16 17 19 20 21 23 26 27 28 30 32 36

72 77

78 79 80 81 82 84 85 87 88

89 93 94 95 96 97 98 99 100 101 102 103 104 105 107 108 109

SPECIAL SONORITIES (C) Suppressed Chords Often, the term "smorzato" has been used to signify the effect of diminishing, or extinguishing tones. As is described here, a controlled suppressing of tones in the chord can occur while the lowest note continues to sustain. This can be accomplished with­ out altering the fingering. By releasing the firmness of the embouchure slightly, and per­ mitting the breath support to diminish, the upper partials can be made to disappear. When in some cases this does not produce the effect completely, then a directional change of the air column must implement this technique. Since the modification of the air column can be regulated voluntarily, the suppression of the chords can be realized in any desired rhythmic pattern. In a few instances,another note of the chord can be sustained simultaneously with the fundamental while the higher one is dimin­ ishing. In other chords, certain notes can be suppressed inter­ changeably. These variables have been indicated in the listing below. As a result of this added peculiarity these other notes too can be sustained either prior to, or following the suppression of the chord. This effect is related to that described in part(D) of this section. [59]

In this list, the fundamental note is illustrated together with the number that applies to its multiphonic. The arrows on the alter­ ations have been omitted. Attention is drawn to the fact that as an added advantage these tones, for their distinctive timbres, may be used also as single-line notes. The following multiphonics are the most responsive and easiest to control for this effect. Two-note multiphonics are listed first and are the most facile. Two-note Chords

#

6

27 32

E

12 G 13 - G

33 -

G# G# G# G#

14 - G

34 -

15 22 24 25 26

52 - So 54 - So

-

G

G# G# G# G#

C 65 C 66 67 - C 71 - C 72 - C - C 76 - C 80 - C# 73

58 - S 60 - C 61 - C

90 - D

91 92 93 97 102 104 107

D D - D

5 - E 8 - F (Middle G#, and possibly

middle E can be alter­ nated with d)

37 38 -

9 - F

10 - F (C can be alternated

with F#)

11 - F#

16 - G 17 - G 19 - G# (E can be alternated

with F#)

- S 108 - S 109 C

20 - G# G# 21 23 - G# 28 Low, and middle G#'s will

sustain to~ethet as the upper note is suppressed. 29 - G# 30 - G# 35 - G# [60J

sustain as the upper note is suppressed. Alter the air column's direction. AO AO (The C, or G, may be interchanged with the sounding of F by alter­ ing the direction of air) A (C alternates with G#) A (F alternates with C#)

40 41 42 - A 43 - A

45 46 47 48 49

-

C

83 84 85 86

-

C# (E alternates with C)

C C C C# C#

d D D

D (f. can be alternated with C~ by changing the direc­ tion of the air column)

87 - D (A can be alternated with

by releasing the breath pressure interchangeably)

E

88 - D 89 - D

94 98 99 100 105 106

EO -

(B can be alternated with GO)

EO E F

A B

- G# - G#

36 - Low, and middle G#'s will

2 - E 3 - E

-

- EO

Three, and Four-note Chords

#

70 74 75 77 78 79 82

A A A A So (A and B sound simulta­

SPECIAL SONORITIES (D) Connecting Single Notes to MUltiphonics

The suppressing of chords (part C) indicates that it is pos­ sible to sustain a single note and connect this to a chord,assum­ ing of course that the fingering being used initially is that of the multiphonic. A flexibility in this procedure results from the fact that either the lowest, or highest note in each multiphonic can be sustained when going into, or coming out of the chord. This occurs without any perceptible interruption of the sound, oralter­ ation of the fingering. However, it will be found that some chords do not lend themselves to a controllable responsiveness when they are approached via the highest note. This can only be determined by trial and error. The middle note in many of the three-note chords can also be sustained. The chords listed below have been selected as thosehav­ ing this characteristic, and a few added effects have been noted with several others. The letter after each number applies to the middle note of the multiphonic. In the case of four-note chords, then the note from the middle octave, which may lend the easiest response is listed. As mentioned previously, it is automatically assumed that the lowest and highest notes from each chord can be isolated and sustained without difficulty.

neously as the chord is suppressed) 50 - BO and A sustain as the top note is suppressed.

In some instances a radical change in the direction of the air column, and a simultaneous release of the breath pressure may be necessary to effect the linking of tones to chords, portions of which are then to be suppressed. Only by experimenting with the process of isolating the tones can the player acquire a fam­ iliarization with the physical sensation involved. This will dic­ tate any modifying of the air column's direction, and maneuver­ ing of the embouchure.

53 - BO 57 - B

The two-note chords are quite simple to execute in this pro­ duction and either note can be sustained with ease.