Extended Techniques Resource Page

 

Extended Techniques Resource Page

 I'd like to send a heartfelt  thank you to  to Robert  Robert Dick  Dick 

 for his generous assistance, assistance, advice, instruction, and guidance in the preparation preparation of this r Unless otherwise noted, all sound files are Copyright © 2000 Robert Dick 

A Note about Terminology Terminology

In researching material for this resource, it became clear to me that there is a lot of confusion names of the arious e!tended techni"ues# $en respected professionals and composers use d terms to describe the same techni"ues# %or instance, &key clicks& are sometimes called &key slaps# (ones& (o nes& are often called &'histle tones# &(on &(ongue gue stops& are called &tongue thrusts#& In these cases chosen the name that Robert Dick uses and recommends# (he other names will be indicat  parentheses# Go to: TECHNI!E"  to

read a description of each techni"ue and hear the techni"ue being perf 

Go to:  to: IN"TR!CTI#NA$ %ATERIA$" for

a listing of %ingering dictionaries, etude books and tu

Techniques )lthough there may be technologies aailable to record the sounds on this page, Robert Dick asks that, if you wish to record or to use his sounds, that you contact him directly for permission# *is email address is+  Robert &ic'  is+

Circular reathing

%lutter tonguing

-lissando

*armonics

 

.et 'histle

/ey Clicks /ey 1laps

3ultiphonics

4itch ends %all offs

5uarter tone trills

(ones nes Residual (o

3icrotones, timbral trills

1inging 'hile 4laying

(ongue (o ngue 4i66icato 4ercussie (onguing

(o (ongue ngue 1tops

'hisper (ones

(ongue (hrusts

'histle (ones, %lageolets

Circular (reathing))) A technique *hereby the tone can be inde+initely sustained, *ith no breathing interru-tions audible.

(he techni"ue re"uires lots of practice# (he idea is that during the breath, the tone is sustained not by traditional diaphrag  but by cheek pressure# pressure# )ir is h held eld in the mouth and pushed pushed out into the flute flute using the cheeks7 at tthe he same time, breath is ta through the nose# (he real trick is to make the transition from diaphragm pressure to cheek pressure and back, without effe tone# 1tart practicing by standing oer a sink and s"uirting water out of your mouth, while breathing in through your nose# 8nce  perfected, use a straw in a glass glass of water to practice su sustaining staining the blow blowing ing of air while breathing breathing in through the nos nose# e# 'e hae not included a sound e!ample of this techni"ue#

/lutter tonguing))) A tone that is 0ery ra-idly articulated. It is -roduced either by rolling the +ront o+ tongue, as in the "-anish 1rr,1 or by using the u0ula in the bac' o+ the mouth. %luttering with the tip of the tongue  

is what most players do on the flute# It works better higher than lower#

 

Using the uula only 

produces a more controlable and desireable sound# It is also more fle!ibl

you can actually change the speed of the flutter  

how slowly  slowly 

without changing the olume9 :isten to

it can be done9 Using the uula also frees the tip of the tongue to actually artic

while fluttering# fluttering#

'hen using the uula, een multiphonics can be fluttered# fluttered#

)nother type of flutter is the Roar %lutter #

It is a noisy, noisy, ma!imum pressure effect best used for rock music#

Glissando)))A smoothly changing -itch, u-*ards or do*n*ards, -roduced by sliding the +ingers o++ o the holes on an o-en hole +lute. -lissandi  -lissandi 

are easier going up than going down# (hey can be done "uickly  "uickly 

as well# %ingerings for glissandi t

the range of the flute are aailable in resources such as Robert Dick&s ;(he 8ther %lute#; 1ee Io >ou u get the two lowest note&s pitches out of any fingering you use#

"inging 4hile Playing))) Exactly *hat it says9 8ou use your 0ocal chords to sing -itches *hile you -l the +lute. oth males and females can sing some of the low register notes in unison while playing playing the flute# *ere is a unison sungpl # ou >o u don&t, of course, hae to sing and play in unison# *ere we hold a high note, while making a ocal glissando# glissando#

(

tone that results will go in the opposite direction from that of the oice# >ou >ou should see the spectrogram of this one9 (ry doing the opposite7 hold the oice  oice  moe the flute through the entire range9 range9

and moe the flute around its range# In fact, it&s possible to hold a note with

 

Tongue Pi and =ol. ?  by Robert Dick# (here are instructional cas aailable for ?ol#  and ?ol 2# 3ultiple reath 3usic Company# Company#

solo#  3ultiple reath 3usic Company# Company# $oo'out by Robert Dick# )n instructional cassette is aailable for this solo#  by  .ames .# 4ellerite 4ellerite77 .4B4U:IC)(I8